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|---|---|---|---|
This is kind of where it started. | 0:00:03 | 0:00:06 | |
I was actually sitting here, Marty was sitting there | 0:00:06 | 0:00:08 | |
and he was just back from filming in Berlin - | 0:00:08 | 0:00:11 | |
playing a part in Cloud Atlas with a lot of big stars. He was buzzing. | 0:00:11 | 0:00:13 | |
He was totally buzzing. | 0:00:13 | 0:00:15 | |
He was just back and it had been a great job | 0:00:15 | 0:00:17 | |
working with great actors and all that, | 0:00:17 | 0:00:19 | |
and he had lots of great stories - so I just naturally said to him, | 0:00:19 | 0:00:22 | |
"You've got to go to the premiere, that would be great. | 0:00:22 | 0:00:24 | |
"You've got to get out to LA and go to the premiere. | 0:00:24 | 0:00:26 | |
He was like, "No way, man. I can't afford it. | 0:00:26 | 0:00:28 | |
"There's no way I can afford to go to the premiere." | 0:00:28 | 0:00:30 | |
I went to the toilet and phoned you. | 0:00:30 | 0:00:32 | |
-You phoned me. -I phoned you. | 0:00:32 | 0:00:34 | |
You said to me, "Marty has just come back from making Cloud Atlas | 0:00:34 | 0:00:38 | |
"playing Tom Hanks' Irish brother. | 0:00:38 | 0:00:41 | |
"He wants to go to the premiere, but he can't afford it. | 0:00:41 | 0:00:43 | |
"Let's make a film where we never accept no for an answer." | 0:00:43 | 0:00:48 | |
We had written a song on the banjo and the guitar. | 0:00:48 | 0:00:51 | |
This was the beginning of our journey. | 0:00:51 | 0:00:54 | |
Tonight, downstairs, in the State Bar. | 0:00:54 | 0:00:56 | |
Marty Goes To Hollywood shall be, indeed, launched. | 0:00:56 | 0:00:59 | |
The show will resume in two minutes, | 0:00:59 | 0:01:01 | |
we are going to resume in two minutes. | 0:01:01 | 0:01:02 | |
Do you really want me to go up there and say why we are doing this? | 0:01:02 | 0:01:06 | |
Put your hands together for Martyn and Ian. | 0:01:06 | 0:01:09 | |
APPLAUSE | 0:01:09 | 0:01:12 | |
# There was a young man from Castlemilk | 0:01:12 | 0:01:15 | |
# Called Martin Docherty... # | 0:01:15 | 0:01:17 | |
That's him. | 0:01:17 | 0:01:19 | |
# He was born roundabout January 1973 | 0:01:19 | 0:01:24 | |
# Well, he played a lot of football | 0:01:27 | 0:01:29 | |
# But he wasn't as good as you or me... # | 0:01:29 | 0:01:33 | |
Actually, he was quite good. | 0:01:33 | 0:01:34 | |
# But when he started acting, he was better than anyone from Glee. # | 0:01:34 | 0:01:39 | |
LAUGHTER | 0:01:39 | 0:01:41 | |
I am Martin Docherty. | 0:01:41 | 0:01:43 | |
I am 38 years of age. | 0:01:43 | 0:01:45 | |
I have been a professional actor now for 15 years. | 0:01:45 | 0:01:47 | |
I was born and bred right here | 0:01:47 | 0:01:50 | |
in sunny Castlemilk. | 0:01:50 | 0:01:52 | |
The last six years, I done quite a lot of TV. | 0:01:52 | 0:01:54 | |
I've been in most of the TV programmes in Scotland | 0:01:54 | 0:01:57 | |
like Still Game, Rab C Nesbitt, | 0:01:57 | 0:02:00 | |
River City, Gary Tank Commander, | 0:02:00 | 0:02:02 | |
Dear Green Place - | 0:02:02 | 0:02:03 | |
so I think I would possibly be a little bit recognisable | 0:02:03 | 0:02:06 | |
for people, for being on BBC. | 0:02:06 | 0:02:08 | |
# His first role was in Oliver | 0:02:08 | 0:02:09 | |
# The Artful Dodger, he did play | 0:02:09 | 0:02:11 | |
# Which was the first of many character roles to come his way... # | 0:02:14 | 0:02:18 | |
I mean, what would you cast him as? | 0:02:18 | 0:02:21 | |
Guess what he's played. | 0:02:21 | 0:02:22 | |
# He's played junkies, drugs, drugs and junkies | 0:02:22 | 0:02:25 | |
# And a junkie too... # | 0:02:25 | 0:02:26 | |
LAUGHTER | 0:02:26 | 0:02:27 | |
Keep your shitty bike, prick. | 0:02:27 | 0:02:30 | |
# He even got a recall | 0:02:30 | 0:02:31 | |
# For an advert about Irn-Bru | 0:02:31 | 0:02:34 | |
# Won't you get Marty to Hollywood? | 0:02:34 | 0:02:37 | |
# That would put the wee guy in an awfy good mood | 0:02:37 | 0:02:41 | |
# If you've got some money, spread your wealth | 0:02:41 | 0:02:46 | |
# Cos wee Marty from Castlemilk | 0:02:46 | 0:02:49 | |
# He hasn't got money himself. # | 0:02:49 | 0:02:51 | |
LAUGHTER | 0:02:51 | 0:02:53 | |
Wahey! | 0:02:57 | 0:02:59 | |
Wahey! | 0:02:59 | 0:03:05 | |
PAPARAZZI CLAMOUR | 0:03:11 | 0:03:16 | |
HE SCREAMS | 0:03:17 | 0:03:21 | |
HE SIGHS | 0:03:27 | 0:03:29 | |
Well, my low points are when you're just not getting any work | 0:03:40 | 0:03:44 | |
and you have to do so many other things to get your money on | 0:03:44 | 0:03:47 | |
and keep you going. | 0:03:47 | 0:03:49 | |
The more you spend at doing those things, | 0:03:49 | 0:03:51 | |
the less you start to believe you're an actor, | 0:03:51 | 0:03:53 | |
because you start to believe that you do this job. | 0:03:53 | 0:03:55 | |
It is a pretty hard and lonely game. | 0:03:55 | 0:03:56 | |
Sometimes you can be sitting in the house, | 0:03:56 | 0:03:58 | |
you've not worked for a year, | 0:03:58 | 0:04:01 | |
the auditions aren't very big or very good | 0:04:01 | 0:04:03 | |
and you're not doing very well at them either, that's the other thing. | 0:04:03 | 0:04:07 | |
When you're not doing very well, | 0:04:07 | 0:04:08 | |
you tend not to do well at your auditions because your charisma, | 0:04:08 | 0:04:12 | |
your personality, your confidence just isn't there. | 0:04:12 | 0:04:15 | |
You've got to get up and do something, | 0:04:15 | 0:04:16 | |
you've got to read a play or go to the theatre, turn on Radio Four | 0:04:16 | 0:04:19 | |
and listen to something, | 0:04:19 | 0:04:21 | |
sight-read the newspaper. | 0:04:21 | 0:04:23 | |
I also sing in a restaurant at weekends. | 0:04:23 | 0:04:26 | |
Friday, Saturday nights - I sing in a tiny, little restaurant. | 0:04:26 | 0:04:29 | |
It holds about 40 people. | 0:04:29 | 0:04:31 | |
With a wee laptop and a hard drive, and a small PA, | 0:04:31 | 0:04:33 | |
no microphone or anything. | 0:04:33 | 0:04:35 | |
# Sing us a song, you're the piano man | 0:04:36 | 0:04:40 | |
# Sing us a song tonight... # | 0:04:40 | 0:04:45 | |
Hi, maw. | 0:04:45 | 0:04:46 | |
BUZZER | 0:04:46 | 0:04:49 | |
Lovely to see you. | 0:04:49 | 0:04:51 | |
-Are you all right? -I'm fine. | 0:04:51 | 0:04:53 | |
From a toddler, | 0:04:53 | 0:04:56 | |
he was just up to everything. | 0:04:56 | 0:04:57 | |
Constantly singing, constantly make-believing. | 0:04:57 | 0:05:01 | |
He even had a friend... | 0:05:01 | 0:05:03 | |
that was actually an invisible friend. | 0:05:03 | 0:05:05 | |
There's a few things about Marty's acting style. | 0:05:05 | 0:05:08 | |
For one, he's very authentic. | 0:05:08 | 0:05:10 | |
He's very sharp. | 0:05:10 | 0:05:12 | |
So we've set up all the gear and the DJ's sweating | 0:05:12 | 0:05:15 | |
because he can't find Wonderful Tonight - | 0:05:15 | 0:05:17 | |
because that's the first song. | 0:05:17 | 0:05:18 | |
My brother had that at his first two weddings. | 0:05:18 | 0:05:21 | |
Marty's got a lot of presence on camera. | 0:05:21 | 0:05:24 | |
I have seen him on stage. | 0:05:24 | 0:05:25 | |
I have seen him doing Greek tragedy, | 0:05:25 | 0:05:27 | |
I've seen him doing pantomime, | 0:05:27 | 0:05:28 | |
I've seen them doing comedy stuff on stage - | 0:05:28 | 0:05:31 | |
but on camera, not everybody has got that, but Marty has. | 0:05:31 | 0:05:35 | |
I think he is one of these people who is a born actor. | 0:05:35 | 0:05:38 | |
Last year, I made a huge leap | 0:05:38 | 0:05:41 | |
and I had a casting for a feature film, made by Warner Brothers. | 0:05:41 | 0:05:45 | |
I was up to play Tom Hanks' Irish brother. | 0:05:45 | 0:05:47 | |
Which, I didn't think I had any idea of getting. | 0:05:50 | 0:05:53 | |
The people in reading before me and after me | 0:05:53 | 0:05:55 | |
were nothing like me at all. | 0:05:55 | 0:05:56 | |
They were older, bigger - a lot bigger - | 0:05:56 | 0:05:59 | |
and I just thought it was one of those auditions you go for | 0:05:59 | 0:06:02 | |
and you'll never, ever hear again. | 0:06:02 | 0:06:03 | |
