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APPLAUSE | 0:00:13 | 0:00:16 | |
Good evening, and welcome to "Would I Lie To You?" - | 0:00:23 | 0:00:25 | |
the show with fabulous fibs and terrifying truths. | 0:00:25 | 0:00:29 | |
On David Mitchell's team tonight, a comedian who says | 0:00:29 | 0:00:32 | |
he looks like a cross between Miss Piggy and Boris Johnson, | 0:00:32 | 0:00:36 | |
so part puppet with the face of a pig, | 0:00:36 | 0:00:38 | |
and part Miss Piggy, it's Rob Beckett. | 0:00:38 | 0:00:41 | |
APPLAUSE AND CHEERING | 0:00:41 | 0:00:44 | |
And a presenter of Newsnight, who attended an all-girls school | 0:00:44 | 0:00:48 | |
that she describes as being a bit like St Trinian's. | 0:00:48 | 0:00:52 | |
I say forget the quiz, let's talk about that. It's Kirsty Wark. | 0:00:52 | 0:00:55 | |
APPLAUSE AND CHEERING | 0:00:55 | 0:00:57 | |
And on Lee Mack's team tonight, | 0:00:59 | 0:01:00 | |
a dancer who's been in the business for 40 years - | 0:01:00 | 0:01:04 | |
quite an achievement, considering he says he's 37, Bruno Tonioli. | 0:01:04 | 0:01:07 | |
APPLAUSE AND CHEERING | 0:01:07 | 0:01:09 | |
And an avant-garde comedian and broadcaster who redefines "cool". | 0:01:12 | 0:01:17 | |
Cool now means having a beard and living in Norwich. | 0:01:17 | 0:01:21 | |
It's Adam Buxton. | 0:01:21 | 0:01:23 | |
APPLAUSE AND CHEERING | 0:01:23 | 0:01:25 | |
And so we begin with Round 1. It's Home Truths, | 0:01:26 | 0:01:29 | |
where our panellists each read out a statement from the card | 0:01:29 | 0:01:32 | |
in front of them. Now, to make things harder, they've never seen | 0:01:32 | 0:01:35 | |
the card before, so they've no idea what they'll be faced with. | 0:01:35 | 0:01:38 | |
And it's up to the opposing team to sort the fact from the fiction. | 0:01:38 | 0:01:41 | |
Bruno Tonioli, you're first up tonight. | 0:01:41 | 0:01:45 | |
I once caused a fire in a hotel | 0:01:45 | 0:01:48 | |
while making pasta sauce for Bananarama. | 0:01:48 | 0:01:51 | |
David's team. Bananarama, I should say, David, are a popular pop group | 0:01:51 | 0:01:55 | |
from the 1980s - all-girl, three-piece band. | 0:01:55 | 0:01:59 | |
Yeah. I should point out, girls are... | 0:01:59 | 0:02:02 | |
I mean, the key question here, Bruno, is | 0:02:05 | 0:02:08 | |
why were you making pasta sauce in a hotel for Bananarama? | 0:02:08 | 0:02:11 | |
Because I'm Italian and, you know, people like my pasta. | 0:02:11 | 0:02:15 | |
Who was your favourite member of Bananarama? | 0:02:15 | 0:02:18 | |
Ah, oh, they're all my favourite, they're all friends. | 0:02:18 | 0:02:21 | |
LAUGHTER | 0:02:21 | 0:02:23 | |
Perfect answer. If he's lying, he's good. | 0:02:23 | 0:02:26 | |
One of them is married to Andrew Ridgeley. | 0:02:26 | 0:02:29 | |
-KIRSTY: -What, really? -Wasn't one of them married | 0:02:29 | 0:02:31 | |
-to the Eurythmics bloke? -Yes, yes. -Dave Stewart, yes. | 0:02:31 | 0:02:34 | |
-That's Annie Lennox. -Annie Lennox wasn't in Bananarama. | 0:02:34 | 0:02:37 | |
It's so difficult working with such music experts(!) | 0:02:37 | 0:02:41 | |
Anyway, back to the story. When was this? When was it? | 0:02:43 | 0:02:46 | |
Er, it was in the '80s. | 0:02:46 | 0:02:48 | |
The 1980s. | 0:02:48 | 0:02:50 | |
Wait a minute, you were just... Were you very young in the '80s? | 0:02:51 | 0:02:54 | |
I was extremely young, I was practically a foetus. | 0:02:54 | 0:02:57 | |
And why were you with Bananarama? | 0:02:59 | 0:03:02 | |
I was, er, I was shooting a video, I was shooting a video. | 0:03:02 | 0:03:06 | |
-Were you dancing? -You were directing it, were you? | 0:03:06 | 0:03:09 | |
Choreographing a video. | 0:03:09 | 0:03:11 | |
-You were choreographing a Bananarama video? -Yeah. | 0:03:11 | 0:03:13 | |
I have to say, having seen Bananarama videos, | 0:03:13 | 0:03:16 | |
I don't think there's an overreliance on choreography. | 0:03:16 | 0:03:19 | |
-IN ITALIAN ACCENT: -You-a point-a your hand like this, | 0:03:19 | 0:03:22 | |
you go-a like that, you go up in the air, | 0:03:22 | 0:03:24 | |
you come-a down. You go to that side. | 0:03:24 | 0:03:27 | |
It's-a wonderful, I love it. | 0:03:27 | 0:03:28 | |
Now, where is the kitchen and my sauce-a-pan...? | 0:03:31 | 0:03:34 | |
So anyway, I was working with a lot of pop groups at the time. | 0:03:37 | 0:03:40 | |
Bananarama was one of my clients | 0:03:40 | 0:03:42 | |
and I was in Los Angeles, shooting a video, | 0:03:42 | 0:03:45 | |
and after we finished filming | 0:03:45 | 0:03:47 | |
I went to the hotel, they asked me to cook a pasta for them. | 0:03:47 | 0:03:51 | |
Is cooking dinner at the end of the day | 0:03:51 | 0:03:54 | |
-part of the choreographer's job description? -Um... | 0:03:54 | 0:03:57 | |
Because some hotels, I believe, at the very top end, | 0:03:57 | 0:04:00 | |
