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This programme contains some strong language. | 0:00:02 | 0:00:07 | |
-Hello. -Steve? | 0:00:08 | 0:00:10 | |
Yes, who's this? | 0:00:10 | 0:00:12 | |
It's Rob. | 0:00:12 | 0:00:13 | |
Oh, hey, hey. | 0:00:13 | 0:00:14 | |
-How are you? -Good, how are you? | 0:00:14 | 0:00:17 | |
Yes, good, how's the show going? | 0:00:17 | 0:00:20 | |
Just finished, just starting the hiatus. | 0:00:20 | 0:00:22 | |
Yeah, I know, I spoke to your agent. | 0:00:22 | 0:00:24 | |
Listen, the Observer wants us to do more restaurant reviews over six lunches. | 0:00:24 | 0:00:28 | |
Really? | 0:00:28 | 0:00:30 | |
But this time in Italy, Marbella Italia, yeah? | 0:00:30 | 0:00:32 | |
Beautiful countryside, beautiful wine, | 0:00:32 | 0:00:35 | |
beautiful women, beautiful food. | 0:00:35 | 0:00:38 | |
What do you think? | 0:00:38 | 0:00:39 | |
Well... | 0:00:39 | 0:00:40 | |
And they'll fly you to Europe. | 0:00:40 | 0:00:42 | |
What, first class? | 0:00:42 | 0:00:43 | |
Or business or upper class Virgin. | 0:00:43 | 0:00:46 | |
This is according to the Observer, 'nowhere in Italy compares | 0:00:52 | 0:00:55 | |
'with Piemonte for travellers looking for a combination | 0:00:55 | 0:00:57 | |
'of fine wines, gastronomy and beautiful countryside. | 0:00:57 | 0:01:01 | |
'The area to explore is just an hour's drive | 0:01:01 | 0:01:03 | |
'down the Autostrade from Turin. | 0:01:03 | 0:01:05 | |
'From Bra, through Alba then Asti, takes you through | 0:01:05 | 0:01:08 | |
'a panoply of vineyards producing Italy's greatest red wines. | 0:01:08 | 0:01:12 | |
'Barolo, Barbaresco, | 0:01:12 | 0:01:14 | |
Barbera. Hanna-Barbera...' | 0:01:14 | 0:01:16 | |
-MIMICS TWEETY: -Sufferin' succotash!" | 0:01:16 | 0:01:18 | |
I tawt I taw a puddy tat. | 0:01:18 | 0:01:20 | |
I did! | 0:01:20 | 0:01:22 | |
The Trattoria della Posta, which is where we're going, | 0:01:23 | 0:01:26 | |
is set in rolling hills clad with vineyards. | 0:01:26 | 0:01:28 | |
This elegant Trattoria is the ideal place for a romantic evening. | 0:01:28 | 0:01:32 | |
You know I'm not a homosexual, don't you? | 0:01:32 | 0:01:34 | |
No, we're not having a romantic evening, | 0:01:34 | 0:01:36 | |
-we are going to have a stimulating lunch. -Good, good. | 0:01:36 | 0:01:39 | |
And if romance should occur, we'll deal with it as it happens. | 0:01:39 | 0:01:43 | |
The only time I'd ever snuggle up to you is if I was on the side | 0:01:43 | 0:01:46 | |
of the Eiger on a shelf | 0:01:46 | 0:01:48 | |
and not to do so would mean I'd freeze to death. | 0:01:48 | 0:01:50 | |
In that situation you know what you're meant to do? | 0:01:50 | 0:01:52 | |
-You're meant to get as close... -I know, you have to spoon. | 0:01:52 | 0:01:55 | |
-Spooning, yes. -I know. -Yes. | 0:01:55 | 0:01:56 | |
You wee on each other, as well, and that's disallowed. | 0:01:56 | 0:01:59 | |
Well, that's where recreation meets survival. | 0:01:59 | 0:02:02 | |
I've also sorted out the music for the iPod. | 0:02:02 | 0:02:06 | |
I've gone for a broad selection, a lot of Italian stuff, | 0:02:06 | 0:02:10 | |
a lot of opera, obviously. | 0:02:10 | 0:02:12 | |
-Good, good. -Don Giovanni, Rigoletto, | 0:02:12 | 0:02:15 | |
Verdi, then a smattering of Wales | 0:02:15 | 0:02:18 | |
and the Welsh to tie in with the beautiful countryside. | 0:02:18 | 0:02:21 | |
Verdi's sounding very, very appealing right now I have to say. | 0:02:21 | 0:02:24 | |
I've got some Stereophonics and some Tom Jones. | 0:02:24 | 0:02:28 | |
We're not going to be doing any impersonations, are we, because we talked about that. | 0:02:28 | 0:02:32 | |
No, if I sing along that's not an impersonation. | 0:02:32 | 0:02:35 | |
It just so happens I bear an uncanny resemblance, | 0:02:35 | 0:02:39 | |
vocally and physically to Tom. | 0:02:39 | 0:02:40 | |
What because you look 75? | 0:02:40 | 0:02:42 | |
Why is this? Oh! | 0:02:42 | 0:02:44 | |
I promise you I haven't sabotaged the sound system | 0:02:46 | 0:02:48 | |
because of my aversion to your karaoke inclination. | 0:02:48 | 0:02:52 | |
Why is... There's nothing at all. | 0:02:52 | 0:02:54 | |
So you knew who it is. | 0:02:59 | 0:03:01 | |
-Buongiorno. -Buongiorno. | 0:03:01 | 0:03:03 | |
Buongiorno. | 0:03:03 | 0:03:04 | |
-Uno. Grazie. -Prego. | 0:03:04 | 0:03:07 | |
-What's that? What are you saying? -I've asked for one of each. | 0:03:07 | 0:03:10 | |
I've got to say I'm very impressed with the smattering of Italian. | 0:03:10 | 0:03:13 | |
-I have brushed up a little. -Yes, I was just saying | 0:03:13 | 0:03:15 | |
-Could you tell? -Yes. | 0:03:15 | 0:03:16 | |
Prego. | 0:03:16 | 0:03:18 | |
Grazie | 0:03:18 | 0:03:19 | |
That's actually, that is, that is nice. | 0:03:28 | 0:03:30 | |
I'll take your word for it. | 0:03:30 | 0:03:33 | |
Grazie. | 0:03:34 | 0:03:36 | |
-Seriously? You're not drinking? -No. | 0:03:37 | 0:03:39 | |
-When did this come about? -I've not drunk for about nine months. | 0:03:39 | 0:03:43 | |
