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This programme contains strong language | 0:00:02 | 0:00:06 | |
-Hello. -Steve? It's Rob. -Oh, hey, hey. | 0:00:06 | 0:00:08 | |
-How's the show going? -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 | |
-another six lunches. -Really? | 0:00:15 | 0:00:17 | |
But this time in Italy. La bella Italia, yeah? What do you think? | 0:00:17 | 0:00:22 | |
-Well... -They'll fly you to Europe. | 0:00:22 | 0:00:25 | |
-First class? -No, they're offering business. | 0:00:25 | 0:00:28 | |
Shall I compare thee to a summer's day? | 0:00:32 | 0:00:36 | |
Thou art more beautiful and more temperate. | 0:00:36 | 0:00:40 | |
Rough winds do shake the darling buds of May | 0:00:40 | 0:00:43 | |
and summer's lease has all too short a date. | 0:00:43 | 0:00:47 | |
Aren't those lines of Mr Shakespeare? | 0:00:47 | 0:00:49 | |
Yes, I don't like to quote my own work. | 0:00:49 | 0:00:52 | |
Aha! | 0:00:54 | 0:00:56 | |
Fuck. Fuck, fuck, fuckity fuck. | 0:01:19 | 0:01:22 | |
-You OK? -Yes, fine. | 0:01:28 | 0:01:32 | |
-How was last night? -Fine. | 0:01:33 | 0:01:36 | |
Can you elaborate? | 0:01:36 | 0:01:38 | |
I don't want to talk about it and that's not the cue for an ABBA song. | 0:01:38 | 0:01:42 | |
Well, I think when most people say they don't want to talk about it, | 0:01:42 | 0:01:46 | |
it means it didn't go very well, but with you, | 0:01:46 | 0:01:48 | |
I'd infer that it went pretty well. | 0:01:48 | 0:01:52 | |
Yeah, too well. | 0:01:52 | 0:01:53 | |
Very green, isn't it? | 0:01:58 | 0:01:59 | |
It is. | 0:01:59 | 0:02:00 | |
Molta verde. | 0:02:00 | 0:02:02 | |
Giuseppe Verdi sounds very fancy, Joe Green. | 0:02:02 | 0:02:07 | |
Joe Green. | 0:02:07 | 0:02:08 | |
Roberto Brydone. Sounds classier than Rob Brydon, doesn't it? | 0:02:08 | 0:02:11 | |
-Yeah. -Stefano Coggani. | 0:02:11 | 0:02:13 | |
-Yeah, I prefer my name in Spanish, Esteban. -What is it? | 0:02:13 | 0:02:16 | |
-SPANISH ACCENT: -Esteban. | 0:02:16 | 0:02:17 | |
You sound like a bull fighter. | 0:02:17 | 0:02:19 | |
The bull is... muy morte. | 0:02:19 | 0:02:22 | |
No, no morte el toro! You bring home the bull, we milk the bull. | 0:02:22 | 0:02:26 | |
-Don't milk... -We don't milk the bull, we milk the cow. | 0:02:26 | 0:02:29 | |
Yeah, we don't want to milk a bull, Rob, | 0:02:29 | 0:02:30 | |
-not after what happened last time. -That was a misunderstanding. | 0:02:30 | 0:02:34 | |
You know that was a simple misunderstanding, I was just... happened to be on the farm. | 0:02:34 | 0:02:38 | |
I've always been an animal lover, you know that. | 0:02:38 | 0:02:40 | |
Right, just a quick one. | 0:02:47 | 0:02:49 | |
Look at that hair. George Michael in the Careless Whisper video. | 0:02:51 | 0:02:56 | |
Why do we have to do this? | 0:02:56 | 0:02:58 | |
A picture is worth a thousand words. | 0:02:59 | 0:03:02 | |
It's not how I imagined it would be. | 0:03:05 | 0:03:07 | |
I've never seen so many deck chairs. | 0:03:07 | 0:03:10 | |
Really reminiscent of Rhyl. | 0:03:10 | 0:03:11 | |
Ever played the Sun Centre in Rhyl? | 0:03:11 | 0:03:13 | |
No. No, that's on my to do list. | 0:03:15 | 0:03:18 | |
See, you've got Shelley there on his funeral pyre. | 0:03:21 | 0:03:23 | |
Byron staring wistfully into space, that's Trelawney, | 0:03:23 | 0:03:26 | |
he's the guy that commissioned the boat so... | 0:03:26 | 0:03:28 | |
Oh, that's a bit awkward. | 0:03:28 | 0:03:29 | |
Hence he's staring at his feet. | 0:03:29 | 0:03:31 | |
They wouldn't sue in those days, not like they do now. | 0:03:31 | 0:03:34 | |
Have you been injured at work while composing romantic poetry | 0:03:34 | 0:03:37 | |
on a boat, call now. 0800 471 471, you could win up to £5,000. | 0:03:37 | 0:03:43 | |
Like Mr Shelley. | 0:03:43 | 0:03:45 | |
Guineas, yes. | 0:03:45 | 0:03:46 | |
You could win up to 5,000 guineas, like Mr Shelley from the UK. | 0:03:46 | 0:03:51 | |
They wouldn't call it the UK. | 0:03:51 | 0:03:53 | |
Like Mr Shelley from Great Britain. | 0:03:53 | 0:03:56 | |
But this is a very idealised version of everything, | 0:03:56 | 0:03:58 | |
I mean he wouldn't have looked like that, he'd been | 0:03:58 | 0:04:01 | |
bobbing around for two weeks so he'd have been bloated beyond belief. | 0:04:01 | 0:04:05 | |
Yeah, everything looks better in a painting, doesn't it? | 0:04:05 | 0:04:08 | |
I sometimes think that one day I will be, and so will you, on a slab. | 0:04:08 | 0:04:13 | |
-Yep. -You'll have a little tag round your toe | 0:04:13 | 0:04:16 | |
and somebody will be there embalming you. | 0:04:16 | 0:04:19 | |