I got recalled for it to London, | 0:06:03 | 0:06:05 | |
to a posh hotel in Covent Garden, | 0:06:05 | 0:06:07 | |
and it was only five of us left for three parts. | 0:06:07 | 0:06:10 | |
Somehow, the gods shined on me a wee bit and I managed to pull it off. | 0:06:11 | 0:06:16 | |
Consequently, I had a scene with Jim Broadbent | 0:06:17 | 0:06:20 | |
and another scene with Hugo Weaving. | 0:06:20 | 0:06:23 | |
If you told me that, even two years ago, | 0:06:23 | 0:06:25 | |
I would have said you were crazy. | 0:06:25 | 0:06:28 | |
Opportunities like this maybe don't come along... | 0:06:28 | 0:06:31 | |
..at all, never mind very often. | 0:06:32 | 0:06:35 | |
I think the chance to go to a premiere of this movie | 0:06:35 | 0:06:38 | |
would be something I would really have to try and take. | 0:06:38 | 0:06:40 | |
I'm sure we'll be invited. | 0:06:40 | 0:06:42 | |
General, we better go down and see Warner Brothers about this premiere. | 0:06:42 | 0:06:46 | |
Good idea, Bussy. | 0:06:46 | 0:06:48 | |
Hello, hello. Can I speak to somebody dead important? | 0:06:48 | 0:06:52 | |
Somebody connected with that big film, Cloud Atlas? | 0:06:52 | 0:06:54 | |
LOONEY TUNES THEME PLAYS | 0:06:54 | 0:06:57 | |
So we are kind of making an observational, | 0:07:00 | 0:07:02 | |
life-of-an-actor type story. | 0:07:02 | 0:07:04 | |
In style, I would say it is like Anvil meets... | 0:07:04 | 0:07:06 | |
Shut it, Bussy. | 0:07:06 | 0:07:08 | |
Look, big man, can we film at your premiere? | 0:07:08 | 0:07:10 | |
Hmm. | 0:07:10 | 0:07:12 | |
That sounds like a lovely idea. | 0:07:12 | 0:07:14 | |
I'll do everything I can to help. | 0:07:14 | 0:07:16 | |
It's a week since the comedy club, roughly, | 0:07:18 | 0:07:21 | |
the clip's now online and Marty's Facebook site has been started. | 0:07:21 | 0:07:25 | |
We have created an Indiegogo site. | 0:07:27 | 0:07:29 | |
Fundraising campaign website is live. | 0:07:29 | 0:07:31 | |
We have an Indiegogo. | 0:07:31 | 0:07:33 | |
I'm just trying to find the number for Alex Salmond's office... | 0:07:33 | 0:07:37 | |
..in Edinburgh. | 0:07:38 | 0:07:40 | |
Right, OK, I'll go back to them. | 0:07:43 | 0:07:45 | |
All right, thank you. | 0:07:45 | 0:07:48 | |
He's a hard man to find, big Eck. | 0:07:48 | 0:07:50 | |
So, here we are, outside the world-famous Daily Record - | 0:07:50 | 0:07:53 | |
Scotland's national newspaper, some would argue. | 0:07:53 | 0:07:56 | |
What were they like? | 0:07:56 | 0:07:57 | |
I mean, obviously that's a great experience in itself. | 0:07:57 | 0:07:59 | |
All get behind Marty, because it's going to work | 0:07:59 | 0:08:02 | |
and, when he makes it, he better remember who his friends are. | 0:08:02 | 0:08:05 | |
This is going to 653,000 people. | 0:08:05 | 0:08:10 | |
Here we are on a... | 0:08:10 | 0:08:12 | |
beautiful Glasgow Wednesday morning. | 0:08:12 | 0:08:15 | |
Outside the City Chambers, about to meet the Lady Provost, | 0:08:15 | 0:08:17 | |
which is very exciting. | 0:08:17 | 0:08:19 | |
Now we've got the Sunday Mail involved | 0:08:19 | 0:08:21 | |
and we're getting other people involved. | 0:08:21 | 0:08:22 | |
What happens if I'm not in this thing? | 0:08:22 | 0:08:24 | |
And the next day you're like that, "You're in the trailer." | 0:08:24 | 0:08:27 | |
We're just going into an ISDN link to Radio Clyde. | 0:08:27 | 0:08:30 | |
I thought it was a once in a lifetime opportunity | 0:08:30 | 0:08:32 | |
for Martin to get to Hollywood and that was why, | 0:08:32 | 0:08:36 | |
when he'd asked me and approached me, | 0:08:36 | 0:08:38 | |
I thought it was right that I would help support him. | 0:08:38 | 0:08:43 | |
HE EXHALES | 0:08:43 | 0:08:44 | |
Nae word from Rob on those tickets yet, Bussy? | 0:08:44 | 0:08:47 | |
Naw. | 0:08:47 | 0:08:49 | |
Hello? | 0:08:49 | 0:08:50 | |
Hello, Rob, it's Bussy. | 0:08:50 | 0:08:52 | |
Any word in the premiere tickets yet, big man? | 0:08:52 | 0:08:54 | |
Hi, Bussy. | 0:08:54 | 0:08:56 | |
The request has gone through but no feedback yet. | 0:08:56 | 0:08:59 | |
I'll keep you posted. | 0:08:59 | 0:09:01 | |
Another like, but still nae dosh. | 0:09:01 | 0:09:03 | |
Our campaign was getting lots of attention, but very little money. | 0:09:09 | 0:09:13 | |
We went to Real Radio as a last gasp attempt | 0:09:13 | 0:09:16 | |
to get Marty to the red carpet. | 0:09:16 | 0:09:18 | |
HE LIP-SYNCS | 0:09:18 | 0:09:21 | |
Good morning to you, Scotland. | 0:09:21 | 0:09:22 | |
If you've just joined us, | 0:09:22 | 0:09:24 | |
Scottish actor Marty Docherty | 0:09:24 | 0:09:26 | |
is in the studio with us this morning. | 0:09:26 | 0:09:28 | |
So, you're desperate to get to Hollywood | 0:09:28 | 0:09:30 | |
to walk the red carpet with your co-stars | 0:09:30 | 0:09:33 | |
-in the big blockbuster Cloud Atlas. -Absolutely. | 0:09:33 | 0:09:35 | |
So, you need £2,000 and... What else do you need? | 0:09:35 | 0:09:38 | |
You've not got anything to wear, is that right? | 0:09:38 | 0:09:40 | |
-Well, aye, we could do with a kilt. -LAUGHTER | 0:09:40 | 0:09:43 | |
-So, you've not got any kilts... -No. -..and you need £2,000. | 0:09:43 | 0:09:46 | |
This is beginning to sound like a bit of a scam, boys. | 0:09:46 | 0:09:49 | |
LAUGHTER | 0:09:49 | 0:09:50 | |
Marty, tell me, | 0:09:50 | 0:09:52 | |
how will you be representing Scotland if you get to Hollywood? | 0:09:52 | 0:09:55 | |
What do you mean? | 0:09:55 | 0:09:57 | |
Will you be partying till 6am? | 0:09:57 | 0:09:58 | |
-Oh, no. I'll be on my best behaviour. -No, we want you to. | 0:09:58 | 0:10:01 | |
Oh, right, OK. | 0:10:01 | 0:10:02 | |
Well, whatever you want me to do for the £2,000, I will do it. | 0:10:02 | 0:10:05 | |
Cameron Ross Kilt Hire has just given us a little call, | 0:10:05 | 0:10:09 | |
you might not be going to Hollywood, but four kilts are! | 0:10:09 | 0:10:11 | |
CHEERING | 0:10:11 | 0:10:13 | |
# Marty got a break | 0:10:13 | 0:10:15 | |
# And a film with big Tom Hanks | 0:10:15 | 0:10:18 | |
# They asked him to play Tam's brother and Marty said, "Aye, thanks" | 0:10:18 | 0:10:23 | |
# There's Susan Sarandon, Halle Berry and Jim Broadbent too | 0:10:23 | 0:10:30 | |
# On the set, Marty offered Halle | 0:10:30 | 0:10:32 | |
# A vodka and Irn-Bru | 0:10:32 | 0:10:34 | |
# Won't you get Marty to Hollywood? | 0:10:34 | 0:10:38 | |
# That will put the wee guy in a awfy good mood | 0:10:38 | 0:10:42 | |
# If you've got some money, spread the wealth | 0:10:42 | 0:10:46 | |
# Because wee Marty from Castlemilk | 0:10:46 | 0:10:50 | |
# He hasn't got money himself. # | 0:10:50 | 0:10:52 | |
So, we found ourselves driving to a building site in Helensburgh | 0:10:52 | 0:10:55 | |
to meet a complete stranger, called Joel Lafferty, | 0:10:55 | 0:10:58 | |
who had been listening to the radio show. | 0:10:58 | 0:11:00 | |
Nice to meet you. How's it going, all right? | 0:11:00 | 0:11:02 | |
-Did you own this space, Joe, or did you...? -Aye. | 0:11:02 | 0:11:04 | |
Obviously, the front half's going to be the coffee shop. | 0:11:04 | 0:11:07 | |
-Will we go next door and get a wee drink, guys? -That would be great. | 0:11:07 | 0:11:10 | |
I've just been a jobbing actor, really. | 0:11:10 | 0:11:12 | |
Then, last year, I got an audition in Glasgow | 0:11:12 | 0:11:15 | |
-to be Tom Hanks' Irish brother. -Right. | 0:11:15 | 0:11:17 | |
A heavy Irish brother. | 0:11:17 | 0:11:19 | |
The whole thing was just enormous. | 0:11:19 | 0:11:20 | |
All of a sudden, you're meeting | 0:11:20 | 0:11:22 | |
all these incredible people. | 0:11:22 | 0:11:24 | |
As Ian said to me, | 0:11:24 | 0:11:26 | |
if you cannae go when you're playing Tom Hanks' brother, | 0:11:26 | 0:11:28 | |
when are you going to be able to go? | 0:11:28 | 0:11:30 | |
I have been quarantined to a storeroom | 0:11:30 | 0:11:32 | |
away from the other passengers and crew. | 0:11:32 | 0:11:35 | |
-IRISH ACCENT: -Where's our money? -LAUGHTER | 0:11:35 | 0:11:38 | |
