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-Hello. -'Steve, it's Rob.' | 0:00:04 | 0:00:06 | |
Oh, hey, hey... | 0:00:06 | 0:00:07 | |
'How's the show going?' | 0:00:07 | 0:00:08 | |
Just finished. Just started the hiatus. | 0:00:08 | 0:00:11 | |
'Yeah, I know, I spoke to your agent. | 0:00:11 | 0:00:13 | |
'Listen, the Observer wants us to do more restaurant reviews - | 0:00:13 | 0:00:15 | |
-'six lunches.' -Really? | 0:00:15 | 0:00:16 | |
'But this time in Italy - | 0:00:16 | 0:00:19 | |
'la bella Italia, yeah? | 0:00:19 | 0:00:21 | |
-'What do you think?' -Well, erm... | 0:00:21 | 0:00:23 | |
-And they'll fly you to Europe. -First class? | 0:00:23 | 0:00:25 | |
'No, they're offering business.' | 0:00:25 | 0:00:28 | |
Ciao, bellissima. Hey, how are you? | 0:00:32 | 0:00:35 | |
'I'm OK, sort of. Chloe's still awake.' | 0:00:35 | 0:00:37 | |
What? | 0:00:37 | 0:00:38 | |
'I can't get her to go to sleep.' | 0:00:38 | 0:00:40 | |
-Hello. -'Hey, Dad.' | 0:00:40 | 0:00:42 | |
Hey, so...Ibiza, party central. | 0:00:42 | 0:00:46 | |
Where are all the girls in bikinis with whistles | 0:00:46 | 0:00:50 | |
round their necks, jumping up and down? | 0:00:50 | 0:00:53 | |
'Yeah, all of them.' | 0:00:53 | 0:00:54 | |
Does she miss her papa? Stick her on, I'll say good night to her. | 0:00:54 | 0:00:57 | |
'No, I don't think that will help. | 0:00:57 | 0:00:58 | |
-'I think it'll only make it worse, Rob.' -All right. | 0:00:58 | 0:01:01 | |
'She's crying again. I'm sorry, I've got to go, darling.' | 0:01:01 | 0:01:04 | |
'It would probably be more fun if there were, you know, | 0:01:04 | 0:01:06 | |
'more people my age there, if my friends were here. | 0:01:06 | 0:01:09 | |
'But, you know, they're all off in London having fun. | 0:01:09 | 0:01:11 | |
'I'm stuck here by myself. I'm 16. | 0:01:11 | 0:01:14 | |
'Mum keeps treating me like I'm a child. | 0:01:14 | 0:01:16 | |
'I'm old enough to join the Army | 0:01:16 | 0:01:19 | |
'and according to her I'm not old enough | 0:01:19 | 0:01:21 | |
'to just be at home by myself.' | 0:01:21 | 0:01:23 | |
Yeah, well, I think | 0:01:23 | 0:01:24 | |
they should raise the age level for entry to the Army, actually. | 0:01:24 | 0:01:27 | |
-All right then, so long, love. Bye-bye. -'Bye.' -Bye. | 0:01:27 | 0:01:30 | |
Ciao, bellissima. | 0:01:33 | 0:01:35 | |
Ciao, bellissima. | 0:01:36 | 0:01:38 | |
Che bella ragazza. | 0:01:39 | 0:01:40 | |
Che bella ragazza. | 0:01:42 | 0:01:44 | |
Oh - huh! - ciao, bellissimo. | 0:01:44 | 0:01:48 | |
Che bella - yeah! - ragazza! | 0:01:48 | 0:01:51 | |
-AS TOM JONES: -# Huh, think I'd better dance now. # | 0:01:51 | 0:01:54 | |
Che bella - what a beautiful - huh, ragazza - girl. | 0:01:54 | 0:02:00 | |
Huh, I think you've got a wonderful tone to your voice | 0:02:00 | 0:02:04 | |
and I want you on my team, oh. | 0:02:04 | 0:02:07 | |
Did you sleep well? | 0:02:10 | 0:02:11 | |
Yeah, like a baby. | 0:02:11 | 0:02:13 | |
I didn't. Terrible dreams. | 0:02:13 | 0:02:16 | |
I think it was the sound of the waves hitting the rocks. | 0:02:16 | 0:02:19 | |
Awful. | 0:02:19 | 0:02:21 | |
What did you dream about? | 0:02:21 | 0:02:22 | |
I dreamt I was in a huge toilet bowl, being constantly flushed. | 0:02:22 | 0:02:27 | |
Yeah, I wouldn't read too much into that. | 0:02:29 | 0:02:31 | |
-I mustered once on a boat, hit a rock, yeah. -Really? | 0:02:34 | 0:02:36 | |
I had to muster. Seriously, we had | 0:02:36 | 0:02:38 | |
to go up onto the deck with our life jackets on. | 0:02:38 | 0:02:40 | |
You went to, like, a muster station with your life jacket on? | 0:02:40 | 0:02:43 | |
-Yes. -Wow! -Yes, and the worst thing about it was, | 0:02:43 | 0:02:46 | |
all the crew members were running down corridors... | 0:02:46 | 0:02:48 | |
-Oh, my God! -Which is terrifying, | 0:02:48 | 0:02:49 | |
because you don't ever want to see that. | 0:02:49 | 0:02:51 | |
No, it's like when you see an air stewardess crying. | 0:02:51 | 0:02:54 | |
Yes...have you seen an air stewardess crying? | 0:02:54 | 0:02:56 | |
-Yeah. -Nothing to do with the flight, though, was it? -No, nothing to do with the flight. | 0:02:56 | 0:03:00 | |
-OK. -OK...right. | 0:03:02 | 0:03:05 | |
Permission to come aboard? | 0:03:05 | 0:03:07 | |
Sorry, I don't need any help... | 0:03:07 | 0:03:09 | |
-OK. -That's fine. | 0:03:11 | 0:03:12 | |
Great. OK? | 0:03:15 | 0:03:17 | |
Yeah, fine, thank you. | 0:03:17 | 0:03:18 | |
If you just step...yeah. | 0:03:18 | 0:03:19 | |
-OK. -Bloody hell. Palaver! | 0:03:21 | 0:03:22 | |
Is this the actual boat? | 0:03:24 | 0:03:27 | |