will actually provide a food-making service for you. | 0:04:00 | 0:04:04 | |
And, in fact, I've heard it's even frowned upon | 0:04:04 | 0:04:07 | |
if you attempt to cook your own meal on the premises. | 0:04:07 | 0:04:10 | |
Ah, but there are some hotels, | 0:04:10 | 0:04:12 | |
rock'n'roll hotels, which actually have villas, | 0:04:12 | 0:04:15 | |
so you don't go through the...where everybody goes through. | 0:04:15 | 0:04:18 | |
So how did the fire...? You say there was a conflagration? | 0:04:18 | 0:04:21 | |
Well, what happened is that I kind of started, er, | 0:04:21 | 0:04:25 | |
this tomato sauce and I said, er, to Sara, | 0:04:25 | 0:04:29 | |
"I need to get some extra ingredients, | 0:04:29 | 0:04:32 | |
"so you just watch the onions. | 0:04:32 | 0:04:34 | |
"Make sure that once they become golden, you remove | 0:04:34 | 0:04:37 | |
"the pan from the stove. | 0:04:37 | 0:04:39 | |
"And wait for me to come back to finish." | 0:04:39 | 0:04:42 | |
-Very clear instructions. -Very clear, it's very simple. | 0:04:42 | 0:04:45 | |
An idiot could follow those instructions. | 0:04:45 | 0:04:47 | |
After a day of trying to choreograph Bananarama, | 0:04:47 | 0:04:50 | |
you knew they couldn't follow any instructions. | 0:04:50 | 0:04:52 | |
So, anyway, so I come back and there is, like, fire engines, | 0:04:54 | 0:04:58 | |
smoke everywhere. "What the hell is going on here?" | 0:04:58 | 0:05:01 | |
Basically, she washed her hair, and the kitchen was on fire, | 0:05:01 | 0:05:04 | |
everything was black. I mean, the whole thing was a terrible disaster. | 0:05:04 | 0:05:07 | |
Was Bananarama all right? | 0:05:07 | 0:05:10 | |
Who cares? My pasta was ruined. | 0:05:10 | 0:05:12 | |
Did the fire brigade come? | 0:05:14 | 0:05:16 | |
-Yes. -Was that nice? | 0:05:16 | 0:05:17 | |
"Was it nice?" did you say, Rob? | 0:05:17 | 0:05:19 | |
Was it nice?! | 0:05:19 | 0:05:20 | |
-IN WELSH ACCENT: -How was the fire engine - was it nice? | 0:05:20 | 0:05:23 | |
They are nice, because in America they're always very nice. | 0:05:23 | 0:05:27 | |
They're, "How are you doing, sir? | 0:05:27 | 0:05:29 | |
"Is this your villa? Is it burnt down to the ground? | 0:05:29 | 0:05:32 | |
"Well done, good job, good job!" | 0:05:32 | 0:05:34 | |
You know they're, they're lovely, I love it. Good job! | 0:05:34 | 0:05:38 | |
They're so nice. Everything in America is lovely. "Good job!" | 0:05:38 | 0:05:43 | |
Good job. | 0:05:43 | 0:05:45 | |
David, what are you thinking? | 0:05:47 | 0:05:49 | |
-What do you think? -I think it's a lie. -Really? -Yeah. | 0:05:49 | 0:05:52 | |
I think he's telling the truth cos it's so ridiculous. | 0:05:52 | 0:05:54 | |
I think we're going to say true. I think it's true. | 0:05:54 | 0:05:58 | |
OK. Bruno Tonioli was it true or was it a lie? | 0:05:58 | 0:06:02 | |
It was the truth. | 0:06:02 | 0:06:04 | |
Ah, wow. | 0:06:04 | 0:06:06 | |
Yes, it's true, Bruno DID cause a fire in a hotel | 0:06:08 | 0:06:12 | |
when making pasta sauce for Bananarama. | 0:06:12 | 0:06:15 | |
Adam, you're next. | 0:06:15 | 0:06:17 | |
If my wife and I are having a row, to help us think more rationally, | 0:06:18 | 0:06:22 | |
we go into separate rooms and continue the argument over Skype. | 0:06:22 | 0:06:27 | |
LAUGHTER | 0:06:27 | 0:06:29 | |
APPLAUSE | 0:06:31 | 0:06:32 | |
I should say, before we kick off here, | 0:06:35 | 0:06:38 | |
if anybody in Wales is watching, Skype is, um... | 0:06:38 | 0:06:42 | |
It's a sort of telephone call with pictures. David. | 0:06:42 | 0:06:46 | |
Adam, where did this idea come from? | 0:06:46 | 0:06:49 | |
Er, well, it first started | 0:06:49 | 0:06:51 | |
when we were not in the same physical space, | 0:06:51 | 0:06:54 | |
like, we weren't in the same house, we were, er... | 0:06:54 | 0:06:57 | |
On Skype already. | 0:06:57 | 0:06:58 | |
We were on Skype, we were in different countries | 0:06:58 | 0:07:01 | |
and we were having quite a difficult conversation | 0:07:01 | 0:07:04 | |
that I was anticipating was going to get out of hand, and I was | 0:07:04 | 0:07:07 | |
surprised by the fact that Skype enabled us to stay relatively calm. | 0:07:07 | 0:07:11 | |
-What was the difficult situation? -KIRSTY: I was going to ask that. | 0:07:11 | 0:07:14 | |
Did it go along the lines of, | 0:07:14 | 0:07:15 | |
"What's that person doing in the background?" | 0:07:15 | 0:07:18 | |
What was the last row you had that required Skype's intervention? | 0:07:21 | 0:07:24 | |
Er, well, I mean, this is kind of personal. | 0:07:24 | 0:07:28 | |
You brought it up, mate. | 0:07:29 | 0:07:30 | |
I mean... | 0:07:30 | 0:07:32 | |
It was sparked off by, er, drawers being left open. | 0:07:32 | 0:07:36 | |
-THEY GASP -I mean, I was very irritated | 0:07:36 | 0:07:38 | |
