0:00:02 > 0:00:04THUNDER ROLLS
0:00:13 > 0:00:17MUSIC: Another Green World by Brian Eno
0:00:43 > 0:00:46MUSIC: Another Green World by Brian Eno
0:01:04 > 0:01:08The unmistakable Arena bottle has been reliably introducing
0:01:08 > 0:01:12a distinct brand of film-making since the 1970s.
0:01:12 > 0:01:14I've been a fan ever since I first saw it.
0:01:14 > 0:01:18This year, the programme celebrates its 40th anniversary, making it the
0:01:18 > 0:01:22longest-running arts documentary strand in the history of television.
0:01:22 > 0:01:24Throughout those 40 years, it has addressed the arts
0:01:24 > 0:01:27and culture of the world, high and low,
0:01:27 > 0:01:29from the Old Kent Road to Robben Island,
0:01:29 > 0:01:32Amy Winehouse to TS Eliot,
0:01:32 > 0:01:36the cinema of Bergman and Visconti to Elvis Presley's diet.
0:01:36 > 0:01:42The Arena archive is a treasure trove that provides a unique history
0:01:42 > 0:01:43of the last hundred years.
0:01:47 > 0:01:49It was originated by Humphrey Burton,
0:01:49 > 0:01:53then head of BBC Music and Arts, in 1975.
0:01:53 > 0:01:57Burton had one of the most distinguished profiles in television.
0:01:57 > 0:02:00He produced Ken Russell's legendary film on Elgar for Monitor,
0:02:00 > 0:02:02and was television's leading figure in the arts.
0:02:04 > 0:02:06The first episode featured no less than
0:02:06 > 0:02:09Laurence Olivier in conversation with Kenneth Tynan.
0:02:10 > 0:02:11She was immensely generous.
0:02:13 > 0:02:15All her money, she was free with as the air.
0:02:15 > 0:02:17She was marvellous in helping people.
0:02:17 > 0:02:20- At one point, she actually asked for her salary to be cut.- Yes.
0:02:20 > 0:02:23Yeah, she was so worried about the expenditure going up.
0:02:23 > 0:02:26Of course, she lived on nothing. Sausages and sardines...
0:02:28 > 0:02:31In its first year, it was a weekly magazine programme.
0:02:33 > 0:02:34Then Leslie Megahey took over,
0:02:34 > 0:02:37and the series has had only three editors since,
0:02:37 > 0:02:39all like-minded
0:02:39 > 0:02:41and all directors in their own right.
0:02:41 > 0:02:42So, highly unusually
0:02:42 > 0:02:44for a TV strand, Arena has been run by an
0:02:44 > 0:02:50unbroken editorial sensibility pretty much through its entire history.
0:02:50 > 0:02:55Megahey has directed some of the finest films about visual artists ever made.
0:02:55 > 0:02:58In 1978, he passed the role on to Alan Yentob,
0:02:58 > 0:03:02who'd already made the classic film about David Bowie, Cracked Actor.
0:03:02 > 0:03:05As editors, both continued to direct,
0:03:05 > 0:03:08and notably Megahey's definitive portrait of Orson Welles,
0:03:08 > 0:03:11and Yentob's entertaining engagement with Mel Brooks.
0:03:15 > 0:03:19During Yentob's editorship, within a pool of highly talented directors,
0:03:19 > 0:03:22there was a small team that worked only on Arena.
0:03:23 > 0:03:27Author Nigel Williams' work, including films on George Orwell,
0:03:27 > 0:03:28Joe Orton and Jean Genet,
0:03:28 > 0:03:31became the core of Arena's literary output,
0:03:31 > 0:03:33and Nigel Finch and Anthony Wall
0:03:33 > 0:03:38made the films that gave Arena its unique signature style - My Way,
0:03:38 > 0:03:40The Chelsea Hotel,
0:03:40 > 0:03:42The Private Life Of The Ford Cortina
0:03:42 > 0:03:45and Desert Island Discs were witty, stylish
0:03:45 > 0:03:48and somewhat irreverent meditations on subjects
0:03:48 > 0:03:52that, at the time, would not have been thought to be within the remit
0:03:52 > 0:03:54of the BBC Music and Arts Department.
0:03:55 > 0:04:00Alan Yentob became head of that department in 1985.
0:04:00 > 0:04:02Nigel Finch and Anthony Wall took over
0:04:02 > 0:04:04and ran the series
0:04:04 > 0:04:07until Finch's untimely death in 1995.
0:04:09 > 0:04:12Wall has continued as sole editor ever since.
0:04:12 > 0:04:16The films I've mentioned represent only a fraction of Arena's output.
0:04:16 > 0:04:20The film you are about to see brings together the work of many producers,
0:04:20 > 0:04:24directors and their teams, but it demonstrates a commonality of purpose
0:04:24 > 0:04:28that characterises the 600 or so films in the Arena canon.
0:04:28 > 0:04:31It's been showered with honours at home and abroad,
0:04:31 > 0:04:35not least nine BAFTA awards and 25 BAFTA nominations.
0:04:35 > 0:04:40Rather than make a "best of" compilation to mark the anniversary,
0:04:40 > 0:04:43the decision was made to try and bring the past into the present
0:04:43 > 0:04:45and make a new film.
0:04:45 > 0:04:47CLOCK TICKS
0:04:53 > 0:04:54It's an evocation,
0:04:54 > 0:04:57drawn entirely from Arena films,
0:04:57 > 0:04:59of the one experience common to everything
0:04:59 > 0:05:01and everyone on the planet -
0:05:01 > 0:05:05the inexorable 24-hour cycle of night and day.
0:05:05 > 0:05:08Dawn to dusk and on to dawn again.
0:05:10 > 0:05:13And, remember, the darkest hour is just before the dawn.
0:05:13 > 0:05:16BIG BEN CHIMES
0:05:27 > 0:05:31THUNDER CLAP
0:05:31 > 0:05:35To begin at the beginning...