Cos...I was expecting something a big bigger. | 0:03:27 | 0:03:30 | |
Little smaller than I was expecting as well - I'll be very honest with you. | 0:03:30 | 0:03:34 | |
Look at that! Wow! | 0:03:34 | 0:03:37 | |
This is our boat, Patience. | 0:03:37 | 0:03:39 | |
Patience is a virtue. | 0:03:39 | 0:03:40 | |
That is beautiful! | 0:03:40 | 0:03:41 | |
I can't really see the waves so I have to... | 0:04:11 | 0:04:13 | |
You just have to work like a Jedi. | 0:04:13 | 0:04:15 | |
Trust your feeling, all right? Just trust it. | 0:04:15 | 0:04:17 | |
Why don't you close your eyes, Steve, and merely feel the waves? | 0:04:19 | 0:04:24 | |
A true Jedi doesn't need to see the waves. | 0:04:24 | 0:04:26 | |
Is that what the Jedis do? | 0:04:26 | 0:04:28 | |
-Yes. -Because I can fight with a light stick. -They do the lightsaber. | 0:04:28 | 0:04:31 | |
That has got to be a violation of health and safety! | 0:04:31 | 0:04:33 | |
-Hi. -Oh, hello. Thank you. This is lovely. | 0:04:33 | 0:04:37 | |
It's a lovely boat, a lovely way to travel. | 0:04:37 | 0:04:40 | |
Yeah, so, the first stop is San Fruttuoso, where you'll have lunch. | 0:04:40 | 0:04:44 | |
"My soul is an enchanted boat | 0:04:44 | 0:04:47 | |
"Which like a sleeping swan doth float | 0:04:47 | 0:04:49 | |
"Upon the silver waves of thy sweet singing | 0:04:49 | 0:04:52 | |
"Thine doth like an angel sit | 0:04:52 | 0:04:54 | |
"Beside the helm conducting it | 0:04:54 | 0:04:57 | |
"While all the trees with melody are ringing." | 0:04:57 | 0:05:00 | |
That's Shelley, read by Burton. | 0:05:00 | 0:05:03 | |
Rob can't do poems in his own voice because he lacks conviction. | 0:05:03 | 0:05:07 | |
-AS ALAN BENNETT: -"My soul is an enchanted boat | 0:05:07 | 0:05:09 | |
"Which like a sleeping swan doth float | 0:05:09 | 0:05:12 | |
"Upon the silver waves of thy sweet singing." | 0:05:12 | 0:05:15 | |
Are you going to have some wine? | 0:05:31 | 0:05:32 | |
-No, thank you. -Are you sure? -No, grazie. -A little bit? | 0:05:32 | 0:05:36 | |
No. | 0:05:36 | 0:05:38 | |
Grazie mille. Oh, oh... | 0:05:53 | 0:05:55 | |
-Look at this? -Lovely. | 0:05:55 | 0:05:56 | |
50,000 Leagues Under The Sea. | 0:05:56 | 0:05:58 | |
It is a bit... It's very Jules Verne, the starter, I have to say, yeah. | 0:05:58 | 0:06:01 | |
We're squids in. | 0:06:01 | 0:06:02 | |
Squids in, six quid. | 0:06:02 | 0:06:04 | |
Oh, I've got the squids. | 0:06:04 | 0:06:06 | |
Very nice, isn't she, Lucy? | 0:06:08 | 0:06:10 | |
Mmm. | 0:06:10 | 0:06:11 | |
Not the squid - Lucy. | 0:06:11 | 0:06:13 | |
Mmm...mmm. | 0:06:13 | 0:06:15 | |
Oh, oh...look at that. | 0:06:15 | 0:06:18 | |
Don't... Don't scare him. Oh, you had to scare him. | 0:06:18 | 0:06:22 | |
"To crush a butterfly upon a wheel." | 0:06:23 | 0:06:25 | |
A dream we all share. | 0:06:25 | 0:06:27 | |
-Alexander Pope. -Of course. | 0:06:27 | 0:06:29 | |
It's not very authentic, though, is it? | 0:06:32 | 0:06:34 | |
Hanging out with some Sloane ranger. | 0:06:34 | 0:06:36 | |
If you look at Shelley and Byron, | 0:06:36 | 0:06:37 | |
they were always staying with English people, all the expats. | 0:06:37 | 0:06:40 | |
That's how it was, you see. | 0:06:40 | 0:06:42 | |
You know, when you're in LA, I bet you are down at Soho House | 0:06:42 | 0:06:46 | |
watching football on the telly with Robbie Williams. | 0:06:46 | 0:06:48 | |
A - I don't like football. | 0:06:48 | 0:06:50 | |
-'Ey! -'Ey! BOTH: -I don't like football. | 0:06:50 | 0:06:52 | |
-B... -Yeah. Be what? Be who you are? Be true to yourself? | 0:06:53 | 0:06:57 | |
A - I don't like football. B - true to yourself. | 0:06:57 | 0:07:00 | |
-See what I did there. -Yeah, very good, you're a wordsmith. | 0:07:00 | 0:07:04 | |
D - 'pend on me to come up with more of these. E... | 0:07:04 | 0:07:07 | |
Why'd you miss C? | 0:07:07 | 0:07:09 | |
I didn't, I said "C what I did there?" You're not listening. | 0:07:09 | 0:07:11 | |
Oh, that is good, yeah. | 0:07:11 | 0:07:13 | |
Dear, dear me. | 0:07:13 | 0:07:14 | |
-I can see why they want you for Radio 4 panel shows. -Thank you. -You're a demon. | 0:07:14 | 0:07:18 | |
No, I don't hang out with Robbie Williams. | 0:07:18 | 0:07:19 | |
When I am in LA, I do what Byron actually did | 0:07:19 | 0:07:22 | |
when he was travelling, which was hang out with local people. | 0:07:22 | 0:07:25 | |
Matt Stone, Trey Parker, Matthew Perry, Owen Wilson... | 0:07:25 | 0:07:29 | |
You hang out with Owen Wilson or you occasionally work with Owen Wilson? | 0:07:29 | 0:07:32 | |
I know you've been a miniature soldier with him, | 0:07:32 | 0:07:34 | |