-Yeah. -Do you ever think that? Because it is going to happen. | 0:04:19 | 0:04:22 | |
Unless you're lost at sea and we can't find you, which is unlikely. | 0:04:22 | 0:04:25 | |
You will one day lie on a slab. You will, you will! | 0:04:25 | 0:04:30 | |
It's better to accept it, you're going to be on a slab. | 0:04:30 | 0:04:34 | |
And then, and you'll be naked, then somebody else will dress you. | 0:04:34 | 0:04:37 | |
-Yeah well, I... -I would imagine with you that will happen sometime | 0:04:37 | 0:04:40 | |
before you actually die, somebody else dressing you. | 0:04:40 | 0:04:43 | |
I see you in your later years, having to be dressed. | 0:04:43 | 0:04:46 | |
I will, and I'll be dressed by a very attractive young nurse. | 0:04:46 | 0:04:49 | |
Yeah, but you'll be able to do nothing with her, | 0:04:49 | 0:04:51 | |
absolutely nothing with her, because your mind, | 0:04:51 | 0:04:53 | |
you'll be like The Diving Bell and the Butterfly, and your mind | 0:04:53 | 0:04:56 | |
-will still be as active as it is now. -I'll still be able to sort of clasp her hand as she walks away. | 0:04:56 | 0:05:00 | |
No, you won't. There'll be no groping at all and that will absolutely kill you from the inside, | 0:05:00 | 0:05:04 | |
because she'll lean over you knowing, and she'll taunt you with her breasts | 0:05:04 | 0:05:07 | |
and there'll be nothing you can do and I'd love to be there. | 0:05:07 | 0:05:10 | |
-I would love to be there. -I don't know what films you've been watching. | 0:05:10 | 0:05:13 | |
Do you know what I do? I read for Steve. | 0:05:13 | 0:05:15 | |
Have you heard what Rob Brydon does for Steve? | 0:05:15 | 0:05:17 | |
Steve is more or less a vegetable, but Rob goes every day and reads, | 0:05:17 | 0:05:20 | |
and the only reason I do it is to be there watching you unable | 0:05:20 | 0:05:22 | |
to reach out to your Filipino nurse. Knowing how much it's hurting you. | 0:05:22 | 0:05:26 | |
Now Trelawney is worried, | 0:05:28 | 0:05:31 | |
because he's concerned that Byron is going to take Shelley's skull | 0:05:31 | 0:05:36 | |
because he already had a skull which he used to drink from. | 0:05:36 | 0:05:38 | |
Yeah, you see, that lets Byron down, | 0:05:38 | 0:05:40 | |
because all that sort of great passionate poetry | 0:05:40 | 0:05:43 | |
and then you find out he's drinking from a novelty mug. | 0:05:43 | 0:05:46 | |
I would use your skull, not as a novelty mug. | 0:05:46 | 0:05:49 | |
I would saw off the top, like you do when you eat from a monkey. | 0:05:49 | 0:05:53 | |
And I would mount it on the dashboard of my car. | 0:05:53 | 0:05:56 | |
Keep the top as a lid. | 0:05:56 | 0:05:57 | |
Yes, and use it as a cup holder | 0:05:57 | 0:06:00 | |
and put on the best of Partridge on the MP3 player. | 0:06:00 | 0:06:03 | |
I'd laugh my head off while looking at your head, literally off, | 0:06:03 | 0:06:07 | |
pop the latte into your head, and if I was entertaining someone I'd say... | 0:06:07 | 0:06:12 | |
They'd sit there, I mean your work is great, they'd say, | 0:06:12 | 0:06:14 | |
"Isn't he funny?" I'd say, "Not just funny, he's holding my coffee." | 0:06:14 | 0:06:17 | |
Did you know there's another bloke who died on the boat with him? | 0:06:17 | 0:06:20 | |
Yes, and they buried him, they burned him the day before. | 0:06:20 | 0:06:23 | |
-Yeah. -The warm-up man. | 0:06:23 | 0:06:25 | |
Forgotten. A footnote in history. | 0:06:25 | 0:06:27 | |
If you die with somebody more famous than you... | 0:06:27 | 0:06:30 | |
-It is terrible, like Diana... -Mother Teresa. | 0:06:30 | 0:06:32 | |
-Mother Teresa. -Nobody mentions Mother Teresa. | 0:06:32 | 0:06:34 | |
Right, I shall drive as per our agreement. | 0:06:35 | 0:06:38 | |
You can have the new experience of being a passenger. | 0:06:38 | 0:06:43 | |
You sure? It's not new. I've been chauffeur driven many times before. | 0:06:43 | 0:06:46 | |
We are going to Palazzo Lanfranchi in Pisa, where Byron lived, | 0:06:46 | 0:06:52 | |
and it is on the Lungarno Galileo Galilei. | 0:06:52 | 0:06:57 | |
I'm now in fourth gear, OK? Is that all right? | 0:06:57 | 0:07:01 | |
All I said was reverse is next to first, | 0:07:01 | 0:07:04 | |
it's very easy to select it unwittingly. | 0:07:04 | 0:07:07 | |
I'm not slagging you off, I'm alerting you to what might happen. | 0:07:07 | 0:07:11 | |
Crossing the Rubicon here. | 0:07:12 | 0:07:14 | |
No, this is the Arno. | 0:07:14 | 0:07:16 | |
Look, we're in Pisa. Can we go and see the Leaning Tower? | 0:07:16 | 0:07:20 | |
Galileo used the tower of Pisa to illustrate gravity. | 0:07:21 | 0:07:26 | |
In all seriousness, Galileo was a great, great man. | 0:07:26 | 0:07:29 | |