0:05:35 > 0:05:39It is spring, moonless night in the small town,
0:05:39 > 0:05:44starless and bible-black, the cobblestreets silent
0:05:44 > 0:05:49and the hunched, courters'-and- rabbits' wood limping invisible
0:05:49 > 0:05:53down to the sloeblack, slow, black,
0:05:53 > 0:05:58crowblack, fishingboat-bobbing sea.
0:05:58 > 0:06:02The houses are blind as moles,
0:06:02 > 0:06:07though moles see fine to-night in the snouting, velvet dingles,
0:06:07 > 0:06:12and all the people of the lulled and dumbfound town
0:06:12 > 0:06:15are sleeping now.
0:06:25 > 0:06:28CRICKETS CHIRP
0:06:28 > 0:06:31FROG BELCHES
0:06:53 > 0:06:55HARP PLAYS
0:07:43 > 0:07:46BIG BEN CHIMES
0:08:32 > 0:08:35BIRDSONG
0:08:41 > 0:08:44MUSIC: Night And Day by Frank Sinatra
0:08:47 > 0:08:50# Night and day
0:08:52 > 0:08:55# You are the one
0:08:57 > 0:09:00# Only you beneath the moon
0:09:02 > 0:09:03# And under the sun
0:09:07 > 0:09:12# Whether near to me or far
0:09:12 > 0:09:16# It's no matter, darling
0:09:16 > 0:09:18# Where you are
0:09:18 > 0:09:21# I think of you
0:09:21 > 0:09:25# Day and night... #
0:09:27 > 0:09:31I was out walking two blocks from where I lived at, actually,
0:09:31 > 0:09:35and I looked up and I saw these steps going up.
0:09:37 > 0:09:41I walked over the street and I walked up the steps
0:09:41 > 0:09:45and there was this beautiful big expanse of bridge, you know?
0:09:47 > 0:09:49Nobody up there.
0:09:51 > 0:09:54TRAIN HORN BLARES
0:09:56 > 0:09:59HE PLAYS A JAZZ RIFF
0:10:19 > 0:10:22I haven't slept very much in the past couple of years
0:10:22 > 0:10:26and I wake up very early, usually around six o'clock,
0:10:26 > 0:10:29with unaccountable feelings of optimism.
0:10:29 > 0:10:33I lie in bed smoking for half an hour, which is pretty disgusting,
0:10:33 > 0:10:35contemplating the horror of having to write a column
0:10:35 > 0:10:38and wondering just what the hell to write one about.
0:10:38 > 0:10:40Then I do it with some desperation.
0:10:43 > 0:10:45MUSIC: I Ain't Got No Home by Woody Guthrie
0:10:53 > 0:10:57# I ain't got no home I'm just a-ramblin' round
0:10:57 > 0:10:59# I work when I can get it
0:10:59 > 0:11:01# I go from town to town
0:11:03 > 0:11:08# Can't fill a form no matter where I go
0:11:08 > 0:11:13# Cos I ain't got no home in this world any more. #
0:11:15 > 0:11:18After I was on the highway to California,
0:11:18 > 0:11:22I made about three trips back to Texas and back to Oklahoma
0:11:22 > 0:11:26and back to California, again by freight train.
0:11:26 > 0:11:32And every time, I saw hundreds and hundreds and hundreds and thousands
0:11:32 > 0:11:38of families, of people living around under railroad bridges.
0:11:38 > 0:11:43# I'm stranded on that road that goes from city to city
0:11:43 > 0:11:48# A hundred thousand others are stranded same as me
0:11:49 > 0:11:54# Eight hundred thousand years Eight hundred thousand more
0:11:54 > 0:11:58# And I ain't got no home in this world any more. #
0:11:58 > 0:12:02TRAIN HORN BLARES
0:12:05 > 0:12:10# From the mountain to the prairie
0:12:10 > 0:12:16# Through the ocean white with foam
0:12:16 > 0:12:20# God bless America
0:12:20 > 0:12:25# My home sweet home
0:12:41 > 0:12:46# From the mountain to the prairie
0:12:46 > 0:12:50# Through the ocean white with foam
0:12:50 > 0:12:54# God bless America
0:12:54 > 0:12:59# My home sweet home... #
0:13:05 > 0:13:07I chose the name Poly Styrene
0:13:07 > 0:13:10because it's a lightweight disposable product.
0:13:13 > 0:13:15It sounded all right,
0:13:15 > 0:13:20cos I thought it was a send-up of being a pop star.
0:13:20 > 0:13:24It's like a little figure, not me, being Poly Styrene.
0:13:24 > 0:13:27Just plastic, disposable.
0:13:27 > 0:13:29That's what pop stars meant to me
0:13:29 > 0:13:32so, therefore, I thought I might as well send it up.
0:13:34 > 0:13:37The Surrealists never believed in looking bohemian
0:13:37 > 0:13:42because they realised that people expected bohemian artists
0:13:42 > 0:13:44to behave madly.
0:13:44 > 0:13:47And so they chose to look like everybody else
0:13:47 > 0:13:48and, when they did, therefore,
0:13:48 > 0:13:50attack the bourgeoisie through surprise,
0:13:50 > 0:13:53scandal or whatever means they chose,
0:13:53 > 0:13:56it was all the more shock to those they attacked that those who
0:13:56 > 0:13:59were attacking them looked exactly like themselves.
0:13:59 > 0:14:03Mesens, for instance, was absolutely meticulous about his appearance
0:14:03 > 0:14:07and in the bathroom, even to the point of obsession.
0:14:07 > 0:14:11For instance, he shaved no less than three times,
0:14:11 > 0:14:15using a fantastically elaborate mathematical system
0:14:15 > 0:14:19to select a Gillette razor blade
0:14:19 > 0:14:23from a huge pile he kept on the glass shelf in front of his glass.
0:14:33 > 0:14:36Where is... Where is the jam?
0:14:36 > 0:14:38The jam is up there.
0:14:53 > 0:14:58Beans, tomatoes, chips, mushrooms.
