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Sensation seekers, welcome to the show. | 0:00:02 | 0:00:03 | |
For God's sake, take it easy. We've got an hour to go. | 0:00:03 | 0:00:06 | |
This programme contains some strong language | 0:00:06 | 0:00:08 | |
I'm back in Scotland, in my home town - Glasgow. | 0:00:08 | 0:00:12 | |
The comedian. | 0:00:12 | 0:00:14 | |
-Billy Connolly. -Billy Connolly. Is it? | 0:00:14 | 0:00:16 | |
-Is it? -Aye. -Bloody hell. | 0:00:16 | 0:00:19 | |
It's everything to me, it runs through my veins. | 0:00:20 | 0:00:23 | |
I love it. | 0:00:23 | 0:00:24 | |
I was brought up in Partick in Glasgow, | 0:00:24 | 0:00:27 | |
where Partick Thistle originally came from, the football team. | 0:00:27 | 0:00:31 | |
Partick Thistle FC. | 0:00:31 | 0:00:34 | |
I say that because most Englishmen | 0:00:34 | 0:00:35 | |
think they're called Partick Thistle Nil. | 0:00:35 | 0:00:39 | |
I'm turning 75 this year - I know, I cannae believe it either - | 0:00:39 | 0:00:43 | |
and I've come back for a birthday treat. | 0:00:43 | 0:00:46 | |
There's my old street. | 0:00:46 | 0:00:48 | |
'I'll be visiting some places that are very dear to me.' | 0:00:48 | 0:00:51 | |
That's colossal. | 0:00:51 | 0:00:53 | |
Good old Glasgow. | 0:00:53 | 0:00:55 | |
'And I'll also be meeting three brilliant artists.' | 0:00:55 | 0:00:57 | |
Lovely to see you. | 0:00:57 | 0:00:59 | |
The hugely successful Jack Vettriano... | 0:00:59 | 0:01:02 | |
You dirty bugger. | 0:01:02 | 0:01:04 | |
..rising star Rachel Maclean... | 0:01:04 | 0:01:06 | |
I bet you used to get notes from school, | 0:01:06 | 0:01:09 | |
"Rachel has a fertile imagination." | 0:01:09 | 0:01:11 | |
..and my dear old friend John Byrne. | 0:01:13 | 0:01:15 | |
How great to see you. | 0:01:15 | 0:01:16 | |
It's wonderful to see you, Billy. | 0:01:16 | 0:01:18 | |
Each of them are going to make a birthday portrait for me. | 0:01:18 | 0:01:21 | |
I've been very patient so far. I think I'll have an episode. | 0:01:21 | 0:01:24 | |
I'll be suffering for their art. | 0:01:28 | 0:01:30 | |
Excuse me. | 0:01:30 | 0:01:32 | |
-What? -You just walloped me in the bollocks there. | 0:01:32 | 0:01:34 | |
And to top it off, Glasgow will give me | 0:01:37 | 0:01:39 | |
the biggest birthday present of my life. | 0:01:39 | 0:01:41 | |
I've never seen myself that size before. | 0:01:44 | 0:01:46 | |
Glasgow belangs to me. | 0:01:47 | 0:01:48 | |
Now, at this point, I'm going to explain my health issues to you. | 0:02:00 | 0:02:04 | |
It will save you symptom spotting. | 0:02:06 | 0:02:08 | |
LAUGHTER | 0:02:10 | 0:02:12 | |
APPLAUSE | 0:02:12 | 0:02:14 | |
I've got Parkinson's disease, | 0:02:16 | 0:02:18 | |
and I wish to fuck he'd kept it to himself, | 0:02:18 | 0:02:20 | |
but there you go. | 0:02:20 | 0:02:21 | |
LAUGHTER | 0:02:21 | 0:02:23 | |
I haven't lived in Glasgow for nearly 40 years, | 0:02:33 | 0:02:35 | |
but it's a place that will always be home. | 0:02:35 | 0:02:38 | |
In fact, I'm probably more famous for being a Glaswegian | 0:02:39 | 0:02:42 | |
than anything I've ever done. | 0:02:42 | 0:02:43 | |
Without Glasgow, I wouldn't exist as an entertainer. | 0:02:45 | 0:02:48 | |
That's all I did, was spoke about Glasgow | 0:02:48 | 0:02:51 | |
and how it felt to be, to come from Glasgow. | 0:02:51 | 0:02:54 | |
I'm very proud to be Glaswegian. | 0:02:54 | 0:02:56 | |
Big banana feet. | 0:02:56 | 0:02:58 | |
BILLY CHUCKLES | 0:02:58 | 0:02:59 | |
The place is almost unrecognisable now to the one I remember, | 0:03:02 | 0:03:06 | |
a dark old city of soot-covered tenements, | 0:03:06 | 0:03:10 | |
smoky bars and the bustling shipyards where I started out. | 0:03:10 | 0:03:13 | |
Shipyard toilets are something to behold. | 0:03:16 | 0:03:18 | |
There was no toilet seat, there was just a bar | 0:03:18 | 0:03:21 | |
that ran the length of the place. | 0:03:21 | 0:03:24 | |
You sort of hung your bum over it and swung on it, like that. | 0:03:24 | 0:03:28 | |
And there was no toilet bowl. | 0:03:28 | 0:03:30 | |
There was a sort of trough... | 0:03:30 | 0:03:31 | |
..that ran the length of the place, of constantly running water. | 0:03:32 | 0:03:36 | |
So if a guy at the end did a wee jobbie, it went... | 0:03:36 | 0:03:38 | |
While I was still working in the yards, | 0:03:43 | 0:03:45 | |
I formed a band with a guy called Tam Harvey. | 0:03:45 | 0:03:47 | |
We were called the Humblebums. | 0:03:47 | 0:03:49 | |
The Humblebums eventually became | 0:03:50 | 0:03:52 | |
me and the immensely talented Gerry Rafferty. | 0:03:52 | 0:03:55 | |
We used to get our album sleeves designed by a mutual friend | 0:03:55 | 0:03:59 | |
and the coolest man in Scotland, the artist John Byrne. | 0:03:59 | 0:04:03 | |
Gerry even wrote this song for him. | 0:04:03 | 0:04:06 | |
# Patrick, my primitive | 0:04:06 | 0:04:10 | |
# Painter of art | 0:04:10 | 0:04:11 | |
# You will always and ever be near to my heart... # | 0:04:11 | 0:04:16 | |
John is the first artist who's agreed to paint | 0:04:16 | 0:04:19 | |
a birthday portrait of me. | 0:04:19 | 0:04:20 | |
Well, I've just arrived in Edinburgh, | 0:04:22 | 0:04:24 | |
in Dundas Street at the Fine Art Society. | 0:04:24 | 0:04:26 | |
I'm about to meet John Byrne, the great artist. | 0:04:26 | 0:04:29 | |
He used to be a friend of mine, I hope he still is. | 0:04:29 | 0:04:32 | |
He should be. | 0:04:32 | 0:04:33 | |
-Hey! -Good God! | 0:04:41 | 0:04:44 | |
THEY LAUGH | 0:04:44 | 0:04:46 | |
Billy Connolly. How are you? | 0:04:46 | 0:04:49 | |
As I live and breathe. | 0:04:49 | 0:04:51 | |
I'm going out for a smoke. | 0:04:53 | 0:04:55 | |
Come to the door with me. | 0:04:55 | 0:04:58 | |
Do you still smoke Gold Flake? | 0:04:58 | 0:05:00 | |
'John is some man.' | 0:05:00 | 0:05:02 | |
As well as his extraordinary painting, | 0:05:03 | 0:05:05 | |
he has written one of Scotland's favourite plays, The Slab Boys, | 0:05:05 | 0:05:09 | |
and the TV drama Tutti Frutti. | 0:05:09 | 0:05:11 | |
'He wants to do some sketches to help him with my portrait, | 0:05:14 | 0:05:17 | |
'and it is brilliant to see him again.' | 0:05:17 | 0:05:20 | |
The cigarette... | 0:05:22 | 0:05:24 | |
Hey, Billy! Get your hair cut! | 0:05:24 | 0:05:27 | |
Shut up! | 0:05:27 | 0:05:29 | |
"Get your hair cut," how dare you, sir! | 0:05:29 | 0:05:31 | |
-I know. -Do you know who I was? | 0:05:31 | 0:05:33 | |
And who you might be again. | 0:05:34 | 0:05:36 | |
Given half a chance. | 0:05:36 | 0:05:38 | |
So have you not thought of giving the smoking the elbow? | 0:05:38 | 0:05:41 | |
Oh, God, no! Oh, no. | 0:05:41 | 0:05:44 | |
-Will we go in? -Why not? -Yeah. | 0:05:46 | 0:05:49 | |
O-o-o-o-oh! | 0:05:58 | 0:06:00 | |
Look at that. | 0:06:00 | 0:06:02 | |
How old is this one? | 0:06:02 | 0:06:03 | |
It was about five or six years ago, I think. As far as I can remember. | 0:06:03 | 0:06:06 | |
-It's beautiful. -And this was the original. | 0:06:06 | 0:06:09 | |
That's colossal, isn't it, in here? | 0:06:09 | 0:06:11 | |
The vegetation stuff there is brilliant. | 0:06:11 | 0:06:14 | |
Aye. Yeah. | 0:06:14 | 0:06:15 | |
Oh, I recognise the pose here. | 0:06:16 | 0:06:18 | |
Yeah. | 0:06:18 | 0:06:20 | |
A very, very, very ugly child. | 0:06:20 | 0:06:23 | |
-Particularly... -There's no such thing as an ugly child. | 0:06:23 | 0:06:26 | |
No, but that's a strikingly ugly child. | 0:06:26 | 0:06:28 | |
The ears are modelled on my father's ears. | 0:06:30 | 0:06:32 | |
He had the biggest ears on a human being I've ever seen. | 0:06:32 | 0:06:34 | |
-Really? -Yeah. -Like clabby dos. | 0:06:34 | 0:06:37 | |
John has already painted me a few times, back in the '70s. | 0:06:41 | 0:06:44 | |
Including this stunning portrait | 0:06:46 | 0:06:47 | |
that hangs in the People's Palace in Glasgow. | 0:06:47 | 0:06:50 | |
And once he even turned me into a walking work of art on live TV. | 0:06:51 | 0:06:56 | |
I must ask you about that suit. | 0:06:56 | 0:06:57 | |
I mean, what's a working-class lad like you doing in a suit like that? | 0:06:57 | 0:07:00 | |
Do you like it? It's a sort of substitute for tattoos. | 0:07:00 | 0:07:02 | |
I'm frightened to get a tattoo, you know. | 0:07:02 | 0:07:05 | |
LAUGHTER | 0:07:05 | 0:07:06 | |
'My friend John Byrne in Glasgow, he is an artist, | 0:07:07 | 0:07:10 | |
'he calls himself Patrick. | 0:07:10 | 0:07:12 | |
