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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 for 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 | |
APPLAUSE AND CHEERING | 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 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 - it comes from the sea. | 0:03:44 | 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 | |
But 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 | |
This particular one, which is the salmon one - | 0:05:14 | 0:05:17 | |
I always feel a bit sorry, | 0:05:17 | 0:05:19 | |
because salmon doesn't seem quite exotic enough to be in sushi. | 0:05:19 | 0:05:23 | |
It's like when you see a British actor in an American TV show, | 0:05:23 | 0:05:26 | |
you think, "Aw, bless." | 0:05:26 | 0:05:28 | |
But that - when you look at that piece of sushi, | 0:05:31 | 0:05:35 | |
I think it looks like... | 0:05:35 | 0:05:36 | |
Ed Sheeran. | 0:05:36 | 0:05:38 | |
And if you can imagine... | 0:05:42 | 0:05:43 | |
Now, this one... | 0:05:43 | 0:05:45 | |
This one, I always think, | 0:05:45 | 0:05:46 | |
it's ginger, but it's got a bit of white showing, | 0:05:46 | 0:05:49 | |
it's more of a Chris Evans type. | 0:05:49 | 0:05:50 | |
And you can imagine them meeting at a bar, and having a bit of a... | 0:05:51 | 0:05:55 | |
Actually, it'd be more like this, wouldn't it? | 0:05:55 | 0:05:57 | |
So, um, you have eaten sushi, I take it? | 0:06:01 | 0:06:04 | |
Begrudgingly, yeah. Well, people keep going on about it, you know? | 0:06:04 | 0:06:06 | |
-Yes, they do. -There must be something..... | 0:06:06 | 0:06:08 | |
And then... But no, it just tastes like a pile of raw fish. | 0:06:08 | 0:06:11 | |
-It's a fair summary. -Yeah. | 0:06:11 | 0:06:13 | |
OK, so, what's Sir Trevor's choice? | 0:06:13 | 0:06:16 | |
My choice is queuing. | 0:06:19 | 0:06:22 | |
APPLAUSE AND CHEERING | 0:06:22 | 0:06:24 | |
Thank you. | 0:06:24 | 0:06:26 | |
Thank you - although I should explain, | 0:06:28 | 0:06:30 | |
if you turn up at some airport in Naples or something, | 0:06:30 | 0:06:34 | |
and you're standing in line | 0:06:34 | 0:06:35 | |
and waiting to go to the ticket counter | 0:06:35 | 0:06:37 | |
and somebody barges in from the right or left side, you think, | 0:06:37 | 0:06:40 | |
"Oh, my goodness, | 0:06:40 | 0:06:41 | |
"how wonderful it is that this doesn't happen back in London." | 0:06:41 | 0:06:45 | |
You know? Where people get in an orderly queue, | 0:06:45 | 0:06:47 | |
and they don't move... | 0:06:47 | 0:06:49 | |
But I get very worried when people become obsessed | 0:06:49 | 0:06:51 | |
-with just the idea of standing in line - we love lines. -Mm. | 0:06:51 | 0:06:55 | |
And you go to an underground station, | 0:06:55 | 0:06:56 | |
and there are three lanes which are empty, | 0:06:56 | 0:06:59 | |
and there's one where there are about 100 people, | 0:06:59 | 0:07:02 | |
and everyone gets behind the line! | 0:07:02 | 0:07:04 | |
-Yeah! -And I just get out | 0:07:04 | 0:07:06 | |
and I go for the one where there's nobody standing next to it, | 0:07:06 | 0:07:08 | |
and I get my ticket and walk away, but - | 0:07:08 | 0:07:11 | |
it shouldn't, really, but it infuriates me. | 0:07:11 | 0:07:14 | |
I think my particular hate on this one is, | 0:07:15 | 0:07:18 | |
if you're queuing in a cafe - especially if you're on your own - | 0:07:18 | 0:07:22 | |
queuing in a cafe, and a family come in, | 0:07:22 | 0:07:25 | |
and they all go and sit at the last table in the cafe, | 0:07:25 | 0:07:29 | |
and then join the end of the queue - | 0:07:29 | 0:07:31 | |
so, you're way ahead of them, but they got the table. | 0:07:31 | 0:07:34 | |
Now, that cannot be right. | 0:07:34 | 0:07:36 | |
And I know it's just a table, but you just know these are the people - | 0:07:36 | 0:07:40 | |
they'd do the same with a lifeboat. | 0:07:40 | 0:07:42 | |
And they do it, now, for sales in big stores - | 0:07:45 | 0:07:48 | |