0:14:58 > 0:15:02Er...fried potatoes, two thick bread-and-butter
0:15:02 > 0:15:04and it comes up really heaped well up on the plate, like.
0:15:04 > 0:15:0644?
0:15:06 > 0:15:09LAUGHTER
0:15:09 > 0:15:11Cheers, mate.
0:15:13 > 0:15:17That morning, when I walked into the dining room, I spoke.
0:15:17 > 0:15:20I said, "Good morning." He said, "Good morning."
0:15:20 > 0:15:22I said, "What we going to have for breakfast this morning?"
0:15:22 > 0:15:25He said, "Fried peanut butter and banana sandwich."
0:15:25 > 0:15:27And I looked at him and I said, "What?"
0:15:27 > 0:15:31He said, "Fried peanut butter and banana sandwich."
0:15:31 > 0:15:34I said, "I never heard of it."
0:15:37 > 0:15:40The first time I went in, fixed the sandwich
0:15:40 > 0:15:44and put it on the tray and brought it back, that wasn't right.
0:15:46 > 0:15:51His father was sitting there and he said, "Mary, I'm going with you
0:15:51 > 0:15:54"and help you and let's see maybe both of us can get it right."
0:15:54 > 0:15:56I said, "OK."
0:15:56 > 0:16:00Then he said, "Let's toast the bread first," so we toast the bread,
0:16:00 > 0:16:04then spread the peanut butter on and sliced the bananas and put them on
0:16:04 > 0:16:08and put them into the skillet and kept turning them with the spatula,
0:16:08 > 0:16:12and turn them till they got heated all the way through.
0:16:12 > 0:16:16Then I take them, cut them, put them on the platter and take them
0:16:16 > 0:16:20back to him and he said, "That's what I want. That's right!"
0:16:20 > 0:16:22And then smiled.
0:16:32 > 0:16:35Run for that train. Run!
0:16:42 > 0:16:47FRANTIC MUSIC PLAYS
0:17:30 > 0:17:31'Radio 4.
0:17:31 > 0:17:36'Now it's five past nine and time for Desert Island Discs.
0:17:36 > 0:17:39'As usual, the castaway is introduced by Roy Plomley.'
0:17:41 > 0:17:44DESERT ISLAND DISCS THEME PLAYS
0:17:47 > 0:17:53And my 1,630th castaway is, I'm happy to say, Paul McCartney,
0:17:53 > 0:17:57composer, musician and ex-Beatle.
0:17:57 > 0:17:59How well could you endure loneliness?
0:17:59 > 0:18:02How well could I endure loneliness?
0:18:02 > 0:18:04Um, I don't really know.
0:18:04 > 0:18:08When I was a kid, I never used to mind it too much.
0:18:08 > 0:18:11Since then, I haven't actually been very lonely,
0:18:11 > 0:18:13so I haven't kind of tested it lately.
0:18:13 > 0:18:15But I never used to mind it too much.
0:18:15 > 0:18:17I used to quite like getting away on my own.
0:18:17 > 0:18:21- You mean alone, prolongedly, on a desert island?- That's it.
0:18:21 > 0:18:24As the old joke goes, it's better than the alternative.
0:18:24 > 0:18:26- What's that?- Being dead...
0:18:26 > 0:18:28- Well, yes.- ..if you see what I mean.
0:18:28 > 0:18:30But I wouldn't like it for too long, no.
0:18:30 > 0:18:32The whole idea doesn't appeal to me at all.
0:18:32 > 0:18:35I'm not especially gregarious.
0:18:35 > 0:18:39I can get along with my own dismal personality for a little while,
0:18:39 > 0:18:43but I would hate to endure it for any length of time.
0:18:43 > 0:18:47To know and be uncertain about when you would see anyone else
0:18:47 > 0:18:48would be a problem.
0:18:48 > 0:18:52Fortunately, football means I have a fairly busy life,
0:18:52 > 0:18:55got a lot of friends and meet a lot of people
0:18:55 > 0:18:58and actually got a strong family background as well,
0:18:58 > 0:19:03so I think to be isolated like that would be a problem,
0:19:03 > 0:19:07unless you know some little boat was going to come along
0:19:07 > 0:19:09in a few months' time and rescue you.
0:19:09 > 0:19:12- Can't set any term to it.- That's right. That's what I'm worried about.
0:19:16 > 0:19:22Julio...go over to Warner Brothers this afternoon, get a shopping bag,
0:19:22 > 0:19:25pick up the money that's due to us from Blazing Saddles.
0:19:25 > 0:19:30We should have over 100 there waiting, and go to the supermarket.
0:19:30 > 0:19:32Delicious apples are on sale. Get a pack.
0:19:34 > 0:19:36Good morning, Mr Brooks.
0:19:36 > 0:19:39Great to see you, Phil.
0:19:39 > 0:19:42Phil, raise the gate, for Christ's sake! Will you raise it up?
0:19:42 > 0:19:44Thank you, Phil. Oh!
0:19:48 > 0:19:50Julio, get me a half a dozen bagels.
0:19:51 > 0:19:55Make it seven. Take one for yourself, OK?
0:19:55 > 0:19:57Good. I hope somebody's in there.
0:20:00 > 0:20:02I've been writing a weekly column for the Spectator
0:20:02 > 0:20:05for ten years now, write for at least two other magazines,
0:20:05 > 0:20:09and so inspiration is sometimes difficult to muster.
0:20:09 > 0:20:11But editors continue to ring with bright ideas
0:20:11 > 0:20:15and impossible deadlines and so I persevere.
0:20:15 > 0:20:17I really rather hate what I do for a living,
0:20:17 > 0:20:20but I suppose it's better than a nine-to-five job.
0:20:20 > 0:20:24I have about six spasms of job satisfaction a year only,
0:20:24 > 0:20:29but, as I say, I'd hate to have to rush to work on a train.
0:20:29 > 0:20:31I simply crawl out of my bed to get to it.
0:20:40 > 0:20:42I pour myself a drink, which seems to lubricate the typewriter
0:20:42 > 0:20:45and it certainly makes me feel less inhibited.