Right, you have won my support. Who gets the cheque? | 0:11:38 | 0:11:41 | |
How amazing. Thank you very, very, very much. | 0:11:41 | 0:11:44 | |
You are welcome, mate. Good luck to you. | 0:11:44 | 0:11:46 | |
I can't thank you enough as well. | 0:11:46 | 0:11:48 | |
-Thanks very much. -Right, pal. | 0:11:48 | 0:11:50 | |
Appreciate it. Superb. | 0:11:50 | 0:11:53 | |
How good was that?! | 0:11:53 | 0:11:55 | |
-What a brilliant guy. -A quality guy. | 0:11:55 | 0:11:57 | |
This is amazing. | 0:11:57 | 0:11:58 | |
It sealed the deal. | 0:11:58 | 0:12:00 | |
So, hopefully, I'll go to the premiere | 0:12:00 | 0:12:02 | |
and try and mingle with some of the folk, | 0:12:02 | 0:12:04 | |
maybe make some connections. | 0:12:04 | 0:12:06 | |
It would be crazy to think that being in one movie, | 0:12:06 | 0:12:08 | |
and a small part in one movie, | 0:12:08 | 0:12:10 | |
would then an open up an enormous amount of doors for you | 0:12:10 | 0:12:12 | |
for Hollywood casting... | 0:12:12 | 0:12:14 | |
but it's a funny game, acting, you just never know. | 0:12:14 | 0:12:17 | |
Shall we just go for the full outfit, like that? | 0:12:17 | 0:12:19 | |
-That's you, Marty. -Yeah, we'll go for that. | 0:12:19 | 0:12:22 | |
I think we'll all look very good, mate. Very smart indeed. | 0:12:22 | 0:12:26 | |
I didn't recognise you there. | 0:12:28 | 0:12:30 | |
Jesus, how are you? | 0:12:30 | 0:12:31 | |
Fantastic. It's all happening, eh? | 0:12:31 | 0:12:33 | |
The gas man. | 0:12:33 | 0:12:35 | |
If he goes on to bigger and better things, more parts in movies, | 0:12:35 | 0:12:38 | |
if he ends up he's living in Hollywood, | 0:12:38 | 0:12:41 | |
he's living the dream | 0:12:41 | 0:12:42 | |
and we can then say, "I know Martin." | 0:12:42 | 0:12:44 | |
You have done well, boys. | 0:12:46 | 0:12:47 | |
Hollywood is renowned for plastic people. | 0:12:48 | 0:12:52 | |
Big tits, false hair, all of that stuff - and Marty is none of that. | 0:12:52 | 0:12:57 | |
I think he would be a breath of fresh air going there. | 0:12:57 | 0:12:59 | |
And maybe somebody, because it happens with actors, | 0:12:59 | 0:13:02 | |
they pick him up. | 0:13:02 | 0:13:04 | |
Not literally pick him up, because he's quite small. | 0:13:04 | 0:13:07 | |
It would be easy to do that. | 0:13:07 | 0:13:08 | |
I mean give him an actual part. | 0:13:08 | 0:13:10 | |
He gets what he deserves - good parts because he's a good actor. | 0:13:10 | 0:13:12 | |
There's a lot of actors who are not so great out there. | 0:13:12 | 0:13:14 | |
It's good to see an actor doing well | 0:13:14 | 0:13:16 | |
and hopefully he'll get what he wants. | 0:13:16 | 0:13:18 | |
What about me? | 0:13:21 | 0:13:23 | |
I've worked with Anne Hathaway, Gary Oldman, Tom Hardy | 0:13:23 | 0:13:26 | |
and Noel Edmonds and not one fucking person has thought, | 0:13:26 | 0:13:28 | |
"What about Cammy goes to Hollywood? | 0:13:28 | 0:13:30 | |
"Cammy goes to fucking Hollywood?" | 0:13:30 | 0:13:31 | |
Nobody has fucking done anything for me. | 0:13:31 | 0:13:33 | |
I've come up the hard way as well. | 0:13:33 | 0:13:35 | |
I have had to be on benefits, fucking wife left me and all that. | 0:13:35 | 0:13:37 | |
Get to fuck. | 0:13:37 | 0:13:40 | |
You've got to be careful in Hollywood. | 0:13:40 | 0:13:42 | |
It's a conveyor belt, you can get used up | 0:13:42 | 0:13:44 | |
and...you're out the other side. | 0:13:44 | 0:13:46 | |
Then, where are you? | 0:13:46 | 0:13:48 | |
Seven days later, you're back here, back in Castlemilk. | 0:13:48 | 0:13:51 | |
Was it all a dream? | 0:13:51 | 0:13:53 | |
Did it really happen? | 0:13:53 | 0:13:54 | |
ALL: Bye! | 0:13:57 | 0:14:00 | |
I have clarification and it is not good news. | 0:14:10 | 0:14:13 | |
The producers have said that they are unable | 0:14:13 | 0:14:15 | |
to accommodate Marty at the US premiere. | 0:14:15 | 0:14:18 | |
All the best, Rob. | 0:14:18 | 0:14:20 | |
BUSSY CHUCKLES | 0:14:20 | 0:14:22 | |
Hollywood, here we come. | 0:14:22 | 0:14:25 | |
I saw your story on STV this morning | 0:14:25 | 0:14:27 | |
and you're in the Metro, | 0:14:27 | 0:14:29 | |
the Sun, the Record... | 0:14:29 | 0:14:32 | |
Have you secured the tickets through other means? | 0:14:32 | 0:14:35 | |
'We hope you haven't missed any important e-mails | 0:14:35 | 0:14:37 | |
'whilst flying with us. We will now begin our descent. | 0:14:37 | 0:14:40 | |
'Welcome to Hollywood!' | 0:14:40 | 0:14:42 | |
America. | 0:14:45 | 0:14:47 | |
Outside that window is America. | 0:14:47 | 0:14:50 | |
I've never been to America. I'm an American virgin. | 0:14:50 | 0:14:53 | |
The wee man wants a fag. | 0:14:57 | 0:14:59 | |
The wee man's desperate for a fag. | 0:14:59 | 0:15:01 | |
He's ganting for a fag, Bussy. | 0:15:01 | 0:15:02 | |
-This one? -Yeah, it's a little dirty, though. | 0:15:02 | 0:15:05 | |
Listen, we're quite dirty. | 0:15:05 | 0:15:07 | |
-What do you think, Marty? -It's the Batmobile, isn't it, Bussy? | 0:15:07 | 0:15:09 | |
I'll be right back. | 0:15:09 | 0:15:11 | |
This is mental. Isn't it? | 0:15:11 | 0:15:13 | |
We couldn't afford to stay in LA | 0:15:15 | 0:15:17 | |
so we headed to a friend's house in San Diego. | 0:15:17 | 0:15:19 | |
Spirits were high as we weren't to receive the e-mail from Rob | 0:15:19 | 0:15:23 | |
until the next morning. | 0:15:23 | 0:15:24 | |
We need to start our pressure on Warner Brothers on this side today, | 0:15:29 | 0:15:32 | |
cos I don't think Rob is going to do anything about it. | 0:15:32 | 0:15:34 | |
He might, but it's certainly not something we can rely on. | 0:15:34 | 0:15:37 | |
The last e-mail suggests to me that... | 0:15:37 | 0:15:39 | |
I think he's going to give it up now. | 0:15:39 | 0:15:42 | |
I don't think he's going to give it up, I think he just hopes that | 0:15:42 | 0:15:45 | |
we go out here and nothing happens. | 0:15:45 | 0:15:47 | |
-There is a possibility he'll just ignore our e-mails anyway. -Yep. | 0:15:47 | 0:15:51 | |
So... | 0:15:51 | 0:15:52 | |
We need to put some pressure on them, starting today. | 0:15:52 | 0:15:55 | |
Aye, we need... Aye. | 0:15:55 | 0:15:56 | |
What a big car. | 0:15:59 | 0:16:00 | |
It is a fucking massive car. | 0:16:02 | 0:16:03 | |
Guys, I had an amazing dream last night. | 0:16:03 | 0:16:05 | |
I dreamt that I woke up and we were in LA, | 0:16:05 | 0:16:07 | |
and we had a big, massive car. | 0:16:07 | 0:16:08 | |
-Oh, hang on. -Bussy, it's the truth. -Oh, wow. | 0:16:08 | 0:16:12 | |
Please bear with me while I adjust to the other side of the road. | 0:16:12 | 0:16:16 | |
Day one. | 0:16:20 | 0:16:22 | |
We've fucked the car. | 0:16:22 | 0:16:23 | |
They shouldn't have given us such an expensive car. | 0:16:25 | 0:16:28 | |
You never have total big smashes - like, exciting smashes. | 0:16:29 | 0:16:33 | |
-You always have wee bangs. -Shit fucking kerb dunce. | 0:16:33 | 0:16:36 | |
Marty had a daylong session at the Acting Centre on Hollywood Boulevard. | 0:16:40 | 0:16:44 | |
We were late because we crashed the car | 0:16:46 | 0:16:48 | |
and Marty had to partner with Bussy | 0:16:48 | 0:16:50 | |
for the warm up and the first exercise. | 0:16:50 | 0:16:53 | |
One of the first drills you're going to do | 0:16:53 | 0:16:55 | |
is actually going out and talking to people. | 0:16:55 | 0:16:57 | |
Talking to real people and getting insight into who they are. | 0:16:57 | 0:17:00 | |
It's Hollywood so you're going to meet some great people. | 0:17:00 | 0:17:04 | |
For the first exercise, | 0:17:04 | 0:17:06 | |
Marty and Bussy were sent out on | 0:17:06 | 0:17:08 | |
the streets of LA to talk to people. | 0:17:08 | 0:17:11 | |
-Are you from Los Angeles? -Of course. Hollywood, man. | 0:17:11 | 0:17:13 | |
They then had to capture the essence of the person | 0:17:13 | 0:17:15 | |
and perform it back to each other. | 0:17:15 | 0:17:18 | |
BUSSY: Do you like LA? Love it. Do you? | 0:17:18 | 0:17:20 | |
What's so good about it? | 0:17:20 | 0:17:22 | |
Well, the weather and the palm trees. | 0:17:22 | 0:17:25 | |