but do you actually hang out with him? | 0:07:34 | 0:07:37 | |
We run together on the beach. | 0:07:37 | 0:07:38 | |
Is he aware that you're running? | 0:07:38 | 0:07:40 | |
Is he running away from you? I mean, there's a distinction here. | 0:07:40 | 0:07:43 | |
I could say I've been running on the beach with Robert De Niro, | 0:07:43 | 0:07:46 | |
when, in fact, I'm furiously chasing | 0:07:46 | 0:07:47 | |
after him and he's running for his life... What are you doing there? | 0:07:47 | 0:07:50 | |
Just having a little wine. You know, when in Rome... | 0:07:50 | 0:07:53 | |
-Wow! -In Italy. -I'm your enabler. | 0:07:53 | 0:07:56 | |
Yeah. | 0:07:56 | 0:07:58 | |
I'd love to talk to some of these locals. | 0:07:59 | 0:08:02 | |
Byron said, "I love the language, that bastard Latin | 0:08:02 | 0:08:05 | |
"That melts like kisses from a female mouth | 0:08:05 | 0:08:08 | |
"It sounds as if it should be writ on satin | 0:08:08 | 0:08:11 | |
"With syllables that breathe of the sweet South." | 0:08:11 | 0:08:15 | |
She's nice, though, Lucy. | 0:08:15 | 0:08:16 | |
She's all right. She's just a posh girl working on a boat. | 0:08:16 | 0:08:19 | |
She's basically the nautical equivalent of a chalet girl. | 0:08:19 | 0:08:22 | |
Go round Chelsea, chuck a stick - you'll hit ten of them. | 0:08:22 | 0:08:25 | |
You've been warned about that, haven't you? | 0:08:25 | 0:08:27 | |
"Steve Coogan has been arrested for | 0:08:27 | 0:08:30 | |
"chucking sticks at Sloane women in Chelsea." | 0:08:30 | 0:08:34 | |
We'd know what sort of a story that was, right? | 0:08:34 | 0:08:36 | |
-Yeah. -Purely from the intonation. | 0:08:36 | 0:08:38 | |
If they say, "The actor and comedian Steve Coogan..." | 0:08:38 | 0:08:42 | |
-it's going to be good news. -Yeah. | 0:08:42 | 0:08:44 | |
OK? Then there's if you've died. | 0:08:44 | 0:08:47 | |
Yeah. "The actor and comedian Steve Coogan..." | 0:08:47 | 0:08:52 | |
The one you don't want is this...ready? | 0:08:52 | 0:08:55 | |
"The actor and comedian Steve Coogan..." | 0:08:56 | 0:08:59 | |
-Oh, no! -God, what has he done now? -Oh, my God! | 0:08:59 | 0:09:02 | |
See that Roman Polanski film with Pierce Brosnan playing the prime minister, | 0:09:04 | 0:09:08 | |
Tony Blair, sort of, war crimes? | 0:09:08 | 0:09:09 | |
It was, sort of, an Iraq war thing, you know? | 0:09:09 | 0:09:12 | |
"The name's Bond, James Bond, 007 licensed to kill." | 0:09:12 | 0:09:14 | |
But he plays Tony Blair in this? | 0:09:14 | 0:09:16 | |
"My name's Blair, Tony Blair." | 0:09:16 | 0:09:18 | |
Tony Blair. | 0:09:18 | 0:09:19 | |
"Licensed to illegally invade other countries." | 0:09:19 | 0:09:21 | |
I could see Roger Moore playing Tony Blair. | 0:09:21 | 0:09:25 | |
AS ROGER MOORE: My name's Tony Blair, and I don't like you, Hussein. | 0:09:25 | 0:09:28 | |
Now you're telling me this. | 0:09:28 | 0:09:30 | |
You're telling me destruction could be launched in 45 minutes? | 0:09:30 | 0:09:33 | |
I don't like you one bit. | 0:09:33 | 0:09:35 | |
I don't like the way you stand on the balcony wearing a beret. | 0:09:35 | 0:09:37 | |
-AS SADDAM HUSSEIN: -I wear the beret for one reason alone. -Why? | 0:09:37 | 0:09:40 | |
I like to impersonate Frank Spencer. | 0:09:40 | 0:09:43 | |
You can impersonate Frank Spencer all you like | 0:09:43 | 0:09:46 | |
but it doesn't change the fact | 0:09:46 | 0:09:47 | |
that I think you're harbouring weapons of mass destruction. | 0:09:47 | 0:09:50 | |
Wait till you hear this. | 0:09:50 | 0:09:52 | |
-IN SAME VOICE: -Oh, Betty, the cat has done whoopsie on the carpet. | 0:09:52 | 0:09:55 | |
That's a terrible impersonation of Frank Spencer, Hussein. | 0:09:55 | 0:09:57 | |
It's the best I can do. I have the beret. | 0:09:57 | 0:09:59 | |
That must count for something, surely? | 0:09:59 | 0:10:01 | |
You think I can't do Frank Spencer? Well, listen to this. | 0:10:01 | 0:10:04 | |
AS FRANK SPENCER: Put it over there, I'll mend it in the morning. What about that then, Mr Blair? | 0:10:04 | 0:10:08 | |
I bet you didn't think I could do that. | 0:10:08 | 0:10:10 | |
-AS ROGER MOORE: -I'll be very honest with you, Saddam, I wasn't expecting | 0:10:10 | 0:10:13 | |
such a professional level of impersonation. | 0:10:13 | 0:10:15 | |
AS SADDAM HUSSEIN: No, you weren't. You weren't expecting it. | 0:10:15 | 0:10:18 | |
-Have you considered touring northern clubs in the '70s? -I tried to tour the northern clubs in the 1970s. | 0:10:18 | 0:10:23 | |
-What happened? -They said... | 0:10:23 | 0:10:25 | |