So you're not going to drink at all on the trip? | 0:03:43 | 0:03:46 | |
-Wow. -I'll still have fun, you know, still have a laugh. | 0:03:46 | 0:03:48 | |
Just not as much of a laugh | 0:03:48 | 0:03:51 | |
I'm surprised the Observer wanted you to do this again, I mean... | 0:03:57 | 0:04:00 | |
-Well... -Neither of us know anything about, with respect, know anything about food. | 0:04:00 | 0:04:04 | |
-Well, I know a little bit. -Well, yeah but you don't... | 0:04:04 | 0:04:07 | |
When I wrote the last ones I concentrated not so much on the food. | 0:04:07 | 0:04:10 | |
It was more a journey, it was the culture, it was, | 0:04:10 | 0:04:13 | |
it was Wordsworth and Coleridge, | 0:04:13 | 0:04:14 | |
-now it's going to be Byron and Shelley. -They're not double acts. | 0:04:14 | 0:04:17 | |
It's not The Two Ronnies or Morecambe and Wise. | 0:04:17 | 0:04:20 | |
-MIMICS RONNIE CORBETT: -And more's the pity because I would adore | 0:04:20 | 0:04:22 | |
driving around Italy with you Steve, | 0:04:22 | 0:04:26 | |
in the next sketch dressed as busty ladies singing | 0:04:26 | 0:04:29 | |
a song with some choreography thrown into the middle. | 0:04:29 | 0:04:32 | |
HE LAUGHS | 0:04:32 | 0:04:34 | |
You know it's like second album syndrome, isn't it? | 0:04:38 | 0:04:41 | |
Everyone has this amazing, expressive first album where they put everything into it | 0:04:41 | 0:04:44 | |
and the second album's a bit of a damp squib. | 0:04:44 | 0:04:46 | |
-It's like trying to do a sequel. It's never going to be as good as the first time. -Godfather II. | 0:04:46 | 0:04:50 | |
Which is the one that people always mention when they try to search | 0:04:50 | 0:04:53 | |
for an example of a sequel that's as good as... | 0:04:53 | 0:04:55 | |
-MIMICS AL PACINO: -Just when I thought I was out, they put me back in | 0:04:55 | 0:04:58 | |
What's this licking thing you always do? | 0:04:58 | 0:05:01 | |
You look like some sort of small gecko. | 0:05:01 | 0:05:04 | |
That's what he does, just when I thought, | 0:05:05 | 0:05:07 | |
I'd made two terrific movies, | 0:05:07 | 0:05:10 | |
they go and make another, | 0:05:10 | 0:05:13 | |
I'm back in. | 0:05:13 | 0:05:15 | |
It's OK, he's just doing an impersonation, it's fine. | 0:05:15 | 0:05:19 | |
Look at Byron, you know, Childe Harold made him | 0:05:19 | 0:05:22 | |
the most popular poet in all of Europe. | 0:05:22 | 0:05:25 | |
And when he wrote that, he did the first two cantos right, | 0:05:25 | 0:05:28 | |
and he said, if this is a hit I'll write more. | 0:05:28 | 0:05:31 | |
If it's not a hit, I won't do any more. | 0:05:31 | 0:05:34 | |
You should do the same, promise the audience you won't do any more if they don't like it. | 0:05:34 | 0:05:38 | |
At the end of my successful tours and live shows? | 0:05:38 | 0:05:41 | |
Oh. Oh gosh. | 0:05:48 | 0:05:50 | |
Grazie. | 0:05:50 | 0:05:51 | |
Grazie. | 0:05:51 | 0:05:54 | |
Prego, buon appetito. | 0:05:54 | 0:05:56 | |
Grazie, grazie. | 0:05:56 | 0:05:58 | |
Mmm, that is lovely. | 0:06:00 | 0:06:02 | |
Childe Harold, Byron wrote, was a thinly veiled self-portrait. | 0:06:04 | 0:06:08 | |
I was aware of that. | 0:06:08 | 0:06:09 | |
I thought we could do a similar thing with you, | 0:06:09 | 0:06:11 | |
Childe Stephen, follow you on your travels and... | 0:06:11 | 0:06:14 | |
It wouldn't be a pseudonym, would it? I'm called Stephen. | 0:06:14 | 0:06:16 | |
Byron wasn't called Harold was he? | 0:06:16 | 0:06:18 | |
No, he was actually George Gordon Lord Byron. | 0:06:18 | 0:06:24 | |
Gordon. | 0:06:24 | 0:06:25 | |
Understandably he... | 0:06:25 | 0:06:27 | |
-He ditched the Gordon. -..he ditched the Gordon. | 0:06:27 | 0:06:29 | |
-It's not a romantic name. -It's not a poet's name, Gordon, no. | 0:06:29 | 0:06:33 | |
-Gordon Byron on line three. -Oh, God, tell him I'm not in. | 0:06:33 | 0:06:37 | |
He does my head in. | 0:06:37 | 0:06:38 | |
So Childe Stephen, we'll do it as an article | 0:06:41 | 0:06:43 | |
and turn it into a Sunday night serial on BBC One. | 0:06:43 | 0:06:45 | |
Who plays you? | 0:06:45 | 0:06:47 | |
A Sunday night costume drama about my life? | 0:06:47 | 0:06:49 | |
-Yes, yes. Who plays you? -It could happen. | 0:06:49 | 0:06:51 | |
-Who plays you? -I'll play myself. | 0:06:51 | 0:06:54 | |
You couldn't do that, it's Childe, it's meant to be like a young man. | 0:06:54 | 0:06:57 | |
You could have Jude Law. | 0:06:57 | 0:06:59 | |
Jude Law's 40 plus. | 0:06:59 | 0:07:01 | |
He doesn't look it. He hasn't aged like you and I? | 0:07:01 | 0:07:03 | |
-He's balding. -Yeah, but he's got that face, he doesn't... | 0:07:03 | 0:07:06 | |
He's got that really young, bald look. | 0:07:06 | 0:07:08 | |
When you played Alan Partridge, you know when he was popular, | 0:07:13 | 0:07:16 | |
he was more known than you and, of course, he was older than you. | 0:07:16 | 0:07:20 | |
But with me with the Rob Brydon Show, my name is in the title, | 0:07:20 | 0:07:23 | |
-I sort of push that. -Yeah. | 0:07:23 | 0:07:25 | |