One of the philosophies of the Acting Centre | 0:17:26 | 0:17:29 | |
was that you couldn't be critical | 0:17:29 | 0:17:30 | |
so, at the end of any performance, | 0:17:30 | 0:17:32 | |
you had to tell your partner that they were good. | 0:17:32 | 0:17:35 | |
HE GRUNTS | 0:17:41 | 0:17:44 | |
Come on! More! More! | 0:17:49 | 0:17:51 | |
There are occasional lucky people | 0:17:54 | 0:17:57 | |
who meet one guy at a coffee shop | 0:17:57 | 0:17:59 | |
and suddenly their whole career is made, but that's very rare. | 0:17:59 | 0:18:01 | |
Usually, you've got to find a good acting class, such as... | 0:18:01 | 0:18:05 | |
I love this place. | 0:18:05 | 0:18:06 | |
You have to make sure that you get great head shots | 0:18:06 | 0:18:09 | |
and then you have to know and be willing to... | 0:18:09 | 0:18:12 | |
meet people. | 0:18:12 | 0:18:14 | |
-I don't know what to do. -Maybe you should phone someone. | 0:18:14 | 0:18:17 | |
I have! I've been calling my sister! | 0:18:17 | 0:18:20 | |
Listen to what I'm telling you, please. | 0:18:20 | 0:18:23 | |
I'm sorry. | 0:18:23 | 0:18:24 | |
All right, cut. | 0:18:24 | 0:18:26 | |
APPLAUSE | 0:18:26 | 0:18:30 | |
You know, just deciding that you're going to help your mate out. | 0:18:30 | 0:18:34 | |
Putting that idea forward to get him here - | 0:18:34 | 0:18:38 | |
that alone - because it's such a very wonderful idea | 0:18:38 | 0:18:42 | |
and such a helpful, fun thing to do for a friend - | 0:18:42 | 0:18:45 | |
creates opportunities. | 0:18:45 | 0:18:47 | |
We just wanted to say thank you. | 0:18:47 | 0:18:49 | |
It's been really lovely having us. | 0:18:49 | 0:18:51 | |
We got a message from Craig Young, who runs Brits In LA, | 0:18:55 | 0:18:59 | |
giving Marty and introduction to Louisa Spring - | 0:18:59 | 0:19:02 | |
who runs Spring Management Agency. | 0:19:02 | 0:19:04 | |
Hello, Louisa? | 0:19:08 | 0:19:11 | |
Hi, my name's Martin. Martin Docherty. | 0:19:11 | 0:19:13 | |
I got your number from Craig, who runs Brits In LA. | 0:19:13 | 0:19:16 | |
Oh, sorry, is that not good at all? I do apologise. | 0:19:20 | 0:19:23 | |
Oh, sorry, I do apologise about that. | 0:19:28 | 0:19:31 | |
Yes. | 0:19:43 | 0:19:45 | |
Yes. | 0:19:53 | 0:19:54 | |
Will I call you tomorrow? | 0:19:56 | 0:19:58 | |
Any time from the afternoon onwards, Louisa, would be great | 0:19:59 | 0:20:02 | |
but any time that would suit you also. | 0:20:02 | 0:20:04 | |
Thank you very much, Louisa. Sorry for calling you so late. | 0:20:04 | 0:20:08 | |
OK, bye. | 0:20:08 | 0:20:09 | |
Wasn't a good start. | 0:20:14 | 0:20:15 | |
We were invited to a party in West Hollywood at the Palais Hotel. | 0:20:16 | 0:20:20 | |
The party was full of leading people from the film industry, | 0:20:20 | 0:20:24 | |
so we weren't allowed to film inside. | 0:20:24 | 0:20:26 | |
By complete chance, | 0:20:26 | 0:20:28 | |
Louisa Spring was there. | 0:20:28 | 0:20:30 | |
-So, you're Marty Docherty. -Yeah. | 0:20:30 | 0:20:33 | |
Nice to meet you, I'm Louisa Spring. | 0:20:33 | 0:20:35 | |
-Hello. -So, why the fuck did you call me at 7pm on a Sunday night? | 0:20:36 | 0:20:40 | |
-Eh... -That really pissed me off. | 0:20:40 | 0:20:44 | |
But I have you say, | 0:20:44 | 0:20:45 | |
you've got great cheekbones. | 0:20:45 | 0:20:47 | |
She came over later on and said, | 0:20:48 | 0:20:51 | |
"Does anyone have a fag?" | 0:20:51 | 0:20:53 | |
I said, "I've got a fag." | 0:20:53 | 0:20:55 | |
Obviously, "I've got a fag, Louisa. I've got a fag." | 0:20:55 | 0:20:57 | |
She went, "Let's go for a fag then." | 0:20:57 | 0:20:59 | |
Then she said, "You know, I'm a manager to some of the top stars. | 0:20:59 | 0:21:03 | |
She went, "So I'd really like to manage you." | 0:21:04 | 0:21:07 | |
-Marry you? -"Manage you!" | 0:21:07 | 0:21:09 | |
"I'd really like to manage you." | 0:21:10 | 0:21:14 | |
I thought you got a marriage proposal... | 0:21:14 | 0:21:16 | |
That would have been nice. | 0:21:16 | 0:21:18 | |
I would have married her if it meant she took me on. | 0:21:18 | 0:21:20 | |
But I think her husband might have something to say about that. | 0:21:20 | 0:21:24 | |
She sat me down and she said, "I'd love to. | 0:21:24 | 0:21:26 | |
"I know I have all these big stars and therefore... | 0:21:26 | 0:21:32 | |
"for some reason," she said, | 0:21:32 | 0:21:33 | |
"I would love to manage you because of that." | 0:21:33 | 0:21:35 | |
Wednesday night, you'll be walking down the red carpet | 0:21:35 | 0:21:38 | |
going to the premiere. | 0:21:38 | 0:21:39 | |
Well, if I'm not then... | 0:21:39 | 0:21:41 | |
..it would be incredibly disappointing, | 0:21:42 | 0:21:45 | |
incredibly disappointing if I don't walk down the red carpet. | 0:21:45 | 0:21:48 | |
Today is the day... | 0:21:54 | 0:21:56 | |
..we take on the might of Warner Brothers. | 0:21:57 | 0:22:00 | |
Indeed. | 0:22:00 | 0:22:02 | |
All right, pal. | 0:22:04 | 0:22:07 | |
The travelling's killing us, so we're going to move | 0:22:07 | 0:22:09 | |
into LA a night earlier. | 0:22:09 | 0:22:10 | |
Just so that we can chill a wee bit, | 0:22:10 | 0:22:13 | |
because if we don't get back till 4am, then we get three hours kip | 0:22:13 | 0:22:15 | |
and we're away. | 0:22:15 | 0:22:17 | |
Things are also starting to happen now, for Marty, | 0:22:17 | 0:22:19 | |
in terms of the people he's meeting, | 0:22:19 | 0:22:22 | |
so we really need to be in the centre of LA, | 0:22:22 | 0:22:24 | |
so he can jump out and have a meeting | 0:22:24 | 0:22:26 | |
and speak to the kind of folk that he's starting to get in front of. | 0:22:26 | 0:22:30 | |
Our new base in LA was called the Banana Bungalow, | 0:22:30 | 0:22:34 | |
a luxury hotel, six foot wide, by six foot long - | 0:22:34 | 0:22:37 | |
with bunk beds and no locks on the doors. | 0:22:37 | 0:22:40 | |
The premiere was now two days away. | 0:22:40 | 0:22:42 | |
We decided to let Rob know about some of Marty's messages of support. | 0:22:42 | 0:22:47 | |
Rob, we're having a great time here in LA, | 0:22:47 | 0:22:50 | |
but we still have not got any tickets for the premiere. | 0:22:50 | 0:22:52 | |
Marty is making some friends in high places though. | 0:22:52 | 0:22:55 | |
Alex Salmond here, the First Minister of Scotland. | 0:22:55 | 0:22:58 | |
I'm delighted to send a message of support from Holyrood | 0:22:58 | 0:23:01 | |
for Martin Docherty's quest to reach the red carpet. | 0:23:01 | 0:23:04 | |
My grandfather was Jack Warner. | 0:23:05 | 0:23:08 | |
Jack Warner founded Warner Brothers. | 0:23:08 | 0:23:12 | |
I have to say that the determination and initiative | 0:23:12 | 0:23:15 | |
shown by Marty and his friends | 0:23:15 | 0:23:18 | |
is every bit as impressive | 0:23:18 | 0:23:20 | |
as that of Merida in Brave. | 0:23:20 | 0:23:23 | |
My grandfather founded the studio with this motto, | 0:23:23 | 0:23:27 | |
"Never give up on one's dreams, no matter what the odds." | 0:23:27 | 0:23:32 | |
OK, we have got potentially two ways into Tom Hanks. | 0:23:34 | 0:23:38 | |
One through Christine | 0:23:38 | 0:23:40 | |
and one through Marty turning up on the doorstep. | 0:23:40 | 0:23:43 | |
Then we've got Bussy and Martyn | 0:23:43 | 0:23:45 | |
on the phone to Warner Brothers | 0:23:45 | 0:23:47 | |
and that could result in Tom Hanks, | 0:23:47 | 0:23:49 | |
and it could result in the premiere. | 0:23:49 | 0:23:51 | |
And here we have the thing that I think will get us there, | 0:23:51 | 0:23:56 | |
and it's going to be something completely fucking random. | 0:23:56 | 0:24:02 | |
How do you think I look, Chris? All right? | 0:24:02 | 0:24:04 | |
-Very suave. -Thank you, sir. | 0:24:04 | 0:24:06 | |
You look like James Bond. | 0:24:06 | 0:24:08 | |
A wee, mini, Castlemilk James Bond? | 0:24:08 | 0:24:10 | |
-Definitely. -James Bond. | 0:24:10 | 0:24:12 | |
Jimmy Bond, know what I mean? | 0:24:12 | 0:24:13 | |
-Nice to meet you. -Nice to meet you. | 0:24:22 | 0:24:23 | |
-Thank you for taking the time to see me. -Sure. | 0:24:23 | 0:24:26 | |