AS FRANK SPENCER: "No, we've already gone with someone who does Frank Spencer." | 0:10:25 | 0:10:29 | |
-Grazie. -Grazie. | 0:10:38 | 0:10:40 | |
Grazie mille. Che bel tempo oggi. | 0:10:45 | 0:10:48 | |
-Molto bello! -Si. | 0:10:48 | 0:10:50 | |
"Oggi" means "today". | 0:10:50 | 0:10:52 | |
Thank goodness for that - I thought you were a bit forward! | 0:10:52 | 0:10:54 | |
You want to take her for dinner first, mate. | 0:10:54 | 0:10:56 | |
-Would you like some more wine? -I would. Lovely. | 0:10:56 | 0:11:00 | |
-AS ALAN BENNETT: -"Dear diary, offered Steve more wine. | 0:11:00 | 0:11:02 | |
"He was quite agreeable to the proposal, | 0:11:02 | 0:11:04 | |
"so I poured it confidently." | 0:11:04 | 0:11:06 | |
Mmm! | 0:11:13 | 0:11:15 | |
-AMERICAN ACCENT: -Oh, man! This looks great. I adore pasta. | 0:11:15 | 0:11:17 | |
-It's "pah-sta". You say "pah-sta". -Pah-sta, that's right, yeah. I love pah-sta. | 0:11:17 | 0:11:22 | |
Steve, you got to have some of the pah-sta. | 0:11:22 | 0:11:24 | |
Mmm. | 0:11:24 | 0:11:26 | |
-OWN ACCENT: -Are you happy with Joe and Mamie being on holiday with another man in your role? | 0:11:26 | 0:11:30 | |
He's not in my role. | 0:11:30 | 0:11:32 | |
He is, technically. | 0:11:32 | 0:11:34 | |
They know I'm the father. | 0:11:34 | 0:11:35 | |
He's... David is just this guy. | 0:11:35 | 0:11:37 | |
David - is that his name? | 0:11:37 | 0:11:38 | |
-32, a yoga instructor. -How old? -32. | 0:11:38 | 0:11:42 | |
-He's 32, and he's what, a yoga instructor? -Yeah. | 0:11:42 | 0:11:44 | |
Are you happy with that? | 0:11:44 | 0:11:46 | |
He's on holiday with them now. I'm paying for the holiday. | 0:11:46 | 0:11:48 | |
-He doesn't have much money. -I couldn't do it. | 0:11:48 | 0:11:50 | |
If Sally and I ever split up, which we will not, | 0:11:50 | 0:11:53 | |
but if we did, that would be the thing that would really, | 0:11:53 | 0:11:56 | |
you know, break me up - is the thought of another man | 0:11:56 | 0:11:59 | |
being in that role cos Chloe's three. So, she'd have no memory | 0:11:59 | 0:12:04 | |
of me as the dad in the house | 0:12:04 | 0:12:06 | |
and she'd automatically think of him as Dad. | 0:12:06 | 0:12:08 | |
-That's fine. -How's that fine? That's not fine! | 0:12:08 | 0:12:10 | |
Wow! Grazie. | 0:12:15 | 0:12:16 | |
-WAITRESS SPEAKS ITALIAN -Grazie mille. | 0:12:16 | 0:12:19 | |
Beautiful here, isn't it, eh? La dolce vita. | 0:12:19 | 0:12:23 | |
Don't you think we're lucky? | 0:12:23 | 0:12:25 | |
In the old days, only the aristocracy could travel. | 0:12:25 | 0:12:28 | |
Nowadays everyone... everybody can afford a holiday. | 0:12:28 | 0:12:31 | |
Even if you're on benefits, you can go abroad. | 0:12:31 | 0:12:33 | |
It's part of your human rights. | 0:12:33 | 0:12:35 | |
Well, it should be part of your human rights! | 0:12:35 | 0:12:37 | |
I think it should be on the NHS, but not in the summer. | 0:12:37 | 0:12:40 | |
-You know, it should be in the winter. -When it's cheaper. | 0:12:41 | 0:12:44 | |
-When people get vitamin D deficiency, because of lack of sunlight. -True. | 0:12:44 | 0:12:48 | |
Which then leads to people getting depression, | 0:12:48 | 0:12:50 | |
which means they then have to be prescribed antidepressants, | 0:12:50 | 0:12:52 | |
sold at exorbitant rates to the NHS, paid for by taxpayers, | 0:12:52 | 0:12:56 | |
but sold at exorbitant rates by multinational drug companies. | 0:12:56 | 0:12:59 | |
And he's off on his charger! | 0:12:59 | 0:13:02 | |
This time taking on the pharmaceutical companies. | 0:13:02 | 0:13:04 | |
Not content with bringing the Murdoch empire to its knees, | 0:13:04 | 0:13:06 | |
he now turns his steely gaze to Nurofen. | 0:13:06 | 0:13:09 | |
It's not Nurofen. I'm talking about temazepam and diazepam. | 0:13:09 | 0:13:14 | |
You know, drug companies aren't interested in curing cancer. | 0:13:14 | 0:13:17 | |
They want to prescribe long-term medication for chronic illnesses | 0:13:17 | 0:13:21 | |
because that's what lines the coffers of the shareholders. | 0:13:21 | 0:13:24 | |
It's a cartel, a conspiracy. | 0:13:24 | 0:13:26 | |
They're no better than Colombian drug lords, frankly. | 0:13:26 | 0:13:29 | |
Did you ever see the film Love and Other Drugs - Jake Gyllenhaal? | 0:13:33 | 0:13:37 | |
Gil-en-hall, Jill-en-hall - how do you pronounce that? | 0:13:37 | 0:13:40 | |
I know Jake and Maggie. | 0:13:40 | 0:13:43 | |
And how do you pronounce it? | 0:13:43 | 0:13:44 | |
I don't know. | 0:13:44 | 0:13:46 | |
It was about the big pharma conspiracy over Viagra. | 0:13:46 | 0:13:49 | |
Have you ever used that? | 0:13:52 | 0:13:53 | |