'He did it for me by hand.' | 0:07:12 | 0:07:14 | |
-It's beautiful, isn't it? -Aye. | 0:07:14 | 0:07:16 | |
'I feel like a star. It's magic.' | 0:07:16 | 0:07:18 | |
The thing that always killed me about it | 0:07:19 | 0:07:21 | |
is that the flaps on the pockets, | 0:07:21 | 0:07:23 | |
if you lifted them up, it was identical underneath. | 0:07:23 | 0:07:26 | |
You had painted it twice. | 0:07:26 | 0:07:28 | |
-LAUGHING: -I know. | 0:07:28 | 0:07:29 | |
-It was brilliant. -I'd forgotten that as well. | 0:07:29 | 0:07:32 | |
'The pattern of the Glasgow streets is quite a very cruel...' | 0:07:32 | 0:07:37 | |
The media generally didn't employ people with accents like that. | 0:07:37 | 0:07:40 | |
They do now. | 0:07:40 | 0:07:41 | |
But then, they wouldn't. | 0:07:42 | 0:07:44 | |
'My best memory of Glasgow was standing... | 0:07:44 | 0:07:46 | |
'My childhood, I was with a pal of mine called Gerald McGee.' | 0:07:46 | 0:07:49 | |
We were doing a great Glasgow game called See Who Can Pee The Highest. | 0:07:49 | 0:07:52 | |
Up in the air. | 0:07:59 | 0:08:00 | |
And my father caught me. | 0:08:00 | 0:08:02 | |
And he slapped... I'll never forget. | 0:08:02 | 0:08:04 | |
He slapped me in the back of the head, | 0:08:04 | 0:08:05 | |
and my willy shot back into my trousers. | 0:08:05 | 0:08:07 | |
People say, "Why is he called the Big Yin?" or whatever. | 0:08:09 | 0:08:12 | |
And I says, "Because onstage he looks ten feet tall." | 0:08:12 | 0:08:15 | |
You just lit up the stage, everywhere you went. | 0:08:15 | 0:08:18 | |
I used to say that I behaved very tall. | 0:08:18 | 0:08:20 | |
You were just a phenomenon. | 0:08:23 | 0:08:26 | |
Absolute phenomenon. | 0:08:26 | 0:08:27 | |
There was no doubt of where you were going to end up. | 0:08:27 | 0:08:30 | |
Look at you. | 0:08:31 | 0:08:33 | |
And you, too. You were exactly the same. | 0:08:33 | 0:08:35 | |
No, mine was a lower trajectory. | 0:08:35 | 0:08:38 | |
But you always had a kind of rock and roll image. | 0:08:38 | 0:08:40 | |
-Yeah. -Well, to me you did, anyway. | 0:08:40 | 0:08:42 | |
You created an atmosphere in your appearance | 0:08:42 | 0:08:44 | |
and your extraordinary talent. | 0:08:44 | 0:08:47 | |
It was a lovely thing. | 0:08:47 | 0:08:48 | |
-Yeah. -And you were the only painter I knew, so it was... | 0:08:48 | 0:08:52 | |
Nobody to compare me with at all. | 0:08:52 | 0:08:55 | |
So it's time to get to work. | 0:09:00 | 0:09:02 | |
Well, John does the work and I just get to sit here quietly. | 0:09:02 | 0:09:06 | |
Not my strong point, really. | 0:09:06 | 0:09:07 | |
So, we'll do a couple of wee drawings. | 0:09:08 | 0:09:10 | |
I know what you look like, for God's sake. | 0:09:10 | 0:09:13 | |
I know what your soul looks like. | 0:09:13 | 0:09:15 | |
So that's halfway there. | 0:09:15 | 0:09:19 | |
-That is lovely. -Yeah. | 0:09:19 | 0:09:20 | |
I've never seen you draw before. | 0:09:23 | 0:09:24 | |
How much time do you spend painting? | 0:09:28 | 0:09:30 | |
Every day, 14 hours. | 0:09:30 | 0:09:32 | |
Never! | 0:09:32 | 0:09:33 | |
If it's worth doing, it's worth doing until you collapse. | 0:09:33 | 0:09:36 | |
-I think so. -I'm working harder now than I ever did. | 0:09:36 | 0:09:40 | |
I've been very patient so far. | 0:09:43 | 0:09:44 | |
I think I'll have an episode. | 0:09:44 | 0:09:47 | |
I think I'm entitled to an episode before the day is over. | 0:09:47 | 0:09:50 | |
I had a taxi driver once in Los Angeles who said, | 0:09:53 | 0:09:56 | |
"What do you do?" | 0:09:56 | 0:09:57 | |
I said, "I'm a comedian." | 0:09:57 | 0:09:58 | |
And he said, "I tell you what you do," he says, | 0:09:58 | 0:10:01 | |
"you get one of them Irish joke books, | 0:10:01 | 0:10:03 | |
"you learn them jokes." He says, "You can't go wrong." | 0:10:03 | 0:10:06 | |
-There you go. -I said, "Thanks very much. | 0:10:06 | 0:10:08 | |
"You know something, that is why you are sitting at the front." | 0:10:10 | 0:10:13 | |
Away like the clappers. | 0:10:17 | 0:10:19 | |
I wonder who the clappers were. | 0:10:21 | 0:10:23 | |
I don't know. | 0:10:23 | 0:10:25 | |
Cynthia and Dolores Clappers. | 0:10:25 | 0:10:27 | |
Well, John, I guess that's it. | 0:10:33 | 0:10:36 | |
I can tell that's it, because I've got cramp in my bum. | 0:10:36 | 0:10:38 | |
Well, thank God, Billy, because I'm... | 0:10:38 | 0:10:41 | |
Bored shitless. | 0:10:41 | 0:10:42 | |
"Yeah, I've drawn some boring faces in my life." | 0:10:47 | 0:10:50 | |
'It is a long time since I've seen him face-to-face. | 0:10:52 | 0:10:55 | |
'I mean, he is exactly the same but slightly older.' | 0:10:55 | 0:10:58 | |
Goodbye, my friend. | 0:11:00 | 0:11:02 | |
God bless you. | 0:11:02 | 0:11:03 | |
'It was just like yesterday I'd seen him. | 0:11:03 | 0:11:05 | |
'Enjoyed it hugely.' | 0:11:05 | 0:11:07 | |
'I was just thinking there, what a job I've got. | 0:11:07 | 0:11:10 | |
'I mean, fly through to Edinburgh on a lovely day' | 0:11:10 | 0:11:13 | |
and meet your old pal | 0:11:13 | 0:11:14 | |
and spend the day talking to him and laughing. | 0:11:14 | 0:11:17 | |
Thanks, John. | 0:11:19 | 0:11:20 | |
'Does my heart good to spend days like that. | 0:11:21 | 0:11:23 | |
'He's an absolute genius, I think.' | 0:11:23 | 0:11:26 | |
I can't wait to see myself done by him. | 0:11:26 | 0:11:28 | |
It's time for me to meet the next artist | 0:11:41 | 0:11:42 | |
who's offered to immortalise me in canvas. | 0:11:42 | 0:11:46 | |
Jack Vettriano. | 0:11:46 | 0:11:48 | |
Jack's story is remarkable. | 0:11:48 | 0:11:51 | |
He used to be a mining engineer, | 0:11:51 | 0:11:52 | |
but has transformed himself | 0:11:52 | 0:11:53 | |
into one of Scotland's most successful artists. | 0:11:53 | 0:11:56 | |
His most popular painting, The Singing Butler, | 0:11:58 | 0:12:01 | |
is among the bestselling prints in the UK, | 0:12:01 | 0:12:03 | |
and his work changes hands for huge amounts. | 0:12:03 | 0:12:05 | |
Oh, there he is. | 0:12:07 | 0:12:09 | |
-Billy. -Oh, nice to see you, man. | 0:12:09 | 0:12:12 | |
-You too. -I said, "I don't know what this guy looks like, | 0:12:12 | 0:12:15 | |
"I couldnae pick him out in a police line-up." | 0:12:15 | 0:12:18 | |
So it is lovely to meet you eventually. | 0:12:18 | 0:12:20 | |
You too. You too. | 0:12:20 | 0:12:21 | |
Come on in the kitchen and have a cup of tea. | 0:12:21 | 0:12:23 | |
Oh, what a great idea! | 0:12:23 | 0:12:24 | |
Come on. | 0:12:24 | 0:12:25 | |
So, what gave you the idea to paint me? | 0:12:29 | 0:12:31 | |
Well, I've followed your career since Final, | 0:12:31 | 0:12:35 | |
and that first time on Parkinson. | 0:12:35 | 0:12:38 | |
You were so endearing. | 0:12:38 | 0:12:40 | |
And I think all of Scotland were right behind you, | 0:12:40 | 0:12:43 | |
you know, in the joke, you know, the bums thing... | 0:12:43 | 0:12:45 | |
Just, you know, astonishing. | 0:12:46 | 0:12:50 | |
I hope I can get away with this. It's a beauty. | 0:12:50 | 0:12:52 | |
"How is the wife?" He said, "Oh, she's dead." | 0:12:55 | 0:12:57 | |
I goes, "What?" | 0:12:57 | 0:12:58 | |
He says, "Dead. Out the game. Dead. | 0:12:58 | 0:13:01 | |
"I murdered her. I'll show you if you want." | 0:13:01 | 0:13:03 | |
I said, "Aye, show me." So we went away up to his tenement building, | 0:13:03 | 0:13:06 | |
through the close - that's the entrance to the tenement... | 0:13:06 | 0:13:10 | |
And sure enough there's a big mound of earth. | 0:13:10 | 0:13:14 | |
But there's a bum sticking out of it. | 0:13:14 | 0:13:15 | |
I says, "Is that her?" | 0:13:18 | 0:13:20 | |
He says, "Aye." | 0:13:20 | 0:13:21 | |
I said, "What did you leave her bum sticking out for?" | 0:13:21 | 0:13:24 | |
He says, "I need somewhere to park my bike." | 0:13:24 | 0:13:26 | |
LAUGHTER | 0:13:26 | 0:13:27 | |
When I finished that show, | 0:13:30 | 0:13:31 | |
I flew back to Glasgow | 0:13:31 | 0:13:33 | |
and I was coming through the airport | 0:13:33 | 0:13:35 | |
and the whole airport started to applaud. | 0:13:35 | 0:13:37 | |
And I thought, "Well, I think I've done something here." | 0:13:37 | 0:13:40 | |
I just wish I'd never looked back from that moment. | 0:13:40 | 0:13:43 | |
Yeah. | 0:13:43 | 0:13:44 | |
I do have an issue to bring up with you, Billy. | 0:13:44 | 0:13:46 | |
-Oh, jeez. -Because... | 0:13:46 | 0:13:48 | |
Methil Steel Club. | 0:13:48 | 0:13:50 | |