Now, as far as... Are you going to come back to America? | 0:24:26 | 0:24:29 | |
-Like, you'll come back to Los Angeles? -We would love to. | 0:24:29 | 0:24:31 | |
I'm meeting a manager later on today, | 0:24:31 | 0:24:34 | |
so I'm on a slightly tight schedule. | 0:24:34 | 0:24:37 | |
I'm meeting her and I think it will depend on that. | 0:24:37 | 0:24:40 | |
-Who are you meeting? -Louisa Spring. | 0:24:40 | 0:24:42 | |
Good. She represents quite a... | 0:24:42 | 0:24:44 | |
Yeah, she has got a really... A lot of great clients. | 0:24:44 | 0:24:46 | |
-Take a look at this. -OK. -Go outside and work on it for five minutes. | 0:24:46 | 0:24:51 | |
-Whatever you feel like till you're ready. -"The Western Director." | 0:24:51 | 0:24:54 | |
You don't have to do American. | 0:24:54 | 0:24:55 | |
Just have fun with it. It's a comedy thing we did a while back. | 0:24:55 | 0:24:58 | |
We genuinely don't have any tickets to the premiere at the moment | 0:24:58 | 0:25:01 | |
-and that is... -A big problem. -..not great. | 0:25:01 | 0:25:04 | |
All right, when I say action, | 0:25:10 | 0:25:13 | |
I want you, blondie, | 0:25:13 | 0:25:14 | |
to climb to that second storey, | 0:25:14 | 0:25:15 | |
but Lex is going to try and stop you. | 0:25:15 | 0:25:18 | |
You pick up a chair, you crack it over his back, | 0:25:18 | 0:25:20 | |
then use the broken chair leg to impale Rich. | 0:25:20 | 0:25:22 | |
-That sounds violent. -Damn skippy it is. | 0:25:22 | 0:25:24 | |
Now, as you start to climb, Billy is going to grab you by the ankle | 0:25:24 | 0:25:27 | |
and fling you onto that horse trough over there. | 0:25:27 | 0:25:29 | |
-And the inside of it is made of some special, soft... -Wood. | 0:25:29 | 0:25:34 | |
I think it's pine. Now, that's a soft wood. | 0:25:34 | 0:25:36 | |
Meanwhile, YOU, come out those doors, all guns a-blazing. | 0:25:36 | 0:25:39 | |
Obviously, you know, he can play the annoying guy - | 0:25:39 | 0:25:42 | |
that is what he seemed like in that. | 0:25:42 | 0:25:44 | |
Maybe the nerdy guy or... | 0:25:44 | 0:25:47 | |
Then I had the thought that | 0:25:47 | 0:25:48 | |
maybe he would be, like, in... | 0:25:48 | 0:25:50 | |
like Billy Elliot. | 0:25:50 | 0:25:52 | |
That kind of... | 0:25:52 | 0:25:54 | |
One of those workers. | 0:25:54 | 0:25:55 | |
The blue-collar worker guys. | 0:25:55 | 0:25:56 | |
So, let's make some calls and get on the social networks again | 0:25:56 | 0:26:01 | |
and try and push these contacts. | 0:26:01 | 0:26:04 | |
Yeah, and I think tomorrow, | 0:26:04 | 0:26:07 | |
the Brits In LA thing... | 0:26:07 | 0:26:09 | |
It's our objective to go there and find anybody that knows anybody at | 0:26:09 | 0:26:13 | |
-Warner Brothers and talk to every single person in there. -Yeah. | 0:26:13 | 0:26:18 | |
This is the Fred Segal Cafe | 0:26:18 | 0:26:20 | |
on Melrose Avenue | 0:26:20 | 0:26:22 | |
where I'm meeting a manager called Louisa Spring, | 0:26:22 | 0:26:25 | |
who seems quite a big manager - | 0:26:25 | 0:26:30 | |
in the sense, she's got some really big names on her books. | 0:26:30 | 0:26:34 | |
It's quite an important meeting | 0:26:34 | 0:26:35 | |
so, for that reason, | 0:26:35 | 0:26:37 | |
we're not going to be able to film because I think it might... | 0:26:37 | 0:26:39 | |
It might not do anything for us and I don't want to hinder ourselves | 0:26:39 | 0:26:43 | |
or harm ourselves in any way. | 0:26:43 | 0:26:45 | |
Chris is going to wait here, I'm going to go in for the meeting | 0:26:45 | 0:26:47 | |
and when I come back out, I'll let you know how it goes. | 0:26:47 | 0:26:50 | |
-All right, pal? -Good luck, Marty. -No bother. Cheers, mate. | 0:26:50 | 0:26:53 | |
It was good and bad, mate. Good and bad. | 0:26:53 | 0:26:55 | |
Turned up, met her and said, "It's a bit warm, isn't it?" | 0:26:58 | 0:27:01 | |
She said, "Well, you're wearing a three-piece suit, | 0:27:01 | 0:27:04 | |
"what do you expect?" | 0:27:04 | 0:27:05 | |
She went, "However, I am impressed that you wore a suit." | 0:27:05 | 0:27:08 | |
Then she said... | 0:27:10 | 0:27:11 | |
I told the story about Warner Brothers... | 0:27:11 | 0:27:14 | |
and the premiere | 0:27:14 | 0:27:16 | |
and she said it was breaking her heart, | 0:27:16 | 0:27:19 | |
so she asked the assistant, Tommy, | 0:27:19 | 0:27:21 | |
to put a call into Warner Brothers to try and see | 0:27:21 | 0:27:23 | |
if the contact they've got, if they can help. | 0:27:23 | 0:27:26 | |
Then she asked my age, I said "38," | 0:27:26 | 0:27:28 | |
she said, "I think you look 45." | 0:27:28 | 0:27:32 | |
She thinks my showreel is pretty bad. Certainly the first scene. | 0:27:32 | 0:27:35 | |
The headshot has to be colour. | 0:27:38 | 0:27:40 | |
Then she asked me if I had a green card, I said no. | 0:27:43 | 0:27:45 | |
She asked me if I had an O-1, I said no. | 0:27:45 | 0:27:47 | |
She said, "I don't really know why you're meeting me | 0:27:47 | 0:27:49 | |
"because there is nothing I can do. You can't work." | 0:27:49 | 0:27:52 | |
I said, "Well, we came over trying to get the premiere | 0:27:52 | 0:27:55 | |
"and if we could make contacts in that time, we could. | 0:27:55 | 0:27:57 | |
"Now I have made this contact with you, | 0:27:57 | 0:27:59 | |
"this is where we're at, at the moment." She went, "Right, OK." | 0:27:59 | 0:28:02 | |
She went, "The thing is, | 0:28:02 | 0:28:04 | |
"I think you've got a great look." | 0:28:04 | 0:28:06 | |
So, if I get in touch with her, | 0:28:06 | 0:28:09 | |
get the showreel done well | 0:28:09 | 0:28:10 | |
and she thinks that's good enough, | 0:28:10 | 0:28:12 | |
then I think she probably would take on and help me. | 0:28:12 | 0:28:16 | |
We still had no tickets. | 0:28:16 | 0:28:18 | |
It was time to take the campaign to the streets. | 0:28:18 | 0:28:21 | |
# Won't you get Marty to Hollywood? | 0:28:21 | 0:28:25 | |
# That will put the wee guy in an awfy good mood | 0:28:25 | 0:28:28 | |
# If you've got some money, spread the wealth | 0:28:28 | 0:28:32 | |
# Cos wee Marty from Castlemilk | 0:28:32 | 0:28:34 | |
# Wee Marty from Castlemilk | 0:28:34 | 0:28:36 | |
# Wee Marty from Castlemilk | 0:28:36 | 0:28:38 | |
# Wee Marty from Castlemilk | 0:28:38 | 0:28:40 | |
-# Wee Marty from Castlemilk... # -Let's hear you, Hollywood! | 0:28:40 | 0:28:43 | |
# Wee Marty from Castlemilk | 0:28:43 | 0:28:44 | |
# Wee Marty from Castlemilk | 0:28:44 | 0:28:47 | |
# Wee Marty from Castlemilk... | 0:28:47 | 0:28:48 | |
# He hasn't got money himself. # | 0:28:50 | 0:28:51 | |
YEAH! | 0:28:51 | 0:28:54 | |
Well done. | 0:28:54 | 0:28:56 | |
It is all fate. | 0:28:56 | 0:28:58 | |
This is fate here. | 0:28:58 | 0:28:59 | |
Marty's going to be a big star. | 0:28:59 | 0:29:01 | |
This kid is going to be in the picture, let me tell you, he is. | 0:29:01 | 0:29:04 | |
My long lost son. | 0:29:04 | 0:29:07 | |
# One love | 0:29:07 | 0:29:09 | |
# One love | 0:29:09 | 0:29:12 | |
# One love | 0:29:12 | 0:29:14 | |
# You've got to do what you should | 0:29:14 | 0:29:16 | |
# One love | 0:29:17 | 0:29:20 | |
# With each other | 0:29:20 | 0:29:23 | |
# Sisters... # | 0:29:23 | 0:29:24 | |
It's not failure, I actually thought it was failure when I seen it. | 0:29:29 | 0:29:32 | |
It said, "Hi, Ian, there is no change." | 0:29:32 | 0:29:34 | |
I thought it said, "There is no chance," when I looked at it. | 0:29:34 | 0:29:36 | |
"We've still not got any time, there is no change, | 0:29:36 | 0:29:38 | |
"there is no availability through my Warner Brothers channels | 0:29:38 | 0:29:41 | |
"as the producers have declined your request." | 0:29:41 | 0:29:44 | |
So, obviously... I don't know. | 0:29:44 | 0:29:46 | |
"We are glad you're enjoying LA, though, | 0:29:46 | 0:29:48 | |
"and good luck with your endeavours. | 0:29:48 | 0:29:50 | |
"Do let me know if you want to take up the Berlin opportunity. | 0:29:50 | 0:29:52 | |
"The Berlin premiere is scheduled for the 5th of November. | 0:29:52 | 0:29:55 | |