0:20:47 > 0:20:50When you're committed to owning up and taking the piss out of yourself
0:20:50 > 0:20:54in print, you're a sitting duck for literary snipers,
0:20:54 > 0:20:56but I don't really mind.
0:20:57 > 0:21:00DOORBELL RINGS
0:21:06 > 0:21:08ENGINE ROARS
0:21:08 > 0:21:10TYRES SQUEAL
0:21:10 > 0:21:13- Mr Blake?- Yeah.- I'm Lloyd Ryan. - Hello.- Hi, there.
0:21:13 > 0:21:15- Can I introduce you to Kendo Nagasaki?- Kendo.
0:21:15 > 0:21:19I must just say, he won't shake hands and he won't speak to you at all,
0:21:19 > 0:21:22- so we'll have to do this without any communication whatsoever.- OK, fine.
0:21:22 > 0:21:27- And Lawrence, Kendo's personal assistant.- Hello, Lawrence. Hi.
0:21:27 > 0:21:30Well, the studio's at the top of the house so if you'd just follow me.
0:21:30 > 0:21:32Right.
0:22:24 > 0:22:26# This land is your land
0:22:26 > 0:22:28# This land is my land
0:22:28 > 0:22:33# From California to the New York island
0:22:33 > 0:22:38# From the red wood forest to the Gulf Stream waters
0:22:38 > 0:22:42# This land was made for you and me. #
0:22:42 > 0:22:44MUSIC: Imagine by John Lennon
0:22:44 > 0:22:47# Imagine all the people... #
0:22:47 > 0:22:49It's easy if you try.
0:22:49 > 0:22:53# ..It's easy if you try... #
0:22:53 > 0:22:57No hell below us.
0:22:57 > 0:23:00# ..No hell below us... #
0:23:00 > 0:23:03Above us only sky.
0:23:03 > 0:23:06# ..Above us only sky... #
0:23:06 > 0:23:08Imagine all the people.
0:23:08 > 0:23:12# ..Imagine the people... #
0:23:12 > 0:23:16WOMAN SINGS IN JAPANESE
0:23:39 > 0:23:43THEY SPEAK IN JAPANESE
0:23:51 > 0:23:56Good morning, class. As I mentioned yesterday, today is John's birthday.
0:23:56 > 0:23:59John wrote the famous song Imagine,
0:23:59 > 0:24:06so today I'm going to look at the story - how did John meet Yoko?
0:24:06 > 0:24:09Please open your texts on page 81.
0:24:11 > 0:24:14When I did the Half-A-Room show,
0:24:14 > 0:24:19where all the things were in halves, I became interested in objects,
0:24:19 > 0:24:24the part of it is just in your mind.
0:24:29 > 0:24:33John finished reading a catalogue and began walking around the gallery
0:24:33 > 0:24:35looking at exhibits.
0:24:35 > 0:24:39One of the exhibits was an apple, just an ordinary apple,
0:24:39 > 0:24:43except that the price was 400.
0:24:43 > 0:24:46John felt this was very funny.
0:24:46 > 0:24:50Look, I don't have to pay all that money for an apple.
0:24:50 > 0:24:51Yoko was pleased.
0:24:51 > 0:24:53As an artist,
0:24:53 > 0:24:56she was very happy that someone was responding to her work.
0:24:56 > 0:25:02I climb up a ladder and hammer a nail into the wall at the gallery.
0:25:02 > 0:25:06This nail is imaginary and will cost just five shillings.
0:25:06 > 0:25:10I'll give you an imaginary five shillings if you let me
0:25:10 > 0:25:13hammer the imaginary nail.
0:25:13 > 0:25:15There are no imaginary nails left.
0:25:15 > 0:25:19It was the beginning of a loving, creative
0:25:19 > 0:25:21and often difficult relationship.
0:25:24 > 0:25:28John suggested that, why don't I sell the other half
0:25:28 > 0:25:30in a bottle?
0:25:30 > 0:25:32This is half a wind.
0:25:34 > 0:25:36Um...
0:25:36 > 0:25:38half a table.
0:25:39 > 0:25:41Half a letter.
0:25:43 > 0:25:46Half a music.
0:25:46 > 0:25:50Many people said, "Well, how about half a cat?" and all that, you know,
0:25:50 > 0:25:54or half a human being?
0:25:54 > 0:25:58But I did think it was necessary because a person is a half anyway.
0:26:00 > 0:26:05At that time I hadn't met John yet, but, I mean, so my concept was there
0:26:05 > 0:26:09maybe subconsciously, that I'm just really a half a person
0:26:09 > 0:26:12without meeting John.
0:26:12 > 0:26:14- But, you know, that bit...- Cut.
0:26:14 > 0:26:17She's got to me.
0:26:27 > 0:26:30I try to get all my work done by 11.
0:26:30 > 0:26:33There are always deadlines to meet and I make mine opening time,
0:26:33 > 0:26:36whatever the editors may say.
0:26:36 > 0:26:39Not that I always wait for opening time to have a drink.
0:26:40 > 0:26:44I find this completely relaxing.
0:26:44 > 0:26:47This is my rhythm today at this time of the day.
0:26:47 > 0:26:50It is 11 o'clock
0:26:50 > 0:26:53and since I have an hourly...
0:26:55 > 0:26:59..rhythm, 11 o'clock is my best time,
0:26:59 > 0:27:01and the rhythm is this.
0:27:01 > 0:27:03Quite fast.
0:27:03 > 0:27:07Now, when you are sick and tired of the whole day...
0:27:13 > 0:27:17You see how tired the rhythm is?
0:27:17 > 0:27:19TICKING
0:28:09 > 0:28:13INDISTINCT
0:28:16 > 0:28:19- This is Ali.- Ali? Hi, bonjour.
0:28:19 > 0:28:22Mick Jagger.
0:28:22 > 0:28:24- This is Abdullah.- Abdullah? How are you?