because it was something that I'd pointed out a number of times. | 0:07:38 | 0:07:42 | |
-And I was disappointed to see that, er... -Disappointed! | 0:07:42 | 0:07:45 | |
-The conversation... -Classic! | 0:07:45 | 0:07:48 | |
-Oh, yeah, "I'm not angry, I'm disappointed." -Disappointed. | 0:07:48 | 0:07:51 | |
I was VERY disappointed to see that the tip | 0:07:51 | 0:07:55 | |
that I had given about keeping the drawers closed, | 0:07:55 | 0:07:58 | |
especially the ones at a low level, so I don't bark my shins - | 0:07:58 | 0:08:01 | |
is that really unreasonable? | 0:08:01 | 0:08:03 | |
I was disappointed to see that that chat hadn't been actioned. | 0:08:03 | 0:08:08 | |
Ah, oh. | 0:08:10 | 0:08:12 | |
How do you go from arguing...? Which one of you will then say, | 0:08:12 | 0:08:16 | |
"OK, whoa, whoa, whoa, whoa, timeout, um, let, let's, let's..."? | 0:08:16 | 0:08:21 | |
I mean, that's enough to start a divorce. | 0:08:21 | 0:08:24 | |
If someone goes, "OK, timeout." "Right, that's it!" | 0:08:26 | 0:08:29 | |
I do that with my wife when we have an argument, | 0:08:29 | 0:08:31 | |
I go, "Make us a cup of tea." | 0:08:31 | 0:08:33 | |
That doesn't help. Just...just a tip for you. | 0:08:33 | 0:08:37 | |
How do you...? Who makes that decision? | 0:08:37 | 0:08:39 | |
How does it move onto the Skype stage? | 0:08:39 | 0:08:40 | |
Yeah, I'm the one who makes the decision | 0:08:40 | 0:08:42 | |
because originally I thought that it would be | 0:08:42 | 0:08:45 | |
a sort of funny way of defusing some tension. | 0:08:45 | 0:08:47 | |
Is this a system you could see yourself implementing, David? | 0:08:47 | 0:08:52 | |
-No. -You and Mrs Mitchell, perhaps, | 0:08:52 | 0:08:54 | |
if tempers are ever - heaven forbid - raised. | 0:08:54 | 0:08:57 | |
Well, I think it wouldn't work for us | 0:08:57 | 0:08:59 | |
because I think we find computers more annoying than each other. | 0:08:59 | 0:09:04 | |
LAUGHTER AND APPLAUSE | 0:09:04 | 0:09:06 | |
So, David, what are you thinking? Has Adam been telling the truth? | 0:09:09 | 0:09:12 | |
Um, what do you think, Kirsty? | 0:09:12 | 0:09:14 | |
Um, I think it's really, really possible. | 0:09:14 | 0:09:17 | |
What do you think? | 0:09:17 | 0:09:19 | |
He does like computers, don't he? Look at him. | 0:09:19 | 0:09:21 | |
I've got one last question. | 0:09:25 | 0:09:27 | |
Come on, then. | 0:09:27 | 0:09:29 | |
The first time, you know, you had the row in real life, | 0:09:29 | 0:09:32 | |
when you had in the back of your mind that maybe | 0:09:32 | 0:09:34 | |
if you could get onto Skype, the row would be defused, | 0:09:34 | 0:09:38 | |
was that not, to your wife, and incredibly annoying suggestion? | 0:09:38 | 0:09:42 | |
Ah, yeah, it was, yeah. | 0:09:42 | 0:09:44 | |
I would have thought that the de-escalating effects of Skype | 0:09:44 | 0:09:48 | |
would be overwhelmed by the escalating effect | 0:09:48 | 0:09:51 | |
of suggesting Skype. | 0:09:51 | 0:09:53 | |
-It's heavy-going, isn't it? -It is heavy-going. | 0:09:53 | 0:09:56 | |
-It's very heavy-going, that one. -Eight years, eight years of this. | 0:09:56 | 0:10:00 | |
Get to the point! | 0:10:00 | 0:10:01 | |
LAUGHTER | 0:10:01 | 0:10:02 | |
"Get to the point" is not an exhortation | 0:10:02 | 0:10:06 | |
you can fairly make during a parlour game. | 0:10:06 | 0:10:09 | |
I don't care. | 0:10:09 | 0:10:10 | |
There IS no point. This is a pointless exercise. | 0:10:10 | 0:10:13 | |
We are whiling away our finite time before the grave. | 0:10:13 | 0:10:17 | |
What are you going to say? Truth or lie? | 0:10:25 | 0:10:28 | |
I think it's the truth. | 0:10:28 | 0:10:29 | |
I think, and I think it's so weird, it's true. | 0:10:29 | 0:10:32 | |
OK, my team says true. I'm certainly not sure either way | 0:10:32 | 0:10:35 | |
so I couldn't overrule them. | 0:10:35 | 0:10:37 | |
-So it's true. -We're saying it's true. | 0:10:37 | 0:10:38 | |
You're saying true, right, OK. OK. | 0:10:38 | 0:10:40 | |
Adam Buxton, were you telling the truth or were you telling a lie? | 0:10:40 | 0:10:45 | |
Er, Skype-conducted arguments, that is... | 0:10:45 | 0:10:48 | |
-a lie. -Oh, brilliant! -Very good. | 0:10:48 | 0:10:51 | |
I'm not insane! | 0:10:53 | 0:10:55 | |
Yes, it was a lie, all along. | 0:10:55 | 0:10:57 | |
Adam and his wife don't go into separate rooms to argue over Skype. | 0:10:57 | 0:11:01 | |
OK, our next round is called This Is My, where we bring on | 0:11:01 | 0:11:05 | |
a mystery guest who has a close connection to one of our panellists. | 0:11:05 | 0:11:08 | |
This week each of Lee's team will claim it's them | 0:11:08 | 0:11:10 | |
that has the genuine connection to the guest, | 0:11:10 | 0:11:13 | |
and it's up to David's team to spot who's telling the truth. | 0:11:13 | 0:11:16 | |