"All the best, Rob." | 0:29:55 | 0:29:56 | |
I don't understand why I can go to Berlin but I can't come here. | 0:29:58 | 0:30:03 | |
-I don't either. -What's the difference? | 0:30:03 | 0:30:05 | |
HE SOBS | 0:30:09 | 0:30:12 | |
I asked Warner. | 0:30:56 | 0:30:58 | |
She said, "Hi. Oh, dear... | 0:30:58 | 0:30:59 | |
"I wish I could be more helpful. | 0:30:59 | 0:31:01 | |
"Is there any way you can find out who made that decision | 0:31:01 | 0:31:03 | |
"of him not attending and speak to them to find out the concern? | 0:31:03 | 0:31:06 | |
"Perhaps it's that they don't want it to be filmed. | 0:31:06 | 0:31:08 | |
"If you say you won't film it, and you just want Marty to get there, | 0:31:08 | 0:31:11 | |
"that might work." | 0:31:11 | 0:31:13 | |
We went to Brits In LA, | 0:31:14 | 0:31:16 | |
a networking breakfast established to help | 0:31:16 | 0:31:18 | |
the expat community in Hollywood. | 0:31:18 | 0:31:21 | |
We'd been in touch with many of these people by e-mail | 0:31:21 | 0:31:24 | |
and hoped that they would help us. | 0:31:24 | 0:31:26 | |
Everybody, this is Marty. | 0:31:31 | 0:31:36 | |
Hi. Hello, everyone, how are you? | 0:31:36 | 0:31:37 | |
Hi. Nice to meet you, sir. | 0:31:37 | 0:31:40 | |
With regards to the premiere, you can't go...? | 0:31:40 | 0:31:42 | |
At the moment, they are saying, "No." | 0:31:42 | 0:31:45 | |
Do you know how to get hold of Tom Hanks? | 0:31:45 | 0:31:47 | |
Because he is a very nice man, he would get it for you. | 0:31:47 | 0:31:49 | |
I think the issue is slightly maybe about the documentary. | 0:31:49 | 0:31:52 | |
I think they maybe think I'm going to wear a microphone or something | 0:31:52 | 0:31:56 | |
or I'm going to try and film it or that we are going to do something. | 0:31:56 | 0:31:59 | |
-Eddie Michaels is a big publicity guy. -Would he get tickets? | 0:31:59 | 0:32:02 | |
He'll get you into anything you want, that's his job. | 0:32:02 | 0:32:04 | |
This guy I'm about to introduce you to is called Sandro Monetti. | 0:32:04 | 0:32:07 | |
Sandro Monetti has been an entertainment journalist | 0:32:07 | 0:32:09 | |
for many years. He used to work for the Daily Star. | 0:32:09 | 0:32:12 | |
Has he got a good part in the film? | 0:32:12 | 0:32:13 | |
Yeah. He's playing Tom Hanks' brother. | 0:32:13 | 0:32:15 | |
Right, then he should have... Why hasn't he got a...? | 0:32:15 | 0:32:17 | |
He's in Hollywood, man. Get him a fucking publicist. | 0:32:17 | 0:32:19 | |
I believe in fate and this was fate that I met Simon | 0:32:19 | 0:32:23 | |
and then he introduced me to you, | 0:32:23 | 0:32:25 | |
and I definitely believe in fate. | 0:32:25 | 0:32:27 | |
I think if you try hard enough, | 0:32:27 | 0:32:29 | |
you can find a way to make things happen. | 0:32:29 | 0:32:32 | |
You have got to get this poor guy to the premiere. | 0:32:32 | 0:32:35 | |
It's his big moment. I can't believe | 0:32:35 | 0:32:37 | |
that they would not give him a ticket. | 0:32:37 | 0:32:39 | |
What you have to learn about Hollywood is, | 0:32:39 | 0:32:42 | |
never play by the rules. | 0:32:42 | 0:32:43 | |
Everyone always tells you no and there's a way around everything. | 0:32:43 | 0:32:46 | |
-Martyn. -What's your name? -Stephen. | 0:32:46 | 0:32:48 | |
Stephen, nice to meet you. | 0:32:48 | 0:32:51 | |
I'm looking at your kilt. | 0:32:51 | 0:32:53 | |
Kilt - so I'm guessing that's you. Have you got a kilt on? | 0:32:53 | 0:32:56 | |
To e-mail me pronto, got some contacts willing to help. | 0:32:56 | 0:32:59 | |
So, have you got Darren's e-mail? | 0:32:59 | 0:33:01 | |
It's Ian, or as you called me, the kilted one - | 0:33:01 | 0:33:04 | |
which I'm quite happy with that name, I quite like that name. | 0:33:04 | 0:33:07 | |
I'm sitting here with a chap called Marty. | 0:33:07 | 0:33:09 | |
He needs a publicist immediately. | 0:33:09 | 0:33:10 | |
He's here with a film crew from Scotland. | 0:33:10 | 0:33:13 | |
He's the second lead in the movie and he's just got off a plane | 0:33:13 | 0:33:17 | |
and he's in our town and he needs help. | 0:33:17 | 0:33:19 | |
You will get in tomorrow. I have no doubt about it. | 0:33:19 | 0:33:21 | |
Where there's a will, there's a way. | 0:33:21 | 0:33:23 | |
I have no doubt you'll be there tomorrow. | 0:33:23 | 0:33:25 | |
Thank you, Mark. | 0:33:25 | 0:33:26 | |
-Hey. So, you're the man of the hour? -I'm the man of the hour. | 0:33:26 | 0:33:29 | |
So, I'm thinking... | 0:33:29 | 0:33:30 | |
Cos it's been a hard week for you, being fabulous. | 0:33:30 | 0:33:33 | |
I was thinking maybe we got you a beautiful massage, a facial, | 0:33:33 | 0:33:37 | |
a little scrub down, a Jacuzzi, | 0:33:37 | 0:33:40 | |
a little bit of champagne | 0:33:40 | 0:33:41 | |
and we spend an afternoon doing that. | 0:33:41 | 0:33:44 | |
We were talking about potentially | 0:33:44 | 0:33:47 | |
red carpet access for all of us. | 0:33:47 | 0:33:49 | |
Well, we're going to reach out. | 0:33:49 | 0:33:51 | |
Christine's offered Marty a day in the spa tomorrow with treatments. | 0:33:51 | 0:33:56 | |
And us? Only kidding. | 0:33:56 | 0:33:57 | |
-We need it. -We need it more. Look at the state of us. | 0:33:57 | 0:34:00 | |
One miracle at a time, boys. | 0:34:00 | 0:34:02 | |
It was at this point that we met two very important people. | 0:34:04 | 0:34:07 | |
Christine Peake, a publicist | 0:34:07 | 0:34:09 | |
and organiser of red-carpet events. | 0:34:09 | 0:34:12 | |
And Darren, who didn't want to appear in our film. | 0:34:12 | 0:34:14 | |
A specialist at getting people into Hollywood events | 0:34:14 | 0:34:17 | |
when they haven't been invited. | 0:34:17 | 0:34:19 | |
He also told us a way that, if we can't get in the front, | 0:34:21 | 0:34:23 | |
he told us a way to get in the back. | 0:34:23 | 0:34:26 | |
-Get arrested? -Aye. | 0:34:26 | 0:34:27 | |
You can take the man out of Scotland. | 0:34:27 | 0:34:30 | |
-Deported. -Yes. | 0:34:30 | 0:34:33 | |
-Never let back in again. -He told us a really good way to get in the back. | 0:34:33 | 0:34:37 | |
# Won't you get Marty to Hollywood? # | 0:34:37 | 0:34:42 | |
An absolute frenzy in there | 0:34:42 | 0:34:45 | |
of people willing and wanting to help us. | 0:34:45 | 0:34:48 | |
We've got a publicist who is going to take the whole project on. | 0:34:48 | 0:34:54 | |
'In 0.1 miles, turn right on Melrose Avenue.' | 0:34:54 | 0:34:56 | |
It has just been pretty mental. | 0:34:56 | 0:34:58 | |
That whole morning was absolutely insane... | 0:34:58 | 0:35:00 | |
-It's not this one, Bussy, is it? -No, it is the next one. | 0:35:00 | 0:35:03 | |
We've got four or five people | 0:35:03 | 0:35:07 | |
working on Warner Brothers for us now. | 0:35:07 | 0:35:10 | |
-We've got... -No, I know. The whole thing is just crazy. | 0:35:10 | 0:35:13 | |
The amount of people we met in there was just amazing. | 0:35:13 | 0:35:16 | |
Where it all went was just totally wild. | 0:35:16 | 0:35:18 | |
We were so down going in and... | 0:35:18 | 0:35:20 | |
I think what we got in those two hours was... | 0:35:22 | 0:35:25 | |
I think what we got was the benefit of all the energy | 0:35:25 | 0:35:28 | |
we've put in from the start. | 0:35:28 | 0:35:30 | |
It has suddenly... | 0:35:30 | 0:35:31 | |
We have put in so much energy and nothing has happened, so many doors, | 0:35:31 | 0:35:34 | |
and then all of a sudden, it went boom and paid off. | 0:35:34 | 0:35:37 | |
So, he e-mailed me a happy face. | 0:35:37 | 0:35:40 | |
So, that means... I don't want to say the words that I want to say. | 0:35:42 | 0:35:46 | |
All I'm saying is, it's going to be weird tomorrow | 0:35:50 | 0:35:52 | |
if Marty goes for a fucking spray tan and all that | 0:35:52 | 0:35:54 | |
and then he doesn't get to go to the premiere. | 0:35:54 | 0:35:57 | |
Aye, and I end up with a fucking spray tan | 0:35:57 | 0:36:00 | |
then back on the plane with it... | 0:36:00 | 0:36:02 | |
like a right fanny, | 0:36:02 | 0:36:04 | |