Can't go left there, there are bollards. | 0:07:29 | 0:07:30 | |
Vilified by the church, persecuted. | 0:07:30 | 0:07:32 | |
Why can you not turn left? | 0:07:32 | 0:07:34 | |
As was Marconi, because the church always persecutes people | 0:07:34 | 0:07:37 | |
who come up with scientific solutions. | 0:07:37 | 0:07:38 | |
Not even a proper road, there are umbrellas in there. | 0:07:38 | 0:07:41 | |
And then years later, of course, completely vindicated. | 0:07:41 | 0:07:44 | |
That's telling me to go there, that's telling me I can't. | 0:07:44 | 0:07:47 | |
Oh, hang on. In right here. Go there, go there, go there. | 0:07:47 | 0:07:50 | |
Why do backs sweat so much? | 0:07:55 | 0:07:57 | |
Because you get hot in the car and you're pressed up against leather, | 0:07:57 | 0:08:00 | |
so you're bound to sweat, aren't you? | 0:08:00 | 0:08:02 | |
Yeah, but that's this fashion for leather seats, | 0:08:02 | 0:08:04 | |
never happened with velour. | 0:08:04 | 0:08:06 | |
Jaguar blow cold air through the seats to make your back cool | 0:08:06 | 0:08:11 | |
and I used to think that was an indulgence, | 0:08:11 | 0:08:14 | |
but I might get one now, get a Jag. | 0:08:14 | 0:08:15 | |
Palazzo Lanfranchi. Byron lived here. | 0:08:18 | 0:08:21 | |
Palazzo...Anne Franki? | 0:08:21 | 0:08:23 | |
Lanfranchi. | 0:08:23 | 0:08:24 | |
I thought that was in Amsterdami. Are you sure it's Byron's? | 0:08:24 | 0:08:27 | |
There's no plaque. | 0:08:27 | 0:08:29 | |
Please take a photograph. | 0:08:29 | 0:08:30 | |
I'm just asking why there's no plaque. | 0:08:30 | 0:08:32 | |
I don't know why there's no plaque but please take the photograph. | 0:08:32 | 0:08:36 | |
Ask this lady. | 0:08:36 | 0:08:38 | |
Oh, scusi, sorry. Palazzo Lanfranchi? | 0:08:38 | 0:08:40 | |
-Si, yes. -Did Byron live here? | 0:08:40 | 0:08:42 | |
No, Byron lived on the other, in the other Palazzo Lanfranchi, | 0:08:42 | 0:08:46 | |
they had so many palaces. | 0:08:46 | 0:08:47 | |
Right, and Shelley, where was...? | 0:08:47 | 0:08:49 | |
Shelley lived over there, where you see the ruins? | 0:08:49 | 0:08:52 | |
There's no palaces any more. | 0:08:52 | 0:08:53 | |
-Si. Si, grazie. -Arrivederci. | 0:08:53 | 0:08:56 | |
Grazie mille. | 0:08:56 | 0:08:58 | |
Aw, she ignored you. | 0:08:58 | 0:09:00 | |
Where are we going now? | 0:09:03 | 0:09:04 | |
It's in the dossier, the sexed-up dossier in the rear of the car. | 0:09:04 | 0:09:09 | |
OK. | 0:09:14 | 0:09:15 | |
"Set in a wooded hill overlooking the valley below | 0:09:17 | 0:09:20 | |
"in the heart of Tuscany, La Suvera in Pievescola | 0:09:20 | 0:09:22 | |
"is an historic villa full of precious antiques and heirlooms. | 0:09:22 | 0:09:25 | |
Do James Mason. | 0:09:25 | 0:09:28 | |
-AS JAMES MASON: -"In the heart of Tuscany, | 0:09:28 | 0:09:30 | |
"La Suvera in Pievescola is an historic villa | 0:09:30 | 0:09:33 | |
"full of precious antiques and heirlooms." | 0:09:33 | 0:09:36 | |
Could we now please have Mr Neil Kinnock? | 0:09:36 | 0:09:39 | |
-AS NEIL KINNOCK: -Oh, all right. "Once a medieval fortress | 0:09:39 | 0:09:42 | |
"and later a papal palace." | 0:09:42 | 0:09:44 | |
That's the best thing you do. That is the best... | 0:09:44 | 0:09:46 | |
-The best thing I do? -That's the best thing you do. | 0:09:46 | 0:09:49 | |
The sign says go the other way. | 0:09:53 | 0:09:54 | |
Yeah, but the Sat Nav said go this way. | 0:09:54 | 0:09:56 | |
No, I think the signs were right and I'm the navigator. | 0:09:56 | 0:10:00 | |
It would help if we got over 40 miles an hour. | 0:10:00 | 0:10:02 | |
All right. See I changed down then. | 0:10:02 | 0:10:06 | |
Yeah, I loved the crunch sound that you made when you did it as well. | 0:10:06 | 0:10:10 | |
I'm hungry, so let's just stop at the first place we come to. | 0:10:11 | 0:10:14 | |
Oh! Oh, come on, somewhere, please. | 0:10:17 | 0:10:22 | |
You can see things, you can see villages or towns | 0:10:22 | 0:10:25 | |
but you never actually get to them. | 0:10:25 | 0:10:27 | |
Eventually, eventually we'll... I'll sniff one out. | 0:10:27 | 0:10:30 | |
Trattoria Albana. | 0:10:34 | 0:10:35 | |
Thank God for that, food. | 0:10:41 | 0:10:43 | |
Care to explain this? | 0:10:45 | 0:10:47 | |
IN PETE AND DUD VOICE: 'Ere, what are you doing | 0:10:48 | 0:10:51 | |
with the Casanova's autobiography in your sandwich box? | 0:10:51 | 0:10:54 | |
It's just research, that's all. | 0:10:54 | 0:10:56 | |
Just going to plump up the articles with a bit of culture, you know. | 0:10:56 | 0:11:01 | |
This is just extracts. The full thing is 800 pages. | 0:11:01 | 0:11:04 | |