you know, somebody forms a line... | 0:07:48 | 0:07:50 | |
Well, in fact, for sales, they don't - | 0:07:50 | 0:07:52 | |
-they kill each other, don't they? Sort of... -Yes. | 0:07:52 | 0:07:54 | |
I think you can get a community spirit from that kind of... | 0:07:54 | 0:07:56 | |
Oh, I'm sure there's a community spirit when you do, | 0:07:56 | 0:07:59 | |
but I mean, there's nothing else to do but have a community spirit | 0:07:59 | 0:08:02 | |
if you're standing out there, or sitting out there all night. | 0:08:02 | 0:08:05 | |
Do you still have to queue, Sir Trevor? | 0:08:05 | 0:08:07 | |
Do you ever just go, "I am Sir Trevor of the News! | 0:08:07 | 0:08:09 | |
"Let me through!"? | 0:08:09 | 0:08:10 | |
No, no... Nobody ever does that. | 0:08:10 | 0:08:13 | |
They probably do it for you, but not for me. | 0:08:13 | 0:08:15 | |
-Oh... -I don't believe that - | 0:08:15 | 0:08:17 | |
I think the world parts like Moses and the Red Sea. | 0:08:17 | 0:08:20 | |
A queue that you see a lot in London | 0:08:22 | 0:08:24 | |
is young men queuing for training shoes. | 0:08:24 | 0:08:26 | |
A new edition of trainers comes out, | 0:08:26 | 0:08:28 | |
and they literally queue overnight to get in there first - | 0:08:28 | 0:08:31 | |
and I find this a pretty remarkable phenomenon. | 0:08:31 | 0:08:35 | |
And I was in this car, and I was being driven - | 0:08:35 | 0:08:37 | |
I'd been talking to the driver, it was a woman driver, she was Latvian - | 0:08:37 | 0:08:40 | |
and she said, "What is this queue?" | 0:08:40 | 0:08:41 | |
And I said, "It's... They're queuing for training shoes." | 0:08:41 | 0:08:44 | |
I said, "Can you believe it?" | 0:08:44 | 0:08:46 | |
There was a short pause, and she said, | 0:08:46 | 0:08:48 | |
"I've queued for cheese." | 0:08:48 | 0:08:50 | |
But that's... I mean, you know, that's the thing, you know? | 0:08:53 | 0:08:55 | |
So, a new phone comes out, and everybody queues. | 0:08:55 | 0:08:58 | |
Look, I'll tell you something - the guys who make those phones, | 0:08:58 | 0:09:02 | |
they're going to make enough to sell it to everybody. | 0:09:02 | 0:09:04 | |
You do not need to queue. | 0:09:04 | 0:09:06 | |
I'm telling you, honestly. | 0:09:06 | 0:09:08 | |
APPLAUSE | 0:09:08 | 0:09:09 | |
The one, I think, that needs quite a bit of intuition, | 0:09:13 | 0:09:15 | |
is when you're queuing at a urinal, | 0:09:15 | 0:09:18 | |
guessing who's going to finish first. | 0:09:18 | 0:09:21 | |
You're looking for any sort of sense of... | 0:09:21 | 0:09:24 | |
relaxation. | 0:09:24 | 0:09:26 | |
It's a sort of urinal Russian roulette. | 0:09:26 | 0:09:29 | |
Just trying to... | 0:09:29 | 0:09:30 | |
I once stood at a urinal behind the Red Arrows... | 0:09:30 | 0:09:34 | |
in full formation. | 0:09:34 | 0:09:37 | |
Amazing. How they did the red, white and blue thing, I'll never know. | 0:09:39 | 0:09:42 | |
There's a kind of sport to it, at the supermarket, isn't there? | 0:09:42 | 0:09:45 | |
You know, which line are you going to choose? | 0:09:45 | 0:09:47 | |
-Yeah. -Which is moving fastest? -Yeah. | 0:09:47 | 0:09:49 | |
You can actually turn it into a competitive event, | 0:09:49 | 0:09:51 | |
with someone else - "You take that basket, I'll take that basket," | 0:09:51 | 0:09:54 | |
you can be edging it... That's quite fun. | 0:09:54 | 0:09:56 | |
I find in the supermarket, my real problem, | 0:09:57 | 0:10:00 | |
when you're queuing behind someone, | 0:10:00 | 0:10:02 | |
when you get to the actual conveyor belt | 0:10:02 | 0:10:05 | |
and they don't put the grocery divider... | 0:10:05 | 0:10:08 | |
MURMURS OF ASSENT | 0:10:08 | 0:10:09 | |
Now, that's their job! It's the leader's responsibility. | 0:10:09 | 0:10:12 | |
I can't put it on, they have to put it on. | 0:10:12 | 0:10:15 | |
So, what I start doing - | 0:10:15 | 0:10:16 | |
I start putting my stuff on quite close to theirs - | 0:10:16 | 0:10:20 | |