sitting in my kilt and all that with a big, bright red face. "Hiya." | 0:36:04 | 0:36:07 | |
I've e-mailed them, mate. | 0:36:14 | 0:36:16 | |
-Nothing back. -Fuck sake, man. | 0:36:16 | 0:36:18 | |
It's a fucking joke. | 0:36:19 | 0:36:22 | |
Ultimately, if we don't get in, what we do is we embarrass them tonight. | 0:36:22 | 0:36:25 | |
-That's what we do. -Will we do a Braveheart scene on the red carpet? | 0:36:25 | 0:36:29 | |
I'm getting more and more frustrated. | 0:36:33 | 0:36:35 | |
Every phone call, I keep thinking... | 0:36:37 | 0:36:39 | |
Christine Peake had organised a five-star spa treatment, | 0:36:41 | 0:36:45 | |
but Marty was finding it very hard to contemplate relaxing. | 0:36:45 | 0:36:49 | |
Well, I'm hoping we can get a bit of relaxation, | 0:36:49 | 0:36:52 | |
and Marty can relax, while we work on... | 0:36:52 | 0:36:54 | |
While we work on the tickets. | 0:36:55 | 0:36:57 | |
-I'll get that. -It's all right, I'm good. | 0:36:59 | 0:37:01 | |
-So, listen, you're in a five-star spa, enjoy yourself. -I know. | 0:37:01 | 0:37:05 | |
-It's just hard. -I know. | 0:37:07 | 0:37:09 | |
You've got to trust us to try and get on with it. | 0:37:09 | 0:37:12 | |
How are we? | 0:37:12 | 0:37:14 | |
-You must be Spencer. -I am, yes. | 0:37:14 | 0:37:16 | |
This is Spencer, this is Alan. | 0:37:16 | 0:37:18 | |
-He's going to be taking pictures. -Nice to meet you. | 0:37:18 | 0:37:20 | |
Hi, Alan, I'm Martin. | 0:37:20 | 0:37:21 | |
This is my colleague, Ian, over here and Chris. | 0:37:21 | 0:37:24 | |
Marty, nice to meet you. | 0:37:24 | 0:37:26 | |
So, this is Niki. | 0:37:27 | 0:37:29 | |
Martin, who is here all the way from Scotland. | 0:37:29 | 0:37:32 | |
This is Niki, who owns this amazing spa, that's new and | 0:37:32 | 0:37:35 | |
it's where a lot of Holywood people come | 0:37:35 | 0:37:37 | |
when they're getting ready for the Oscars and the Emmys and all this. | 0:37:37 | 0:37:41 | |
Taste of luxury. | 0:37:43 | 0:37:45 | |
-Is it 15 years you've been an actor? -15. -15. | 0:37:45 | 0:37:48 | |
So, in these 15 years, | 0:37:48 | 0:37:50 | |
with this being the first big break, | 0:37:50 | 0:37:53 | |
what were you doing before Cloud Atlas? | 0:37:53 | 0:37:55 | |
So, if you like, we can offer you | 0:37:55 | 0:37:58 | |
the chair with steam first | 0:37:58 | 0:37:59 | |
-and, from there, we can do the cream and body scrub. -I'll do... | 0:37:59 | 0:38:02 | |
After that, if you have time, we can give you a massage and facial. | 0:38:02 | 0:38:05 | |
It all depends on what time you have. | 0:38:05 | 0:38:07 | |
-I would like to do all that, please. -OK, great. | 0:38:07 | 0:38:10 | |
-That's great. -These guys can... | 0:38:10 | 0:38:12 | |
Could you tell him about the vaginal steam and the anal steam? | 0:38:12 | 0:38:14 | |
-Yeah. -LAUGHTER | 0:38:14 | 0:38:17 | |
Is it true he peed in the Jacuzzi or is that just a rumour? | 0:38:17 | 0:38:20 | |
-Who? -Marty Docherty. -Oh! | 0:38:20 | 0:38:24 | |
While Marty was getting an anal steam, we were talking to Christine. | 0:38:25 | 0:38:29 | |
I did what I said I would do and I called everybody. | 0:38:29 | 0:38:33 | |
I e-mailed everybody | 0:38:33 | 0:38:35 | |
and I did what I said yesterday, remember. | 0:38:35 | 0:38:37 | |
And... | 0:38:37 | 0:38:38 | |
I did get to the people you wanted me to get to, and... | 0:38:38 | 0:38:42 | |
Everybody has heard of you | 0:38:44 | 0:38:45 | |
and a studio in Los Angeles, | 0:38:45 | 0:38:48 | |
in Hollywood, they run this town. | 0:38:48 | 0:38:50 | |
They've spent hundreds of millions of dollars on Cloud Atlas. | 0:38:50 | 0:38:54 | |
It's the biggest movie of the year. | 0:38:54 | 0:38:56 | |
Last night, I was up late. | 0:38:56 | 0:38:58 | |
Thousands of people in LA are tweeting | 0:38:58 | 0:39:01 | |
about Marty Docherty and your movie. | 0:39:01 | 0:39:04 | |
They're tweeting Tom Hanks and | 0:39:04 | 0:39:06 | |
they're tweeting Warner Brothers. | 0:39:06 | 0:39:09 | |
How cool is that? | 0:39:09 | 0:39:11 | |
I can feel as if I'm relaxed now. | 0:39:11 | 0:39:12 | |
I can feel my heartbeat slowing down. | 0:39:12 | 0:39:14 | |
-How was that? -How was it? Amazing? | 0:39:14 | 0:39:16 | |
-The scrub was amazing, right? -The scrub, the... | 0:39:16 | 0:39:19 | |
The steam up the bum... | 0:39:19 | 0:39:20 | |
LAUGHTER | 0:39:20 | 0:39:22 | |
How was the steam up the bum? | 0:39:22 | 0:39:24 | |
-It was amazing! -Was it? | 0:39:24 | 0:39:25 | |
Marty, Christine's got news. | 0:39:25 | 0:39:28 | |
There's two ways you can look at it. | 0:39:29 | 0:39:31 | |
I'm just going to give it to you and you need to listen to my words. | 0:39:31 | 0:39:35 | |
OK, everybody knows about this movie. | 0:39:35 | 0:39:37 | |
I'm just saying that... | 0:39:37 | 0:39:40 | |
it has affected decisions, | 0:39:40 | 0:39:42 | |
because the movie that's important | 0:39:42 | 0:39:45 | |
is Cloud Atlas | 0:39:45 | 0:39:47 | |
and you're making a documentary | 0:39:47 | 0:39:49 | |
that hasn't been... | 0:39:49 | 0:39:50 | |
Have Warner Brothers authorising it. | 0:39:50 | 0:39:53 | |
It doesn't mean it's over | 0:39:54 | 0:39:57 | |
but I honestly think that if you came here without a crew | 0:39:57 | 0:40:00 | |
and there was no Marty Goes To Hollywood... | 0:40:00 | 0:40:04 | |
-It would be fine. -Well, because nobody would have heard about you. | 0:40:04 | 0:40:08 | |
So, I'd rather be known and acknowledged | 0:40:08 | 0:40:12 | |
and make a difference than blend in. | 0:40:12 | 0:40:15 | |
That's just me. | 0:40:15 | 0:40:17 | |
I see you as a great guy, | 0:40:17 | 0:40:18 | |
who's loved, who's protected. | 0:40:18 | 0:40:22 | |
You've got newspaper articles. | 0:40:22 | 0:40:24 | |
I can't speak for Warner Brothers but for me personally, | 0:40:24 | 0:40:28 | |
I've spent a couple of hundred million dollars making a movie, | 0:40:28 | 0:40:31 | |
say I'm Warner Brothers, | 0:40:31 | 0:40:32 | |
and I'm reading articles about Scotland and this film crew, | 0:40:32 | 0:40:36 | |
and you - | 0:40:36 | 0:40:37 | |
it's taking the focus off of my film. | 0:40:37 | 0:40:39 | |
I can't speak for them, but that's what I would feel. | 0:40:39 | 0:40:44 | |
This hand, you have a role in a blockbuster movie. | 0:40:44 | 0:40:47 | |
That's what's in that hand. | 0:40:49 | 0:40:51 | |
You watch it with the actors. | 0:40:51 | 0:40:54 | |
Or in this hand, | 0:40:54 | 0:40:56 | |
you have a movie that's about you | 0:40:56 | 0:40:58 | |
and a journey that will touch people. | 0:40:58 | 0:41:00 | |
You touched me, you touched Eileen, Craig | 0:41:01 | 0:41:05 | |
and everyone that's come into contact with you guys | 0:41:05 | 0:41:08 | |
has shown kindness and respect and everybody has just caught on. | 0:41:08 | 0:41:12 | |
You've got cameras today, press - | 0:41:12 | 0:41:14 | |
it's not easy for me to call them last night | 0:41:14 | 0:41:16 | |
and tell them to be here at 9am. | 0:41:16 | 0:41:18 | |
People are supporting you. | 0:41:18 | 0:41:21 | |
Because I live here and I've lived here for a long time, | 0:41:21 | 0:41:24 | |
I will tell you right now, | 0:41:24 | 0:41:25 | |
-what is in this hand is way better. -PHONE RINGS | 0:41:25 | 0:41:28 | |
Hello, is that Darren? | 0:41:28 | 0:41:30 | |
Darren, hold on a second. | 0:41:30 | 0:41:32 | |
-Darren? -'Yes?' | 0:41:47 | 0:41:49 | |
The end. | 0:41:49 | 0:41:50 | |
You are the legend. | 0:41:50 | 0:41:52 | |
-You going? -Yeah. | 0:41:52 | 0:41:55 | |
We'd love to take it. | 0:41:55 | 0:41:57 | |
He just had his arse steamed, | 0:41:58 | 0:42:00 | |
for the love of God. | 0:42:00 | 0:42:01 | |
Of course he's going. | 0:42:01 | 0:42:03 | |
Sorry, Darren, he'd love to go. | 0:42:03 | 0:42:05 | |
He'd love to take it. | 0:42:05 | 0:42:06 | |
-How would we make it work? -That's the Hollywood dream. | 0:42:06 | 0:42:09 | |
Marty, man... | 0:42:09 | 0:42:10 | |
That's the dream. | 0:42:10 | 0:42:14 | |
That's the dream. | 0:42:14 | 0:42:16 | |
So, you got the movie | 0:42:16 | 0:42:19 | |