If I were in a bar in a hotel in Britain | 0:07:25 | 0:07:26 | |
and I wanted to have a drink with a girl, I couldn't do it. | 0:07:26 | 0:07:29 | |
-because there would be an assumption, "What's he do?" -Go and chat to Rob Brydon. | 0:07:29 | 0:07:32 | |
-Yes, people think I'm affable. Affable. -Well, you are. | 0:07:32 | 0:07:35 | |
-I'm affable. -I'm not disagreeing with you. | 0:07:35 | 0:07:37 | |
-I'm an affable man. -I'm not disagreeing with you. | 0:07:37 | 0:07:40 | |
But my public persona is even more affable than I actually am. | 0:07:40 | 0:07:43 | |
I'm not as affable as people think I am. | 0:07:43 | 0:07:45 | |
-You've made an affable rod for your own back. -Yes. | 0:07:45 | 0:07:48 | |
Yes, and I'm not saying I'm not affable. | 0:07:48 | 0:07:50 | |
I am affable. | 0:07:50 | 0:07:52 | |
But I'm not as affable as perhaps I've given people cause to think. | 0:07:52 | 0:07:56 | |
Crystal clear. | 0:07:56 | 0:07:57 | |
So out here, I can be off the leash. | 0:07:57 | 0:08:00 | |
-I can, I can let my hair, what is left of it, down. -Yeah. | 0:08:00 | 0:08:04 | |
And, you know, have a good time. | 0:08:04 | 0:08:07 | |
Oh, lovely. | 0:08:11 | 0:08:13 | |
Mmm... | 0:08:13 | 0:08:14 | |
Grazie mille. | 0:08:17 | 0:08:19 | |
Grazie. | 0:08:22 | 0:08:24 | |
You know there's a publisher who's very interested in putting these articles into a book. | 0:08:24 | 0:08:28 | |
How do they think they're going to get six articles and turn it into a book? | 0:08:28 | 0:08:32 | |
Well, we would also do the ones from the Lake District, from the English ones. | 0:08:32 | 0:08:36 | |
-What did you think of them? -I didn't read them. I was in America - acting. | 0:08:36 | 0:08:40 | |
They were a lightly fictionalised account of your adventures | 0:08:40 | 0:08:44 | |
in the north of England. | 0:08:44 | 0:08:46 | |
-How were they lightly fictionalised? -The names were changed... | 0:08:46 | 0:08:49 | |
-What about my name? -..we kept your name but the girls' names were changed. | 0:08:49 | 0:08:52 | |
How do they know it's fictionalised if it says 'Steve Coogan's Adventures in the Lake District?' | 0:08:52 | 0:08:56 | |
Did you say, "brackets, penned by Rob Brydon?" No? | 0:08:56 | 0:08:59 | |
Not in the traditional sense, no, no. | 0:08:59 | 0:09:02 | |
But then I did do the work for you, didn't I? | 0:09:02 | 0:09:04 | |
Mmm, bellissimo. | 0:09:08 | 0:09:11 | |
What do you think on the Mini, then? Are you enjoying it? | 0:09:11 | 0:09:13 | |
-I'm presently surprised. -It's a nice car | 0:09:13 | 0:09:15 | |
and to drive it in Italy... Yeah? | 0:09:15 | 0:09:18 | |
-What? -You see what I'm getting at? | 0:09:18 | 0:09:21 | |
-Yes, The Italian Job. -Exactly yeah. | 0:09:21 | 0:09:23 | |
I was wondering whether you'd booked the Mini, in Italy, | 0:09:23 | 0:09:26 | |
for the Italian Job just to give you the opportunity to say, | 0:09:26 | 0:09:29 | |
MIMICS MICHAEL CAINE: You're only supposed to blow the bloody doors off! | 0:09:29 | 0:09:32 | |
But I've done it now. Hopefully that will be an end to it. | 0:09:32 | 0:09:35 | |
Do your Michael Caine. | 0:09:35 | 0:09:37 | |
Did you see him in The Dark Knight Rises? | 0:09:38 | 0:09:41 | |
And his voice gets even more emotional than it's ever | 0:09:41 | 0:09:44 | |
done in the past before. | 0:09:44 | 0:09:46 | |
I don't want to bury you, Batman, I will not | 0:09:46 | 0:09:49 | |
put you into the ground in a little box. | 0:09:49 | 0:09:51 | |
I will not do it, Master Bruce, I will not do it. | 0:09:51 | 0:09:53 | |
I'm not going to bury another Batman. | 0:09:53 | 0:09:55 | |
Another Batman? How many Batmans has he been burying? | 0:09:55 | 0:09:57 | |
-How many are there? I've buried 14 Batmen... -I've buried 14 Batmen... | 0:09:57 | 0:10:01 | |
...put their little pointy ears in a box... | 0:10:01 | 0:10:03 | |
I'm not going to bury another nylon cloak with pointy ears | 0:10:03 | 0:10:05 | |
that people wear at birthday parties. | 0:10:05 | 0:10:08 | |
With the little belt, the very wide belt that is flattering to a man with an expanded girth. | 0:10:08 | 0:10:12 | |
I won't do that to you, Master Bruce. I would not do it to you. | 0:10:12 | 0:10:15 | |
And I won't make the voice like that. | 0:10:15 | 0:10:18 | |
The voice goes even more like that. | 0:10:18 | 0:10:20 | |
He's basically yodelling. | 0:10:20 | 0:10:22 | |
HE YODELS | 0:10:22 | 0:10:25 | |
And then Christian Bale says, "You wanted to see me." | 0:10:25 | 0:10:28 | |
And when he says that he puts his tongue over. | 0:10:28 | 0:10:31 | |
"I want to be a mad man, I don't want to be a normal guy." | 0:10:31 | 0:10:35 | |
But you sound deaf. | 0:10:35 | 0:10:36 | |
INAUDIBLE ANSWER | 0:10:36 | 0:10:37 | |
Just so nobody can recognise him. | 0:10:37 | 0:10:40 | |
I can't understand a word you're saying, Master Bruce. | 0:10:40 | 0:10:42 | |
-Talk to me as Master Bruce, not as Batman. -Why, why does he? | 0:10:42 | 0:10:45 | |
INAUDIBLE ANSWER | 0:10:45 | 0:10:46 | |