Not prescribed to me, you know, I've used it recreationally. | 0:13:53 | 0:13:56 | |
Recreationally is the only way you would use it. | 0:13:56 | 0:13:58 | |
Why would you use it professionally, | 0:13:58 | 0:13:59 | |
unless you're a porn star or a model or an actor? | 0:13:59 | 0:14:04 | |
But actors can't - that's the last thing an actor wants to use. | 0:14:04 | 0:14:06 | |
You're not allowed to get a hard on if you're in a sex scene. | 0:14:06 | 0:14:09 | |
It's a major faux pas, frowned upon by crews and actors alike. | 0:14:09 | 0:14:13 | |
So, erm... | 0:14:13 | 0:14:15 | |
what's it like? | 0:14:15 | 0:14:17 | |
Erm... | 0:14:18 | 0:14:20 | |
do you want me to get you some Viagra? | 0:14:20 | 0:14:22 | |
Oh, I'm just asking you. | 0:14:22 | 0:14:23 | |
Look, I'm considering dipping my toes in the murky waters of Viagra. | 0:14:23 | 0:14:28 | |
OK...it's not an aphrodisiac. | 0:14:28 | 0:14:29 | |
You've got to desire the woman you're with. | 0:14:29 | 0:14:31 | |
Yes...well, yes, I do. | 0:14:31 | 0:14:33 | |
I have a three-year-old child so, you know, | 0:14:33 | 0:14:36 | |
it's not the sexual Olympics in our house, so I'm just thinking of a... | 0:14:36 | 0:14:40 | |
Well, it's just like a peg-up. | 0:14:40 | 0:14:41 | |
It's like you trying to climb over a wall and me doing that. | 0:14:41 | 0:14:44 | |
You'd stand in that. | 0:14:44 | 0:14:45 | |
I'd be uncomfortable if you were there, I should make that clear. | 0:14:45 | 0:14:49 | |
Yeah, I know. It's an analogy. | 0:14:49 | 0:14:50 | |
-Yeah, once you're over the wall, you're on your own. -Yeah. | 0:14:50 | 0:14:53 | |
But it's like... Take a... | 0:14:53 | 0:14:55 | |
I wouldn't want you in the house at all, to be honest. | 0:14:55 | 0:14:57 | |
-Just tell me what it's like. -No, I'm outside looking round, making sure, | 0:14:57 | 0:15:00 | |
keeping the coast clear. I've given you a peg-up, you go in... | 0:15:00 | 0:15:03 | |
-OK, all right. -Have sex with your wife. -Yeah, I'm comfortable now. | 0:15:03 | 0:15:06 | |
OK, it's like a turbocharger on a normally aspirated engine. | 0:15:06 | 0:15:09 | |
-WAITRESS SPEAKS ITALIAN -Si, grazie mille, grazie. | 0:15:09 | 0:15:13 | |
Grazie, erm, il conto, per favore...grazie. | 0:15:13 | 0:15:17 | |
That's one of the nicest sounds in the world - | 0:15:18 | 0:15:20 | |
the sound of water lapping, ideally against pebbles and not sand. | 0:15:20 | 0:15:25 | |
A lovely sound. Is there a nicer sound than that? | 0:15:25 | 0:15:28 | |
No, I don't think there is. Birdsong? | 0:15:28 | 0:15:30 | |
-Birdsong...depends on the bird. -Yeah, that's true. | 0:15:30 | 0:15:32 | |
HE SQUAWKS | 0:15:32 | 0:15:35 | |
Yeah, that's fair, so point taken. | 0:15:35 | 0:15:37 | |
-IRISH ACCENT: -So, welcome, and you join us for Guess The Bill | 0:15:37 | 0:15:42 | |
and our contestant this week is returning after his triumph last week. | 0:15:42 | 0:15:45 | |
-It's young Stephen Coogan. Steve, welcome. -Thank you. | 0:15:45 | 0:15:48 | |
I know you've had a super day here at the studios with us. | 0:15:48 | 0:15:50 | |
Just a second. Let me just stop you | 0:15:50 | 0:15:52 | |
briefly to ask you what part of Ireland you're from. | 0:15:52 | 0:15:54 | |
Well, I'm glad you asked, Stephen. I've travelled all around Ireland, | 0:15:54 | 0:15:57 | |
hence the different tones in the voice, but it's good of you to ask. | 0:15:57 | 0:16:00 | |
-I like a young, inquisitive mind. -OK, I'll let it go. -All right, don't speak again. | 0:16:00 | 0:16:03 | |
Steve, thanks for taking an interest in me but tonight is all about you | 0:16:03 | 0:16:06 | |
and I hope you're going to win some money and take it back to that | 0:16:06 | 0:16:09 | |
family, who God knows have suffered enough already | 0:16:09 | 0:16:11 | |
putting up with you, you little shit. | 0:16:11 | 0:16:13 | |
So, here we go, and I must take your first answer. | 0:16:13 | 0:16:16 | |
Is today's bill... | 0:16:16 | 0:16:18 | |
A - ten euro? | 0:16:18 | 0:16:21 | |
Is it B - 647 euro? | 0:16:21 | 0:16:24 | |
Or is it C - 173 euro? | 0:16:24 | 0:16:28 | |
And, Steve, please, I must take your first answer. | 0:16:28 | 0:16:30 | |
-Ladies and gentlemen in the audience, please no helping with this young lad. -C, it's C. | 0:16:30 | 0:16:34 | |
-C, you're saying C? -Yeah. | 0:16:34 | 0:16:36 | |
-173 - is that your final answer, Steve? -Yeah, definitely. | 0:16:36 | 0:16:39 | |
Steve, you've done it. You've won again, well done. You'll be coming | 0:16:39 | 0:16:42 | |
back next week. Give a wave to everybody at home there, Steve. | 0:16:42 | 0:16:45 | |