So please welcome this week's special guest, Hayden. | 0:11:16 | 0:11:19 | |
APPLAUSE | 0:11:19 | 0:11:22 | |
So, Adam, what is Hayden to you? | 0:11:27 | 0:11:30 | |
Er, this is Hayden, he is the human statue | 0:11:30 | 0:11:34 | |
that I once had to give a massage to | 0:11:34 | 0:11:36 | |
because he got cramp in his leg. | 0:11:36 | 0:11:39 | |
Bruno, perhaps you could explain how you know Hayden. | 0:11:41 | 0:11:44 | |
This is Hayden. | 0:11:44 | 0:11:46 | |
When I choreographed a dance routine | 0:11:46 | 0:11:49 | |
for a troupe of JCB diggers, | 0:11:49 | 0:11:52 | |
he drove digger number three. | 0:11:52 | 0:11:55 | |
And finally, Lee, what's your relationship with Hayden? | 0:11:57 | 0:12:00 | |
This is Hayden, he used to be | 0:12:00 | 0:12:02 | |
the lead singer of Bananarama... | 0:12:02 | 0:12:04 | |
..until a fire tragically burnt off his hair. | 0:12:06 | 0:12:09 | |
Actually that's not true. | 0:12:13 | 0:12:14 | |
Lee, what is your relationship with Hayden? | 0:12:14 | 0:12:17 | |
This is Hayden, he once stopped a cow charging at me | 0:12:17 | 0:12:20 | |
by throwing an app... | 0:12:20 | 0:12:21 | |
Oh, this one's true! | 0:12:21 | 0:12:23 | |
Oh, hang on, let's listen cos this one's true! | 0:12:23 | 0:12:28 | |
Now you're starting to think the Bananarama one's true. | 0:12:28 | 0:12:30 | |
I will continue. This is... | 0:12:31 | 0:12:34 | |
Lee, what is your relationship with Hayden? | 0:12:34 | 0:12:37 | |
This is Hayden. He once stopped a cow charging at me, | 0:12:37 | 0:12:42 | |
by throwing an apple pie in its face. | 0:12:42 | 0:12:44 | |
LAUGHTER | 0:12:44 | 0:12:47 | |
There we are, there we are. | 0:12:47 | 0:12:49 | |
Adam's stiff statue, | 0:12:49 | 0:12:51 | |
Bruno's dancing digger driver, | 0:12:51 | 0:12:53 | |
or Lee's bovine basher. | 0:12:53 | 0:12:55 | |
David's team, where would you like to begin? | 0:12:55 | 0:12:57 | |
Um, well, Adam, what was the situation | 0:12:57 | 0:12:59 | |
in which you had to give a human statue a massage? | 0:12:59 | 0:13:02 | |
-Er... -Why was his cramp your problem? | 0:13:02 | 0:13:06 | |
Well, we were in London, me and my family - | 0:13:06 | 0:13:10 | |
my three young children and my beautiful wife - | 0:13:10 | 0:13:13 | |
and we were on the South Bank, er, right next to the London Eye, | 0:13:13 | 0:13:17 | |
and we saw Hayden there, he was dressed as a golden robot man. | 0:13:17 | 0:13:22 | |
My daughter wanted to pose for a photograph with him, | 0:13:22 | 0:13:26 | |
cos she thought he was adorable-looking, | 0:13:26 | 0:13:28 | |
she loves gold, anything gold. | 0:13:28 | 0:13:30 | |
And, um, in the middle of the photograph | 0:13:30 | 0:13:34 | |
he sort of started making pained robot noises. | 0:13:34 | 0:13:38 | |
How did you become certain enough | 0:13:39 | 0:13:41 | |
that a massage of an intimate part of his body would be | 0:13:41 | 0:13:44 | |
gratefully received? | 0:13:44 | 0:13:46 | |
I just asked. I said, er, would you like me to rub your calf? | 0:13:46 | 0:13:50 | |
Funnily enough, that's interesting, | 0:13:50 | 0:13:52 | |
because that's the exact phrase I used when the cow charged at me. | 0:13:52 | 0:13:56 | |
LAUGHTER AND APPLAUSE | 0:13:58 | 0:13:59 | |
-Were there many people there? Cos quite often... -No, no. | 0:14:02 | 0:14:05 | |
..a crowd gathers round someone like that. | 0:14:05 | 0:14:07 | |
No, it was a rainy morning, a cold, rainy morning. | 0:14:07 | 0:14:09 | |
When it was rainy, why was you walking round London | 0:14:09 | 0:14:12 | |
with your family? It sounds stressful. | 0:14:12 | 0:14:14 | |
Sometimes - I don't know if this is true - you can leave the house | 0:14:14 | 0:14:16 | |
and it's not raining and it starts raining. | 0:14:16 | 0:14:18 | |
-I'm only going by the rumours I've heard. -Yeah. | 0:14:18 | 0:14:20 | |
But what I normally do is, | 0:14:20 | 0:14:21 | |
go in a coffee shop, not wander round looking at robots in the rain. | 0:14:21 | 0:14:24 | |
Yeah, and what I would say to you, Rob, is, do you have children? | 0:14:24 | 0:14:27 | |
It's not often a five-year-old says, "Caffe Nero, please. | 0:14:28 | 0:14:31 | |
"This weather is intolerable." | 0:14:33 | 0:14:35 | |
-Do you have children, Rob? -No children, no. | 0:14:35 | 0:14:38 | |
So you live a life of unalloyed pleasure and hedonism, | 0:14:38 | 0:14:42 | |
not having to think for one second about another living person. | 0:14:42 | 0:14:46 | |
If you have children, it is not uncommon | 0:14:46 | 0:14:49 | |
to trudge around the South Bank in the pouring rain | 0:14:49 | 0:14:52 | |
with the drudgery of your life pressing down on you, | 0:14:52 | 0:14:55 | |
and these voices coming at you from every damn side. | 0:14:55 | 0:14:58 | |
You don't know you're born. | 0:14:58 | 0:14:59 | |