the most expensive stuff, | 0:10:20 | 0:10:21 | |
like a little bit of truffle oil rolling over - | 0:10:21 | 0:10:24 | |
they start to panic, and down it goes. | 0:10:24 | 0:10:27 | |
Um, what about Aisling's choice? | 0:10:27 | 0:10:30 | |
Pigeons. | 0:10:33 | 0:10:34 | |
APPLAUSE AND CHEERING | 0:10:34 | 0:10:37 | |
Frankly, Frank, | 0:10:38 | 0:10:40 | |
I've had enough of these disease-riddled rats of the sky. | 0:10:40 | 0:10:44 | |
-AUDIENCE CHEERS -Yes, thank you. | 0:10:44 | 0:10:46 | |
Bit of solidarity, there. | 0:10:46 | 0:10:48 | |
We just let them roam around, owning the streets of our cities | 0:10:48 | 0:10:51 | |
for far too long, and I don't know why. | 0:10:51 | 0:10:54 | |
What do they do? They're obsolete now - everyone sends text messages, | 0:10:54 | 0:10:57 | |
unlike the old days, | 0:10:57 | 0:10:59 | |
when you used to attach, you know, a bit of paper to their legs, | 0:10:59 | 0:11:01 | |
and I think that's why British people let them stay around | 0:11:01 | 0:11:05 | |
so long, is because of all the hard work they did during the war. | 0:11:05 | 0:11:08 | |
But, you know, you don't see other veterans going round | 0:11:08 | 0:11:11 | |
Trafalgar Square pooing on the monuments, | 0:11:11 | 0:11:15 | |
so I don't see why we should allow pigeons. | 0:11:15 | 0:11:17 | |
You know, there's an arrogance about them - | 0:11:17 | 0:11:19 | |
they're like the aggressive sort of man in the pub, | 0:11:19 | 0:11:22 | |
being like, "No, you move," you know? | 0:11:22 | 0:11:23 | |
They're like... Yeah, I just don't like them any more. | 0:11:23 | 0:11:27 | |
First of all, they are, I think, | 0:11:27 | 0:11:29 | |
an important source of exercise for toddlers. | 0:11:29 | 0:11:32 | |
I have a three-year-old, | 0:11:36 | 0:11:37 | |
he will chase a pigeon a mile and a half. | 0:11:37 | 0:11:40 | |
He'll run so far, he'll vomit, | 0:11:40 | 0:11:42 | |
and then, of course, the pigeon will sort that out. | 0:11:42 | 0:11:45 | |
I thought we were supposed to love the wildlife. | 0:11:47 | 0:11:50 | |
No, they have more diseases - | 0:11:50 | 0:11:52 | |
they have, like, seven times more diseases than rats, | 0:11:52 | 0:11:54 | |
even in the wind from their wings. | 0:11:54 | 0:11:57 | |
This might change your mind - we have a woman in Liverpool, | 0:11:57 | 0:12:00 | |
an artist called Kerry Morrison, | 0:12:00 | 0:12:02 | |
laid out a sheet of musical manuscript with empty staves on it. | 0:12:02 | 0:12:08 | |
There it is, look. | 0:12:08 | 0:12:09 | |
Ready for musical notes... | 0:12:09 | 0:12:11 | |
Ah! | 0:12:11 | 0:12:12 | |
..and then pigeons naturally put notes on the... | 0:12:12 | 0:12:17 | |
LAUGHTER | 0:12:17 | 0:12:18 | |
I'm not making this up - this was an artistic experiment. | 0:12:18 | 0:12:21 | |
And we've got a - look. | 0:12:21 | 0:12:22 | |
-AUDIENCE: -Eurgh! | 0:12:22 | 0:12:23 | |
That's E. | 0:12:23 | 0:12:25 | |
She waited till it was covered, | 0:12:26 | 0:12:28 | |
and then Jon Hering, a composer, | 0:12:28 | 0:12:31 | |
he turned it into a full musical score, | 0:12:31 | 0:12:32 | |
and they performed it at the Tate Liverpool art gallery. | 0:12:32 | 0:12:36 | |
Come off it. | 0:12:36 | 0:12:37 | |
I'm not making - this is absolutely serious. | 0:12:37 | 0:12:40 | |
We have the actual music here. | 0:12:40 | 0:12:41 | |
# I believe I can fly... # | 0:12:41 | 0:12:44 | |
APPLAUSE | 0:12:44 | 0:12:46 | |
# I believe I can touch the sky... # | 0:12:46 | 0:12:49 | |
I made that last bit up. | 0:12:52 | 0:12:54 | |
It's completely true - this is the real pigeon music. | 0:12:54 | 0:12:58 | |
This is taking the notes that were dropped onto the thing | 0:12:58 | 0:13:01 | |
and turning them into music. | 0:13:01 | 0:13:03 | |
SLOW ATONAL MUSIC | 0:13:03 | 0:13:05 | |
LAUGHTER | 0:13:19 | 0:13:21 | |
It's interesting that the medium that they use to write the music | 0:13:21 | 0:13:24 | |