Give a wave. The camera's over there, you daft bugger. There it is. | 0:16:45 | 0:16:48 | |
Good night, everybody. We'll be back same time next week. Keep waving. Credits are rolling. Good night! | 0:16:48 | 0:16:52 | |
Watch your head already. | 0:17:03 | 0:17:05 | |
William, the men are not happy. | 0:17:05 | 0:17:06 | |
Oh, William, is it? Not "captain" or "sir"? | 0:17:06 | 0:17:08 | |
You can tell the men that we will sail around the Cape of Good Hope, we will sail around the Horn. | 0:17:08 | 0:17:13 | |
You turned your back on me, man. God damn your eyes! | 0:17:13 | 0:17:15 | |
God damn your eyes, man, you turned your back on me! | 0:17:15 | 0:17:18 | |
He's doing Anthony Hopkins. Don't worry, it'll pass. | 0:17:18 | 0:17:20 | |
You tell the men that we will sail around the Cape of Good Hope | 0:17:20 | 0:17:23 | |
and sail around the Horn. | 0:17:23 | 0:17:25 | |
Around the Horn. The quick way round the Horn we shall go, sir. | 0:17:25 | 0:17:28 | |
Damn your eyes! Damn your eyes! | 0:17:28 | 0:17:30 | |
You turned your back on me, man! | 0:17:30 | 0:17:32 | |
Don't turn your back on me! | 0:17:32 | 0:17:35 | |
-Around the Horn we're going. -The quicker way round the Horn we shall go. | 0:17:35 | 0:17:38 | |
-Hey! -Hi! | 0:17:57 | 0:17:58 | |
Oh, careful. | 0:17:59 | 0:18:01 | |
Not too rough for you? | 0:18:01 | 0:18:03 | |
-No, no, it's fine. -Are you enjoying it? | 0:18:03 | 0:18:05 | |
Yeah, it's fantastic, wonderful. Steve's having a little sleep. | 0:18:05 | 0:18:11 | |
Had a drink, so at his age he needs a nap after lunch | 0:18:11 | 0:18:14 | |
or he gets confused. | 0:18:14 | 0:18:16 | |
-How old is he? -He doesn't like me to say. | 0:18:16 | 0:18:18 | |
He doesn't like me to share that. | 0:18:18 | 0:18:20 | |
-Does he drink a lot? -Well... | 0:18:20 | 0:18:22 | |
And so this is the anchor, yeah? | 0:18:23 | 0:18:26 | |
Am I right? I know enough to get by. | 0:18:27 | 0:18:31 | |
So, this is the anchor and then | 0:18:31 | 0:18:33 | |
if you want to stop somewhere you drop the sail - is that right? | 0:18:33 | 0:18:36 | |
Where are you from, then? Wales, right? | 0:18:36 | 0:18:39 | |
Wales, South Wales, Port Talbot. | 0:18:39 | 0:18:40 | |
Oh, I love the accent. | 0:18:40 | 0:18:42 | |
-Do you? -Yeah, it's beautiful. -Seriously? | 0:18:42 | 0:18:44 | |
Yeah, it's really lyrical. | 0:18:44 | 0:18:46 | |
Ah, begin at the beginning. | 0:18:46 | 0:18:48 | |
You've just got to make your mouth, like, begin. | 0:18:48 | 0:18:51 | |
-To begin. -Yes, but you have to push your lips out. -Begin. | 0:18:51 | 0:18:55 | |
SHE LAUGHS | 0:18:55 | 0:18:57 | |
To begin at the beginning. | 0:18:57 | 0:18:59 | |
To begin... | 0:18:59 | 0:19:01 | |
SHE LAUGHS | 0:19:01 | 0:19:02 | |
That sounded angry, really. | 0:19:02 | 0:19:05 | |
OPERA MUSIC PLAYS | 0:19:05 | 0:19:07 | |
It's a lovely house. | 0:19:21 | 0:19:22 | |
I mean, it's better than Byron's, isn't it? | 0:19:22 | 0:19:24 | |
You've got a lovely balcony there. Looking out over the bay. | 0:19:24 | 0:19:28 | |
See if you can get my face and it in so it's legible. | 0:19:28 | 0:19:31 | |
-Don't look ironic. -I'm not. | 0:19:31 | 0:19:33 | |
It's not a flattering angle but it's got all the information, so... | 0:19:33 | 0:19:36 | |
Did you like it? Was it nice? | 0:19:42 | 0:19:44 | |
It was busier than I was expecting. | 0:19:44 | 0:19:45 | |
-Spoilt by tourism. -Yeah. | 0:19:45 | 0:19:47 | |
Yeah, when Shelley lived there it would have been deserted. | 0:19:47 | 0:19:50 | |
-Yeah? -Do you want to go back to San Fruttuoso? | 0:19:50 | 0:19:52 | |
-Yes. -Yes? -It was lovely there. | 0:19:52 | 0:19:53 | |
That's a lovely sight. | 0:19:57 | 0:19:58 | |
I'd like to show her the ropes. | 0:19:58 | 0:20:00 | |
I'd like to show her my rope. | 0:20:00 | 0:20:01 | |
Yeah, I'd like her to charm the rope out of my basket. | 0:20:01 | 0:20:04 | |
I'd like to see her drop her anchor in my Bay of Poets. | 0:20:04 | 0:20:07 | |
Well, she wouldn't drop her anchor, you'd be the one with the anchor. | 0:20:07 | 0:20:10 | |
No, she could drop her anchor. | 0:20:10 | 0:20:11 | |
-No, she doesn't, you drop your anchor. -You're absolutely right. | 0:20:11 | 0:20:14 | |
I'd like to drop my anchor in her boat. | 0:20:14 | 0:20:16 | |
You're getting your metaphors arse about tit. | 0:20:16 | 0:20:18 | |
Now you drop an anchor and she... | 0:20:18 | 0:20:20 | |
ROB LAUGHS | 0:20:20 | 0:20:22 | |
You nearly went over the side. | 0:20:23 | 0:20:24 | |
-No, I didn't. -You did. -I didn't. -You panicked. | 0:20:24 | 0:20:27 | |