And the fact that you're stood still looking at this loser... | 0:15:01 | 0:15:04 | |
..is blessed relief from listening to them giving this all the time. | 0:15:07 | 0:15:12 | |
LAUGHTER AND APPLAUSE | 0:15:12 | 0:15:14 | |
Right, David, right, who else would you like to quiz? | 0:15:16 | 0:15:19 | |
-Bruno. Um... -Yeah. | 0:15:19 | 0:15:21 | |
There was a digger dance. | 0:15:21 | 0:15:23 | |
A digger, er, it was a dance routine in which we had many, | 0:15:23 | 0:15:27 | |
many, like, a group of diggers. | 0:15:27 | 0:15:28 | |
And how many diggers, sort of 20? | 0:15:28 | 0:15:31 | |
I think it was, no, 12. | 0:15:31 | 0:15:33 | |
And what was it for? | 0:15:33 | 0:15:34 | |
It was for these fairs, you know, these kind of country fairs | 0:15:34 | 0:15:38 | |
where they have all sort of products in relation to farming. | 0:15:38 | 0:15:42 | |
And what was so special about Hayden's digger? | 0:15:42 | 0:15:46 | |
Well, I mean, they're all the same, the diggers, | 0:15:46 | 0:15:49 | |
but he was number three. | 0:15:49 | 0:15:50 | |
Did he have to do a particularly difficult pirouette or something? | 0:15:52 | 0:15:56 | |
They all had to do very, very difficult manoeuvres. | 0:15:56 | 0:15:58 | |
Can you imagine? They're huge, they're tonnes, | 0:15:58 | 0:16:01 | |
and they have things moving up, down, so everything was to music. | 0:16:01 | 0:16:04 | |
What was the music? | 0:16:04 | 0:16:05 | |
-It was a medley. -Oh, I love that. | 0:16:05 | 0:16:08 | |
I love medley, don't you? Of Andrew Lloyd Webber tunes. | 0:16:08 | 0:16:11 | |
Oh, I've gone off it. | 0:16:11 | 0:16:13 | |
Is it your favourite? Your favourite. | 0:16:13 | 0:16:16 | |
-Right, Lee, um... -Yes. | 0:16:16 | 0:16:18 | |
A cow was charging at you and then, Hayden... | 0:16:18 | 0:16:22 | |
-KIRSTY: -Hayden had a pie. -..saved you. | 0:16:22 | 0:16:24 | |
Luckily Hayden had the apple pie and threw it in its face. | 0:16:24 | 0:16:27 | |
-So why was he carrying an apple pie? -Good question. | 0:16:27 | 0:16:29 | |
Um, because, er, we were going to a wedding. | 0:16:29 | 0:16:33 | |
-Oh, you knew him. -Oh, I know Hayden, yeah. | 0:16:33 | 0:16:35 | |
-So you're on your way to a wedding. -With an apple pie. | 0:16:35 | 0:16:37 | |
Across a field. With an apple pie. | 0:16:37 | 0:16:40 | |
-We're in a car park. -Right. | 0:16:40 | 0:16:42 | |
We're going to some sort of country wedding, | 0:16:42 | 0:16:44 | |
there's lots of marquees and things and we've got to walk through | 0:16:44 | 0:16:47 | |
a bit of land with lots of farmers' land round it, and there was a cow | 0:16:47 | 0:16:50 | |
that started approaching, and he was carrying, bizarrely, an apple pie. | 0:16:50 | 0:16:55 | |
So it was a bring-your-own food wedding. | 0:16:55 | 0:16:57 | |
No, hey, just cos we're northerners, don't be like that. | 0:16:57 | 0:17:00 | |
Er, no, it was his children...are very picky eaters, | 0:17:00 | 0:17:04 | |
and he knew that the children wouldn't eat | 0:17:04 | 0:17:07 | |
any of the fancy food at the wedding, | 0:17:07 | 0:17:09 | |
and so he didn't want the stress of the child not eating... | 0:17:09 | 0:17:12 | |
But why did the cow charge you? | 0:17:12 | 0:17:14 | |
Cos cows are normally quite timid. Bulls charge. | 0:17:14 | 0:17:17 | |
It started coming towards me | 0:17:17 | 0:17:18 | |
and as a joke I started, sort of enticing it a little bit. | 0:17:18 | 0:17:22 | |
Showing it a nipple. | 0:17:22 | 0:17:24 | |
And the cow went, "Call THAT a nipple?" | 0:17:25 | 0:17:28 | |
Have a look at these. | 0:17:30 | 0:17:31 | |
So you're with your family, | 0:17:32 | 0:17:34 | |
you're not on your own, you're with your family. | 0:17:34 | 0:17:37 | |
I'm with my family, I'm with my wife and three children. | 0:17:37 | 0:17:40 | |
And I, like Rob, was weeping, going, "Why can't I be on my own for once?" | 0:17:40 | 0:17:45 | |
You're walking across the field, the cow has noticed you. | 0:17:45 | 0:17:48 | |
The cow, well, I wouldn't say "noticed me" - it didn't go... | 0:17:48 | 0:17:51 | |
-Lee Mack! -That's Lee Mack! | 0:17:51 | 0:17:53 | |
To be fair on me, Lee, I did say "noticed", not "recognised". | 0:17:55 | 0:17:58 | |
-The cow sort of looked up, right? -Yeah. | 0:17:58 | 0:18:02 | |
-And... -Noticed you? | 0:18:02 | 0:18:03 | |
Was it Friesian, Belted Galloway? | 0:18:03 | 0:18:05 | |
I don't know what the temperature was like. And, er... | 0:18:05 | 0:18:08 | |
The cow, the cow it was actually one of those ones | 0:18:08 | 0:18:12 | |
that looked like Mick Hucknall. | 0:18:12 | 0:18:14 | |
-Oh, the ginger ones. -A Highland cow! | 0:18:14 | 0:18:16 | |
-Ginger one. -Ginger cow. | 0:18:16 | 0:18:17 | |
You know the ones that | 0:18:17 | 0:18:19 | |
look like Mick Hucknall wearing a Viking's helmet? | 0:18:19 | 0:18:21 | |
-Yeah. -One of them. | 0:18:21 | 0:18:23 | |