So he can have the cloak of anonymity... | 0:10:46 | 0:10:49 | |
But he doesn't though. He said, "Here's that bloke in the cloak who sounds like he's deaf again." | 0:10:49 | 0:10:53 | |
It's not anonymous, is it? | 0:10:53 | 0:10:55 | |
No wonder when Batman arrives and starts speaking like that | 0:10:55 | 0:10:58 | |
everyone starts looking at their shoes. | 0:10:58 | 0:11:00 | |
They're all thinking, "Why does he talk like that, poor fella, you know. | 0:11:00 | 0:11:04 | |
And what about Tom Hardy as Bane? | 0:11:04 | 0:11:07 | |
They're like competing to see who's the most, the least understandable. | 0:11:07 | 0:11:12 | |
INAUDIBLE CONVERSATION | 0:11:12 | 0:11:14 | |
Bane, take off your mask love, I can't catch a word you're saying. | 0:11:21 | 0:11:24 | |
INAUDIBLE REPLY | 0:11:24 | 0:11:27 | |
-He's a wonderful actor, don't get me wrong. -No, he's very good. | 0:11:27 | 0:11:31 | |
Tom Hardy's very muscular so he's a terrific actor. Terrific actor. | 0:11:31 | 0:11:34 | |
-No, no, he's good, he's scary good, scarily good. -But... | 0:11:34 | 0:11:37 | |
INAUDIBLE | 0:11:37 | 0:11:40 | |
I don't, I don't, I don't... | 0:11:40 | 0:11:42 | |
Do you know what I think that is? | 0:11:42 | 0:11:43 | |
I think that they both are very formidable actors. Yes | 0:11:43 | 0:11:47 | |
-Very charismatic, a little bit scary. -Yes. | 0:11:47 | 0:11:51 | |
Can you imagine a first AD going up to one of them going, | 0:11:51 | 0:11:53 | |
"The director thinks he can't quite understand what you're saying, | 0:11:53 | 0:11:56 | |
"do you want to try a different voice? | 0:11:56 | 0:11:58 | |
"Do you want to try a different voice?" | 0:11:58 | 0:12:00 | |
"The director's a little worried that maybe people can't understand what you're saying." | 0:12:00 | 0:12:04 | |
MUMBLED REPLY | 0:12:04 | 0:12:06 | |
"OK, all right, all right, no... | 0:12:06 | 0:12:09 | |
"Tom says he's quite happy with the voice he's got at the moment, | 0:12:09 | 0:12:13 | |
"he's happy to go with that." | 0:12:13 | 0:12:15 | |
INAUDIBLE REPLY | 0:12:15 | 0:12:18 | |
No, I'm just relaying what the director said. | 0:12:20 | 0:12:23 | |
IRATE INAUDIBLE REPLY | 0:12:23 | 0:12:26 | |
No, I understand. I understand. | 0:12:26 | 0:12:29 | |
Yeah, they're both upset now. | 0:12:31 | 0:12:33 | |
Is this not something we could fix in post? | 0:12:37 | 0:12:40 | |
Because I think you've opened a can of worms. | 0:12:40 | 0:12:42 | |
I know, I know, I'm on your side. | 0:12:42 | 0:12:44 | |
I know I understand perfectly Tom, and Christian, no you too. | 0:12:44 | 0:12:47 | |
Yes, no, I understand. | 0:12:47 | 0:12:49 | |
I know that's what I told him, I think | 0:12:49 | 0:12:52 | |
he's, I think he, yes, shall I? | 0:12:52 | 0:12:54 | |
He says it's fine, just, just go with the voices. | 0:12:54 | 0:12:56 | |
Yes, OK. | 0:12:58 | 0:13:00 | |
I like Tom Hardy, I couldn't do what he does, I couldn't do it and neither could you. | 0:13:06 | 0:13:10 | |
But he couldn't do, he couldn't do what I do. | 0:13:10 | 0:13:12 | |
When you're saying something like, "See in store for details." | 0:13:12 | 0:13:14 | |
-No way he could do that. -No, no. | 0:13:14 | 0:13:17 | |
Sorry, where do I look for details? | 0:13:18 | 0:13:19 | |
And when you have to talk quickly with the disclaimer at the end. | 0:13:19 | 0:13:22 | |
Your home may be at risk if you don't keep up repayments, terms and conditions may apply. | 0:13:22 | 0:13:26 | |
-No projection, if you project you add time. -Yeah. -Now Hardy... | 0:13:26 | 0:13:31 | |
MUFFLED SPEECH | 0:13:31 | 0:13:35 | |
-You got through it. -Well, yeah, I'm a pro, I'm a pro, I can't be any other way. | 0:13:35 | 0:13:38 | |
your average family in the middle of Coronation Street, | 0:13:38 | 0:13:41 | |
"What the hell is that!" | 0:13:41 | 0:13:43 | |
-They're throwing things, throwing the remote at the screen. -No, I'm with you. | 0:13:43 | 0:13:46 | |
I can hardly understand what he's saying. | 0:13:46 | 0:13:49 | |
I wouldn't say that to his face though. | 0:13:49 | 0:13:51 | |
No, never, no, no... | 0:13:51 | 0:13:53 | |
Never, if I see him, "Loved Batman." | 0:13:53 | 0:13:56 | |
-Some people said they couldn't understand you, but they're just wrong. -Yeah. | 0:13:56 | 0:13:59 | |
You imagine if I said there are great savings at B&Q, | 0:13:59 | 0:14:02 | |
with that sort of a voice... | 0:14:02 | 0:14:04 | |
-Exactly. -I'd be laughed out of town. | 0:14:04 | 0:14:06 | |
Of course you would. Just try it. | 0:14:06 | 0:14:08 | |
MUFFLED SPEECH | 0:14:08 | 0:14:11 | |
-That's why... -Have you lost your mind? | 0:14:11 | 0:14:12 | |
That's why Tom Hardy doesn't do B&Q voiceovers. | 0:14:12 | 0:14:15 | |
-He hasn't got the B&Q gig, has he? -No, he hasn't no. | 0:14:15 | 0:14:17 | |
But, equally, if I was Bane, | 0:14:17 | 0:14:19 | |
"I'm going to smash you to smithereens Batman | 0:14:19 | 0:14:22 | |
"and leave you lying at the bottom of a pit." | 0:14:22 | 0:14:24 | |
You see that's clear, but lacks character. | 0:14:24 | 0:14:26 | |