Yeah, all right, I panicked, big deal. | 0:20:27 | 0:20:30 | |
You did, you completely panicked! | 0:20:30 | 0:20:32 | |
The panic's a survival instinct. | 0:20:32 | 0:20:33 | |
What would Daniel Craig have done? He wouldn't have gone "Ohhh..." | 0:20:33 | 0:20:36 | |
Daniel Craig, when they announced he was playing Bond, | 0:20:36 | 0:20:39 | |
he turned up on the Thames in a speedboat wearing a life jacket. | 0:20:39 | 0:20:41 | |
That's for insurance. Whereas Roger Moore would have asked for one. | 0:20:41 | 0:20:45 | |
-AS ROGER MOORE: -Cubby, I wonder if Bond at this stage would be wearing | 0:20:45 | 0:20:49 | |
a buoyancy aid of some sort. | 0:20:49 | 0:20:52 | |
Perhaps wings. | 0:20:52 | 0:20:54 | |
Water wings... Perhaps a rubber ring around his midriff. | 0:20:54 | 0:20:57 | |
Just belt and braces. | 0:20:57 | 0:20:59 | |
And did you get my memo about the handrail? | 0:21:00 | 0:21:02 | |
Are you going to swim in, then? | 0:21:25 | 0:21:27 | |
I could swim in. | 0:21:27 | 0:21:29 | |
Yeah, right. | 0:21:29 | 0:21:30 | |
Watch me. | 0:21:31 | 0:21:32 | |
Swiss self-winding, 10,000. | 0:21:37 | 0:21:39 | |
MUSIC: "Um Mitternacht" by Gustav Mahler | 0:21:39 | 0:21:42 | |
Superb! | 0:21:48 | 0:21:49 | |
This is exactly how I imagined it, you know, | 0:21:56 | 0:21:59 | |
from reading about Shelley. | 0:21:59 | 0:22:02 | |
Sort of very simple but very romantic in the grand sense. | 0:22:02 | 0:22:06 | |
-Yes. -Yeah? | 0:22:06 | 0:22:07 | |
There's something quite melancholy about this place, isn't there? | 0:22:09 | 0:22:12 | |
It's like getting stranded on a desert island. | 0:22:12 | 0:22:15 | |
Yeah, only not as hot. | 0:22:15 | 0:22:17 | |
The desert doesn't mean hot. | 0:22:17 | 0:22:19 | |
Desert just means there's no people there. There's going to be water. | 0:22:19 | 0:22:22 | |
-It just means deserted. -I know that, I know that. Don't you think | 0:22:22 | 0:22:25 | |
everything's melancholic once you get to a certain age? I do. | 0:22:25 | 0:22:29 | |
I think you've really got to just try and enjoy life, you know? | 0:22:29 | 0:22:34 | |
I mean, even your mouth starts to naturally droop down. | 0:22:36 | 0:22:39 | |
No, that's relaxing. That's just muscles relaxing. | 0:22:39 | 0:22:42 | |
Garrison Keeler said, "When you're under 40, | 0:22:42 | 0:22:45 | |
"seeming unhappy makes you look interesting. | 0:22:45 | 0:22:48 | |
"But once you're 40 and beyond, you've got to do everything | 0:22:48 | 0:22:51 | |
"you can to smile, otherwise you just look like a grumpy old man." | 0:22:51 | 0:22:55 | |
Morrissey. | 0:22:55 | 0:22:56 | |
Byron was famously gloomy. | 0:22:57 | 0:23:00 | |
Come and have a drink. | 0:23:05 | 0:23:07 | |
OK. | 0:23:08 | 0:23:10 | |
Yep, I've still got it. A bit shocked, aren't you? | 0:23:16 | 0:23:19 | |
Not really - I've always told you that it was a possibility. | 0:23:19 | 0:23:22 | |
You know, so you're an acquired taste, but, you know... | 0:23:23 | 0:23:27 | |
What will people remember of us in 200 years' time? | 0:23:29 | 0:23:33 | |
Er... | 0:23:36 | 0:23:38 | |
I don't think we'll be remembered, to be honest with you. | 0:23:38 | 0:23:40 | |
No. | 0:23:41 | 0:23:43 | |
-I mean, if... There's a big if. -If we are... | 0:23:43 | 0:23:46 | |
..either of us are remembered, | 0:23:46 | 0:23:49 | |
I would say that it would probably be me. | 0:23:49 | 0:23:51 | |
What would they most remember? | 0:23:51 | 0:23:54 | |
What would be celebrated about you, do you think? | 0:23:54 | 0:23:56 | |
Six BAFTAs. | 0:23:57 | 0:23:59 | |
You've got five BAFTAs. | 0:24:00 | 0:24:02 | |
Yeah, but I'll probably get a lifetime achievement. | 0:24:02 | 0:24:05 | |
-True. -If I survive. | 0:24:05 | 0:24:07 | |
You could have it posthumously. | 0:24:07 | 0:24:09 | |
I like to think if you did win it posthumously, | 0:24:09 | 0:24:12 | |
I'd be the one to accept it on your behalf. | 0:24:12 | 0:24:14 | |
Unless, of course, if I was the architect of your death, | 0:24:14 | 0:24:16 | |
in which case I'd still like to receive it from my cell | 0:24:16 | 0:24:19 | |
via satellite link. | 0:24:19 | 0:24:21 | |
Thrilled to have this. Er... | 0:24:22 | 0:24:25 | |
you know, I killed Steve for the good of mankind. | 0:24:25 | 0:24:28 | |
Do I regret what I've done? | 0:24:28 | 0:24:30 | |
-Not really, because I think the world's... -Lights out! | 0:24:30 | 0:24:33 | |
-I've got to go. -Brydon, lights out, you nonce. | 0:24:33 | 0:24:36 | |
Yeah, that's not what I'm in for, | 0:24:36 | 0:24:38 | |
but I accept it as a general derogatory term. | 0:24:38 | 0:24:41 | |