How long was your book? Your autobiography? | 0:11:04 | 0:11:07 | |
I can't remember. 300, 200 and something? 300? | 0:11:07 | 0:11:10 | |
200 of that's got to have been padding. | 0:11:10 | 0:11:12 | |
There's not much padding. I'll be honest with you. | 0:11:12 | 0:11:14 | |
-Have you read it? -No, of course not, no. | 0:11:14 | 0:11:16 | |
I mean I've skimmed the index in WH Smith's, saved myself the £1.99. | 0:11:16 | 0:11:19 | |
And seeing your name, you weren't tempted to dip in and have a look? | 0:11:19 | 0:11:23 | |
No, I saw it. I just wanted to make sure I got a mention. | 0:11:23 | 0:11:25 | |
Yeah, I speak very highly of you, yes. | 0:11:25 | 0:11:27 | |
I'm sure you do, didn't doubt it, that's why I didn't need to check. | 0:11:27 | 0:11:29 | |
-Prego. -Grazie. | 0:11:29 | 0:11:32 | |
Ideally he'd open it, but there we are, it's a start. | 0:11:33 | 0:11:36 | |
Yeah, well, you got to pay extra for that. | 0:11:36 | 0:11:38 | |
No, it's good. It's about 300 pages long, | 0:11:38 | 0:11:41 | |
I only go up to winning the British Comedy Award. | 0:11:41 | 0:11:46 | |
For the first time. | 0:11:46 | 0:11:48 | |
Well, how many have you won? | 0:11:48 | 0:11:50 | |
Three. | 0:11:50 | 0:11:51 | |
Really? | 0:11:51 | 0:11:52 | |
-You cheeky bugger. -Wow. | 0:11:52 | 0:11:54 | |
Look at that genuine shock. Genuine shock, you bastard. | 0:11:54 | 0:11:57 | |
I'm genuinely shocked - three? | 0:11:57 | 0:11:59 | |
Can you mask your genuine shock? There's an idea. | 0:11:59 | 0:12:01 | |
Grazie. | 0:12:01 | 0:12:02 | |
Seven. That's how many. | 0:12:08 | 0:12:11 | |
I thought I'd answer the silent question that was hovering. | 0:12:11 | 0:12:14 | |
-Which is... -Buono, buono, bene. | 0:12:14 | 0:12:15 | |
What could you possibly write about that could fill, | 0:12:21 | 0:12:24 | |
what was it, 100 pages? | 0:12:24 | 0:12:26 | |
300. 300 pages, I mean, I don't know what you...? | 0:12:26 | 0:12:29 | |
Well, since you asked. | 0:12:29 | 0:12:31 | |
I was born 3rd May, 1965, South Wales, Swansea. | 0:12:31 | 0:12:36 | |
Are these the highlights? | 0:12:36 | 0:12:38 | |
In a little nursing home called, ironically enough, The Bryn, | 0:12:38 | 0:12:42 | |
given the great accolades I would enjoy later in my life | 0:12:42 | 0:12:46 | |
playing a character of that same name. | 0:12:46 | 0:12:48 | |
"Bryn" means "hill" in Welsh, and I've often wondered how different | 0:12:48 | 0:12:52 | |
my life would have been if my mother had chosen instead | 0:12:52 | 0:12:55 | |
the nearby James Bond Home for Expectant Mothers, | 0:12:55 | 0:12:57 | |
so I start with a gag. | 0:12:57 | 0:12:59 | |
And this made the final edition? | 0:12:59 | 0:13:01 | |
My parents were young when they had me, my father a car salesman. | 0:13:01 | 0:13:05 | |
We lived in Baglan, near Port Talbot. | 0:13:05 | 0:13:08 | |
I'm a bit worried there's been crossed wires here | 0:13:08 | 0:13:10 | |
because you seem to have started telling me your life story. | 0:13:10 | 0:13:13 | |
I'm reciting the book. | 0:13:13 | 0:13:14 | |
We're still on page one so settle in. | 0:13:14 | 0:13:16 | |
Have you written yours then? | 0:13:20 | 0:13:22 | |
No. No, I haven't. | 0:13:22 | 0:13:24 | |
I've written the Partridge autobiography - | 0:13:24 | 0:13:26 | |
I, Partridge, We Need to Talk About Alan. | 0:13:26 | 0:13:28 | |
-Do we? -Yeah. Very successful. I mean very. | 0:13:28 | 0:13:32 | |
Five stars. I don't know if I've seen more five-star reviews. | 0:13:34 | 0:13:40 | |
-Ah. -Ravioli, pasta. | 0:13:44 | 0:13:48 | |
Remind me at some point to tell you about the time I co-piloted | 0:13:48 | 0:13:52 | |
a fighter jet from RAF Norfolk. Not now but another time. | 0:13:52 | 0:13:55 | |
No, you've already told me that story, on more than one occasion. | 0:13:55 | 0:13:59 | |
No, I probably gave you the bullet points. | 0:13:59 | 0:14:01 | |
-No, it was quite extensive. -We've got time here so... | 0:14:01 | 0:14:04 | |
No, we haven't. We really haven't. | 0:14:04 | 0:14:06 | |
-This is good. -You know we're not that far from the hotel, | 0:14:06 | 0:14:09 | |
you know that, don't you? About ten miles. | 0:14:09 | 0:14:11 | |
-I know. -Because I checked a thing called a map. | 0:14:11 | 0:14:13 | |
That's what they used to use in the olden days, Rob. | 0:14:13 | 0:14:15 | |
Fine, so when we get to the hotel, we'll enjoy the hotel. | 0:14:15 | 0:14:18 | |
Yeah, we could have been eating there now. | 0:14:18 | 0:14:20 | |
This is good, what's wrong with this? | 0:14:20 | 0:14:22 | |
-Nothing wrong with this. -This is good ravioli. | 0:14:22 | 0:14:24 | |