-is reflected in the music. -Mm! | 0:13:24 | 0:13:26 | |
And they actually performed that at the Tate? | 0:13:29 | 0:13:31 | |
Yeah, The art gallery. | 0:13:31 | 0:13:32 | |
That is one of those things with art where sometimes you're like, | 0:13:32 | 0:13:35 | |
"No, I don't believe there should be any cuts to art funding," | 0:13:35 | 0:13:38 | |
and then every now and again you're like, | 0:13:38 | 0:13:40 | |
"Ach, they could probably shave a pound or two off." | 0:13:40 | 0:13:43 | |
Erm, I don't think I can put pigeons in, Aisling. | 0:13:43 | 0:13:46 | |
What, why not? | 0:13:46 | 0:13:47 | |
Because they have this strange homing thing - we don't know, | 0:13:47 | 0:13:50 | |
we haven't finally found out how bright and intelligent... | 0:13:50 | 0:13:54 | |
what we can do with them. | 0:13:54 | 0:13:55 | |
They could save the world - | 0:13:55 | 0:13:57 | |
and they're a bit scruffy and smelly, but - hey. | 0:13:57 | 0:14:00 | |
I... | 0:14:00 | 0:14:02 | |
I must say, I like sushi. | 0:14:02 | 0:14:04 | |
-Ohh! -AUDIENCE MURMURS | 0:14:04 | 0:14:06 | |
I do like it, and I like the fact that we, as a nation, | 0:14:06 | 0:14:09 | |
who aren't the most experimental, | 0:14:09 | 0:14:12 | |
have actually embraced the whole raw fish thing. | 0:14:12 | 0:14:16 | |
David, don't look at me like that. | 0:14:16 | 0:14:19 | |
OK, I... | 0:14:19 | 0:14:20 | |
This is a real tough one, but I'm going to put queuing into Room 101. | 0:14:20 | 0:14:24 | |
-Oh... -Oh, thanks! | 0:14:24 | 0:14:26 | |
APPLAUSE | 0:14:26 | 0:14:28 | |
And so... | 0:14:36 | 0:14:38 | |
What's upsetting Sir Trevor? | 0:14:38 | 0:14:41 | |
Lateness. | 0:14:44 | 0:14:45 | |
APPLAUSE AND CHEERING | 0:14:45 | 0:14:47 | |
I thought we'd be done by now. | 0:14:50 | 0:14:52 | |
LAUGHTER | 0:14:52 | 0:14:54 | |
This is a problem which I realise is partly of my own creation. | 0:14:54 | 0:14:58 | |
If I arrange to meet somebody at six o'clock, | 0:14:59 | 0:15:03 | |
outside McDonald's - my, you know... | 0:15:03 | 0:15:06 | |
LAUGHTER | 0:15:06 | 0:15:08 | |
Do you mean your house? | 0:15:10 | 0:15:12 | |
APPLAUSE | 0:15:14 | 0:15:16 | |
-I was referring to the family firm. -Oh, OK! | 0:15:19 | 0:15:23 | |
..at six o'clock, if I say six o'clock, | 0:15:23 | 0:15:26 | |
at about five to six... | 0:15:26 | 0:15:29 | |
I'm there, of course, | 0:15:29 | 0:15:31 | |
and I think I've got the wrong place, | 0:15:31 | 0:15:34 | |
because the person hasn't turned up. | 0:15:34 | 0:15:36 | |
Now, I'm not into all this sort of quasi-philosophical nonsense | 0:15:36 | 0:15:41 | |
about punctuality being the prerogative of princes or kings, | 0:15:41 | 0:15:45 | |
or whatever - I don't believe any of that - | 0:15:45 | 0:15:48 | |
I just think that if you say you're going to be there at a certain time, | 0:15:48 | 0:15:53 | |
then you are there. | 0:15:53 | 0:15:54 | |
I make extreme efforts to make sure that I am on time. | 0:15:54 | 0:16:00 | |
I always take account of the fact that there might be traffic. | 0:16:00 | 0:16:04 | |
I mean, have you ever heard of the worst excuse in your life? | 0:16:04 | 0:16:07 | |
"There's traffic" - there's traffic everywhere. | 0:16:07 | 0:16:09 | |
There always is traffic. | 0:16:09 | 0:16:11 | |
Do you think it's cos it was a big deal in your job - | 0:16:11 | 0:16:13 | |
like, if at ten o'clock Britain turned on their television, | 0:16:13 | 0:16:16 | |
and there was just a chair there... | 0:16:16 | 0:16:18 | |
-To be completely honest... -"I'm on my way, I'm on my way." | 0:16:20 | 0:16:23 | |
You did have a job that started with Big Ben. | 0:16:23 | 0:16:27 | |
So you kind of always knew what time it was. | 0:16:27 | 0:16:29 | |
Exactly. | 0:16:29 | 0:16:31 | |
The worst thing I ever... | 0:16:31 | 0:16:32 | |
I had a meeting with someone, and they turned up - I mean, | 0:16:32 | 0:16:35 | |
they were probably 15 minutes late, and they had a Starbucks cup... | 0:16:35 | 0:16:41 | |