Methil Steelworks Club. Yes, I remember it well. | 0:13:50 | 0:13:52 | |
When the dog came in and shat in the middle of the floor. | 0:13:52 | 0:13:56 | |
It had obviously eaten something | 0:13:56 | 0:13:57 | |
that it wasn't breaking down too readily, you know? | 0:13:57 | 0:14:01 | |
The likes of maybe a billiard ball or a Coca-Cola bottle or something. | 0:14:01 | 0:14:05 | |
That's my home town. | 0:14:05 | 0:14:07 | |
And then, then... | 0:14:09 | 0:14:11 | |
Then I moved to Kirkcaldy, and you insulted that as well. | 0:14:11 | 0:14:14 | |
-That's right. -The town you smell before you see. | 0:14:14 | 0:14:17 | |
That's right, what's that smell? | 0:14:17 | 0:14:18 | |
Kirkcaldy? Fabulous town. | 0:14:18 | 0:14:21 | |
Where they used to make linoleum. | 0:14:21 | 0:14:22 | |
Great place. | 0:14:22 | 0:14:24 | |
Making linoleum is a kind of smelly thing. | 0:14:24 | 0:14:26 | |
They were going to change the name of Kirkcaldy | 0:14:26 | 0:14:28 | |
to What's That Fucking Smell?, because... | 0:14:28 | 0:14:30 | |
LAUGHTER | 0:14:30 | 0:14:32 | |
That is the first thing people said as they got off the train. | 0:14:36 | 0:14:39 | |
It's lovely you've come from a working-class background. | 0:14:42 | 0:14:45 | |
To step into the limelight, it is kind of weird, isn't it? | 0:14:45 | 0:14:48 | |
It's astonishing, Billy, | 0:14:48 | 0:14:49 | |
that I still get very sort of nervous | 0:14:49 | 0:14:53 | |
because I think, "I don't belong here. | 0:14:53 | 0:14:55 | |
"This isn't my patch." | 0:14:55 | 0:14:56 | |
You just expect that the foreman's going to come up behind you and say, | 0:14:56 | 0:14:59 | |
-"Right..." -Yeah. -"..your time is up." | 0:14:59 | 0:15:01 | |
-Yeah. -"Your tea's oot." -Aye. | 0:15:01 | 0:15:03 | |
Well, I'm very proud to be painted by you. | 0:15:03 | 0:15:06 | |
Well, I'm very flattered to hear that. | 0:15:06 | 0:15:08 | |
I feel as if I should be standing on a beach with the tide going out. | 0:15:08 | 0:15:12 | |
-And a bowler hat on? -Aye, and a butler and... | 0:15:12 | 0:15:15 | |
Aye. Yeah. | 0:15:15 | 0:15:16 | |
So this is your studio? | 0:15:21 | 0:15:22 | |
-Yeah. -I like a floral studio. | 0:15:22 | 0:15:24 | |
Were you a gardener when you were young? | 0:15:25 | 0:15:27 | |
Jack is famous for two contrasting styles. | 0:15:31 | 0:15:34 | |
Some of his stuff is glamorous and romantic | 0:15:34 | 0:15:37 | |
and some is, well, rather dark and kinky. | 0:15:37 | 0:15:41 | |
I always liked watching women dress. | 0:15:42 | 0:15:45 | |
You know how all the fantasies are about undressing? | 0:15:45 | 0:15:47 | |
-I used to like watching them dressing. -Me too, Billy, me too. | 0:15:47 | 0:15:50 | |
I mean, is there anything nicer than watching a woman put her... | 0:15:50 | 0:15:54 | |
-a finely fashioned stocking on her toes? -Yeah. | 0:15:54 | 0:15:56 | |
And then, on the heel, the heel is reinforced. | 0:15:56 | 0:15:59 | |
Oh, Christ, I know too much about this. | 0:15:59 | 0:16:02 | |
You're a dirty bugger. | 0:16:02 | 0:16:04 | |
I mean, I don't do that. | 0:16:05 | 0:16:07 | |
But I was desperate to do it for many years. | 0:16:07 | 0:16:10 | |
You know, get into that... | 0:16:10 | 0:16:11 | |
bit of the old tiesy-upsy, the fucking gear on... You know. | 0:16:11 | 0:16:16 | |
But I don't last long enough to do any of those things. | 0:16:16 | 0:16:19 | |
Jack has promised me I won't have to get tied up | 0:16:21 | 0:16:23 | |
or wear suspenders for my portrait. | 0:16:23 | 0:16:26 | |
He works from photographs, | 0:16:26 | 0:16:28 | |
and he has chosen a shot of me from a TV series I did in the '90s, | 0:16:28 | 0:16:31 | |
my World Tour Of Scotland. | 0:16:31 | 0:16:34 | |
We're up quite near John O'Groats here... | 0:16:34 | 0:16:37 | |
in tropical Scotland. | 0:16:37 | 0:16:40 | |
This was the first sequence that I saw and I thought, | 0:16:40 | 0:16:42 | |
"I really do like this." | 0:16:42 | 0:16:43 | |
And that there, I think, is the image. | 0:16:45 | 0:16:48 | |
Slightly imbalanced, and that is what the painting will look like. | 0:16:48 | 0:16:52 | |
Yeah, that's great. | 0:16:52 | 0:16:54 | |
And that is corner to corner and it's very pleasing on the eye. | 0:16:54 | 0:16:57 | |
I think it's great. I think there's a sort of great dynamic | 0:16:57 | 0:17:00 | |
in that shot. | 0:17:00 | 0:17:01 | |
You look really majestic. | 0:17:01 | 0:17:03 | |
There is a lot of life in it, isn't there? | 0:17:03 | 0:17:04 | |
With the water going and the hair and the pointing and the... | 0:17:04 | 0:17:07 | |
Yeah. In a way, this is a sort of return to the beaches. | 0:17:07 | 0:17:10 | |
I feel very proud about that. | 0:17:10 | 0:17:12 | |
But this will be a wee bit of a challenge. | 0:17:12 | 0:17:14 | |
It's trying to let people see that that is actually surf. | 0:17:14 | 0:17:18 | |
I tell you the biggest challenge | 0:17:18 | 0:17:19 | |
is finding where to put the man with the umbrella. | 0:17:19 | 0:17:22 | |
Well, it's been great seeing you. | 0:17:25 | 0:17:26 | |
Oh, it's been lovely. | 0:17:26 | 0:17:28 | |
Especially finding out you were a Fifer, I didnae know that. | 0:17:28 | 0:17:31 | |
I think I could say fairly safely | 0:17:31 | 0:17:33 | |
that that is the highlight of my career to date. | 0:17:33 | 0:17:36 | |
It's been a real pleasure to meet you, and more than that, | 0:17:36 | 0:17:40 | |
it's been an inspiration, getting to paint your portrait. | 0:17:40 | 0:17:43 | |
Oh, thank you very much. | 0:17:43 | 0:17:45 | |
-A pleasure. -Now, get on with it! | 0:17:45 | 0:17:46 | |
-Right. -See you later. -OK. | 0:17:46 | 0:17:48 | |
'Every dinner party I go to from now until the day I die,' | 0:17:48 | 0:17:52 | |
I'll say, "Oh, did I ever tell you when I met Billy Connolly?" | 0:17:52 | 0:17:55 | |
There is one more artist who has agreed to create | 0:18:04 | 0:18:06 | |
a birthday portrait of me. | 0:18:06 | 0:18:09 | |
I'm off to meet Rachel Maclean, | 0:18:09 | 0:18:11 | |
and she is a different kettle of fish altogether. | 0:18:11 | 0:18:14 | |
Now is the time. | 0:18:14 | 0:18:17 | |
Rachel is the most exciting new artist in Scotland. | 0:18:17 | 0:18:20 | |
She is part performer, part film-maker, | 0:18:20 | 0:18:22 | |
and creates works set in strange fantasy worlds. | 0:18:22 | 0:18:26 | |
I am well out of my comfort zone on this one. | 0:18:26 | 0:18:28 | |
Well, Rachel, I tried to Google you last night, | 0:18:30 | 0:18:33 | |
and it came up with a big picture | 0:18:33 | 0:18:36 | |
with you with screeds of make-up on, | 0:18:36 | 0:18:39 | |
like it had been laid on by a bricklayer. | 0:18:39 | 0:18:41 | |
That will be me, yeah. | 0:18:41 | 0:18:42 | |
And so it gave me no clue as to what you actually do. | 0:18:42 | 0:18:45 | |
So I make mostly video work, | 0:18:45 | 0:18:48 | |
but video where I'm the only actor, | 0:18:48 | 0:18:50 | |
or the only model, so it is quite synthetic sort of worlds. | 0:18:50 | 0:18:55 | |
RACHEL CHUCKLES | 0:18:55 | 0:18:56 | |
Sounds OK to me. | 0:18:56 | 0:18:58 | |
I'm completely mystified. | 0:18:58 | 0:19:00 | |
Good, good. | 0:19:00 | 0:19:01 | |
This is a film I made, | 0:19:01 | 0:19:03 | |
a bit of a piss-take of various advertising formats. | 0:19:03 | 0:19:06 | |
And it is called Germs. | 0:19:06 | 0:19:08 | |
Is that you? | 0:19:08 | 0:19:10 | |
Yeah. | 0:19:10 | 0:19:12 | |
So I am all the characters. | 0:19:12 | 0:19:14 | |
'I've never seen anything like this before,' | 0:19:19 | 0:19:21 | |
and I am seriously starting to worry about what I've let myself in for. | 0:19:21 | 0:19:25 | |
Hello! | 0:19:26 | 0:19:27 | |
RETCHING | 0:19:27 | 0:19:29 | |
Tastes pretty good, huh? | 0:19:29 | 0:19:30 | |
Oh, dear. | 0:19:34 | 0:19:35 | |
That is the last thing on Earth I expected. | 0:19:37 | 0:19:40 | |
-Oh, really? -This is extraordinary. | 0:19:40 | 0:19:43 | |
I really like it. It's, eh... | 0:19:43 | 0:19:46 | |
I'm kind of stuck for something to say about it. | 0:19:46 | 0:19:48 | |
I think that this kind of art suffers from that. | 0:19:48 | 0:19:51 | |
From the inability of the observers to say what they are looking at. | 0:19:51 | 0:19:55 | |
So what are you going to do with me? | 0:19:56 | 0:19:58 | |
RACHEL LAUGHS | 0:19:58 | 0:19:59 | |
So we're going to be taking a photograph, | 0:19:59 | 0:20:01 | |
and, if you're all right with it, | 0:20:01 | 0:20:03 | |