-What, a Highland one of those? -A Highland cow. | 0:18:23 | 0:18:26 | |
In Cumbria, where were you? | 0:18:26 | 0:18:27 | |
Believe it or not, it was actually on the Isle of Mull. | 0:18:27 | 0:18:30 | |
OK. Now we're getting somewhere. | 0:18:30 | 0:18:33 | |
We're on the Isle of Mull now, aren't we? | 0:18:33 | 0:18:35 | |
You were dressed in a kilt? | 0:18:35 | 0:18:37 | |
No, because I've got some self-respect. | 0:18:37 | 0:18:39 | |
And so the cow noticed you, starts coming over... | 0:18:41 | 0:18:43 | |
I don't think the cow was charging us | 0:18:43 | 0:18:45 | |
in the sense of it's gonna kill us, | 0:18:45 | 0:18:47 | |
but it was walking very fast towards us. | 0:18:47 | 0:18:49 | |
I foolishly had picked up a load of grass and was sort of doing that. | 0:18:49 | 0:18:54 | |
-You waved the grass as a joke. -I got the grass, it started getting | 0:18:54 | 0:18:56 | |
a little bit out of hand because it started getting aggressive, | 0:18:56 | 0:18:59 | |
and then we sort of walked away a bit and then it walked very fast | 0:18:59 | 0:19:02 | |
towards us. He went like that and sort of threw it in the cow's face, | 0:19:02 | 0:19:05 | |
and the cow got a bit of a shock. | 0:19:05 | 0:19:07 | |
How far away from the cow was, er, was Hayden | 0:19:08 | 0:19:11 | |
when he launched the pie? | 0:19:11 | 0:19:13 | |
-I would say... -Did he actually press it into the cow with his hands? | 0:19:13 | 0:19:16 | |
No, no. I think you're mixing up this incident | 0:19:16 | 0:19:19 | |
and something that happened with the Chuckle Brothers. He didn't go... | 0:19:19 | 0:19:22 | |
and it didn't drip down slowly and the cow went... | 0:19:22 | 0:19:25 | |
So how far away were you when you... | 0:19:28 | 0:19:31 | |
was he when he threw the pie? | 0:19:31 | 0:19:33 | |
It was all in a bit of a panic, but I would guess at somewhere | 0:19:33 | 0:19:36 | |
in the region of, sort of how far now I am from Hayden. | 0:19:36 | 0:19:39 | |
So it was one of those sort of... | 0:19:39 | 0:19:40 | |
So did it get in the horns and all down through its hair? | 0:19:40 | 0:19:44 | |
To be honest, we were sort of facing the other way going at speed. | 0:19:44 | 0:19:47 | |
So...I didn't say, "Kids, come back, see how it's landed." | 0:19:47 | 0:19:50 | |
So, David's team, is Hayden Adam's stiff statue, | 0:19:52 | 0:19:57 | |
Bruno's dancing digger driver, or Lee's bovine basher? | 0:19:57 | 0:20:02 | |
What do you think? | 0:20:02 | 0:20:04 | |
I'm just not sure about the idea that he looks | 0:20:04 | 0:20:06 | |
the kind of guy that is a golden robot. | 0:20:06 | 0:20:10 | |
Look at his golden robot head. | 0:20:10 | 0:20:12 | |
No. I don't... I don't think he's a robot. | 0:20:12 | 0:20:16 | |
It doesn't show Lee in a good light because | 0:20:16 | 0:20:18 | |
he's acted incredibly stupidly and then couldn't repair his own damage. | 0:20:18 | 0:20:22 | |
Yeah, absolutely. He's lured... | 0:20:22 | 0:20:24 | |
He's literally put his children in danger. | 0:20:24 | 0:20:26 | |
-No, whoa, whoa, hang on. -You put your children in danger. | 0:20:26 | 0:20:29 | |
I'm not having another one taken into care. I didn't... | 0:20:29 | 0:20:31 | |
I did not. I simply said, "Look at the orange beast," | 0:20:32 | 0:20:36 | |
and waved a bit of... | 0:20:36 | 0:20:37 | |
I remember last series, where you brought in a video of you | 0:20:39 | 0:20:42 | |
making one of your children cry. | 0:20:42 | 0:20:43 | |
Yes, I remember that. Yes. | 0:20:43 | 0:20:45 | |
I think Bruno's... I think he looks like a guy | 0:20:45 | 0:20:47 | |
who probably would be very precise with a digger. | 0:20:47 | 0:20:50 | |
I'm siding on digger over robot, definitely, | 0:20:50 | 0:20:52 | |
and don't know about the cow pie. | 0:20:52 | 0:20:54 | |
Yeah, I think we're leaning towards Bruno's story being true. | 0:20:54 | 0:20:57 | |
-You're all thinking it's the digger. -Yeah. | 0:20:57 | 0:20:59 | |
OK. Hayden, would you please reveal your true identity? | 0:20:59 | 0:21:03 | |
My name's Hayden. | 0:21:03 | 0:21:05 | |
I was digger number three in Bruno's dance routine. | 0:21:05 | 0:21:08 | |
APPLAUSE AND CHEERING | 0:21:08 | 0:21:10 | |
Yes, Hayden is Bruno's dancing digger driver. | 0:21:11 | 0:21:15 | |
Thank you very much, Hayden. | 0:21:15 | 0:21:17 | |
Which brings us to our final round Quick-fire Lies, | 0:21:22 | 0:21:25 | |
and we start with... | 0:21:25 | 0:21:26 | |
It is David. | 0:21:29 | 0:21:30 | |
As a child I was scared of the sun. | 0:21:32 | 0:21:35 | |
What-what age? | 0:21:38 | 0:21:40 | |
Um, I think this would probably be | 0:21:40 | 0:21:43 | |
when I was four, five, six, seven, | 0:21:43 | 0:21:47 | |
that sort of age. | 0:21:47 | 0:21:49 | |
When I was 4,567. | 0:21:49 | 0:21:52 | |