And they said, "Oh, sorry I'm late," | 0:16:43 | 0:16:45 | |
and I said, "But hold on a minute - you had time to buy Starbucks..." | 0:16:45 | 0:16:50 | |
-I know! -..and they said, "Oh, well, I knew I was already late, | 0:16:50 | 0:16:54 | |
"so I couldn't make it any worse." | 0:16:54 | 0:16:55 | |
I said, "This is the serial killer argument, isn't it?" | 0:16:55 | 0:16:59 | |
"Well, I've already killed one person..." | 0:16:59 | 0:17:02 | |
I have a kind of sneaking admiration for them, | 0:17:02 | 0:17:06 | |
because they'll never get heart attacks - | 0:17:06 | 0:17:08 | |
they'll never be too discombobulated about not being there on time, | 0:17:08 | 0:17:14 | |
they'll never worry excessively about, really, anything at all. | 0:17:14 | 0:17:18 | |
I like the way you're losing confidence in this... | 0:17:18 | 0:17:21 | |
LAUGHTER | 0:17:21 | 0:17:22 | |
-No, but I see the downsides of it... -Mm. | 0:17:22 | 0:17:25 | |
..but what I'm saying is, it's still a source of great irritability. | 0:17:25 | 0:17:29 | |
It does feel like disrespect, that's the problem - | 0:17:29 | 0:17:31 | |
and when you're at an airport, and they start... | 0:17:31 | 0:17:34 | |
You know, everything's late, all the flights are late... | 0:17:34 | 0:17:36 | |
This, I think, is probably the best excuse I've ever seen | 0:17:36 | 0:17:40 | |
for a flight being late. | 0:17:40 | 0:17:42 | |
Yeah, very good! | 0:17:47 | 0:17:49 | |
I'll tell you, one of the oddities, too, | 0:17:49 | 0:17:51 | |
is when people tell you you are late - | 0:17:51 | 0:17:54 | |
and in the journalistic world, it happens like this... | 0:17:54 | 0:17:57 | |
There is a war, and you can't get to it in time, | 0:17:57 | 0:18:00 | |
and you turn up, and the guy says, "Where are you heading to?" | 0:18:00 | 0:18:03 | |
You say, "I'm going to Bucharest, | 0:18:03 | 0:18:05 | |
"because the Romanian dictator has just been..." | 0:18:05 | 0:18:09 | |
And he said, "But that happened two days ago." | 0:18:09 | 0:18:12 | |
I said, "Yes, it's taken me two days to get here!" | 0:18:12 | 0:18:14 | |
So, people tell you you are late. | 0:18:14 | 0:18:16 | |
I don't know anyone else who's ever told me an anecdote | 0:18:16 | 0:18:20 | |
about being late for a war! | 0:18:20 | 0:18:21 | |
Well, let's see what David has chosen. | 0:18:24 | 0:18:27 | |
My South African accent. | 0:18:30 | 0:18:31 | |
LAUGHTER | 0:18:31 | 0:18:34 | |
APPLAUSE | 0:18:34 | 0:18:36 | |
As part of my day job, which is pretending to be other people, | 0:18:36 | 0:18:40 | |
I do occasionally have to assume another accent... | 0:18:40 | 0:18:45 | |
and, usually, with a bit of practice and a bit of time, | 0:18:45 | 0:18:48 | |
I can make a decent fist of most of them... | 0:18:48 | 0:18:52 | |
but my Becher's Brook, my Waterloo... | 0:18:52 | 0:18:56 | |
LAUGHTER | 0:18:56 | 0:18:57 | |
..is the South African accent. | 0:18:57 | 0:18:59 | |
I don't know why it should be, I don't know what it is about it | 0:18:59 | 0:19:03 | |
that is elusive to my ear, but I've tried, and I've struggled, and... | 0:19:03 | 0:19:08 | |
-SOUTH AFRICAN ACCENT: -I can start off all right, and it's not too bad... | 0:19:08 | 0:19:11 | |
but it doesn't take very long, and... | 0:19:11 | 0:19:13 | |
-BLACK COUNTRY ACCENT: -..suddenly I'm from Dudley. | 0:19:13 | 0:19:15 | |
LAUGHTER | 0:19:15 | 0:19:17 | |
APPLAUSE | 0:19:17 | 0:19:19 | |
-SOUTH AFRICAN ACCENT: -So, I have to concentrate | 0:19:22 | 0:19:24 | |
and try and wrestle back, but... | 0:19:24 | 0:19:26 | |
-BLACK COUNTRY ACCENT: -..I can't hold on to it for very long, | 0:19:26 | 0:19:28 | |
I just can't do it. | 0:19:28 | 0:19:30 | |
-NATURAL ACCENT: -I can't - I just don't know what it is. | 0:19:30 | 0:19:32 | |
It defeats me every single time. | 0:19:32 | 0:19:34 | |
Well, we have... | 0:19:34 | 0:19:35 | |
LAUGHTER | 0:19:35 | 0:19:36 | |