DEEP VOICE: Come on, Rob, come to bed. | 0:24:41 | 0:24:44 | |
All right, Melvyn, I'll be a minute. | 0:24:44 | 0:24:46 | |
-Anyway, that's all from me. -I want a cuddle. | 0:24:46 | 0:24:48 | |
Yes, all right, I'll give you a cuddle. Please just wait. | 0:24:48 | 0:24:51 | |
Erm, so anyway, on Steve's behalf, thanks for this. | 0:24:51 | 0:24:54 | |
He would have loved it but, you know, he's gone. | 0:24:54 | 0:24:56 | |
-Come on. -Yeah, all right. -I'm horny! | 0:24:56 | 0:24:58 | |
I want to go on the inside...of the bed, of the bed, of the bed. | 0:24:58 | 0:25:01 | |
Not the inside of the inmate. | 0:25:01 | 0:25:03 | |
The inside of the bed. | 0:25:03 | 0:25:05 | |
Did you see this? Michael Winner's memorial service. | 0:25:06 | 0:25:09 | |
And Michael Caine and Roger Moore were sat there, | 0:25:09 | 0:25:12 | |
the two of them, and they looked old, cos they are old. | 0:25:12 | 0:25:15 | |
-AS MICHAEL CAINE: -I don't think we've ever been this old, Rog, | 0:25:15 | 0:25:19 | |
I'll be very honest with you. | 0:25:19 | 0:25:21 | |
AS ROGER MOORE: We've 'ad a pretty good innings, though, Michael. | 0:25:22 | 0:25:25 | |
You just dropped your H, Rog. Why was that? That's not like you. | 0:25:25 | 0:25:29 | |
You just said "We've 'ad a very good innings, Michael." | 0:25:29 | 0:25:33 | |
What's the matter, Roger? I'm Michael, you're Roger. | 0:25:33 | 0:25:37 | |
I haven't the time, Michael. I really haven't the time. | 0:25:37 | 0:25:41 | |
I'll tell you the time, Rog. It's getting late. | 0:25:41 | 0:25:43 | |
Do you take my meaning? | 0:25:43 | 0:25:45 | |
Oh, Michael, do you remember back in '88 when we made "Bullseye!"? | 0:25:46 | 0:25:52 | |
-Ah, glory days. -Happy days. | 0:25:52 | 0:25:54 | |
Tragically superseded by the television version of Bullseye. | 0:25:55 | 0:25:59 | |
With Jim Bowen? | 0:25:59 | 0:26:01 | |
With the great James Bowen. | 0:26:01 | 0:26:04 | |
180! | 0:26:06 | 0:26:08 | |
I would have loved to have you in as the voice of the scores, | 0:26:08 | 0:26:11 | |
it would have been lovely. | 0:26:11 | 0:26:13 | |
There's only one word for that - magic darts. | 0:26:13 | 0:26:15 | |
I mean, I think if you and me had been doing Bullseye together... | 0:26:15 | 0:26:18 | |
There's only one word for that - magic darts. | 0:26:18 | 0:26:19 | |
-Yeah, there's only one word for that - magic darts. -Magic darts. | 0:26:19 | 0:26:22 | |
There's only one word for that - magic darts. | 0:26:22 | 0:26:25 | |
There's only one word for that - magic darts. | 0:26:25 | 0:26:28 | |
There's only one word for that, Master Bruce - magic darts. | 0:26:28 | 0:26:31 | |
Thank you very much, I haven't been playing for long. | 0:26:31 | 0:26:34 | |
I'd better go and call Jo. | 0:26:36 | 0:26:38 | |
See you in a bit. | 0:26:41 | 0:26:42 | |
'This person's phone is switched off. | 0:26:55 | 0:26:58 | |
'Please try later or send a text.' | 0:26:58 | 0:27:01 | |
So, how did you end up here? | 0:27:01 | 0:27:03 | |
My boyfriend had a boat. We sailed together. | 0:27:05 | 0:27:09 | |
Then when we broke up I had to find work, so I got a job on the crew. | 0:27:09 | 0:27:13 | |
It must be fun. | 0:27:15 | 0:27:17 | |
Sometimes. | 0:27:17 | 0:27:19 | |
Do you have children? | 0:27:21 | 0:27:23 | |
No. I wish I did. Do you? | 0:27:23 | 0:27:27 | |
Yeah, I've got a daughter, Chloe. | 0:27:27 | 0:27:31 | |
She's three. | 0:27:31 | 0:27:33 | |
Aw! | 0:27:33 | 0:27:34 | |
She is gorgeous. | 0:27:36 | 0:27:38 | |
-Do you miss her? -Yeah. | 0:27:39 | 0:27:41 | |
It's been two days, so I'm... | 0:27:41 | 0:27:44 | |
I'm not pining but... | 0:27:44 | 0:27:46 | |
-POSH ACCENT: -"Is thy face, like thy mother's, fair, my child! | 0:27:49 | 0:27:53 | |
"Chloe, sole daughter of my house and heart. | 0:27:54 | 0:27:58 | |
"When last I saw thy young blue eyes they smiled and then we parted." | 0:27:59 | 0:28:04 | |
-Is that your Hugh Grant impression? -Yes, I'm afraid it is, yes, yes. | 0:28:04 | 0:28:08 | |
I think that Steve's absolutely right, | 0:28:08 | 0:28:10 | |
I do find it very difficult to - oh, gosh, crikey - say a poem | 0:28:10 | 0:28:13 | |
unless it's in somebody else's voice. And Hugh just happened to | 0:28:13 | 0:28:16 | |
be passing, you know, on the beach, and he popped over for a blow. | 0:28:16 | 0:28:20 | |
..by blow account of what was going on. | 0:28:20 | 0:28:24 | |
"Sorrow is knowledge: They who know the most | 0:28:26 | 0:28:29 | |
"Must mourn the deepest o'er the fatal truth | 0:28:29 | 0:28:33 | |
"The tree of Knowledge is not that of Life." | 0:28:33 | 0:28:35 |