"He possessed two of the most important ingredients of greatness, | 0:14:27 | 0:14:32 | |
"total self-confidence and super-abundant energy. | 0:14:32 | 0:14:35 | |
"He feared nobody, he was equally at home in a palace or a tavern." | 0:14:35 | 0:14:40 | |
-Tick, tick, tick. -"A church or a brothel." -Tick. | 0:14:40 | 0:14:42 | |
"He was totally devoid of a sense of morality, love for him..." | 0:14:42 | 0:14:46 | |
-Well that's not me. -"..had no connection with evil, it meant pleasure pure and simple." | 0:14:46 | 0:14:50 | |
That's not me I've got a moral compass. | 0:14:50 | 0:14:52 | |
Oh, yes, you have a moral compass, it's just you don't know where it is. | 0:14:52 | 0:14:55 | |
I do have a moral compass and if you gave me three days, | 0:14:55 | 0:14:57 | |
I could find it in the attic. | 0:14:57 | 0:14:59 | |
When was the last time you found yourself wondering, | 0:14:59 | 0:15:02 | |
"Oh, I wonder where my moral compass is? | 0:15:02 | 0:15:05 | |
"I could do with it now." | 0:15:05 | 0:15:06 | |
When I've needed it, I've managed to root it out. | 0:15:06 | 0:15:08 | |
But when? What sort of occasions would they have been? | 0:15:08 | 0:15:10 | |
This is what I'm curious to know. | 0:15:10 | 0:15:12 | |
OK, when I appeared before the Leveson Inquiry, | 0:15:12 | 0:15:15 | |
I think I probably laid my hands on my moral compass then. | 0:15:15 | 0:15:17 | |
Cost me £450,000 in legal fees when I tried to sue News International | 0:15:17 | 0:15:21 | |
and it doesn't make you very popular with certain people. | 0:15:21 | 0:15:24 | |
But you know it's the right thing to do, | 0:15:24 | 0:15:26 | |
so that's why I'm different from Casanova. | 0:15:26 | 0:15:28 | |
Byron had a...17-year-old mistress. | 0:15:36 | 0:15:39 | |
She was married to a 60-year-old nobleman and they all lived together, | 0:15:39 | 0:15:43 | |
everybody knew about it, and of course, they were then exiled | 0:15:43 | 0:15:46 | |
to Pisa because they were fighting for the Carbonari. | 0:15:46 | 0:15:49 | |
-Really? -Yeah. | 0:15:49 | 0:15:51 | |
I mean I like Carbonara but you know... | 0:15:51 | 0:15:53 | |
-Would you fight for one? -No. -No? | 0:15:53 | 0:15:55 | |
No, I mean Italian food's nice but it's not that good. | 0:15:55 | 0:15:57 | |
-Do you know what I'd fight for? -I'd fight for a curry. | 0:15:57 | 0:15:59 | |
-I might fight after a curry. -I'd fight for a seafood linguine, | 0:15:59 | 0:16:02 | |
I think, that would get my gander. | 0:16:02 | 0:16:03 | |
Yeah, a good spag bol, I wouldn't fight but you know, I'd... | 0:16:03 | 0:16:06 | |
Stamp your feet? | 0:16:06 | 0:16:07 | |
No, I'd flick someone on the side of their ear, quite painfully. | 0:16:07 | 0:16:10 | |
Flick someone like at school. | 0:16:10 | 0:16:12 | |
Like that, like that. "Ah, fuck off." | 0:16:12 | 0:16:14 | |
Boys at school used to do that, didn't they? I used to hate that. | 0:16:14 | 0:16:16 | |
-Were you a flicker or were you...? -I was a flicker and a flickee. | 0:16:16 | 0:16:19 | |
I was neither, but I watched at the side | 0:16:19 | 0:16:21 | |
and I saw the flickers and I felt... | 0:16:21 | 0:16:23 | |
I felt what they were doing was wrong and I felt sympathy for the flicked. | 0:16:23 | 0:16:27 | |
And the afflicted? | 0:16:27 | 0:16:28 | |
For the afflicted, yes. | 0:16:28 | 0:16:30 | |
No, I got in there, you know, and I was, you know. | 0:16:30 | 0:16:32 | |
Oh, yeah, you saw injustice and you went in to sort it out. | 0:16:32 | 0:16:36 | |
-I did, you know. -All right. | 0:16:36 | 0:16:39 | |
Did you front a campaign called Flicked Off? | 0:16:39 | 0:16:42 | |
Protecting the victims of flicking. | 0:16:42 | 0:16:44 | |
-Grazie. -Prego. | 0:16:52 | 0:16:53 | |
Hello. | 0:16:55 | 0:16:56 | |
Hey, how's it going? | 0:16:56 | 0:16:58 | |
Great, great, we're a bit... Well, it's all right, we're a bit lost. | 0:16:58 | 0:17:01 | |
Oh, dear, well, I'm sorry to hear that. | 0:17:01 | 0:17:04 | |
I'm just calling to remind you that I'm coming out tomorrow. | 0:17:04 | 0:17:07 | |
Oh, great, that's good. | 0:17:07 | 0:17:09 | |
With Yolanda, the photographer. | 0:17:09 | 0:17:11 | |
What, the same photographer as last time? | 0:17:11 | 0:17:13 | |
Yeah, yeah. Is that OK? | 0:17:13 | 0:17:16 | |
Well, who booked her? | 0:17:16 | 0:17:18 | |
I don't know, I think it was the Observer. | 0:17:18 | 0:17:20 | |
Is that a problem? Because I can always try to change it. | 0:17:20 | 0:17:23 | |
No, no, that would be rude. | 0:17:23 | 0:17:25 | |
I'm sure it'll be fine. | 0:17:25 | 0:17:27 | |
All right, great...for you. | 0:17:27 | 0:17:29 | |