we're going to be getting you done up in a kind of... | 0:20:03 | 0:20:06 | |
18th-century sort of tartan regalia. | 0:20:06 | 0:20:09 | |
I don't have to do blue vomit or anything? | 0:20:09 | 0:20:12 | |
Only if you want to. | 0:20:12 | 0:20:13 | |
This is the costume that you are going to be getting into, here. | 0:20:21 | 0:20:24 | |
So there is... | 0:20:24 | 0:20:25 | |
-What? -..a hat. | 0:20:25 | 0:20:27 | |
So it's kind of... | 0:20:27 | 0:20:29 | |
I don't know why I was thinking, like, Bonnie Prince Charlie-style... | 0:20:29 | 0:20:32 | |
-Yeah. -..tartan regalia, but with loads of references to your jokes. | 0:20:32 | 0:20:37 | |
There is a wee... a wee beige jobbie in a toilet. | 0:20:42 | 0:20:45 | |
-Oh, I love it. -It's in a tiny toilet. | 0:20:45 | 0:20:47 | |
'British Rail specialises in that one.' | 0:20:49 | 0:20:52 | |
Into the toilet, lock the door, turn... | 0:20:53 | 0:20:55 | |
Oh, for Christ's sake. | 0:20:55 | 0:20:56 | |
There's a wee jobbie... | 0:21:01 | 0:21:03 | |
A wee beige jobbie. | 0:21:06 | 0:21:08 | |
You flush and flush with all your might... | 0:21:10 | 0:21:13 | |
My God, you've done your homework. | 0:21:17 | 0:21:19 | |
And this is a sporran, which is hair growing out your ears | 0:21:19 | 0:21:22 | |
-and your nose when you get old. -Absolutely. | 0:21:22 | 0:21:25 | |
I love it. | 0:21:25 | 0:21:27 | |
'My nose hair is accelerating, for reasons best known to itself.' | 0:21:27 | 0:21:30 | |
I used to cut it once every 30 years, | 0:21:33 | 0:21:36 | |
now it's like twice a month. | 0:21:36 | 0:21:37 | |
Presuming the body knows what it's doing, I'm very baffled. | 0:21:39 | 0:21:41 | |
I wonder what's going to happen to me that's going to need | 0:21:41 | 0:21:43 | |
long nasal hair to deal with it. | 0:21:43 | 0:21:45 | |
And the big slipper, which I don't know if it would have been that big, | 0:21:46 | 0:21:49 | |
-but I thought... -Oh, is that what that is? | 0:21:49 | 0:21:51 | |
-LAUGHING: -Yeah. -That's wonderful. | 0:21:51 | 0:21:54 | |
Yeah, I was quite pleased with how that turned out. | 0:21:54 | 0:21:57 | |
-If it's that scale. -When I did that big slipper stuff, | 0:21:57 | 0:21:59 | |
people started to send them to me. | 0:21:59 | 0:22:01 | |
-Really? -Yeah. | 0:22:01 | 0:22:03 | |
You get these adverts for things that they obviously can't sell. | 0:22:03 | 0:22:08 | |
Have you seen the big slipper? | 0:22:08 | 0:22:10 | |
But it's one big slipper. | 0:22:12 | 0:22:15 | |
And you put your two feet in it. | 0:22:15 | 0:22:17 | |
We've also got... Can I grab the staff? | 0:22:19 | 0:22:21 | |
So this is the finger up the bum. | 0:22:21 | 0:22:24 | |
This is the staff. | 0:22:24 | 0:22:26 | |
'Doctors become obsessively interested in your prostate | 0:22:26 | 0:22:29 | |
'as soon as you turn 50.' | 0:22:29 | 0:22:30 | |
There are two ways in. | 0:22:30 | 0:22:32 | |
One is a camera through the hole in your willy. | 0:22:32 | 0:22:34 | |
Fuck that. | 0:22:35 | 0:22:37 | |
Wonderful. Well done. | 0:22:39 | 0:22:41 | |
'The other way...' | 0:22:43 | 0:22:45 | |
finger up the bottom. | 0:22:45 | 0:22:46 | |
Oh, for fuck's sake. | 0:22:46 | 0:22:49 | |
But he's messing around in there. | 0:22:49 | 0:22:52 | |
We're in a different game now. | 0:22:57 | 0:22:59 | |
I'm about to be humiliated, and I love it. | 0:22:59 | 0:23:02 | |
It is ten times better than I thought it was going to be. | 0:23:02 | 0:23:06 | |
I was living in terror of having make-up splashed onto me. | 0:23:06 | 0:23:09 | |
I wasn't looking forward to it. | 0:23:11 | 0:23:13 | |
Rachel has other ideas, of course, and I've only got myself to blame. | 0:23:13 | 0:23:18 | |
She wants me in make-up because of another old routine. | 0:23:18 | 0:23:21 | |
So I was looking, just your joke about the pale blue Scotsman. | 0:23:21 | 0:23:25 | |
-Pale blue Scottish person. -I always liked... | 0:23:25 | 0:23:27 | |
My dad would always reference... | 0:23:27 | 0:23:28 | |
when we went on summer holidays to the beach. | 0:23:28 | 0:23:30 | |
I tend to frighten people on the beach, because being Scottish, | 0:23:30 | 0:23:33 | |
I'm pale blue. | 0:23:33 | 0:23:36 | |
It takes me a week to get white, you know? | 0:23:36 | 0:23:38 | |
-That's really good. -Oh, my God. | 0:23:38 | 0:23:41 | |
I bet you used to get notes from school, | 0:23:43 | 0:23:46 | |
"Rachel has a fertile imagination." | 0:23:46 | 0:23:48 | |
I used to get them, as if it was a failing. | 0:23:48 | 0:23:52 | |
"Billy has a fertile imagination. | 0:23:52 | 0:23:55 | |
"We'll knock that out of him." | 0:23:55 | 0:23:57 | |
GIRLS LAUGH | 0:23:59 | 0:24:01 | |
Holy Jesus. | 0:24:01 | 0:24:02 | |
I look like a complete alien. | 0:24:04 | 0:24:05 | |
I think that looks about sporran height. | 0:24:14 | 0:24:16 | |
Sporran height? Sounds like a German word, doesn't it? | 0:24:16 | 0:24:19 | |
Just getting ready to step out for the groceries. | 0:24:26 | 0:24:29 | |
Looking great. So, into the big slipper. | 0:24:34 | 0:24:38 | |
'I was always going to buy two.' | 0:24:38 | 0:24:40 | |
I was going to buy a pair. | 0:24:41 | 0:24:43 | |
And leave them in the fireplace. | 0:24:43 | 0:24:45 | |
If I'm going out at night, in case a burglar comes in. | 0:24:47 | 0:24:51 | |
"Who lives here, for Christ's sake?!" | 0:24:53 | 0:24:57 | |
So I can show you the kind of image that we're going for. | 0:24:57 | 0:25:01 | |
We're thinking the kind of Bonnie Prince Charlie type of... | 0:25:01 | 0:25:03 | |
-Oh, right. -So, yeah, that's good. | 0:25:03 | 0:25:06 | |
Yeah, yeah. And maybe the legs a wee bit... | 0:25:06 | 0:25:10 | |
-Jaunty. -Yeah, a wee bit jaunty. | 0:25:10 | 0:25:12 | |
Yeah, that looks good. | 0:25:12 | 0:25:14 | |
Never trust a man who, when left alone in a room with a tea cosy, | 0:25:17 | 0:25:21 | |
doesn't try it on. | 0:25:21 | 0:25:22 | |
Excuse me. | 0:25:25 | 0:25:27 | |
-What? -You just walloped me in the bollocks there. | 0:25:27 | 0:25:30 | |
RACHEL LAUGHS | 0:25:30 | 0:25:32 | |
Sorry. | 0:25:32 | 0:25:33 | |
When I came up with the idea of the costume, | 0:25:36 | 0:25:39 | |
I was thinking about that stereotype of a certain kind of Scottishness. | 0:25:39 | 0:25:43 | |
Then this idea of Billy in a contemporary sense, | 0:25:43 | 0:25:47 | |
representing Scotland abroad. | 0:25:47 | 0:25:49 | |
I guess it's kind of come together into something | 0:25:49 | 0:25:52 | |
that is maybe at a glance traditional, | 0:25:52 | 0:25:54 | |
but when you look closer, | 0:25:54 | 0:25:56 | |
all the materials are kind of cheap and plasticky. | 0:25:56 | 0:25:59 | |
There's a feeling of a culture | 0:25:59 | 0:26:01 | |
that's inauthentic and is being reconsidered. | 0:26:01 | 0:26:03 | |
I'd maybe try shocked. | 0:26:05 | 0:26:06 | |
It's been astonishing. | 0:26:09 | 0:26:10 | |
Absolutely astonishing. | 0:26:10 | 0:26:11 | |
It was great to take part in one of those post-modernist artworks. | 0:26:11 | 0:26:17 | |
It's lovely. | 0:26:17 | 0:26:19 | |
And maybe just very serious, kind of... | 0:26:19 | 0:26:21 | |
Yeah, that's good, yeah. | 0:26:22 | 0:26:25 | |
I think we've got it. | 0:26:25 | 0:26:26 | |
Yeah. Thank you so much. That was great. | 0:26:26 | 0:26:29 | |
-APPLAUSE -Cheers. | 0:26:29 | 0:26:30 | |
I've never quite done anything remotely like that before. | 0:26:30 | 0:26:33 | |
Aw... | 0:26:34 | 0:26:35 | |
And the finger fell out of the bum. | 0:26:35 | 0:26:37 | |
What I'm going to do now is take the photos | 0:26:40 | 0:26:42 | |
and try and select which one will work best, | 0:26:42 | 0:26:45 | |
and then start thinking about the backgrounds. | 0:26:45 | 0:26:47 | |
So while Rachel, John and Jack get on with my portraits, | 0:26:54 | 0:26:57 | |
I thought I'd check out another artist in town. | 0:26:57 | 0:27:00 | |
A new kid on the block, as it were. | 0:27:01 | 0:27:03 | |
I am about to pay a visit to Scotland's greatest living artist... | 0:27:06 | 0:27:11 | |
..who bears a strange resemblance to me. | 0:27:12 | 0:27:15 | |
I had never really drawn before, | 0:27:17 | 0:27:18 | |
but I started doodling a few years ago | 0:27:18 | 0:27:20 | |
when I was bored in a hotel room, | 0:27:20 | 0:27:22 | |
and before I knew it, I had enough of them to fill a room. | 0:27:22 | 0:27:26 | |
I haven't seen them in such a long time, | 0:27:26 | 0:27:28 | |