0:28:24 > 0:28:27Mick Jagger.
0:28:28 > 0:28:31- This is Ali.- Ali, hello.
0:28:31 > 0:28:33Mick Jagger.
0:28:33 > 0:28:36- This is my brother, Mustapha. - Hello. Your younger brother?
0:28:36 > 0:28:39- This is my little brother. - This is your older brother.
0:28:39 > 0:28:43- You're not so bad with him?- Huh? - You're strong with him?
0:28:43 > 0:28:46Yes, he plays music with me. We play the same time together.
0:28:46 > 0:28:50This is Abdul. Mick Jagger.
0:28:50 > 0:28:53- This is Abdullah.- Abdullah.
0:28:53 > 0:28:55- This is Mohammad.- Mohammad.
0:28:55 > 0:28:57This is old man.
0:29:00 > 0:29:03He want to kiss you.
0:29:03 > 0:29:06- And he thinks he meet you a long time.- In Tangiers?
0:29:06 > 0:29:11- In 1001 Nights with Brion Gysin. - With Brion Gysin, yes.- Yeah.
0:29:13 > 0:29:16- This is... His name, Ali.- Ali. Hello, Ali.
0:29:16 > 0:29:18- Mick Jagger.- Hi. Hi.
0:29:20 > 0:29:24- Mohammad.- Mohammad.- Mick Jagger.
0:29:26 > 0:29:29- This is Mochtar.- Hi.- Mick Jagger.
0:29:29 > 0:29:33- He said he's very happy to meet you. - Nice to meet you.
0:29:33 > 0:29:36This is Ali.
0:29:36 > 0:29:39- This is Absalom.- Absalom, hi.
0:29:39 > 0:29:42- This is Lehsun.- Lehsun.- Mick Jagger.
0:29:42 > 0:29:46- This is all of them...- This is good. - ..and they are very, very happy.
0:29:46 > 0:29:50They waiting for you 20 years ago.
0:29:50 > 0:29:54Waiting for you, all of them, very, very happy.
0:29:54 > 0:29:58- Well, I'm very happy that we could all come.- Thank you very much.
0:30:01 > 0:30:05DRUMMING
0:30:22 > 0:30:26It was just an idea that Mick and I had.
0:30:27 > 0:30:32Ron, if ever we could use them, this is probably the track to do it on.
0:30:38 > 0:30:41They pick it up amazingly quickly at first.
0:30:41 > 0:30:43It's just this sort of cacophony of sound
0:30:43 > 0:30:45but suddenly they're getting their patterns down.
0:30:45 > 0:30:47It's a lot of drummers.
0:30:47 > 0:30:51They all have to work out what they're going to play.
0:30:51 > 0:30:54It's the pipes I want to hear next, you know?
0:31:04 > 0:31:06Very good.
0:31:06 > 0:31:08APPLAUSE
0:31:08 > 0:31:10Good. Well done.
0:31:15 > 0:31:18There's a sense of urgency about lunchtime drinking that I like.
0:31:18 > 0:31:22In the evening, people are just plundering time.
0:31:22 > 0:31:25Opening time and lunch are my favourite times of the day.
0:31:26 > 0:31:31I think most people lead lives of such annihilating boredom
0:31:31 > 0:31:33and so paralysed by the awfulness of life
0:31:33 > 0:31:35that being in an ale house drinking
0:31:35 > 0:31:38with a few acquaintances and talking a load of rubbish half the time
0:31:38 > 0:31:39is a tremendous relief.
0:31:39 > 0:31:42- Well, it's marginally less worse than not being, I suppose.- Yeah.
0:31:42 > 0:31:45I mean, most people actually are bored out of their minds,
0:31:45 > 0:31:47- aren't they?- Yeah.
0:31:47 > 0:31:50Most of us don't comprehend any meaning of life. All this crap...
0:31:50 > 0:31:53'Being out and about, hanging around, is my work
0:31:53 > 0:31:55'because that's what I write about.
0:31:55 > 0:31:57'I can only write about what I know about.
0:31:57 > 0:32:00'Fiction is for novelists.
0:32:01 > 0:32:04'If I arrive at the Coach and Horses at 12 and not 11,
0:32:04 > 0:32:08'Tom Baker tells me that I'm late for work.
0:32:08 > 0:32:10'Editors often call me at the pub,
0:32:10 > 0:32:12'but the staff have developed a highly effective system
0:32:12 > 0:32:16'of protecting me, and I never have to talk to anybody I don't want to.'
0:32:18 > 0:32:23It's very important that the setting, the ambience,
0:32:23 > 0:32:28the quality of the china, the glass,
0:32:28 > 0:32:32the quality of the staff within that area is going to balance
0:32:32 > 0:32:35the quality of food that you have in the back of house.
0:32:35 > 0:32:39It's no good if you have first-class food and a second-class environment.
0:32:39 > 0:32:42You need both those levels to be equal.
0:32:48 > 0:32:52ACCORDION MUSIC PLAYS
0:33:42 > 0:33:46Two pies and two lots of mash, three times, please, love.
0:33:48 > 0:33:51And I KNEW he'd got the Nobel
0:33:51 > 0:33:55and I just sat on the stairs there and thought, "Oh, my God!"
0:34:10 > 0:34:12Cheers.
0:34:14 > 0:34:18- Chin-chin.- Chin-chin. - Here's to the next show.- Yeah.
0:34:18 > 0:34:20Good luck to everyone.
0:34:20 > 0:34:23Would you like to order now? Your guest has already arrived.
0:34:23 > 0:34:24Yes, I see.
0:34:24 > 0:34:27I think I'll just have 50 quid's worth all around the menu.
0:34:27 > 0:34:31Better make it 40 quid's worth. I'll save a bit for the cab.
0:34:31 > 0:34:33He said, "Do you know what, Mr Mancini?
0:34:33 > 0:34:36"I'm going to name my car after your sandwich bar.
0:34:36 > 0:34:38"I'm going to call it the Cortina."