-And it lacks menace, it's too reasonable. -It's too reasonable. | 0:14:26 | 0:14:29 | |
I'm a reasonable villain. | 0:14:29 | 0:14:31 | |
Oh wow, look at that. | 0:14:37 | 0:14:40 | |
Grazie. | 0:14:43 | 0:14:45 | |
Grazie. | 0:14:45 | 0:14:46 | |
Grazie. | 0:14:46 | 0:14:48 | |
Look at that, do you know what? | 0:14:48 | 0:14:50 | |
That's just... | 0:14:50 | 0:14:51 | |
-There's a lovely... -Mmm. -Lovely... | 0:14:52 | 0:14:55 | |
Game... | 0:14:55 | 0:14:57 | |
-We're both eating game. -Mmm. | 0:14:57 | 0:14:59 | |
-Game's very good for you. -Mmm. | 0:15:00 | 0:15:02 | |
Because living in the wild, it's had lots of nutrition, | 0:15:02 | 0:15:06 | |
it's been eating wild. It's been... | 0:15:06 | 0:15:07 | |
-Been exercising, exercising. -On the run, very fit, exercise. | 0:15:07 | 0:15:11 | |
-So if you were to eat Mo Farah... -Yeah. | 0:15:11 | 0:15:13 | |
-it would be fantastically beneficial. -Exactly. | 0:15:13 | 0:15:15 | |
-It's the equivalent of eating Mo Farah if you were in a plane crash with him. -Yeah, yeah. | 0:15:15 | 0:15:20 | |
-If you were in a crash with him... -...in the Andes. | 0:15:20 | 0:15:22 | |
-In the Andes. -I'd eat him first, if he was dead. | 0:15:22 | 0:15:25 | |
What if he was mortally wounded, you know there was | 0:15:27 | 0:15:29 | |
no chance of him surviving and he'd lost all feeling in his lower body? | 0:15:29 | 0:15:33 | |
-Would you start to eat those fantastic legs? -No, no, because that would be rude. | 0:15:33 | 0:15:36 | |
Keeping the freshness. No, there's no rudeness, he's going to die, | 0:15:36 | 0:15:39 | |
he's already paralysed from the waist down. | 0:15:39 | 0:15:41 | |
"Mo, mo, you know you're not going get up again." | 0:15:41 | 0:15:44 | |
If you put a tent up half way along and you distracted him by chatting to him. | 0:15:44 | 0:15:47 | |
-Possibly. -About his glories at the Olympics, reliving those moments, | 0:15:47 | 0:15:50 | |
you united the nation Mo, you were wonderful. | 0:15:50 | 0:15:52 | |
Well, you know what, it's a bit of a silly conversation, | 0:15:52 | 0:15:55 | |
but given the choice... | 0:15:55 | 0:15:58 | |
I'd rather eat Mo Farah's legs than yours. | 0:15:58 | 0:16:01 | |
-And that's not... -There's more benefit in them, I'd be the first to admit. | 0:16:01 | 0:16:04 | |
-Only a fool would eat my legs over Mo Farah's legs. -Yeah. | 0:16:04 | 0:16:07 | |
I'm trying to think who I'd eat your legs over. | 0:16:07 | 0:16:11 | |
Um... Stephen Hawking. | 0:16:11 | 0:16:14 | |
-Yes. -Yes? | 0:16:14 | 0:16:15 | |
Although I'd definitely eat his brains first, before yours. | 0:16:15 | 0:16:18 | |
I'd then use his chair to escape down the hill, down the Andes. | 0:16:18 | 0:16:22 | |
If he was in the crash. The crash is me, you, Mo Farah | 0:16:22 | 0:16:25 | |
and Stephen Hawking. | 0:16:25 | 0:16:26 | |
We'd all been travelling to Argentina to do a celebrity Krypton Factor together. | 0:16:26 | 0:16:30 | |
We crash, we're thinking, "How are we going to get out here?" | 0:16:30 | 0:16:33 | |
And that's how we do it. | 0:16:33 | 0:16:34 | |
And then realise it was all part of the Krypton Factor. | 0:16:34 | 0:16:37 | |
Yeah, it was a challenge and bloody hell we've killed Mo Farah. | 0:16:37 | 0:16:40 | |
And we've eaten a fair chunk of his thigh. | 0:16:40 | 0:16:42 | |
But in all seriousness, you get back to England, | 0:16:42 | 0:16:44 | |
you've survived the plane crash, you're on TV being | 0:16:44 | 0:16:47 | |
interviewed by one your mates, like Wogan, or someone like that. | 0:16:47 | 0:16:50 | |
-Yeah. -And Wogan's saying, So, Rob, how did you, | 0:16:50 | 0:16:54 | |
how did you survive the crash in the Andes? | 0:16:54 | 0:16:56 | |
You must have been pretty hungry | 0:16:56 | 0:16:58 | |
when you were sitting there in the snow. | 0:16:58 | 0:17:00 | |
And wondering, where am I going get my next beer from? | 0:17:00 | 0:17:02 | |
A little bird tells me that you, that you ate Mo Farah's legs. | 0:17:02 | 0:17:07 | |
-Is that true? Did you eat his legs? -No, I've heard this. | 0:17:07 | 0:17:09 | |
I think this is a rumour put around by Steve Coogan, | 0:17:09 | 0:17:12 | |
as he recuperates. | 0:17:12 | 0:17:14 | |
Ah, the old Steve Coogan, the old Alan Partridge, | 0:17:14 | 0:17:17 | |
that's a funny, that's a funny fella. | 0:17:17 | 0:17:19 | |
Funny fella. And in real life, just as funny, Terry. | 0:17:19 | 0:17:22 | |
-I'm sure he is. -An absolute ball. | 0:17:22 | 0:17:23 | |
But to get back to the point though... | 0:17:23 | 0:17:25 | |
-No, let's talk about Steve. -Let's talk about... | 0:17:25 | 0:17:27 | |
-In real life he's a delight. -Let's talk about you... -He's the kind of guy you want... | 0:17:27 | 0:17:31 | |
No, let's talk about you eating Mo Farah's fucking legs. | 0:17:31 | 0:17:34 | |
Tell the fucking truth about eating Mo Farah's fucking legs. | 0:17:34 | 0:17:36 | |
At which point we get taken off the air. Do you think Terry'll eff and jeff like that? | 0:17:36 | 0:17:41 | |