We have a recording, a radio recording, of you... | 0:19:36 | 0:19:40 | |
-I don't think it's a South African accent... -Oh, I hope not. | 0:19:40 | 0:19:43 | |
This is from an audio play called The Rotters' Club. | 0:19:43 | 0:19:47 | |
Oh...no. | 0:19:47 | 0:19:50 | |
This is set in Birmingham. | 0:19:50 | 0:19:52 | |
Yeah. | 0:19:52 | 0:19:54 | |
I didn't know you remembered this. | 0:19:55 | 0:19:57 | |
No, exactly. Let's hear this. | 0:19:57 | 0:19:59 | |
'Look, Bill, | 0:19:59 | 0:20:01 | |
'a vote for Wilson is just going to let the socialists back in.' | 0:20:01 | 0:20:03 | |
'Oh, I've bad news for you, Sam. I AM a socialist.' | 0:20:03 | 0:20:06 | |
'You might as well just give the miners the keys to the ruddy country, | 0:20:06 | 0:20:09 | |
-'and let 'em get on with it.' -'Mm, not a bad idea. | 0:20:09 | 0:20:12 | |
'I might propose it at the next TUC conference.' | 0:20:12 | 0:20:14 | |
LAUGHTER AND APPLAUSE | 0:20:14 | 0:20:16 | |
I don't think that was too bad! | 0:20:17 | 0:20:19 | |
-That was David and I, in case you hadn't worked that out. -Yeah. | 0:20:19 | 0:20:22 | |
Must be... Oh, must be, like, 15 years ago, now. | 0:20:22 | 0:20:25 | |
I tell you what - I'll tell you something about that show. | 0:20:25 | 0:20:27 | |
We did this show together - but, as you say, a long time ago - | 0:20:27 | 0:20:31 | |
-and there was a guy called David Troughton in it... -Yeah. | 0:20:31 | 0:20:34 | |
..who was the son of a former Doctor Who... | 0:20:34 | 0:20:36 | |
AISLING GASPS | 0:20:36 | 0:20:37 | |
..and I was so excited that it was the son of a former Doctor Who - | 0:20:37 | 0:20:40 | |
and David was there, | 0:20:40 | 0:20:42 | |
and I thought, "Why does this Scottish bloke keep bothering me? | 0:20:42 | 0:20:45 | |
"I want to talk to the son of the former..." | 0:20:45 | 0:20:47 | |
Little did I know! | 0:20:47 | 0:20:49 | |
And the moral of this is, | 0:20:49 | 0:20:50 | |
don't meet your heroes before they're your heroes. | 0:20:50 | 0:20:54 | |
APPLAUSE | 0:20:55 | 0:20:57 | |
I went up for a part - it was an American thing, and I thought, | 0:21:00 | 0:21:04 | |
"Well, if they've asked me, there must be, like, an English guy in it." | 0:21:04 | 0:21:07 | |
So, I turned up, and they said, | 0:21:07 | 0:21:09 | |
"No, no, we need you to do it in an American accent." | 0:21:09 | 0:21:12 | |
Now, I only have one American accent, and it's quite distinctive. | 0:21:12 | 0:21:17 | |
I remember one of the lines - it was, "You're a pretty girl, Susan..." | 0:21:17 | 0:21:21 | |
this woman is coming on to me, I say, "You're a pretty girl, Susan, | 0:21:21 | 0:21:25 | |
but I thought you knew, I'm gay." | 0:21:25 | 0:21:27 | |
That was the line. | 0:21:27 | 0:21:29 | |
And they said, "We need to do it American." | 0:21:29 | 0:21:31 | |
And the only American accent I have is Wild West old-timer. | 0:21:31 | 0:21:35 | |
So, I said, "You're a pretty girl, Susan..." | 0:21:37 | 0:21:41 | |
LAUGHTER | 0:21:41 | 0:21:42 | |
"..but, here, I thought you knew - I'm gay." | 0:21:42 | 0:21:47 | |
I, er... | 0:21:47 | 0:21:49 | |
I didn't get the part. | 0:21:49 | 0:21:51 | |
But you are doing the tour of Brokeback Mountain, | 0:21:52 | 0:21:55 | |
so that's nice. | 0:21:55 | 0:21:56 | |
Anyway, we thought we might want to help you with this, | 0:21:57 | 0:22:01 | |
-David... -Right. -..so, we contacted a man called Paul Meier. | 0:22:01 | 0:22:05 | |
He runs a thing | 0:22:05 | 0:22:06 | |
called the International Dialects of English Archive, | 0:22:06 | 0:22:09 | |
and he thinks that he can teach - well, you and I to do South African. | 0:22:09 | 0:22:15 | |
-Would you like to give it a try? -I'd love to, yeah! | 0:22:15 | 0:22:17 | |
It's written phonetically, | 0:22:17 | 0:22:19 | |
and what he's done is, he's taken that scene from The Rotters' Club | 0:22:19 | 0:22:22 | |
that we did in regional Midlands accents... | 0:22:22 | 0:22:25 | |