0:34:40 > 0:34:45Elvis helped make us famous for a moment by coming to Denver
0:34:45 > 0:34:47on one occasion
0:34:47 > 0:34:49and having 22 peanut butter and jelly sandwiches
0:34:49 > 0:34:51delivered to his plane.
0:34:51 > 0:34:54ACCORDION MUSIC PLAYS
0:34:57 > 0:35:01INAUDIBLE
0:35:06 > 0:35:09They're all characters who are against the system
0:35:09 > 0:35:14and trying to exploit the system, aren't they?
0:35:14 > 0:35:17Partly because they're hungry.
0:35:17 > 0:35:20The great reward in these papers always is a feed.
0:35:39 > 0:35:42HE SINGS AN ARIA
0:35:50 > 0:35:53At lunchtime, people are relaxed,
0:35:53 > 0:35:56with no expectations of being entertained or seduced.
0:35:56 > 0:36:00No-one is really serious at lunch the way that they can be
0:36:00 > 0:36:03at dinner parties, when everyone's trying to impress everyone else
0:36:03 > 0:36:06with what they've done or what they're about to do.
0:36:06 > 0:36:08You can be yourself during the day.
0:36:11 > 0:36:14That was almost the last time I saw old Frank.
0:36:14 > 0:36:17A week later, dead.
0:36:17 > 0:36:20The slightly depressing thing about Soho, at my age, at any rate,
0:36:20 > 0:36:23is that the faces are thinning out.
0:36:23 > 0:36:26People will keep dying.
0:36:26 > 0:36:29I think we sometimes look about us and wonder who's next.
0:36:29 > 0:36:33Frank Blake was a fixture fitting for so long among
0:36:33 > 0:36:36so many other old friends that I sometimes feel as though
0:36:36 > 0:36:39I'm in a room that is slowly being stripped of its furniture.
0:36:45 > 0:36:49- Very good.- Very good.- Bravo. - Thank you.
0:36:50 > 0:36:52The line that went out was -
0:36:52 > 0:36:55"A pint? That's very nearly an armful!" -
0:36:55 > 0:37:00which gets a nice laugh, but when the line...
0:37:01 > 0:37:04Ray and I used to take great care in rhythms.
0:37:04 > 0:37:09We used to spend a lot of time working out the sound of the line,
0:37:09 > 0:37:11the rhythm of the line.
0:37:11 > 0:37:14One "and" too many, one "but" too many, can kill a line.
0:37:14 > 0:37:17- One syllable. - Just like poetry.- Indeed.
0:37:17 > 0:37:19You've got to get the rhythm right.
0:37:19 > 0:37:21You must get it right otherwise it doesn't work.
0:37:21 > 0:37:23So probably that line started out,
0:37:23 > 0:37:27"It's an armful," which, in itself, is quite an amusing concept,
0:37:27 > 0:37:31to talk about blood being an armful or legful.
0:37:31 > 0:37:34And the other one probably said, "Ah, that's nearly an armful,"
0:37:34 > 0:37:36which is better because it's a little bit more precise.
0:37:36 > 0:37:39And then the other one would have topped it up -
0:37:39 > 0:37:41"That's VERY nearly an armful."
0:37:41 > 0:37:44Now, "very nearly an armful" is much funnier than "that's an armful".
0:37:44 > 0:37:47It's the same gag,
0:37:47 > 0:37:50but it's being specific on a stupid way of assessing things.
0:37:50 > 0:37:53Hold out your hand, please.
0:38:00 > 0:38:01Now, this won't hurt.
0:38:01 > 0:38:04You'll just feel a slight prick on the end of your thumb.
0:38:04 > 0:38:07LAUGHTER
0:38:07 > 0:38:10Well, I'll bid you good day, then. Thank you very much.
0:38:10 > 0:38:12LAUGHTER
0:38:12 > 0:38:15If you want any more, don't hesitate to get in touch with me.
0:38:15 > 0:38:17Where are you going?
0:38:17 > 0:38:19To have my tea and biscuits.
0:38:19 > 0:38:20LAUGHTER
0:38:20 > 0:38:22I thought you came here to give us some of your blood?
0:38:22 > 0:38:24Well, you've just had it.
0:38:24 > 0:38:26That's just a smear.
0:38:26 > 0:38:27It may be just smear to you, mate,
0:38:27 > 0:38:30but it's life and death to some poor wretch!
0:38:30 > 0:38:32LAUGHTER
0:38:32 > 0:38:34I've just taken a sample to test.
0:38:34 > 0:38:36A sample? How much do you want, then?
0:38:36 > 0:38:37Well, a pint, of course.
0:38:37 > 0:38:40A pint?! Have you gone raving mad?
0:38:40 > 0:38:42You must be joking.
0:38:42 > 0:38:45A pint is a perfectly normal quantity to take.
0:38:45 > 0:38:47You don't seriously expect me to believe that.
0:38:47 > 0:38:49I came in here in all good faith to help my country.
0:38:49 > 0:38:52I don't mind giving a reasonable amount, but a pint?!
0:38:52 > 0:38:55That's very nearly an armful.
0:38:55 > 0:38:59His name is Bob Dylan.
0:39:01 > 0:39:05# In the dime stores and bus stations
0:39:05 > 0:39:09# People talk over situations
0:39:09 > 0:39:11# Read books and repeat quotations
0:39:11 > 0:39:15# Draw conclusions on the wall
0:39:19 > 0:39:23# Some speak of the future
0:39:23 > 0:39:26# My love, she speaks softly
0:39:26 > 0:39:30# She knows there's no success like failure
0:39:30 > 0:39:33# And that failure's no success at all. #
0:39:39 > 0:39:41Lloyds is a market.
0:39:41 > 0:39:43It's very much like any market.
0:39:43 > 0:39:45In other words, oranges, lemons and fish.
0:39:45 > 0:39:52It's a series of stalls which are involved in selling insurance.
0:39:53 > 0:39:56The people who man the stalls are called underwriters,
0:39:56 > 0:40:00and the people who are trying to buy insurance are called brokers.