-Imagine the switchboards. -I know, I know. | 0:17:41 | 0:17:43 | |
And I escape Scot free. | 0:17:43 | 0:17:45 | |
Oh, Rob Brydon, always good to welcome him in. | 0:17:47 | 0:17:51 | |
Here's Chris Rea. | 0:17:51 | 0:17:52 | |
No, grazie. | 0:17:58 | 0:18:00 | |
-Grazie. -Prego. | 0:18:03 | 0:18:05 | |
The inside of this when you turn it around, | 0:18:05 | 0:18:07 | |
look the beginning of a Bond film. | 0:18:07 | 0:18:09 | |
Let's have a look. | 0:18:09 | 0:18:12 | |
You know why those swirly things are? | 0:18:12 | 0:18:14 | |
When you see them, when you're looking down the barrel of a gun, | 0:18:14 | 0:18:17 | |
-you know what that is, don't you? -No. | 0:18:17 | 0:18:19 | |
That's the rifling on the inside of the barrel. | 0:18:19 | 0:18:21 | |
-Rifling? -Yeah. | 0:18:21 | 0:18:23 | |
-Rifling through your wife's handbag. -It's the same thing. | 0:18:23 | 0:18:25 | |
-Going around and around and around. -Really? | 0:18:25 | 0:18:28 | |
Rifling was what they introduced after the muskets | 0:18:28 | 0:18:31 | |
which had no rifling. | 0:18:31 | 0:18:33 | |
-On muskets the lead ball fired straight out. -You know a lot about guns. | 0:18:33 | 0:18:36 | |
It's just, I just pick stuff up. | 0:18:36 | 0:18:39 | |
You just picked it up, Mr Coogan? | 0:18:39 | 0:18:41 | |
Both of these weapons were found underneath your bed | 0:18:41 | 0:18:45 | |
-on the night of the offence. -Well, a shotgun has no rifling in it, | 0:18:45 | 0:18:47 | |
that's why you can't call a shotgun a rifle. | 0:18:47 | 0:18:50 | |
I don't doubt whether you can call it this, that or the other, | 0:18:50 | 0:18:52 | |
what I want to know is why your finger prints were found around the trigger? | 0:18:52 | 0:18:56 | |
HE CHUCKLES | 0:18:56 | 0:18:57 | |
You say Mr Brydon was a friend of yours, | 0:18:57 | 0:19:00 | |
yet when his bloodied corpse was found at the foot of your stairs, | 0:19:00 | 0:19:03 | |
you claimed you'd had very little involvement with him. | 0:19:03 | 0:19:05 | |
What was it about Mr Brydon that made you so want to kill him? | 0:19:05 | 0:19:09 | |
And don't say, "Where should I start?" | 0:19:09 | 0:19:11 | |
I didn't want to kill him. Occasionally I found him annoying, but no more than that. | 0:19:11 | 0:19:15 | |
Might he ever have found YOU annoying, Mr Coogan? | 0:19:15 | 0:19:18 | |
Might he ever have found you a little, shall we say, pompous, | 0:19:18 | 0:19:21 | |
aggrandising, self-conceited | 0:19:21 | 0:19:24 | |
and up his own, shall we say, arse? | 0:19:24 | 0:19:26 | |
-I think we shall, I think we have. -I dare we say we might. | 0:19:26 | 0:19:29 | |
I'm sure any relationship has its ups and downs | 0:19:29 | 0:19:32 | |
and ours had perhaps more downs than ups. | 0:19:32 | 0:19:35 | |
But nevertheless we had a friendship which was... | 0:19:35 | 0:19:38 | |
..stimulating. | 0:19:38 | 0:19:40 | |
Stimulated by the thought of killing him? | 0:19:40 | 0:19:42 | |
Because you wanted to kill him didn't you, Mr Coogan? | 0:19:42 | 0:19:44 | |
I'm sure on occasion any of us who have a robust relationship | 0:19:44 | 0:19:47 | |
with a friend may on occasions say, "God, I wish I could kill you." | 0:19:47 | 0:19:51 | |
How can one wish to kill Mr Brydon? | 0:19:51 | 0:19:53 | |
A man who brought such great joy to the nation with his small | 0:19:53 | 0:19:55 | |
man in a box, his voiceovers for reputable DIY outlets, | 0:19:55 | 0:20:00 | |
and his impressions of 50% of the Two Ronnies, | 0:20:00 | 0:20:02 | |
how could anybody wish ill on such a cherubic figure, Mr Coogan? | 0:20:02 | 0:20:07 | |
Erm... | 0:20:07 | 0:20:09 | |
I'm not quite sure where the question's leading. | 0:20:09 | 0:20:11 | |
-Prego. -Grazie. | 0:20:11 | 0:20:13 | |
-Grazie. -Grazie. | 0:20:13 | 0:20:14 | |
So Steve, you made it through to the final round where we ask you, | 0:20:14 | 0:20:17 | |
how much was the meal? | 0:20:17 | 0:20:19 | |
Are you going to go, Steve, don't answer yet, | 0:20:19 | 0:20:21 | |
are you going to go for A... | 0:20:21 | 0:20:23 | |
-200 Euros. -3 Euros. | 0:20:23 | 0:20:24 | |
Are you going to go for B, 5 Euros, | 0:20:24 | 0:20:27 | |
or are you going to go for C, 152 Euros? | 0:20:27 | 0:20:30 | |
Well, 152. | 0:20:31 | 0:20:33 | |
152 Euros? | 0:20:33 | 0:20:35 | |
152, you've won the car. | 0:20:36 | 0:20:39 | |
You can drive a Mini away from here. | 0:20:39 | 0:20:42 | |
Well, that was just right. | 0:20:43 | 0:20:45 | |
Shall I drive? | 0:20:45 | 0:20:47 | |
-You've had three glass of Barolo, I haven't had any. -All right. | 0:20:47 | 0:20:50 | |
Well, I am going drive at some point on this trip. | 0:20:50 | 0:20:52 | |
Perhaps...to be discussed. | 0:20:52 | 0:20:55 | |
I can drive in the mornings, have a bottle at lunchtime, | 0:20:55 | 0:20:58 | |
and then slump in the passenger seat in the afternoon. | 0:20:58 | 0:21:02 | |
-What are you doing in the boot? -Just getting some music. | 0:21:02 | 0:21:05 | |
-One CD. -Sounds ominous. | 0:21:07 | 0:21:09 | |
-It's not Tom Jones, is it? -Alanis Morrisette. | 0:21:09 | 0:21:11 | |