they go on exhibitions without me. | 0:27:28 | 0:27:30 | |
I sound pathetic when I say that. | 0:27:32 | 0:27:34 | |
The first exhibition in Birmingham, | 0:27:37 | 0:27:39 | |
I thought there would be a lot of people going... | 0:27:39 | 0:27:41 | |
BILLY SNIGGERS | 0:27:41 | 0:27:42 | |
But it didn't happen. People liked it. | 0:27:42 | 0:27:44 | |
And I've been doing it kind of ever since. | 0:27:46 | 0:27:49 | |
I'm very proud of them. | 0:27:49 | 0:27:51 | |
It's all kind of random. | 0:27:56 | 0:27:58 | |
Same as the way I draw them, I don't set out to draw anything. | 0:27:58 | 0:28:02 | |
I didn't know it was Surreal Automatism | 0:28:02 | 0:28:04 | |
until I read it on the wall over there. | 0:28:04 | 0:28:07 | |
I feel terribly clever now that I'm a Surreal Automatist. | 0:28:07 | 0:28:12 | |
It takes ages to do, but it's kind of meditative. | 0:28:14 | 0:28:17 | |
You get carried away when you're doing it. | 0:28:17 | 0:28:19 | |
And I especially... I remember him at the time. | 0:28:23 | 0:28:27 | |
The Glaswegian Icarus. | 0:28:27 | 0:28:28 | |
It is lovely to see them again. They are like old pals. | 0:28:32 | 0:28:35 | |
It is especially nice they're in the People's Palace. | 0:28:35 | 0:28:39 | |
I've always loved this place. | 0:28:39 | 0:28:41 | |
I've had a long association with this gem of a building. | 0:28:43 | 0:28:47 | |
40-odd years ago, they asked me to open an exhibition here. | 0:28:49 | 0:28:53 | |
At the time I donated some bits and pieces for the collection, | 0:28:53 | 0:28:56 | |
and they have dug them out again. | 0:28:56 | 0:28:58 | |
It's strange being in a museum at all. | 0:29:00 | 0:29:03 | |
You feel duty bound to be dead. | 0:29:03 | 0:29:05 | |
You know? So... I have no intention of being dead. | 0:29:05 | 0:29:09 | |
So it is a kind of peculiar feeling. | 0:29:10 | 0:29:12 | |
Especially that guy up there, | 0:29:13 | 0:29:15 | |
I didn't remember that suit until I saw it today. | 0:29:15 | 0:29:18 | |
Glam rock was around. | 0:29:18 | 0:29:21 | |
It had three colours, they fitted much better than they fit him. | 0:29:21 | 0:29:24 | |
I spent a lot of time thinking about how I should look, | 0:29:25 | 0:29:27 | |
so I got more and more outrageous. | 0:29:27 | 0:29:30 | |
Ooooh! | 0:29:30 | 0:29:32 | |
# Our little dog is six years old... # | 0:29:32 | 0:29:35 | |
'I tried everything on stage, | 0:29:35 | 0:29:37 | |
'from wearing my pyjamas to dressing like a sparkly sweetie.' | 0:29:37 | 0:29:41 | |
-Do you like it? AUDIENCE MEMBER: -No! | 0:29:41 | 0:29:43 | |
Like a liquorice boilie, isn't it? | 0:29:43 | 0:29:46 | |
But it was these fruity booties that became my trademark. | 0:29:46 | 0:29:50 | |
That's an actual pair of wellies in there. | 0:29:50 | 0:29:53 | |
But it took the country by storm, I'm delighted to say. | 0:29:53 | 0:29:56 | |
They were very, very comfortable. | 0:29:56 | 0:29:58 | |
The only trouble I had with them, | 0:29:58 | 0:29:59 | |
I had to wear a leotard and tights with them, | 0:29:59 | 0:30:02 | |
and pulling the tights on, the hair on my legs all went the wrong way. | 0:30:02 | 0:30:06 | |
And it was kind of uncomfortable. | 0:30:06 | 0:30:09 | |
But I refused to shave my legs. | 0:30:09 | 0:30:10 | |
They made one and sent it up to be tried on, | 0:30:12 | 0:30:14 | |
and I tried it on, thought it was amazing, you know? | 0:30:14 | 0:30:17 | |
And I... I said, "Right, carry on with the other one." | 0:30:17 | 0:30:20 | |
So he phones up and says, "The other one is ready," he said, | 0:30:20 | 0:30:24 | |
"I must warn you," he said, "They're not identical, | 0:30:24 | 0:30:26 | |
"but then bananas never are." | 0:30:26 | 0:30:28 | |
I don't remember ever referencing them at all, | 0:30:33 | 0:30:36 | |
I just came on like that and carried on with my act. | 0:30:36 | 0:30:39 | |
I couldn't think of anything of any length to say about them. | 0:30:39 | 0:30:42 | |
So I just let them speak for themselves. | 0:30:42 | 0:30:45 | |
'You ever notice about the Glasgow drunk, he walks with one leg?' | 0:30:45 | 0:30:48 | |
Like that. | 0:30:48 | 0:30:50 | |
LAUGHTER | 0:30:50 | 0:30:52 | |
APPLAUSE | 0:30:52 | 0:30:54 | |
And this is my portrait by John Byrne. | 0:30:57 | 0:30:59 | |
I was supposed to have this, | 0:31:05 | 0:31:07 | |
then he phoned me and said, "I've finished it," but he said, | 0:31:07 | 0:31:10 | |
"But it is too big for your house | 0:31:10 | 0:31:11 | |
"and the People's Palace want it, what do you think?" | 0:31:11 | 0:31:14 | |
And I said, "Great." | 0:31:14 | 0:31:15 | |
It's identical to how I looked then, as well. | 0:31:17 | 0:31:19 | |
It's an incredible likeness. | 0:31:19 | 0:31:22 | |
The great thing about being painted by John, | 0:31:24 | 0:31:26 | |
he paints great clothes on you. They don't exist. | 0:31:26 | 0:31:28 | |
He just painted them from his head. | 0:31:29 | 0:31:31 | |
This is astonishing. | 0:31:33 | 0:31:35 | |
Apparently the postcard sells quite well as well. | 0:31:35 | 0:31:38 | |
I've always loved this portrait since the first minute I saw it. | 0:31:42 | 0:31:46 | |
And I will soon have more to enjoy as well. | 0:31:46 | 0:31:49 | |
I just start, and it will just change or develop as I go along. | 0:31:58 | 0:32:04 | |
Because I want to be surprised at the end, | 0:32:04 | 0:32:06 | |
as opposed to having a finished image in my head. | 0:32:06 | 0:32:10 | |
Since he got... | 0:32:14 | 0:32:15 | |
..the onset of Parkinson's, he's very... | 0:32:17 | 0:32:19 | |
He sort of moves differently. You know, he was very... | 0:32:23 | 0:32:26 | |
..as you can imagine him onstage... | 0:32:27 | 0:32:30 | |
He would roam about the stage, | 0:32:30 | 0:32:32 | |
which he cannae do now. | 0:32:32 | 0:32:35 | |
I met Ian Holm, the actor, who suffers from it, | 0:32:35 | 0:32:38 | |
and he has had it longer than me. | 0:32:38 | 0:32:41 | |
And he says, "Do you shake much, your hands?" | 0:32:41 | 0:32:44 | |
And I said, "No, when I'm nervous or when I'm tired, it shakes a bit." | 0:32:44 | 0:32:47 | |
He said, "Oh, yeah. It probably will, yeah." | 0:32:47 | 0:32:50 | |
He said, "I'll give you a bit of advice. | 0:32:50 | 0:32:52 | |
"If it shakes, just stick it in your pocket." | 0:32:52 | 0:32:55 | |
He forgot to mention jacket pocket. | 0:32:55 | 0:32:57 | |
It's only a physical impediment. | 0:33:03 | 0:33:06 | |
He's very clear thinking and just as funny if not funnier than ever. | 0:33:06 | 0:33:12 | |
He seems slightly more thoughtful about everything, | 0:33:12 | 0:33:17 | |
as we all get to... | 0:33:17 | 0:33:20 | |
towards the end of this... | 0:33:20 | 0:33:22 | |
journey. | 0:33:22 | 0:33:23 | |
I haven't seen this for years. | 0:33:33 | 0:33:34 | |
There's a great... | 0:33:37 | 0:33:40 | |
a great sketch, if you like... | 0:33:40 | 0:33:42 | |
..called The Crucifixion. | 0:33:44 | 0:33:47 | |
The way The Last Supper really happened... | 0:33:47 | 0:33:49 | |
All the apostles were in there, | 0:33:49 | 0:33:51 | |
drinking wine and tearing lumps off the Mother's Pride. | 0:33:51 | 0:33:54 | |
Singing, shouting and bawling. | 0:33:54 | 0:33:56 | |
SHOUTING: We are the Christians! | 0:33:56 | 0:33:58 | |
Uh-oh, into these Romans! | 0:33:58 | 0:34:01 | |
Gie's another glass of that wine. Oh! | 0:34:01 | 0:34:05 | |
And The Crucifixion, I'm sure, was the first sketch that I ever heard, | 0:34:05 | 0:34:10 | |
you know, and I thought, "That is just amazing," you know? | 0:34:10 | 0:34:14 | |
So I said, "I think I'll have a kip on this dod of wood here." | 0:34:14 | 0:34:16 | |
So I lie down like that. | 0:34:16 | 0:34:18 | |
Woke up an hour later. | 0:34:20 | 0:34:22 | |
"Wait a minute! | 0:34:22 | 0:34:25 | |
"Some joker's been up and nailed me to the wood! | 0:34:25 | 0:34:28 | |
"Lying there in my Y-fronts like a right eejit." | 0:34:29 | 0:34:32 | |
There's quite a lot to whittle down, | 0:34:40 | 0:34:42 | |
but these ones are starting to get into something | 0:34:42 | 0:34:44 | |
a bit more kind of regal, which I quite like. | 0:34:44 | 0:34:48 | |
RACHEL CHUCKLES | 0:34:48 | 0:34:50 | |
I think I'm going for something that's serious, serious expression | 0:34:51 | 0:34:55 | |
to kind of react against the silliness of the costume. | 0:34:55 | 0:34:59 | |
But I think there is a kind of responsibility | 0:34:59 | 0:35:01 | |
in representing Billy, | 0:35:01 | 0:35:03 | |