All right, well, listen, I'll see you tomorrow. | 0:17:29 | 0:17:33 | |
-Can't wait. -All right, lovey. Take care, ta-ra. | 0:17:33 | 0:17:35 | |
So our photographer who's coming tomorrow | 0:17:40 | 0:17:43 | |
is the same one we had last time. | 0:17:43 | 0:17:46 | |
-Really? -Yeah. Yolanda. | 0:17:46 | 0:17:49 | |
The one you slept with? | 0:17:49 | 0:17:50 | |
Yeah. | 0:17:50 | 0:17:52 | |
Is that going to be awkward? | 0:17:52 | 0:17:54 | |
Be interesting. | 0:17:54 | 0:17:56 | |
How do you do it? | 0:17:56 | 0:17:57 | |
Just take your trousers off... | 0:17:59 | 0:18:01 | |
-Serious question. -And your underpants, socks optional. | 0:18:01 | 0:18:04 | |
I'm seriously asking you, how do you do it? | 0:18:04 | 0:18:07 | |
-It's reputation. -You're famous? | 0:18:07 | 0:18:10 | |
No, although I don't see any reason to not use everything | 0:18:10 | 0:18:14 | |
you've got in your arsenal. | 0:18:14 | 0:18:16 | |
People say, "Oh, she only slept with you because you're famous." | 0:18:16 | 0:18:18 | |
And you say, "They only slept with you because you're good looking and young." | 0:18:18 | 0:18:22 | |
They sleep with me because of my semi-justified reputation | 0:18:22 | 0:18:25 | |
for being something of a Lothario. | 0:18:25 | 0:18:27 | |
But it was the same with Byron and Shelley, Casanova. | 0:18:27 | 0:18:31 | |
Byron said he felt like he was 60 because he'd had so many affairs, | 0:18:31 | 0:18:34 | |
-36 when he died. -Yeah, well, he's still... | 0:18:34 | 0:18:37 | |
Ten years younger than us, and a bit. | 0:18:37 | 0:18:39 | |
So we are more than ten years older than him now | 0:18:39 | 0:18:44 | |
when he was complaining about how old he felt. | 0:18:44 | 0:18:48 | |
We're ten years ahead of that. | 0:18:48 | 0:18:50 | |
His girlfriend was still half his age. | 0:18:50 | 0:18:52 | |
When he was in pieces, Shelley fell in love with a 17-year-old. | 0:18:52 | 0:18:56 | |
She was only 17. | 0:18:56 | 0:18:59 | |
-AS MICHAEL CAINE: -She was only, she was only 16 years old. | 0:19:00 | 0:19:03 | |
AS MICHAEL CAINE: No, she was only 17 years old. | 0:19:03 | 0:19:06 | |
Sounds good. | 0:19:06 | 0:19:08 | |
Do you miss Misha? | 0:19:08 | 0:19:09 | |
Misha was in her mid-20s, you know that, don't you? | 0:19:09 | 0:19:12 | |
Yeah, I'm saying she's younger. | 0:19:12 | 0:19:13 | |
But it's not like a connection with the 17-year-old. | 0:19:13 | 0:19:16 | |
No, I was trying to ask you a serious question | 0:19:16 | 0:19:18 | |
in a sensitive way. Do you miss her? | 0:19:18 | 0:19:20 | |
Yes. | 0:19:23 | 0:19:24 | |
She's the last chance I had to have a real, you know... | 0:19:26 | 0:19:29 | |
We came together through our mutual enthusiasm | 0:19:29 | 0:19:33 | |
for sexual intercourse, and that could easily have evolved | 0:19:33 | 0:19:38 | |
into a family and children and growing old but... | 0:19:38 | 0:19:42 | |
it was not to be. | 0:19:42 | 0:19:44 | |
I try not to think about it really, otherwise I get depressed. | 0:19:46 | 0:19:49 | |
What's the optimum age for a woman, for a man's partner? | 0:19:51 | 0:19:54 | |
-We'll age. -Most men, mid-20s. 26, maybe? | 0:19:54 | 0:19:58 | |
You know, old enough to be a woman and have a rounded view of life, | 0:19:58 | 0:20:02 | |
but young enough not to have acquired baggage | 0:20:02 | 0:20:06 | |
that they then off load onto you. | 0:20:06 | 0:20:08 | |
As I grow older, I've looked at a photo album the other day, | 0:20:08 | 0:20:12 | |
as I get older in the pictures, my girlfriend stays the same age. | 0:20:12 | 0:20:16 | |
They're like Doctor Whos, they just keep changing. | 0:20:16 | 0:20:19 | |
Would you like to drive, because I've had a lot to drink. | 0:20:22 | 0:20:25 | |
I will drive because I... | 0:20:25 | 0:20:27 | |
But would you drive in an orderly manner, not as if | 0:20:27 | 0:20:29 | |
you're Emerson Fittipaldi taking part in the Paris-Dakar Rally | 0:20:29 | 0:20:32 | |
and not instructing me on how you change down before a corner. | 0:20:32 | 0:20:36 | |
I will neither drive like Emerson Fittipaldi, | 0:20:36 | 0:20:39 | |
neither will I drive like a district nurse. | 0:20:39 | 0:20:42 | |
I will drive briskly but safely. | 0:20:42 | 0:20:44 | |
How do you rate the wild boar? | 0:20:45 | 0:20:47 | |
Very nice, quite aggressive. | 0:20:47 | 0:20:49 | |
An aggressive meat. | 0:20:49 | 0:20:51 | |
-They come at you. -Yeah. | 0:20:51 | 0:20:53 | |
Once they're on the plate, you're safe, I think, as a rule. | 0:20:53 | 0:20:56 | |
Grazie. | 0:20:56 | 0:20:57 | |
I'll get this, Steve, please. | 0:20:57 | 0:20:59 | |
It's time to play, Guess The Amount. | 0:21:01 | 0:21:04 | |