AND you got the premiere. | 0:42:19 | 0:42:20 | |
Yeah, man, you got everything. | 0:42:20 | 0:42:22 | |
I'll tell you who needs to be on this, is him and him. | 0:42:22 | 0:42:25 | |
OK. Darren, you're an absolute star. | 0:42:26 | 0:42:28 | |
Thank you so much for that. | 0:42:28 | 0:42:30 | |
Just like when we drove to meet Joe Lafferty in Helensburgh, | 0:42:30 | 0:42:33 | |
we were driving to meet a complete stranger | 0:42:33 | 0:42:36 | |
who could make or break our quest. | 0:42:36 | 0:42:38 | |
We've asked everyone if they believe in fate and chance because... | 0:42:40 | 0:42:45 | |
-Is this not totally fate and chance? -Course it is. | 0:42:45 | 0:42:47 | |
I hadn't met you guys till a minute ago. | 0:42:47 | 0:42:50 | |
Here we are and here it is. | 0:42:50 | 0:42:53 | |
LAUGHTER | 0:42:54 | 0:42:57 | |
Two tickets. | 0:42:57 | 0:42:59 | |
God bless you, Peter. God bless you. | 0:43:00 | 0:43:03 | |
'This is a permit to film the Hollywood sign. | 0:43:06 | 0:43:09 | |
'To film the sign costs 450 and, | 0:43:09 | 0:43:11 | |
'as all you watching this film will know, we don't have any money.' | 0:43:11 | 0:43:15 | |
'People said we would never get here | 0:43:15 | 0:43:17 | |
'but Marty did get to Hollywood. | 0:43:17 | 0:43:19 | |
'We made this film with no money at all. | 0:43:19 | 0:43:22 | |
'450 for a permit? | 0:43:22 | 0:43:24 | |
'We'll make our own sign.' | 0:43:24 | 0:43:25 | |
I'm sure we can film the outskirts of the Hollywood sign | 0:43:27 | 0:43:30 | |
and what's behind it. | 0:43:30 | 0:43:32 | |
CHEERING | 0:43:34 | 0:43:36 | |
Your dreams came true, Marty. | 0:43:36 | 0:43:38 | |
Well done, son. | 0:43:38 | 0:43:39 | |
At the last minute, Warner Brothers came through | 0:43:39 | 0:43:42 | |
and gave us another two tickets - | 0:43:42 | 0:43:44 | |
meaning we all got to go to the premiere. | 0:43:44 | 0:43:46 | |
Marty even got to go to the afterparty | 0:43:46 | 0:43:49 | |
at a swanky Hollywood hotel. | 0:43:49 | 0:43:51 | |
PAPARAZZI CLAMOUR | 0:43:52 | 0:43:56 | |
When I was turning up, I was like...really, really nervous. | 0:43:56 | 0:43:59 | |
The minute you see Jimmy Broadbent sitting on that toilet pan, | 0:43:59 | 0:44:01 | |
I knew, "Right, the door's opening in a minute and through we come. | 0:44:01 | 0:44:06 | |
-IRISH ACCENT: -Timothy Cavendish, I presume. | 0:44:06 | 0:44:10 | |
'It was like... It was kind of surreal and... | 0:44:10 | 0:44:12 | |
'..a little bit bizarre but wild exciting. | 0:44:14 | 0:44:17 | |
'Then of course, you get a close-up of me | 0:44:17 | 0:44:19 | |
'like 50 foot square on the screen.' | 0:44:19 | 0:44:21 | |
Where's our fucking money? | 0:44:21 | 0:44:23 | |
'I never thought for a minute that you'd be in the Chinese Theatre | 0:44:25 | 0:44:28 | |
'watching yourself in a premiere of a Hollywood film. | 0:44:28 | 0:44:31 | |
'It was nuts.' | 0:44:31 | 0:44:34 | |
Hello, everybody, | 0:44:34 | 0:44:35 | |
this is Santa Monica beach. | 0:44:35 | 0:44:39 | |
Probably the nicest beach I've ever seen | 0:44:39 | 0:44:41 | |
and that's the Pacific ocean | 0:44:41 | 0:44:42 | |
and what I'm going to do now is write a wee postcard to my maw. | 0:44:42 | 0:44:46 | |
Dear Mum, | 0:44:46 | 0:44:48 | |
I am standing at Santa Monica beach. | 0:44:48 | 0:44:51 | |
These last four days | 0:44:51 | 0:44:54 | |
have been life-changing. | 0:44:54 | 0:44:56 | |
Guys, thank you so much | 0:44:56 | 0:44:59 | |
for all of your hard work and effort to get us to here. | 0:44:59 | 0:45:04 | |
Honestly. | 0:45:04 | 0:45:06 | |
Thank you so much. | 0:45:06 | 0:45:07 | |
-Listen, Marty, we wouldn't be here if it wasn't for you. -I know but... | 0:45:07 | 0:45:10 | |
And you wouldn't be here if it wasn't for us. | 0:45:10 | 0:45:12 | |
He shouldn't be here at all, he's a chancer. | 0:45:12 | 0:45:15 | |
Cannot wait to tell you...our stories. | 0:45:15 | 0:45:19 | |
Much love, your wee boy, Marty. | 0:45:22 | 0:45:24 | |
And at the after party, the Cloud Atlas director's wife said to me, | 0:45:26 | 0:45:30 | |
"Did you guys make some crazy documentary to get here?" | 0:45:30 | 0:45:34 | |
I took Marty up there, past the press, and his eyes... | 0:45:45 | 0:45:48 | |
I've never seen a man's eyes open so much in my life. | 0:45:48 | 0:45:52 | |
He was just like... Wah! | 0:45:52 | 0:45:53 | |
I was like, "Marty, slow down." | 0:45:53 | 0:45:55 | |
He ran up the fluming gangway | 0:45:55 | 0:45:58 | |
and I was like, "Marty, slow down, | 0:45:58 | 0:46:00 | |
"you're not going to get another chance at this. | 0:46:00 | 0:46:02 | |
"Slow down." | 0:46:02 | 0:46:04 | |
It was a bit trancelike. | 0:46:04 | 0:46:05 | |
I was still dead edgy. | 0:46:05 | 0:46:07 | |
"Have I got the ticket, man?" | 0:46:07 | 0:46:09 | |
Cos I just... | 0:46:09 | 0:46:10 | |
still wasn't convinced, you know, | 0:46:10 | 0:46:13 | |
right up to the last minute, that we were getting in. | 0:46:13 | 0:46:15 | |
You know what it's like. | 0:46:15 | 0:46:17 | |
This week's been so many promises. | 0:46:17 | 0:46:19 | |
It was great to see Marty on the big screen and I think he had | 0:46:19 | 0:46:21 | |
a real blast seeing himself, because it's his first feature. | 0:46:21 | 0:46:24 | |
He's never seen himself on the big screen. | 0:46:24 | 0:46:26 | |
Tom Hanks came up and shook his hand after it. | 0:46:26 | 0:46:28 | |
I think it made his week, | 0:46:28 | 0:46:30 | |
it made his entire trip, | 0:46:30 | 0:46:32 | |
which was just brilliant. | 0:46:32 | 0:46:34 | |
Being here in LA, | 0:46:34 | 0:46:37 | |
in Hollywood, the Chinese Theatre, | 0:46:37 | 0:46:39 | |
it was just immense. | 0:46:39 | 0:46:40 | |
It was just an immense experience. It was brilliant. | 0:46:40 | 0:46:43 | |
It started off in Glasgow and, the next second, we're sitting here, | 0:46:43 | 0:46:46 | |
in Hollywood, watching the biggest film | 0:46:46 | 0:46:49 | |
that has come out and we're just... | 0:46:49 | 0:46:51 | |
We have made it here to the premiere. | 0:46:51 | 0:46:54 | |
Me and you were thinking, | 0:46:54 | 0:46:55 | |
we were so close to not getting in and we got in. | 0:46:55 | 0:46:59 | |
It made me think that, | 0:46:59 | 0:47:01 | |
if you want to do something, | 0:47:01 | 0:47:04 | |
if you're prepared to work hard for it | 0:47:04 | 0:47:06 | |
and you're concentrated on your goal, | 0:47:06 | 0:47:09 | |
then anything can happen. | 0:47:09 | 0:47:11 | |
When Marty comes on - you, Marty - | 0:47:11 | 0:47:14 | |
and there you are, holding your own on a massive screen. | 0:47:14 | 0:47:19 | |
Holding your own with the best actors in the world. | 0:47:19 | 0:47:21 | |
You're just like that - | 0:47:21 | 0:47:23 | |
"There's Marty up there! | 0:47:23 | 0:47:25 | |
"Holding his own with the best actors in the world." | 0:47:25 | 0:47:27 | |
I couldn't have been prouder. | 0:47:27 | 0:47:29 | |
Here we are, you're from Glasgow, right? | 0:47:29 | 0:47:31 | |
He's from Aberdeen - where I was born. | 0:47:31 | 0:47:33 | |
You're from Glasgow - the city I'm setting | 0:47:33 | 0:47:35 | |
my show, The Circus. | 0:47:35 | 0:47:37 | |
It's an incredible TV show. | 0:47:37 | 0:47:38 | |
Like the Mad Men of rock and roll. | 0:47:38 | 0:47:40 | |
How cool is that? | 0:47:40 | 0:47:41 | |
You're an actor. He's an actor. | 0:47:41 | 0:47:43 | |
Marty's an actor. | 0:47:43 | 0:47:45 | |
He's in a Tom Hanks film, Cloud. | 0:47:45 | 0:47:47 | |
I'm going to put him in my show. | 0:47:47 | 0:47:49 | |
You're going to go on my show - that's fate, right? | 0:47:49 | 0:47:51 | |
By the way, when I practise as strong as you, you know, | 0:47:51 | 0:47:54 | |
that's what it's all about. | 0:47:54 | 0:47:55 | |
Somebody is like, "There's no accident." | 0:47:55 | 0:47:58 | |
There are no accidents. It's all fate. | 0:47:58 | 0:48:00 | |
It's all fate here. | 0:48:00 | 0:48:01 | |
Marty's going to be a big star. | 0:48:01 | 0:48:03 | |
This kid's going to be in the pictures. Let me tell you. | 0:48:03 | 0:48:06 | |
Oh, yes. | 0:48:06 | 0:48:08 |