because he is so well known | 0:35:03 | 0:35:04 | |
and he's this kind of national treasure within Scotland. | 0:35:04 | 0:35:08 | |
It is bloody terrifying. | 0:35:08 | 0:35:10 | |
It really is. | 0:35:10 | 0:35:11 | |
If you look at what I am copying from, | 0:35:19 | 0:35:21 | |
you just can't see any detail, | 0:35:21 | 0:35:23 | |
so I have been working from that and from this. | 0:35:23 | 0:35:26 | |
Just to get where the studs are | 0:35:26 | 0:35:28 | |
and how the sort of flaps come over, you know? | 0:35:28 | 0:35:32 | |
Bit of a bonus that he's wearing gloves, | 0:35:32 | 0:35:34 | |
because I am no' very good at painting hands. | 0:35:34 | 0:35:36 | |
Billy was wearing a blue shirt with tiny little stars all over it. | 0:35:41 | 0:35:46 | |
He liked the shirt and I didnae particularly like the shirt, | 0:35:46 | 0:35:49 | |
so I am going to give him a black shirt. | 0:35:49 | 0:35:52 | |
This is where I spent my childhood. | 0:36:00 | 0:36:03 | |
So we're just looking at some archive footage | 0:36:03 | 0:36:07 | |
and possibly take some of this imagery so that it can be used, | 0:36:07 | 0:36:10 | |
but then mixed with newer imagery. | 0:36:10 | 0:36:13 | |
And these are the big badlands of Glasgow. | 0:36:13 | 0:36:15 | |
To get the images for the backgrounds, | 0:36:18 | 0:36:20 | |
I am going to go out and just try and take some photographs | 0:36:20 | 0:36:23 | |
of contemporary Glasgow. | 0:36:23 | 0:36:24 | |
I kind of want it to also have the feeling | 0:36:26 | 0:36:29 | |
of maybe the Glasgow of Billy's sort of early career too. | 0:36:29 | 0:36:33 | |
# I started work up in Partick | 0:36:38 | 0:36:42 | |
# But my workmates were acting gae queer... # | 0:36:42 | 0:36:46 | |
When I was a child, it was like a village, Partick. | 0:36:46 | 0:36:50 | |
As was Govan, Maryhill and the other Glasgow districts. | 0:36:50 | 0:36:52 | |
And there were always colourful people wandering about the place. | 0:36:54 | 0:36:57 | |
There are many, many small men in Partick. | 0:36:57 | 0:37:01 | |
In Partick, we used to call those little men "talking bunnets", | 0:37:01 | 0:37:05 | |
you know, because you looked down on the top of their head all the time | 0:37:05 | 0:37:08 | |
when they're talking. | 0:37:08 | 0:37:10 | |
There are many men in Partick who have the face of a policeman. | 0:37:10 | 0:37:13 | |
I used to describe it as a city baker's Halloween cake face. | 0:37:13 | 0:37:18 | |
# As a hulking big 6'2 brickie | 0:37:18 | 0:37:20 | |
# For heaven's sake, lay them dead quick. # | 0:37:21 | 0:37:24 | |
So I am now working on a Scottish sky, you know, | 0:37:31 | 0:37:35 | |
trying to make it quite sort of kind of stormy-looking. | 0:37:35 | 0:37:39 | |
This is the last step, the whole thing comes down here | 0:37:52 | 0:37:56 | |
and ends right here. | 0:37:56 | 0:37:58 | |
Shit. | 0:38:12 | 0:38:13 | |
Christ. | 0:38:16 | 0:38:17 | |
JOHN HUMS TUNE | 0:38:23 | 0:38:26 | |
I was on Billy's old street where he grew up, and took some photographs. | 0:38:38 | 0:38:44 | |
But then found this chip shop and kind of doorway, | 0:38:44 | 0:38:48 | |
which seems like quite a banal, quite a boring photograph, | 0:38:48 | 0:38:53 | |
but I thought it would be fun in the sense of how realistic and grimy | 0:38:53 | 0:38:58 | |
and banal it is in comparison to the costume, | 0:38:58 | 0:39:01 | |
so now it is just a case of cutting Billy out | 0:39:01 | 0:39:05 | |
to try and make the two images | 0:39:05 | 0:39:06 | |
feel like they're part of the same world. | 0:39:06 | 0:39:08 | |
Do you think he'll like it? | 0:39:30 | 0:39:31 | |
So I hear the artists have all been working hard on my portraits, | 0:39:35 | 0:39:39 | |
but I've been working away as well. | 0:39:39 | 0:39:41 | |
I'm over in the fair city of Dublin finishing some shows. | 0:39:41 | 0:39:45 | |
Well, this is the end of the tour. | 0:39:45 | 0:39:48 | |
I did two nights in Belfast and I've got three nights in Dublin. | 0:39:48 | 0:39:51 | |
And it's lovely. The High Horse Tour. | 0:39:52 | 0:39:55 | |
It's the biggest crowds I've ever played to | 0:39:57 | 0:39:59 | |
since I toured with Elton in the '70s. | 0:39:59 | 0:40:01 | |
We did Madison Square Garden and things like that. | 0:40:01 | 0:40:04 | |
It's extraordinary. | 0:40:07 | 0:40:09 | |
My career has been like that since day one, | 0:40:12 | 0:40:14 | |
it's been growth all the way. | 0:40:14 | 0:40:17 | |
Right through, 50 years of growth. | 0:40:17 | 0:40:20 | |
It is remarkable, isn't it? | 0:40:20 | 0:40:22 | |
I don't know why. | 0:40:22 | 0:40:24 | |
Most careers are that shape, you know. | 0:40:24 | 0:40:27 | |
They just naturally tail off as you get older. | 0:40:27 | 0:40:29 | |
Mine has gone like that and kind of plateaued | 0:40:29 | 0:40:32 | |
and then up again like this at the end. | 0:40:32 | 0:40:36 | |
CHEERING AND APPLAUSE | 0:40:36 | 0:40:39 | |
Hello. | 0:40:55 | 0:40:56 | |
I am easing towards this. | 0:40:59 | 0:41:00 | |
You'll find that most of the night I cling to this like a sailor... | 0:41:00 | 0:41:04 | |
clinging to a raft. | 0:41:04 | 0:41:07 | |
There's good reason for it, I'll tell you later. | 0:41:07 | 0:41:10 | |
But we'll get started. | 0:41:10 | 0:41:11 | |
Donald Trump. | 0:41:12 | 0:41:13 | |
LAUGHTER | 0:41:13 | 0:41:15 | |
'I've got a chair now.' | 0:41:17 | 0:41:19 | |
I don't sit on it, I haven't sat on it yet. | 0:41:19 | 0:41:22 | |
I've got this battle with this chair, I'm not sitting on you. | 0:41:23 | 0:41:27 | |
It's right behind me. | 0:41:27 | 0:41:28 | |
So I have a little personal vendetta with it, | 0:41:28 | 0:41:31 | |
that I'm not going to sit on it. | 0:41:31 | 0:41:32 | |
It is just one of those things, you know, | 0:41:34 | 0:41:36 | |
so I don't know how to handle it. | 0:41:36 | 0:41:38 | |
I just stand still and do it and people like it. | 0:41:38 | 0:41:40 | |
The strength's in the material. | 0:41:40 | 0:41:43 | |
Please, if you ever meet me and you want a selfie, | 0:41:43 | 0:41:45 | |
have your stuff ready. | 0:41:45 | 0:41:46 | |
Don't make me stand there as you go through your fucking bag, | 0:41:47 | 0:41:50 | |
looking for your camera. | 0:41:50 | 0:41:52 | |
Because it looks as if I asked you to do it, you know? | 0:41:52 | 0:41:55 | |
It actually helps me at the time. | 0:42:03 | 0:42:05 | |
I know before it, I tend to feel hellish. | 0:42:05 | 0:42:09 | |
When I come off, I don't feel all that brilliant, | 0:42:09 | 0:42:11 | |
but during it I love it. | 0:42:11 | 0:42:12 | |
I get a real buzz, a real boost of energy. | 0:42:13 | 0:42:18 | |
It's extraordinary. | 0:42:18 | 0:42:20 | |
Then I come off, I'm much better than when I went on. | 0:42:20 | 0:42:23 | |
CHEERING AND APPLAUSE | 0:42:25 | 0:42:26 | |
MUSIC: Whole Lotta Shakin' Goin' On by Jerry Lee Lewis | 0:42:27 | 0:42:31 | |
I don't think it is a good enough reason to stop, | 0:42:35 | 0:42:38 | |
because you've reached a certain number. | 0:42:38 | 0:42:40 | |
I think I'll have plenty of reasons to stop as time goes by, | 0:42:41 | 0:42:44 | |
but until then, I'm OK. | 0:42:44 | 0:42:46 | |
As long as the stuff's going down well. | 0:42:48 | 0:42:50 | |
And I'll be able to spot it when it stops. | 0:42:50 | 0:42:52 | |
You know, with the slightest hint of it dipping, | 0:42:54 | 0:42:56 | |
I'll come out of there. | 0:42:56 | 0:42:58 | |
Out of the arena. | 0:42:58 | 0:42:59 | |
CHEERING | 0:43:03 | 0:43:05 | |
While I am in Dublin, someone's popped over to see me. | 0:43:16 | 0:43:19 | |
Rachel's here, and she has brought her finished portrait with her. | 0:43:21 | 0:43:25 | |
So this is the first time I've seen it framed, | 0:43:27 | 0:43:29 | |
so, yeah, it's really nice to see the finished piece. | 0:43:29 | 0:43:32 | |
It looks great, so I'm looking forward to seeing what Billy thinks. | 0:43:32 | 0:43:36 | |
It's been a good few months since we last met, | 0:43:37 | 0:43:40 | |
so what on Earth has she been up to since that strange photo shoot? | 0:43:40 | 0:43:45 | |
-Hello. How are you doing? -Good to see you. | 0:43:45 | 0:43:49 | |
Nice to see you again. | 0:43:49 | 0:43:50 | |
-Hi, Rachel, lovely to see you. -How have you been? | 0:43:50 | 0:43:52 | |
-I can't wait to see the thing. -I know. | 0:43:52 | 0:43:53 | |
Yeah, looking forward to seeing what you think of it. | 0:43:53 | 0:43:55 | |