I, you know, I was still in my infancy as a god. | 0:21:52 | 0:21:55 | |
What was it about the sun that you found frightening? | 0:21:55 | 0:21:59 | |
-Er, it was, er, looking at it. -Oh, yeah. | 0:21:59 | 0:22:02 | |
Did you just go out at night or something - | 0:22:02 | 0:22:04 | |
you never went out during the day? | 0:22:04 | 0:22:06 | |
No, I did go out during the day but I would, er, sort of obsessively | 0:22:06 | 0:22:10 | |
keep my eyes towards the ground. | 0:22:10 | 0:22:12 | |
The problem was that someone said, someone used the phrase, | 0:22:12 | 0:22:16 | |
"If you look at the sun, you will go blind." | 0:22:16 | 0:22:19 | |
Funnily enough exactly the same advice for me as well, | 0:22:19 | 0:22:22 | |
but it was Page 3 of The Sun. | 0:22:22 | 0:22:24 | |
So you would still go out but you'd avoid in any way glancing at it. | 0:22:24 | 0:22:28 | |
Yeah, and then occasionally you sort of turn your head | 0:22:28 | 0:22:32 | |
and the sun goes through your vision | 0:22:32 | 0:22:34 | |
and it can create that slight... | 0:22:34 | 0:22:37 | |
you know, when you blink, you can still see it. | 0:22:37 | 0:22:39 | |
-And you thought that was burning your retina. -And I thought, | 0:22:39 | 0:22:42 | |
"What's that? Is that the beginning of great eternal darkness?" | 0:22:42 | 0:22:45 | |
You really had a happy childhood, didn't you, David? | 0:22:45 | 0:22:48 | |
We were all playing on our Raleigh Grifters | 0:22:48 | 0:22:51 | |
and you were thinking about the eternal darkness. | 0:22:51 | 0:22:53 | |
Did anything else scare you as a child? | 0:22:53 | 0:22:55 | |
Oh, yes, yes, most things. | 0:22:55 | 0:22:57 | |
What else scared you? | 0:22:57 | 0:22:59 | |
Well, the trouble is that some children are timorous | 0:22:59 | 0:23:02 | |
and some children are reckless. | 0:23:02 | 0:23:03 | |
Yeah, and Sagittarius. | 0:23:03 | 0:23:05 | |
And in order... | 0:23:05 | 0:23:07 | |
In order to save the lives of reckless children, | 0:23:07 | 0:23:10 | |
warnings are calibrated for their safety, | 0:23:10 | 0:23:14 | |
the result of which is that the timorous | 0:23:14 | 0:23:17 | |
live in a state of perpetual terror. | 0:23:17 | 0:23:19 | |
What I needed to be told is, | 0:23:21 | 0:23:23 | |
"Do you know what? Most days you won't die. It's fine," you know? | 0:23:23 | 0:23:26 | |
You know... | 0:23:26 | 0:23:28 | |
I wasn't ever going to tear across a three-lane motorway. | 0:23:28 | 0:23:31 | |
You know, the very existence of a three-lane motorway | 0:23:31 | 0:23:35 | |
in the same postcode as me made me not want to leave the house. | 0:23:35 | 0:23:38 | |
And, um, presumably you would wait for about three weeks | 0:23:38 | 0:23:41 | |
before swimming after a meal. | 0:23:41 | 0:23:44 | |
Oh, absolutely. | 0:23:44 | 0:23:46 | |
Yeah, yeah! | 0:23:46 | 0:23:47 | |
Not only that, and having an ice cream in the afternoon | 0:23:47 | 0:23:50 | |
then thinking, "I should probably not swim for the rest of the holiday." | 0:23:50 | 0:23:54 | |
And then someone says, when I was an adult, | 0:23:55 | 0:23:57 | |
"You don't have to wait at all - it's all a myth. | 0:23:57 | 0:24:00 | |
"You can swim AND eat." | 0:24:00 | 0:24:02 | |
While looking into the sun. | 0:24:02 | 0:24:05 | |
-So what are we thinking? -Adam? | 0:24:07 | 0:24:09 | |
-I'm thinking true, true fact. -BRUNO: I'm going truth. | 0:24:09 | 0:24:11 | |
-You're saying it's the truth. -Yeah. -We'll say it's true. | 0:24:11 | 0:24:14 | |
You're going to say that it's true. OK, David, truth or lie? | 0:24:14 | 0:24:18 | |
It is... | 0:24:18 | 0:24:19 | |
true. | 0:24:19 | 0:24:21 | |
It's a heart-warming story. | 0:24:21 | 0:24:23 | |
Yes, it's true. As a child, David was scared of the sun. | 0:24:24 | 0:24:28 | |
Next. | 0:24:28 | 0:24:30 | |
It's Kirsty. | 0:24:31 | 0:24:33 | |
Jeremy Paxman didn't talk to me for a week | 0:24:33 | 0:24:35 | |
after he caught me drinking from his Snoopy mug. | 0:24:35 | 0:24:38 | |
Lee. | 0:24:41 | 0:24:42 | |
I'm sorry, I'm very ignorant, what's a Snoopy cup? | 0:24:42 | 0:24:45 | |
You know who Snoopy is? | 0:24:45 | 0:24:46 | |
Snoopy is a rapper and... | 0:24:46 | 0:24:50 | |
-No, he's a cartoon character, a comic strip. -Snoopy the dog. | 0:24:50 | 0:24:53 | |
-Snoopy the dog. -Snoopy the dog. -Charlie Brown. -Charlie Brown. | 0:24:53 | 0:24:55 | |
Jeremy Paxman has a Snoopy mug? | 0:24:55 | 0:24:58 | |
Mug. Cup mug thing. | 0:24:58 | 0:25:00 | |
And how did he come about finding out you'd had...? | 0:25:00 | 0:25:03 | |
Was there lipstick on the coffee cup? | 0:25:03 | 0:25:05 | |
No, he caught me. | 0:25:05 | 0:25:06 | |
-He actually caught you, you were lips on cup? -Yeah. | 0:25:06 | 0:25:09 | |
What did he say? So picture the scene, right. I'm Jeremy Paxman. | 0:25:10 | 0:25:14 | |