-Very good! -..and he's made it South African. | 0:22:25 | 0:22:27 | |
So, if you'd like to join me on your... You can see your mark. | 0:22:27 | 0:22:31 | |
I can. | 0:22:31 | 0:22:32 | |
Good on ya. | 0:22:32 | 0:22:33 | |
OK, so, you've got to imagine, now, instead of being | 0:22:33 | 0:22:36 | |
-set in the West Midlands, that suddenly we're in Jo'burg. -OK. | 0:22:36 | 0:22:41 | |
-And it's written... -I don't know why I'm doing it as Nelson, but... | 0:22:41 | 0:22:44 | |
I... | 0:22:44 | 0:22:46 | |
So, yeah, so, it's phonetic. | 0:22:46 | 0:22:48 | |
OK, let's go for it. | 0:22:48 | 0:22:50 | |
HE READS PHONETIC TRANSCRIPTION | 0:22:50 | 0:22:52 | |
LAUGHTER | 0:22:58 | 0:23:00 | |
LAUGHTER AND APPLAUSE | 0:23:16 | 0:23:17 | |
-I think you've got... -Yeah. | 0:23:20 | 0:23:22 | |
HE READS PHONETIC TRANSCRIPTION | 0:23:22 | 0:23:24 | |
I have a feeling that if you played this backwards, | 0:23:38 | 0:23:42 | |
it would sound absolutely fine. | 0:23:42 | 0:23:43 | |
David Tennant, the South African accent. | 0:23:43 | 0:23:46 | |
APPLAUSE | 0:23:46 | 0:23:48 | |
And...finally... | 0:23:53 | 0:23:56 | |
to Aisling's choice. | 0:23:56 | 0:23:59 | |
Scooters. | 0:24:03 | 0:24:04 | |
-Yep. -APPLAUSE | 0:24:04 | 0:24:05 | |
Yep, thank you. | 0:24:05 | 0:24:07 | |
Yep. | 0:24:07 | 0:24:08 | |
I think we've one here, so I can show you what I mean. | 0:24:08 | 0:24:10 | |
Where's the one...? Do we have a scooter? | 0:24:10 | 0:24:12 | |
-We do - there's one here. Are you going to...? -Yeah. | 0:24:12 | 0:24:14 | |
-Yeah - this is my problem with it. -Please be careful. | 0:24:14 | 0:24:16 | |
-Yeah. Oh, I will. -There it is, under there. | 0:24:16 | 0:24:18 | |
So, I just feel like we don't know the risks of them yet, for children, | 0:24:18 | 0:24:22 | |
and - you know, like with mobile phones, | 0:24:22 | 0:24:23 | |
there's been no science done yet - | 0:24:23 | 0:24:25 | |
and children who are just using one leg all the time to get around, | 0:24:25 | 0:24:29 | |
and what's going to happen is, all the muscles will go | 0:24:29 | 0:24:32 | |
in their other leg, and then they'll only have one good leg to use. | 0:24:32 | 0:24:36 | |
And I think, like, in 20 years' time, | 0:24:36 | 0:24:38 | |
they're going to have to, like, develop new trousers, | 0:24:38 | 0:24:41 | |
having, like, one good leg, and then one... You know. | 0:24:41 | 0:24:44 | |
And there'll be adults who can just walk around in one circle... | 0:24:44 | 0:24:48 | |
and then you see - my least favourite thing is the children, | 0:24:48 | 0:24:51 | |
like, lazy children, who have annoyed their parents | 0:24:51 | 0:24:54 | |
so much that they've given up, | 0:24:54 | 0:24:56 | |
and they just stand there... David, come here for a second. | 0:24:56 | 0:24:58 | |
-So, I'm the child... -Yeah. -..and you just... | 0:24:58 | 0:25:00 | |
I've given up, so you just you'll me along at this stage. | 0:25:00 | 0:25:03 | |
-Oh, I do this, regularly. -Yeah. | 0:25:03 | 0:25:04 | |
Come on! | 0:25:04 | 0:25:06 | |
LAUGHTER AND APPLAUSE | 0:25:07 | 0:25:08 | |
-That drives me nuts. -Yeah. -You know? | 0:25:08 | 0:25:11 | |
And you see these...just sad dads walking with two scooters... | 0:25:13 | 0:25:18 | |
They're awful. And, yeah, the worst is adults - adults on those things. | 0:25:18 | 0:25:23 | |
Just get a bike! | 0:25:23 | 0:25:26 | |
Well, I had a scooter for much of my childhood... | 0:25:26 | 0:25:30 | |
-One of those? -Well, it was a thing called a Tri-ang scooter - | 0:25:30 | 0:25:33 | |
big white wheels on it, and changed my life, | 0:25:33 | 0:25:37 | |
because I still, to this day, can't ride a bike. | 0:25:37 | 0:25:40 | |
I find them a bit too high. | 0:25:40 | 0:25:42 | |
And I hadn't quite got the self-belief - | 0:25:43 | 0:25:46 | |
but this thing was sufficiently low to the ground | 0:25:46 | 0:25:49 | |
that I felt confident on a scooter. | 0:25:49 | 0:25:51 | |