You're kidding me? | 0:21:12 | 0:21:14 | |
It's Sally's... | 0:21:14 | 0:21:17 | |
..my wife. | 0:21:17 | 0:21:19 | |
Shall er... shall we? | 0:21:23 | 0:21:26 | |
Nah. | 0:21:27 | 0:21:28 | |
PHONE RINGS | 0:21:35 | 0:21:37 | |
-Hello? -Hey, Dad, it's Joe. | 0:21:37 | 0:21:40 | |
-Oh, hello, how are you? -I'm OK, where are you? | 0:21:40 | 0:21:43 | |
-I'm in Italy with Rob, Rob Brydon. -Buongiorno. | 0:21:43 | 0:21:47 | |
That's him talking Italian, like a native. | 0:21:47 | 0:21:51 | |
So maybe it's better you and I talk later on Skype at the hotel? | 0:21:51 | 0:21:54 | |
All right, OK. | 0:21:54 | 0:21:56 | |
Good, all right, speak to you later, bye. | 0:21:56 | 0:21:59 | |
Teenagers... | 0:22:01 | 0:22:04 | |
He's in Ibiza with his mum and Amy. | 0:22:04 | 0:22:06 | |
Ah... | 0:22:06 | 0:22:08 | |
I wondered why you were so willing to come away | 0:22:08 | 0:22:10 | |
when you could have been with your kids. | 0:22:10 | 0:22:12 | |
You don't get to see them very much do you? | 0:22:12 | 0:22:14 | |
Well that's... | 0:22:14 | 0:22:15 | |
That's why I'm quite glad that Pathology hasn't | 0:22:15 | 0:22:18 | |
been picked up for a third series. | 0:22:18 | 0:22:20 | |
-Yeah. -So, plus I'm just tired of LA. | 0:22:22 | 0:22:24 | |
So your hiatus has been indefinitely extended? | 0:22:27 | 0:22:31 | |
Yes, through the summer to the autumn, | 0:22:33 | 0:22:35 | |
but, hopefully, not as far as the winter. | 0:22:35 | 0:22:37 | |
So mid-life hiatus? Your mini hiatus | 0:22:37 | 0:22:40 | |
is a mid-life hiatus. | 0:22:40 | 0:22:42 | |
I know a lot of guys retired at 50 | 0:22:42 | 0:22:45 | |
and they say it's the best thing they ever did. | 0:22:45 | 0:22:47 | |
I'm not retiring, I'm 47. | 0:22:47 | 0:22:49 | |
Yes, but the time you get round to doing it you'll be 50, | 0:22:49 | 0:22:52 | |
fantastic, you'll have time on your hands to do whatever you want. | 0:22:52 | 0:22:54 | |
Maybe I'll end up doing a Crunchy Nut Cornflakes ad yet. | 0:22:54 | 0:22:57 | |
ROB CHUCKLES | 0:22:57 | 0:22:59 | |
Glory days, glory days. | 0:22:59 | 0:23:01 | |
They've now passed me by, they didn't renew the contract on that, | 0:23:01 | 0:23:05 | |
which is a great shame because they were ludicrously tasty. | 0:23:05 | 0:23:07 | |
What doth it profit it a man if he gain an endless | 0:23:07 | 0:23:11 | |
supply of Crunchy Nut Cornflakes, but sells his soul? | 0:23:11 | 0:23:15 | |
Well... | 0:23:15 | 0:23:16 | |
Quite a lot of money, quite a lot of money. | 0:23:16 | 0:23:19 | |
Incrementally increasing year on year. | 0:23:19 | 0:23:22 | |
Yes but it came to an end, didn't it? | 0:23:22 | 0:23:24 | |
Yeah, I worked for two years, so it incrementally increased for two years. | 0:23:24 | 0:23:27 | |
-Well, one year, the first year. -That's one increment. | 0:23:27 | 0:23:30 | |
Yes, that's technically true. | 0:23:30 | 0:23:31 | |
Do you still want to get your photograph taken outside Byron's house? | 0:23:34 | 0:23:37 | |
Yes, the publishers want photos for the book. | 0:23:37 | 0:23:41 | |
We can't have too many. | 0:23:41 | 0:23:43 | |
1822 to 1823. | 0:23:43 | 0:23:45 | |
He stayed one year in Italy. | 0:23:45 | 0:23:47 | |
-That's just a holiday. -It was just before he died. | 0:23:47 | 0:23:49 | |
He was essentially on the run from England | 0:23:51 | 0:23:54 | |
because he'd, you know, slept with his sister, | 0:23:54 | 0:23:57 | |
sodomised his wife and some young boys. | 0:23:57 | 0:24:00 | |
Yes, some of that is out of order. | 0:24:00 | 0:24:02 | |
Go back a bit further, I want to see the sign. | 0:24:04 | 0:24:05 | |
-But you're looking straight at my nose. -You and the sign. | 0:24:05 | 0:24:08 | |
-But you're looking straight..isn't that too low? -But you want both in. | 0:24:08 | 0:24:11 | |
Yes, but what do I look like? | 0:24:11 | 0:24:13 | |
-It is Alarnis or Alanis? -It's Alarnis. | 0:24:16 | 0:24:19 | |
-How do you know that? -Because I just decided and that's enough. | 0:24:19 | 0:24:22 | |
-That's good enough. -All right. | 0:24:22 | 0:24:24 | |
In America people call themselves what they want. | 0:24:24 | 0:24:26 | |
I'm sure her dad's probably called Alan. | 0:24:26 | 0:24:28 | |
In which case it would be Alanis. | 0:24:28 | 0:24:30 | |
Er, not necessarily. | 0:24:30 | 0:24:32 | |
I wouldn't be surprised if there's a lot of blokes in America called Alan, | 0:24:32 | 0:24:35 | |
say it's Alarn. | 0:24:35 | 0:24:37 | |
I'm Alarn. There's some properties, I want you to take a look. | 0:24:37 | 0:24:42 | |
And Morrisette, it's probably that she was a Morrissey fan | 0:24:42 | 0:24:44 | |
and decide to call herself a Morrisette. | 0:24:44 | 0:24:47 | |
Is he still going? Does he still sing now? | 0:24:47 | 0:24:49 | |
# He's still singing about things that make him sad | 0:24:49 | 0:24:53 | |
# and sometimes happy. | 0:24:53 | 0:24:55 | |
# Now he lives in Los Angeles | 0:24:55 | 0:24:58 | |
# where it doesn't rain any more, any more. # | 0:24:58 | 0:25:00 | |
Excellent, you're doing voices, | 0:25:00 | 0:25:03 | |