Because I haven't a clue what it's going to be like. | 0:43:55 | 0:43:57 | |
-Yeah. -Will we go? -Yeah, come through. | 0:43:57 | 0:44:00 | |
This better be good. | 0:44:00 | 0:44:02 | |
RACHEL LAUGHS | 0:44:02 | 0:44:03 | |
Oh, my God! | 0:44:03 | 0:44:06 | |
It's amazing! | 0:44:06 | 0:44:08 | |
RACHEL LAUGHS | 0:44:08 | 0:44:10 | |
This morning I was lying in bed saying, | 0:44:18 | 0:44:20 | |
"I wonder what it looks like." | 0:44:20 | 0:44:22 | |
I was trying to get a picture in my mind and I couldn't. | 0:44:22 | 0:44:25 | |
RACHEL LAUGHS | 0:44:25 | 0:44:26 | |
Because I'd forgotten what... | 0:44:26 | 0:44:27 | |
I hadn't forgotten what I looked like, | 0:44:27 | 0:44:29 | |
I didn't know what I looked like on the day. | 0:44:29 | 0:44:31 | |
Yeah, of course, of course. | 0:44:31 | 0:44:32 | |
-You know, there was no mirrors or anything. -Yeah. | 0:44:32 | 0:44:36 | |
Yeah, we went through a few different expressions, | 0:44:36 | 0:44:38 | |
but I quite like the kind of serious middle-distance expression, | 0:44:38 | 0:44:41 | |
-it feels... -I love that. | 0:44:41 | 0:44:44 | |
I think it's amazing. Well done. | 0:44:44 | 0:44:46 | |
-Good. -I love my sporran. | 0:44:46 | 0:44:48 | |
Oh, yeah, the hairy sporran came out quite well. | 0:44:48 | 0:44:51 | |
THEY LAUGH | 0:44:51 | 0:44:53 | |
I had it in my mind that it was kind of female-looking, and it isn't. | 0:44:53 | 0:44:57 | |
No, no. It's got that kind of Bonnie Prince Charlie sort of pose. | 0:44:57 | 0:45:01 | |
Yeah. | 0:45:01 | 0:45:03 | |
But I quite wanted the background to be a bit kind of grubby | 0:45:03 | 0:45:06 | |
-and to feel like... -Yeah. | 0:45:06 | 0:45:08 | |
-..Glasgow at night. -Urban, yeah. | 0:45:08 | 0:45:10 | |
I quite like the way the sausage | 0:45:10 | 0:45:12 | |
sort of complements the banana horns. | 0:45:12 | 0:45:15 | |
-FRENCH ACCENT: The "sausage". -Yeah. | 0:45:15 | 0:45:17 | |
I think they should make the Lord Provost dress like that. | 0:45:18 | 0:45:22 | |
-LAUGHING: -Yeah, that would be good. | 0:45:22 | 0:45:24 | |
-Year round. -Yeah. I know. | 0:45:24 | 0:45:27 | |
A kind of national dress. | 0:45:27 | 0:45:28 | |
LAUGHTER | 0:45:28 | 0:45:31 | |
It's lovely. | 0:45:31 | 0:45:32 | |
What a job Rachel's done on me. | 0:45:36 | 0:45:39 | |
Despite all the crazy gear I've worn over the years, | 0:45:39 | 0:45:41 | |
I don't think I've ever seen myself looking quite so absurd. | 0:45:41 | 0:45:44 | |
I look like a deep-fried Jacobean dandy. | 0:45:46 | 0:45:49 | |
And I absolutely adore it. | 0:45:50 | 0:45:52 | |
Oh, it's a great town, Partick. | 0:46:06 | 0:46:08 | |
And there's the most important building. | 0:46:09 | 0:46:12 | |
Partick Library. | 0:46:12 | 0:46:13 | |
Many a happy hour I spent in there. | 0:46:13 | 0:46:16 | |
I'm back in Glasgow and I'm here to meet up | 0:46:18 | 0:46:20 | |
with Jack and John and see their finished paintings. | 0:46:20 | 0:46:24 | |
I would presume he would say he liked it, | 0:46:28 | 0:46:31 | |
if only out of friendship...and pity. | 0:46:31 | 0:46:34 | |
HE LAUGHS | 0:46:34 | 0:46:37 | |
Mine is quite plain, it's obviously like him. | 0:46:37 | 0:46:40 | |
But I put a little wording around the frame... | 0:46:40 | 0:46:43 | |
..which might tickle him. | 0:46:45 | 0:46:46 | |
It is a difficult thing to prepare yourself | 0:46:49 | 0:46:52 | |
for someone's reaction to your work. | 0:46:52 | 0:46:55 | |
But it was a privilege, and it will be a privilege, | 0:46:59 | 0:47:02 | |
to meet Billy and see his reaction. | 0:47:02 | 0:47:04 | |
So I just hope that he likes it. | 0:47:04 | 0:47:07 | |
I'm meeting Jack and John | 0:47:14 | 0:47:16 | |
in what I think is one of the greatest buildings in the world - | 0:47:16 | 0:47:19 | |
the Kelvingrove Art Gallery and Museum. | 0:47:19 | 0:47:22 | |
I was brought up just a mile away, and like many a wee boy, | 0:47:23 | 0:47:26 | |
the park here beside the gallery was a regular haunt. | 0:47:26 | 0:47:29 | |
There's a song - "Will you go to Kelvingrove, bonnie lassie-o? | 0:47:31 | 0:47:34 | |
"Through its mazes, let us rove, bonnie lassie." | 0:47:34 | 0:47:37 | |
I always wondered where the mazes were, you know? | 0:47:37 | 0:47:39 | |
It was well gone by the time I was a boy. | 0:47:39 | 0:47:42 | |
# Let us haste to Kelvingrove | 0:47:42 | 0:47:46 | |
# Bonnie lassie-o | 0:47:46 | 0:47:50 | |
# Through her mazes let us rove | 0:47:50 | 0:47:54 | |
# Bonnie lassie-o... # | 0:47:54 | 0:47:58 | |
I would be about nine, I think. | 0:47:58 | 0:48:01 | |
That was just about 500 yards away, just on the other side of the river, | 0:48:01 | 0:48:05 | |
looking this way. | 0:48:05 | 0:48:07 | |
We'd come here every Sunday, my sister and I and my friends. | 0:48:07 | 0:48:10 | |
My brother Michael was made to come with me. | 0:48:10 | 0:48:12 | |
He was only six and I was, like, 12, | 0:48:12 | 0:48:15 | |
so I would lock him in a telephone box down at the gate, | 0:48:15 | 0:48:19 | |
and go and play in the park. | 0:48:19 | 0:48:21 | |
# Though I dare not call thee mine | 0:48:21 | 0:48:26 | |
# Bonnie lassie-o... # | 0:48:26 | 0:48:30 | |
There's a fountain across here behind me. | 0:48:30 | 0:48:33 | |
Vinny Maron threw me in one day. | 0:48:33 | 0:48:36 | |
So when I look at this park, | 0:48:37 | 0:48:39 | |
I don't see trees and splendid scenery - | 0:48:39 | 0:48:41 | |
I see all the places where I was flung into the fountain, | 0:48:41 | 0:48:44 | |
where I watched the cleansing department | 0:48:44 | 0:48:47 | |
tipping snow into the Kelvin river, and it's lovely. | 0:48:47 | 0:48:50 | |
As well as looking forward to seeing my portraits, | 0:48:52 | 0:48:54 | |
I'm also going to enjoy a wander around the Kelvingrove Gallery. | 0:48:54 | 0:48:59 | |
I used to come here all the time, | 0:48:59 | 0:49:00 | |
but I haven't been in about 20 years, | 0:49:00 | 0:49:02 | |
and there's been a fair few changes. | 0:49:02 | 0:49:04 | |
Where's all the stuff? | 0:49:05 | 0:49:06 | |
Oh, my God! That's brilliant! | 0:49:16 | 0:49:17 | |
Good old Glasgow. | 0:49:18 | 0:49:20 | |
Oh, that's fantastic! | 0:49:25 | 0:49:27 | |
It is a great place. It was always a friendly place. | 0:49:29 | 0:49:32 | |
My sister and I would take our shoes off | 0:49:32 | 0:49:35 | |
and slide on our stockinged feet, | 0:49:35 | 0:49:37 | |
just slid down here... | 0:49:37 | 0:49:39 | |
..going that way. | 0:49:40 | 0:49:41 | |
God, it's weird being back here. | 0:49:42 | 0:49:44 | |
I remember that elephant very well. | 0:49:47 | 0:49:49 | |
They used to have a tiger called Sheila | 0:49:49 | 0:49:52 | |
and she escaped in Calder Park Zoo and had to be put down | 0:49:52 | 0:49:59 | |
and they had her stuffed and mounted in here. | 0:49:59 | 0:50:01 | |
'Like many a Glaswegian, | 0:50:03 | 0:50:04 | |
'there's one particular painting here that's burned into my memory.' | 0:50:04 | 0:50:08 | |
Oh, there it is. | 0:50:09 | 0:50:12 | |
This is Christ Of St John Of The Cross | 0:50:18 | 0:50:20 | |
by Salvador Dali. | 0:50:20 | 0:50:22 | |
It was bought by the city in 1952, when I was just ten years old. | 0:50:22 | 0:50:26 | |
God, I love that. | 0:50:27 | 0:50:28 | |
I've been looking at that since I was a little boy. | 0:50:30 | 0:50:32 | |
It's probably one of the most important paintings of my life. | 0:50:32 | 0:50:34 | |
You know, it was the first painting to instil in me | 0:50:34 | 0:50:37 | |
that a painting could be enjoyed by me | 0:50:37 | 0:50:40 | |
and I'm sure there was lots of people like me | 0:50:40 | 0:50:42 | |
who saw it as children and it instilled in them a love of painting. | 0:50:42 | 0:50:45 | |
As fond as I am of this painting, it's not the work I'm here to see. | 0:50:46 | 0:50:51 | |
The real treats are still to come. | 0:50:51 | 0:50:53 | |
If ever I wanted a cigarette, it's now. | 0:50:54 | 0:50:57 | |
JACK LAUGHS | 0:51:00 | 0:51:01 | |
As I live and breathe, Mr Vettriano! | 0:51:01 | 0:51:03 | |
-Do you remember me? -Of course I do. How are you? | 0:51:03 | 0:51:06 | |
-Lovely to see you. -You too. | 0:51:06 | 0:51:07 | |
But enough of the badinage. Show me the work. | 0:51:07 | 0:51:11 | |
This way. | 0:51:11 | 0:51:12 | |
'I can't wait to see what Jack has made. | 0:51:13 | 0:51:16 | |
'It's hard to believe a fleeting moment | 0:51:16 | 0:51:17 | |
'caught on a stormy day in the north-east has led to this.' | 0:51:17 | 0:51:21 | |