This was the '70s - I had shoes that were higher than the scooter. | 0:25:51 | 0:25:55 | |
There's something about an adult on one of those scooters that - | 0:25:55 | 0:25:59 | |
and I'm not trying to be dramatic - | 0:25:59 | 0:26:00 | |
but it feels the same to me as still getting breast-fed at 40. | 0:26:00 | 0:26:05 | |
Does it not bother you that lots and lots of children | 0:26:05 | 0:26:08 | |
really, really love these scooters? | 0:26:08 | 0:26:10 | |
Yes - because I feel like | 0:26:10 | 0:26:12 | |
we're creating, like, a generation of crazy children | 0:26:12 | 0:26:16 | |
who don't know to just walk places, or cycle bikes - | 0:26:16 | 0:26:19 | |
they could end up becoming stand-up comedians and not get a real job. | 0:26:19 | 0:26:24 | |
-So, look, I have one last try at winning you over to the scooter. -Mm. | 0:26:24 | 0:26:29 | |
This man is the current world scooter champion, | 0:26:29 | 0:26:33 | |
and the first ever British world scooter champion - | 0:26:33 | 0:26:37 | |
so, please welcome Jordan Clark. | 0:26:37 | 0:26:40 | |
APPLAUSE | 0:26:40 | 0:26:42 | |
-AUDIENCE: -Ooh! | 0:26:49 | 0:26:51 | |
Whoo! | 0:26:54 | 0:26:55 | |
Whoo! | 0:26:59 | 0:27:00 | |
Whoo! | 0:27:04 | 0:27:05 | |
APPLAUSE | 0:27:05 | 0:27:06 | |
-Amazing. -I'm glad he scootered off, | 0:27:12 | 0:27:13 | |
-because I thought that was rubbish. -LAUGHTER | 0:27:13 | 0:27:16 | |
I thought that was... | 0:27:16 | 0:27:17 | |
He'd just go up and down, and bounced a bit, | 0:27:17 | 0:27:19 | |
like on a skateboard - | 0:27:19 | 0:27:20 | |
he could have at least had the dignity to jump up onto the stage, | 0:27:20 | 0:27:24 | |
scoot on along that, do along the edge, and - | 0:27:24 | 0:27:26 | |
you know, something like that. | 0:27:26 | 0:27:27 | |
-That was just... -You know he's absolutely in bits, now, back there. | 0:27:27 | 0:27:31 | |
Oh, I'm sorry, Jordan! | 0:27:31 | 0:27:32 | |
Well, it's... You know. | 0:27:32 | 0:27:34 | |
His severed head, now, will roll on on a scooter. | 0:27:34 | 0:27:37 | |
So... | 0:27:38 | 0:27:40 | |
I'm not going to put scooters in. | 0:27:40 | 0:27:42 | |
How am I going to get my son to school? | 0:27:42 | 0:27:44 | |
Walking! On his legs! | 0:27:44 | 0:27:46 | |
He HATES that. | 0:27:46 | 0:27:47 | |
And lateness - you know what? | 0:27:48 | 0:27:50 | |
You really won me over with lateness - | 0:27:50 | 0:27:51 | |
-but then, I think you started change your mind. -I know - well, | 0:27:51 | 0:27:54 | |
I started to think it was probably more my problem than others, really. | 0:27:54 | 0:27:57 | |
Yeah - yeah, but I have it as well, and you're right, | 0:27:57 | 0:28:00 | |
it might do us good to just loosen up and not worry about these things. | 0:28:00 | 0:28:03 | |
Yeah. And all those guys, those late guys, | 0:28:03 | 0:28:06 | |
they're going to live for a very long time. | 0:28:06 | 0:28:08 | |
-They're even going to be late dying. -Yeah. | 0:28:08 | 0:28:10 | |
Exactly. | 0:28:10 | 0:28:12 | |
But, I so feel your pain, that you're trying to capture the voice | 0:28:12 | 0:28:17 | |
of this wondrous, wild and beautiful country, | 0:28:17 | 0:28:20 | |
and you keep ending up in the West Midlands. | 0:28:20 | 0:28:22 | |
Yeah. | 0:28:22 | 0:28:24 | |
I am going to put David's South African accent into Room 101. | 0:28:24 | 0:28:27 | |
-Thank you. -APPLAUSE | 0:28:27 | 0:28:29 | |
And that brings us to the end of the show - well done, David, | 0:28:36 | 0:28:39 | |
you were the most persuasive guest, so you are this week's winner. | 0:28:39 | 0:28:43 | |
Thank you. | 0:28:43 | 0:28:44 | |
APPLAUSE | 0:28:44 | 0:28:46 | |
In no way helped by the fact the you were Doctor Who - | 0:28:48 | 0:28:52 | |
can I point that out? | 0:28:52 | 0:28:54 | |
Thanks very much, David Tennant, Sir Trevor McDonald and Aisling Bea - | 0:28:54 | 0:28:57 | |
and thank you, goodnight! | 0:28:57 | 0:28:59 | |
APPLAUSE | 0:28:59 | 0:29:01 |