I'm doing voices. All is well. | 0:25:03 | 0:25:06 | |
She's not American though, I will pick you up on that. | 0:25:06 | 0:25:08 | |
Alanis is Canadian. | 0:25:08 | 0:25:10 | |
Avril Lavigne in many ways | 0:25:10 | 0:25:14 | |
is the young person's Alanis Morrisette. | 0:25:14 | 0:25:17 | |
You know, I don't want to do down a young performer | 0:25:17 | 0:25:19 | |
but she's no Alanis Morissette. | 0:25:19 | 0:25:21 | |
Alanis Morissette is authentic, an authentic voice. | 0:25:21 | 0:25:23 | |
So you do like Alanis Morissette? | 0:25:23 | 0:25:26 | |
-Relative to Avril Lavigne. -Go on, then. | 0:25:26 | 0:25:29 | |
All right, let's have a nostalgia trip back to 1995, | 0:25:29 | 0:25:32 | |
when we were both but 30 years old. | 0:25:32 | 0:25:35 | |
That's why Sally loves it, she was only 20 then. | 0:25:35 | 0:25:38 | |
# Do I stress you out? # | 0:25:39 | 0:25:41 | |
Yes you do. | 0:25:41 | 0:25:42 | |
# My sweaters on backwards and inside out | 0:25:42 | 0:25:44 | |
# And you say, how appropriate. # | 0:25:44 | 0:25:47 | |
How appropriate. You know I can see the appeal in a woman like this. | 0:25:47 | 0:25:50 | |
Volatile women are always sexy when you first meet them. | 0:25:50 | 0:25:52 | |
But two years down the line you're sort of saying things like, | 0:25:52 | 0:25:55 | |
"Can you put the lids back on these jars, please." | 0:25:55 | 0:25:58 | |
I admire you taking a stand against society's laws | 0:25:58 | 0:26:01 | |
-by wearing your jumper inside out. -Yeah. | 0:26:01 | 0:26:04 | |
But enough is enough. | 0:26:04 | 0:26:05 | |
And I am frightened by the corruptive ways of this land, | 0:26:10 | 0:26:13 | |
if only I could meet my maker. | 0:26:13 | 0:26:15 | |
And I am fascinated by the spiritual man. | 0:26:15 | 0:26:18 | |
I am humbled by his humble nature. | 0:26:18 | 0:26:20 | |
Do you know what? | 0:26:20 | 0:26:22 | |
It is music that appeals to neurotic teenage girls, | 0:26:22 | 0:26:25 | |
but it's actually rather good. | 0:26:25 | 0:26:26 | |
-Byron appealed to teenage girls. -Very true, very true. | 0:26:26 | 0:26:29 | |
-What's this place called? -Cenobio Dei Dogi. | 0:26:37 | 0:26:39 | |
The dodgy hotel? | 0:26:39 | 0:26:41 | |
Dogi, Dogi means ruler. | 0:26:41 | 0:26:43 | |
This was the ruler's summer palace. | 0:26:43 | 0:26:45 | |
The Royal Hotel in Manchester. That's a dodgy hotel. | 0:26:45 | 0:26:48 | |
Look at that, it doesn't get much better than that, Rob. | 0:26:57 | 0:27:00 | |
Absolutely stunning, gorgeous. | 0:27:00 | 0:27:03 | |
The Dolce Vita. | 0:27:03 | 0:27:05 | |
We're living the dream. | 0:27:05 | 0:27:06 | |
It's funny isn't it, women that age just look straight through us don't they? | 0:27:06 | 0:27:10 | |
-Non-threatening. -No, they don't even find us threatening. | 0:27:10 | 0:27:12 | |
They don't even find me lascivious because they think I couldn't possibly be thinking like that. | 0:27:12 | 0:27:17 | |
The one in blue top looks like a younger me. | 0:27:17 | 0:27:19 | |
A younger, idealised version of me. | 0:27:19 | 0:27:22 | |
A lovely hybrid of Springsteen and Petula. | 0:27:22 | 0:27:24 | |
He's like you, after a computer has corrected all your deficiencies. | 0:27:24 | 0:27:28 | |
-He's an airbrushed me, isn't he? -It's like the best surgeon in the world | 0:27:28 | 0:27:31 | |
-has been given a year with you. -Yes, thank you, thank you. | 0:27:31 | 0:27:34 | |
There was a time when I used to make eye contact with a woman | 0:27:34 | 0:27:37 | |
and she'd flash a smile back. | 0:27:37 | 0:27:39 | |
And... | 0:27:39 | 0:27:40 | |
That's all it would be, just a little moment. | 0:27:40 | 0:27:43 | |
Those women just, the smile you get from them is the smile | 0:27:43 | 0:27:46 | |
they give to a benevolent uncle. | 0:27:46 | 0:27:48 | |
Or a pest. | 0:27:50 | 0:27:51 | |
They think we're two elderly homosexuals on our last tour of the Riviera before we die. | 0:27:52 | 0:27:57 | |
What do you think they're saying? "Look at those two guys over there, | 0:27:57 | 0:28:00 | |
"they think they're really cool. | 0:28:00 | 0:28:02 | |
"They don't realise this isn't a place for old bastards like that." | 0:28:02 | 0:28:06 | |
"What about the guy on the right in the white jacket? | 0:28:06 | 0:28:09 | |
"I see him on the television, he in the advert for the stand-up bath. | 0:28:09 | 0:28:13 | |
"He's really cool." Stand up bath? | 0:28:13 | 0:28:14 | |
That's where they think they see you before. | 0:28:14 | 0:28:16 | |
"I see him advertising stand up bath with door. | 0:28:16 | 0:28:19 | |
"I see him advertising pet insurance policies for the over 50s." | 0:28:21 | 0:28:25 | |
Let's just look this way. | 0:28:25 | 0:28:27 | |
Nature never disappoints you, no rejection. | 0:28:27 | 0:28:31 | |
-Quite rough though. -Yes. | 0:28:31 | 0:28:33 | |
-We're supposed to be getting a boat tomorrow going to the Bay of Poets. -Are we? | 0:28:33 | 0:28:37 | |
Yeah, where Byron swam. | 0:28:37 | 0:28:39 |