0:40:00 > 0:40:03Basically, the broker is shopping in this market space
0:40:03 > 0:40:06and the whole activity of Lloyds - again, like a market -
0:40:06 > 0:40:10is under a single roof, and this is its unique quality.
0:40:52 > 0:40:54SPANISH OVER TANNOY
0:41:14 > 0:41:15Would you like some tea?
0:41:15 > 0:41:17I'd love some.
0:41:17 > 0:41:19I'll be mother.
0:41:19 > 0:41:21Yes, milk.
0:41:21 > 0:41:23Oh.
0:41:23 > 0:41:25I like afternoon tea.
0:41:25 > 0:41:29- It's a very civilised thing. - Where is your oboe?
0:41:29 > 0:41:32I had to sell it, I needed the money.
0:41:32 > 0:41:34To buy a house, in fact.
0:41:34 > 0:41:37My first house was the money from the oboe.
0:41:37 > 0:41:38Have you still got yours?
0:41:38 > 0:41:42- Oh, yes, of course. - You treasure it, do you?- Yes.
0:41:42 > 0:41:45- You don't play it, though, do you? - Yes, I do.- Do you really?
0:41:45 > 0:41:47Well, you never forget.
0:41:47 > 0:41:51No, you never forget, but gosh, I don't think I could play one now.
0:41:53 > 0:41:56- I'll give you one lesson... - Would you really?- ..for nothing!
0:41:56 > 0:41:58HE LAUGHS
0:41:59 > 0:42:03- Do you know, I might take you up on that.- Yes.
0:42:03 > 0:42:05Why not?
0:42:19 > 0:42:22# Cement mixer
0:42:23 > 0:42:26# Put-ti, put-ti
0:42:26 > 0:42:28# Cement mixer
0:42:30 > 0:42:32# Put-ti, put-ti. #
0:42:32 > 0:42:35What does everybody like? Anybody like anything?
0:42:35 > 0:42:37# ..Cement mixer
0:42:37 > 0:42:42# Goes put-ti, put-ti
0:42:42 > 0:42:47# A puddle o'veet
0:42:47 > 0:42:52# Concrete. #
0:42:52 > 0:42:54Can I have some tea?
0:42:58 > 0:43:01The next part isn't quite so sad.
0:43:03 > 0:43:08# ..First you take some gravel
0:43:08 > 0:43:13# And then you pour it in a vout
0:43:14 > 0:43:21# To make a mess of mortar You take cement and water
0:43:21 > 0:43:25# See the mellow roony... #
0:43:25 > 0:43:28CLOCK TICKS
0:43:28 > 0:43:30CLOCK CHIMES
0:43:46 > 0:43:48Well...
0:43:48 > 0:43:51another day, another dollar.
0:43:51 > 0:43:54MIMICS TOMMY COOPER: Just like that.
0:44:20 > 0:44:24Look at all these cigars. I gave up smoking cigars three years ago.
0:44:24 > 0:44:26Look at all those boxes.
0:44:27 > 0:44:31I can't bear to throw them away, there's not a cigar in them,
0:44:31 > 0:44:33but I'll tell you what there is in them.
0:44:39 > 0:44:41Ah!
0:44:44 > 0:44:46Well, that's my fix for today.
0:44:48 > 0:44:49Arrivederci.
0:44:51 > 0:44:53DOOR CLOSES
0:45:03 > 0:45:05I'm the president of the George Formby Society.
0:45:05 > 0:45:08In fact, just retired president now, with honorary membership.
0:45:08 > 0:45:12And we've come up to Blackpool, as we do three times a year,
0:45:12 > 0:45:14to the Imperial hotel.
0:45:14 > 0:45:18March, June and September, for our annual general conventions,
0:45:18 > 0:45:22and, of course, September is always the biggest one because we have
0:45:22 > 0:45:25members all over the world and they come from all over the world.
0:45:27 > 0:45:30# With my little stick of Blackpool rock
0:45:30 > 0:45:33# Along the promenade I stroll
0:45:33 > 0:45:37# It may get sticky but I never complain
0:45:37 > 0:45:41# I like to have a nibble at it now and again
0:45:41 > 0:45:46# Every day, wherever I stray The kids all round me flock
0:45:46 > 0:45:50# A fella took me photograph It cost one and three
0:45:50 > 0:45:54# I said when that is done, is that supposed to be me?
0:45:54 > 0:45:57# You've properly mucked it up The only thing I can see is
0:45:57 > 0:46:00# Me little stick of Blackpool rock. #
0:46:02 > 0:46:07The whole song is involved around Blackpool
0:46:07 > 0:46:11and that's why, of course, the song is so comparative
0:46:11 > 0:46:13with Blackpool itself.
0:46:16 > 0:46:19I met him when I was seven, my sister took me
0:46:19 > 0:46:22along to Ealing Studios to meet him making one of those films,
0:46:22 > 0:46:25and when I was introduced to him and Beryl...
0:46:25 > 0:46:29Well, you know, to a little kiddie of seven years old,
0:46:29 > 0:46:31who idolised him, it was really something.
0:46:31 > 0:46:33APPLAUSE
0:46:33 > 0:46:36Thank you, and now I am going to sing a song,
0:46:36 > 0:46:39and they are going to make a film of it at the same time,
0:46:39 > 0:46:42so if you see any flashing, don't take any notice, you see.
0:46:42 > 0:46:43All right, I'm going
0:46:43 > 0:46:45to sing a song called My Little Stick Of Blackpool Rock.
0:46:45 > 0:46:48This being in Blackpool, we'll have it filmed as well.