Contestant today is Steve Coogan. | 0:21:04 | 0:21:06 | |
The Observer's picking up the tab. | 0:21:06 | 0:21:08 | |
Yeah, all right. | 0:21:08 | 0:21:09 | |
Steve comes from the town of Pedantry in the North of England. | 0:21:09 | 0:21:12 | |
Steve, is the amount, A - 76.50 euro, | 0:21:12 | 0:21:16 | |
B - 350 euro, | 0:21:16 | 0:21:18 | |
or C - 2,475,000 euro. | 0:21:18 | 0:21:22 | |
Remember, Steve I can only take your first answer. | 0:21:22 | 0:21:25 | |
A. | 0:21:25 | 0:21:27 | |
Is the right answer, you're going home richer, well done. | 0:21:27 | 0:21:30 | |
Good night, everybody. | 0:21:30 | 0:21:31 | |
That's good. That's the wine as well, everything in there. | 0:21:31 | 0:21:35 | |
-But it is in the middle of nowhere, you know what I mean? -Yes, I know. | 0:21:35 | 0:21:38 | |
Factor in taxi fares, it would be 300 euro. | 0:21:38 | 0:21:41 | |
MUSIC: "You Oughta Know" by Alanis Morissette | 0:21:41 | 0:21:43 | |
ROB SINGING ALONG: # Is she perverted like me? | 0:21:43 | 0:21:45 | |
# Would she go down on you in a theatre? # | 0:21:45 | 0:21:49 | |
You're stretching all the vowel sounds out. It's very staccato. | 0:21:49 | 0:21:52 | |
"Du, du, du, du, du, du," | 0:21:52 | 0:21:54 | |
you're doing, "da, da, de da, de da." | 0:21:54 | 0:21:56 | |
Oh, I'm sorry! | 0:21:56 | 0:21:58 | |
"La, la, la." Her whole thing is anger. | 0:21:58 | 0:22:01 | |
Anger comes out like a machine gun, a rapid "da, da, da, da." | 0:22:01 | 0:22:04 | |
Our new coach on the voice, Steve Coogan. | 0:22:04 | 0:22:07 | |
If you've never been angry because a man has dumped you, because... | 0:22:07 | 0:22:11 | |
Well, of course I have. How can you be so insensitive? | 0:22:11 | 0:22:15 | |
Of course I have, and I think you know who he was. | 0:22:15 | 0:22:18 | |
Well, channel it. Channel it. | 0:22:18 | 0:22:20 | |
I think you know only too well which incident I'm referring to. | 0:22:20 | 0:22:23 | |
Look me in the eye and tell me you don't. | 0:22:23 | 0:22:25 | |
# It's not fair to deny me | 0:22:25 | 0:22:28 | |
-STEVE AS ROGER MOORE: -# And I'm here to remind you | 0:22:28 | 0:22:33 | |
# Of the mess you left when you went away | 0:22:33 | 0:22:37 | |
# It's not fair to remind you... # | 0:22:37 | 0:22:41 | |
Roger Moore sings the very best of Alanis Morissette, | 0:22:41 | 0:22:44 | |
including You Oughta Know. | 0:22:44 | 0:22:47 | |
# You seem very calm | 0:22:47 | 0:22:50 | |
# Things seem peaceful now... # | 0:22:50 | 0:22:54 | |
Oh, like being at home. | 0:22:54 | 0:22:57 | |
Like all your fans. | 0:22:58 | 0:23:00 | |
ROB SINGS: # Cos the love that you gave that we made wasn't able | 0:23:02 | 0:23:05 | |
# To make it enough for you to be open wide | 0:23:05 | 0:23:08 | |
# Open wide! # | 0:23:08 | 0:23:10 | |
She doesn't say open wide again like that, ever. | 0:23:10 | 0:23:13 | |
# Open wide. # | 0:23:13 | 0:23:14 | |
Could we sing it without you correcting me? | 0:23:14 | 0:23:17 | |
# But you're still alive | 0:23:17 | 0:23:19 | |
# And I'm here | 0:23:19 | 0:23:22 | |
# To remind you | 0:23:22 | 0:23:24 | |
# of the mess you left when you went away | 0:23:24 | 0:23:28 | |
# It's not fair | 0:23:28 | 0:23:31 | |
# To deny me | 0:23:31 | 0:23:33 | |
# Of the cross I bear... # | 0:23:33 | 0:23:35 | |
Wow, look at that. Isn't that beautiful? | 0:23:35 | 0:23:38 | |
Yeah. | 0:23:38 | 0:23:40 | |
So you have reserved the Duke of Genoa suite and Napoleon suite. | 0:23:42 | 0:23:46 | |
Which is bigger? | 0:23:46 | 0:23:47 | |
Oh, both are very nice. | 0:23:47 | 0:23:49 | |
-Yeah. -I think I should have the Napoleon. | 0:23:49 | 0:23:52 | |
-If it's based on height. -Or complex. | 0:23:52 | 0:23:55 | |
This is your sitting room. | 0:23:57 | 0:23:58 | |
Right. | 0:23:58 | 0:23:59 | |
And this is your bedroom. | 0:24:01 | 0:24:02 | |
You have a beautiful view. | 0:24:05 | 0:24:07 | |
Wow, that is...stunning. | 0:24:07 | 0:24:12 | |
I'm going to show your friend his room. | 0:24:12 | 0:24:15 | |
OK, of course, yeah. | 0:24:15 | 0:24:18 | |
I like your uniform. You look like an air stewardess. | 0:24:18 | 0:24:21 | |
That's, that's...in a good way. | 0:24:21 | 0:24:24 | |
And this is your room. | 0:24:29 | 0:24:31 | |
Amazing. | 0:24:32 | 0:24:33 | |
Yes, it's my favourite room. | 0:24:33 | 0:24:35 | |
Yeah, I'll bet. | 0:24:35 | 0:24:36 | |
Hi, Rob, it's Donna. | 0:24:53 | 0:24:55 | |
I'm just calling to check you got my e-mail with the script pages? | 0:24:55 | 0:24:59 | |
No, I haven't. What is it? What's the part? | 0:24:59 | 0:25:02 | |
It's a really good part. It's a supporting role, | 0:25:02 | 0:25:05 | |