No, no, you have to play him, otherwise... | 0:25:14 | 0:25:16 | |
I wouldn't be able to say it because I wasn't there. | 0:25:16 | 0:25:19 | |
I'll be you, right? | 0:25:19 | 0:25:20 | |
-IN SCOTTISH ACCENT: -News, news, news, news. News. | 0:25:20 | 0:25:24 | |
-That's you rehearsing. -That's me? | 0:25:24 | 0:25:25 | |
-News, news, news. -News, news, news. | 0:25:25 | 0:25:27 | |
All right, I need a little break. | 0:25:27 | 0:25:30 | |
I need to go and see, news, news. | 0:25:30 | 0:25:32 | |
News, news. Paxman! Paxman's in. | 0:25:32 | 0:25:34 | |
Isle, Isle of Isle of Mull, Highland cow. | 0:25:34 | 0:25:36 | |
Hang on, you're both doing you now. | 0:25:36 | 0:25:37 | |
-Don't do you. -He's doing you. -I'm doing you. -Right. | 0:25:37 | 0:25:40 | |
-He's doing you. -Are you?! | 0:25:40 | 0:25:43 | |
-No. Let's be very clear. -I'm at my desk. | 0:25:45 | 0:25:47 | |
-Lee is doing you. -I'm you. -You are doing Jeremy Paxman. -Jeremy Paxman. | 0:25:47 | 0:25:52 | |
You're at the desk. | 0:25:54 | 0:25:55 | |
I'm rehearsing. So I'm saying, "News, news, news, news, news. | 0:25:55 | 0:25:58 | |
"I want to go independent but I'm not allowed to say it publically." | 0:25:58 | 0:26:01 | |
And then I get...I get my lips... I get my lips on the cup. | 0:26:01 | 0:26:04 | |
"Or I might not want to go independent, | 0:26:04 | 0:26:06 | |
-but I'm not going to say. I get my cup. -No, no, no. Stop! | 0:26:06 | 0:26:08 | |
-I get my cup. -I'm left-handed. | 0:26:08 | 0:26:10 | |
LAUGHTER | 0:26:10 | 0:26:13 | |
APPLAUSE | 0:26:13 | 0:26:15 | |
So there you are, you're doing the drinky thing, | 0:26:19 | 0:26:22 | |
and it's got to your lips, the cup, like that. Paxman! | 0:26:22 | 0:26:25 | |
What does Paxman say? | 0:26:25 | 0:26:27 | |
"Kirsty, you're not drinking out my Snoopy mug." | 0:26:27 | 0:26:30 | |
So he said, he said, "You're not drinking out my Snoopy mug." | 0:26:30 | 0:26:33 | |
What's he doing this for? | 0:26:33 | 0:26:35 | |
"He said, 'You're not drinking out of my Snoopy mug, are you?'" | 0:26:35 | 0:26:38 | |
-And you're me. -Oh, yeah, sorry. -You're me anyway. | 0:26:38 | 0:26:41 | |
-I'm you, sorry. -I had it in my left hand. | 0:26:41 | 0:26:43 | |
-Are you doing Paxman now? -No. | 0:26:43 | 0:26:45 | |
Why is he talking like...? I don't understand why. | 0:26:45 | 0:26:48 | |
Because the microphone's broke, he's a long way away, it's a big room. | 0:26:48 | 0:26:51 | |
-He's a long way away. -"Are you drinking out of my cup?" | 0:26:51 | 0:26:54 | |
It's a small room. | 0:26:54 | 0:26:55 | |
So, you've got the cup and Paxman walks in and then YOU say... | 0:26:55 | 0:26:58 | |
I can't do you because I wasn't there, you have to now be you. | 0:26:58 | 0:27:01 | |
So you said... I'm now Paxman. | 0:27:01 | 0:27:03 | |
"Oh, Kirsty are you drinking from my Snoop whatever?" And you said... | 0:27:03 | 0:27:06 | |
"It's only a mug. What does it matter?" | 0:27:06 | 0:27:10 | |
-And he said. -"It's MY mug." | 0:27:10 | 0:27:12 | |
-And you said. -"OK, have your mug." | 0:27:12 | 0:27:15 | |
And he said. | 0:27:15 | 0:27:16 | |
"Wash it first." | 0:27:16 | 0:27:17 | |
Oh, I've been through that conversation with a woman before. | 0:27:17 | 0:27:20 | |
So, er... OK. | 0:27:22 | 0:27:25 | |
-But then he didn't talk to you for a week? -A week's a long time. | 0:27:25 | 0:27:28 | |
What is it about Paxman that he wouldn't talk to you for a week? | 0:27:28 | 0:27:31 | |
-Who said that? -That was in your... -You did when you read it out. | 0:27:31 | 0:27:35 | |
-You said that at the beginning! -Did I?! -You did! | 0:27:35 | 0:27:37 | |
I think we're at the nub of it. | 0:27:37 | 0:27:39 | |
"Who said that?!" Oh, now, who was it that said that? | 0:27:39 | 0:27:41 | |
Was it you who said that? | 0:27:41 | 0:27:43 | |
Somebody said it. | 0:27:43 | 0:27:44 | |
I suspect you're edging towards her telling a lie. | 0:27:44 | 0:27:47 | |
I think it's a lie. | 0:27:47 | 0:27:49 | |
I think it's a lie. | 0:27:49 | 0:27:50 | |
Do you know what? I believed her until the "week" mistake. | 0:27:50 | 0:27:53 | |
Until the unravelling. | 0:27:53 | 0:27:55 | |
So you say it's a lie. | 0:27:55 | 0:27:56 | |
Kirsty, was it truth or was it a lie? | 0:27:56 | 0:28:00 | |
Tr...lie. | 0:28:00 | 0:28:02 | |
-BUZZER -Oh, and that sound signals time is up, it's the end of the show. | 0:28:05 | 0:28:09 | |
I can reveal that Lee's team have won by three points to two. | 0:28:09 | 0:28:13 | |
APPLAUSE | 0:28:13 | 0:28:15 | |
But it's not just a team game, of course, | 0:28:15 | 0:28:19 | |
and my individual liar of the week this week | 0:28:19 | 0:28:22 | |
is Adam Buxton. | 0:28:22 | 0:28:24 | |
-APPLAUSE AND CHEERING -Yes, Adam's got more flannel | 0:28:24 | 0:28:27 | |
than the John Lewis bed and bath department. Good night. | 0:28:27 | 0:28:31 |