The whole thing comes down here... | 0:51:21 | 0:51:22 | |
Oh, my God! | 0:51:24 | 0:51:27 | |
Oh, it's great. | 0:51:27 | 0:51:29 | |
Well done. That's superb. | 0:51:35 | 0:51:37 | |
Thanks, Billy, thanks very much. | 0:51:37 | 0:51:38 | |
You've got it. | 0:51:38 | 0:51:40 | |
-Well, you remember that day... -I remember the day so well. | 0:51:40 | 0:51:43 | |
Yeah, yeah, yeah. | 0:51:43 | 0:51:44 | |
-I remember the cold so well, and the wind. -Yeah. | 0:51:44 | 0:51:47 | |
You've got the power of that day, there, | 0:51:47 | 0:51:49 | |
which must have been incredibly difficult to do. | 0:51:49 | 0:51:52 | |
It's a kind of rare thing, to be in at the beginning of it, you know? | 0:51:52 | 0:51:56 | |
The planning of it, with Jack explaining what he was going to do | 0:51:56 | 0:52:00 | |
and then to see it complete is just such a luxury. | 0:52:00 | 0:52:05 | |
It's an extraordinary piece of work. | 0:52:05 | 0:52:07 | |
I should tell you the title. | 0:52:07 | 0:52:09 | |
Oh, yeah? | 0:52:09 | 0:52:10 | |
The title is Dr Connolly, I Presume? | 0:52:10 | 0:52:14 | |
BILLY LAUGHS | 0:52:14 | 0:52:16 | |
Which I thought was all right. Do you...? | 0:52:16 | 0:52:18 | |
-Are you OK with that? -Oh, that's lovely. | 0:52:18 | 0:52:21 | |
Yeah, I think it's good, that. | 0:52:21 | 0:52:23 | |
Oh, that's terrific. | 0:52:23 | 0:52:25 | |
There's an immense power in it, Jack. | 0:52:25 | 0:52:27 | |
You know, the power of the sky | 0:52:27 | 0:52:28 | |
and the power of the weather and the wind | 0:52:28 | 0:52:30 | |
and the power of this. | 0:52:30 | 0:52:32 | |
Yeah, yeah. | 0:52:32 | 0:52:33 | |
So I'm so pleased you like it. | 0:52:33 | 0:52:35 | |
Oh, I do. I love it. | 0:52:35 | 0:52:36 | |
Yes, I think you've passed your audition, Mr Vettriano. | 0:52:37 | 0:52:40 | |
-We'll let you do another painting. -Thank you. | 0:52:40 | 0:52:43 | |
I'm absolutely over the moon | 0:52:46 | 0:52:48 | |
with the painting that Jack has done of me | 0:52:48 | 0:52:50 | |
and now it's time to see | 0:52:50 | 0:52:51 | |
what my dear friend John Byrne has been up to. | 0:52:51 | 0:52:54 | |
-How great to see you. -Oh, it's wonderful. | 0:52:58 | 0:53:01 | |
It's wonderful to see you, Billy. | 0:53:01 | 0:53:02 | |
You'll not think so when you see your picture! | 0:53:04 | 0:53:07 | |
THEY LAUGH | 0:53:07 | 0:53:10 | |
You're looking very well. | 0:53:10 | 0:53:12 | |
I feel terrible. | 0:53:12 | 0:53:14 | |
THEY LAUGH | 0:53:14 | 0:53:15 | |
Shall we go through to see this? | 0:53:17 | 0:53:19 | |
Let's meander. | 0:53:19 | 0:53:21 | |
The big reveal... | 0:53:21 | 0:53:23 | |
Oh, my God! | 0:53:23 | 0:53:25 | |
It's horrible! | 0:53:25 | 0:53:28 | |
It's brilliant. | 0:53:28 | 0:53:29 | |
Thank you. | 0:53:31 | 0:53:32 | |
If I didn't know it before, I know it now for sure. | 0:53:34 | 0:53:37 | |
John is a genius. | 0:53:37 | 0:53:38 | |
This is like looking into a mirror. | 0:53:38 | 0:53:40 | |
That's fantastic, John. | 0:53:42 | 0:53:43 | |
-Thank you, Billy. -So you do know my soul right enough. | 0:53:43 | 0:53:47 | |
You weren't just havering. | 0:53:47 | 0:53:48 | |
I was havering a bit as well. | 0:53:48 | 0:53:50 | |
THEY CHUCKLE | 0:53:50 | 0:53:51 | |
But behind every haver, there's a wee bit of slaiver. | 0:53:51 | 0:53:54 | |
I love the expression. | 0:53:57 | 0:53:59 | |
That was your expression that day. | 0:53:59 | 0:54:01 | |
One of pure contempt. | 0:54:01 | 0:54:03 | |
-It is, it's contemptuous, isn't it? -I know it is. | 0:54:03 | 0:54:05 | |
I like the mugshot effect as well. | 0:54:05 | 0:54:08 | |
I know, I put that in. | 0:54:08 | 0:54:10 | |
And it's not just the painting. | 0:54:10 | 0:54:12 | |
John has included a surprise for me in the frame as well. | 0:54:12 | 0:54:15 | |
"A chucky in the water, see the baggy..." | 0:54:15 | 0:54:19 | |
Oh, aye. | 0:54:19 | 0:54:20 | |
That's a song I used to do. I didn't write it. | 0:54:20 | 0:54:23 | |
# Fling a chucky in the watter | 0:54:23 | 0:54:27 | |
# See the baggy minnies scattair | 0:54:27 | 0:54:30 | |
# Fine well they know what we're aftair | 0:54:30 | 0:54:34 | |
# Wi' wir jeely jaurs and nets in haund... # | 0:54:34 | 0:54:38 | |
# Ah got a stick o' rock for my Auntie Fanny | 0:54:38 | 0:54:44 | |
# And a salt dish for my mammy... # | 0:54:47 | 0:54:52 | |
Tear your heart out, wouldn't it, John? | 0:54:52 | 0:54:54 | |
I know, it's a heartbreaking song. | 0:54:54 | 0:54:57 | |
-I love the frame, though. Isn't it brilliant? -Oh, aye. | 0:54:57 | 0:55:00 | |
It just came to me, | 0:55:00 | 0:55:02 | |
I had to put a legend on the frame as well as frame a legend. | 0:55:02 | 0:55:07 | |
Well, John, that's remarkable. | 0:55:07 | 0:55:08 | |
Oh, thank you, Billy. | 0:55:08 | 0:55:11 | |
It's remarkable because it's you. | 0:55:11 | 0:55:13 | |
To be with John and the painting is just fantastic, because John has | 0:55:15 | 0:55:21 | |
given me some of the happiest moments of my life. | 0:55:21 | 0:55:24 | |
It's a breathtaking likeness, | 0:55:24 | 0:55:27 | |
but that's what you would expect from John. | 0:55:27 | 0:55:29 | |
# Aw, Saltcoats... | 0:55:29 | 0:55:34 | |
# Goodbye. # | 0:55:34 | 0:55:39 | |
So that's my three birthday portraits complete | 0:55:40 | 0:55:43 | |
and what a pleasure it's been having them done. | 0:55:43 | 0:55:46 | |
And it's great to know they'll be hung together | 0:55:48 | 0:55:50 | |
at the People's Palace in Glasgow. | 0:55:50 | 0:55:52 | |
Now, I thought that would be the end of it, | 0:55:55 | 0:55:56 | |
but it turns out Glasgow has a big surprise in store | 0:55:56 | 0:55:59 | |
for little old me. | 0:55:59 | 0:56:00 | |
The paintings have been transformed into giant murals | 0:56:27 | 0:56:30 | |
right in the centre of Glasgow. | 0:56:30 | 0:56:32 | |
Oh, my God! | 0:56:35 | 0:56:37 | |
Jesus, that's amazing. | 0:56:38 | 0:56:40 | |
I've never seen myself that size before. | 0:56:42 | 0:56:44 | |
Oh, look at the wee bird. | 0:56:46 | 0:56:48 | |
There's a wee bird's nest | 0:56:48 | 0:56:49 | |
in my shoulder. | 0:56:49 | 0:56:51 | |
Isn't that great? | 0:56:52 | 0:56:54 | |
Very moving. | 0:57:02 | 0:57:03 | |
That's set my left arm going. | 0:57:06 | 0:57:08 | |
I try to stop it shaking but it's away again. | 0:57:09 | 0:57:11 | |
# Oh, I wish I was in Glasgow | 0:57:18 | 0:57:23 | |
# With some good old friends of mine | 0:57:23 | 0:57:28 | |
# Some good old... # | 0:57:28 | 0:57:30 | |
I'm very proud of that. | 0:57:30 | 0:57:32 | |
I'm deeply impressed by Glasgow doing this for me. | 0:57:34 | 0:57:37 | |
Especially when you don't live in your home town any more. | 0:57:37 | 0:57:41 | |
It's the strangest feeling, you become a kind of tourist | 0:57:41 | 0:57:44 | |
in your own home town, | 0:57:44 | 0:57:45 | |
but not any more, not with this. | 0:57:45 | 0:57:49 | |
Glasgow belangs to me. | 0:57:49 | 0:57:50 | |
# Oh, I was born in Glasgow... # | 0:57:54 | 0:57:57 | |
I'm shaking like a leaf, it's just had the most profound effect on me. | 0:57:57 | 0:58:01 | |
# I would take you there and show you | 0:58:01 | 0:58:05 | |
# But they've pulled the building down... # | 0:58:05 | 0:58:09 | |
My God. | 0:58:11 | 0:58:12 | |
Oh, that's extraordinary. | 0:58:14 | 0:58:16 | |
She's a clever girl, our Rachel. | 0:58:19 | 0:58:21 | |
I'm truly amazed at the effect these have had on me. | 0:58:24 | 0:58:27 | |
They have just completely stunned me. | 0:58:27 | 0:58:29 | |
They're so big, the effect on me is so profound. | 0:58:30 | 0:58:33 | |
People going to that length for me, it's just taken my breath away. | 0:58:36 | 0:58:41 | |
You're doing well, are you? | 0:58:45 | 0:58:48 | |
-Trying my best. -That's good, that's good. | 0:58:48 | 0:58:51 | |
Look after yourself. | 0:58:51 | 0:58:52 | |
Can I shake your hand, Billy? | 0:58:52 | 0:58:54 | |
-Great to meet you. -Look after yourself. | 0:58:54 | 0:58:56 | |
Brilliant, Billy, man. You gave us inspiration. | 0:58:56 | 0:58:58 | |
-All right, mate? -Thank you very much. | 0:58:58 | 0:59:00 | |
God bless you, mate. All right? | 0:59:00 | 0:59:02 | |
Nae hassles at all. | 0:59:02 | 0:59:04 | |
Billy Connolly... | 0:59:05 | 0:59:06 | |
HE EXHALES | 0:59:06 | 0:59:08 | |
What can I tell you? | 0:59:08 | 0:59:09 | |
Thank you very much and... goodnight! | 0:59:12 | 0:59:16 | |
CHEERING | 0:59:18 | 0:59:21 |