but you're going to be great in it because it's very sympathetic | 0:25:05 | 0:25:08 | |
and people will love you in it, really. | 0:25:08 | 0:25:10 | |
You'll be playing an accountant for the Mob. | 0:25:10 | 0:25:13 | |
Oh, brilliant, all right. Comedy? | 0:25:13 | 0:25:15 | |
No, it's a thriller. | 0:25:15 | 0:25:17 | |
Really, why me? | 0:25:17 | 0:25:19 | |
You're perfect for the part. You look like an accountant, | 0:25:19 | 0:25:23 | |
and also you're totally unknown in America, which is what they want. | 0:25:23 | 0:25:27 | |
Yes, very good. | 0:25:27 | 0:25:29 | |
Yes, you've got to put yourself on tape and e-mail me. | 0:25:29 | 0:25:32 | |
Yeah, I can do that. I can have it with you by tomorrow. | 0:25:32 | 0:25:35 | |
Oh, this is good news, this is exciting. | 0:25:35 | 0:25:37 | |
It is. It is exciting, yeah. How's Steve? | 0:25:37 | 0:25:40 | |
He's fine, he's fine. He's a bit pissed off | 0:25:40 | 0:25:43 | |
about the show ending, but other than that, you know, same as ever. | 0:25:43 | 0:25:47 | |
Che bella palazzo. | 0:26:01 | 0:26:03 | |
It's the sort of place that Byron would have rented. | 0:26:03 | 0:26:07 | |
Ciao, buonasera. | 0:26:10 | 0:26:12 | |
-Buonasera. -Buonasera. | 0:26:12 | 0:26:14 | |
She's got a lovely gait. | 0:26:14 | 0:26:16 | |
Probably padlocked. | 0:26:16 | 0:26:18 | |
Oh, yes. | 0:26:20 | 0:26:21 | |
There's very little separating Byron from Brydon. | 0:26:21 | 0:26:26 | |
-Yeah. -Just a D. That's all there is. | 0:26:26 | 0:26:28 | |
Yeah, but the almost anagram of your names | 0:26:30 | 0:26:33 | |
is the only thing that you would have shared, isn't it, | 0:26:33 | 0:26:37 | |
because what Byron represented is probably the antithesis of you, | 0:26:37 | 0:26:41 | |
because he was shaking the tree from the word go, | 0:26:41 | 0:26:44 | |
until when he popped his clogs, and that ain't you, mate. And... | 0:26:44 | 0:26:49 | |
I'm not a risk taker. I'll admit that, although I have played Risk. | 0:26:49 | 0:26:53 | |
And he's a good swimmer. | 0:26:53 | 0:26:55 | |
Again, yeah, yeah. | 0:26:55 | 0:26:56 | |
He struggled with his weight when he was in Italy, | 0:26:56 | 0:26:59 | |
not many people know that about him, he was a bloater. | 0:26:59 | 0:27:02 | |
OK, so maybe now, Rob, we're finding something more solid. | 0:27:02 | 0:27:05 | |
Like him, I am fighting the Carbonara. | 0:27:05 | 0:27:08 | |
Oh, this is lovely. | 0:27:08 | 0:27:09 | |
You could sit here for a good seven or eight minutes more. | 0:27:09 | 0:27:13 | |
MUSIC: "Go No More A-Roving" by Leonard Cohen | 0:27:15 | 0:27:20 | |
AS AL PACINO: You know when I imagined where we'd be, | 0:27:26 | 0:27:29 | |
ten years ago, this is it. | 0:27:29 | 0:27:31 | |
When I imagined where we'd be, ten years ago, | 0:27:31 | 0:27:36 | |
this is what I wanted. | 0:27:36 | 0:27:40 | |
AS DUSTIN HOFFMAN: I love you. I love this city, I love this house. | 0:27:40 | 0:27:43 | |
AS MARLON BRANDO: Now when I imagined where we'd be, ten years ago, | 0:27:43 | 0:27:47 | |
this is what I wanted. | 0:27:47 | 0:27:49 | |
You know. You know. | 0:27:49 | 0:27:52 | |
IN VARIOUS VOICES: You know. You know. You know. | 0:27:52 | 0:27:58 | |
AS WOODY ALLEN: There's too much going on, I can't just close the door | 0:28:05 | 0:28:08 | |
and leave it behind, you know. My head has to be out there. | 0:28:08 | 0:28:13 | |
IN SIGMUND FREUD VOICE: I think it is very unlikely you'll get this part | 0:28:17 | 0:28:21 | |
and you have to come to terms with it I'm afraid, it's very unlikely. | 0:28:21 | 0:28:24 | |
I know. | 0:28:24 | 0:28:25 | |
Well, why you bother then? | 0:28:25 | 0:28:27 | |
Oh, you know, give it a go. | 0:28:27 | 0:28:29 | |
But I think it's very unlikely. | 0:28:29 | 0:28:30 | |
I know. | 0:28:30 | 0:28:32 | |
Then why are you doing it? | 0:28:32 | 0:28:34 | |
AS SEAN CONNERY: Why are you doing it, you fucking idiot? | 0:28:34 | 0:28:37 | |
Because I think I might get it. | 0:28:39 | 0:28:40 | |
I think it's very unlikely that you'll get it. | 0:28:40 | 0:28:43 | |
Why? | 0:28:43 | 0:28:44 | |
Because you are an inferior talent. | 0:28:44 | 0:28:47 | |
Really? You think so. | 0:28:47 | 0:28:49 | |
Yes, I do. | 0:28:49 | 0:28:51 | |
Well, I can hardly hear you. | 0:28:51 | 0:28:53 | |
Why is that? | 0:28:53 | 0:28:54 | |
Because your head is up your fucking arse. | 0:28:54 | 0:28:58 | |
# The night was made for loving | 0:28:58 | 0:29:02 | |
# And the day returns too soon | 0:29:02 | 0:29:09 | |
# Yet we'll go no more a-roving | 0:29:09 | 0:29:15 | |
# by the light of the moon | 0:29:15 | 0:29:21 | |
# We'll go no more a-roving... # | 0:29:21 | 0:29:24 |