0:47:00 > 0:47:02# Every year when summer comes round
0:47:02 > 0:47:05# Off to the sea I go
0:47:06 > 0:47:09# I don't care if I do spend a pound
0:47:09 > 0:47:13# I'm rather rash, I know
0:47:13 > 0:47:16# See me dressed like all the sports
0:47:16 > 0:47:20# In my blazer and a pair of shorts
0:47:20 > 0:47:23# With my little stick of Blackpool rock
0:47:23 > 0:47:26# Along the promenade I stroll
0:47:26 > 0:47:30# It may be sticky but I never complain
0:47:30 > 0:47:34# It's nice to have a nibble at it now and again
0:47:34 > 0:47:40# Every day, wherever I stray The kids all round me flock
0:47:40 > 0:47:45# One afternoon, the band conductor up on his stand
0:47:45 > 0:47:48# Somehow lost his baton It flew out of his hand
0:47:48 > 0:47:51# So I jumped in his place and then conducted the band
0:47:51 > 0:47:55# With my little stick of Blackpool rock
0:47:55 > 0:47:58# With my little stick of Blackpool rock
0:47:58 > 0:48:02# Along the promenade I stroll
0:48:02 > 0:48:05# In the ballroom I went dancing each night
0:48:05 > 0:48:09# No wonder every girl that danced with me stuck to me tight
0:48:09 > 0:48:16# Every day, wherever I stray The kids all round me flock
0:48:16 > 0:48:19# A fella took my photograph It cost one and three
0:48:19 > 0:48:23# I said when it was done, is that supposed to be me?
0:48:23 > 0:48:26# You've properly mucked it up The only thing I can see is
0:48:26 > 0:48:30# My little stick of Blackpool rock
0:48:30 > 0:48:34# My little stick of Blackpool rock
0:48:34 > 0:48:37# Along the promenade I stroll
0:48:37 > 0:48:40# In my pocket it got stuck I could tell
0:48:40 > 0:48:44# Cos when I pulled it out I pulled my shirt off as well
0:48:44 > 0:48:51# Every day, wherever I stray The kids all round me flock
0:48:51 > 0:48:55# A girl while bathing clung to me My wits had to use
0:48:55 > 0:48:58# She cried, I'm drowning and to save me, you won't refuse
0:48:58 > 0:49:02# I said, well, if you're drowning then I don't want to lose
0:49:02 > 0:49:05# My little stick of Blackpool rock. #
0:51:42 > 0:51:45Well, there always seemed to be rivalry between groups
0:51:45 > 0:51:48of alchemists and magicians, as I recall.
0:51:48 > 0:51:51I mean, at one point, there was a 15th-century alchemical manuscript
0:51:51 > 0:51:55that Jonson had that somehow was stolen or misplaced
0:51:55 > 0:51:58and...I mean, there was a point where everyone was casting spells
0:51:58 > 0:52:00- on everybody else...- I know.
0:52:00 > 0:52:03..and throwing the tarot before they left their room to find out...
0:52:03 > 0:52:06Oh, it was hysterical. And the magicians denouncing one another
0:52:06 > 0:52:08- in the lobby.- Yes, right.
0:52:11 > 0:52:14Cos he really didn't... He didn't give a damn. That was...
0:52:14 > 0:52:16You must have seen him maybe 1,000 times...
0:52:17 > 0:52:25# Night and day, you are the one... #
0:52:25 > 0:52:27RESTAURANT HUBBUB
0:52:27 > 0:52:34# ..Only you beneath the moon and under the sun
0:52:36 > 0:52:41# Whether near to me, or far... #
0:52:41 > 0:52:44'I wouldn't go that far...
0:52:44 > 0:52:46'Possibly even psychologically...
0:52:46 > 0:52:49'We should really reminisce about the time...'
0:52:49 > 0:52:52# ..I think of you. #
0:52:53 > 0:52:57- '..not married?- Not married.
0:52:57 > 0:53:00- 'She's 16.- He's a happy man'
0:53:00 > 0:53:03- LAUGHTER - 'Watch it, buddy! Watch it, buddy.'
0:53:06 > 0:53:10Cook a little rice with it or something, will you?
0:53:10 > 0:53:13Something, you know... either rice or noodles.
0:53:15 > 0:53:18OK, Timmy, I'll talk to you later. Bye.
0:53:18 > 0:53:23Why do you have to know about my rice and noodles?
0:53:23 > 0:53:26- I didn't know what you were going to say.- Rice and noodles!
0:53:26 > 0:53:31What if you had walked in here and I was talking...business?
0:53:31 > 0:53:34Or personal matters, Jack, possibly.
0:53:34 > 0:53:38You look cute today in your red shirt, huh?
0:53:39 > 0:53:41All right, now, what have I got to do?
0:53:41 > 0:53:44It's eight o'clock, why are we starting now?
0:53:44 > 0:53:48- They are trying to finish it, Jack. - Well, let's get 'em finished.
0:53:48 > 0:53:51Let's get 'em out of here. Huh?
0:53:52 > 0:53:55Finished with the assignment!
0:53:55 > 0:53:57Beautiful. Excellent work.
0:53:58 > 0:54:00Great work.
0:54:02 > 0:54:04Can I have a look in your bathroom?
0:54:04 > 0:54:07- Yeah, you want to go in with me while I go?- No!
0:54:07 > 0:54:11I do have to go. It's pretty neat, huh?
0:54:13 > 0:54:14See?
0:54:17 > 0:54:23- Toothbrush. I'll brush my teeth for you.- Turn the light on.- OK.
0:54:23 > 0:54:29- I always brush my teeth before I report back in for work.- Why?
0:54:29 > 0:54:32Consideration for my co-workers.
0:54:34 > 0:54:38It's gruelling enough without a face full of lamb cutlets.
0:54:40 > 0:54:41Hmm.
0:54:43 > 0:54:47- HE MUMBLES: They'll be so grateful to me now.- What?
0:54:47 > 0:54:49They'll be so grateful.
0:54:49 > 0:54:51They'll say, "Look at that Jack.
0:54:51 > 0:54:56"He's come down even though it's midnight."
0:54:56 > 0:55:00That's not true, it's eight o'clock!
0:55:00 > 0:55:02"And Lord knows...
0:55:04 > 0:55:06"..what he's been doing.
0:55:08 > 0:55:14"He's down here and he has a fresh and sparkling breath."
0:56:05 > 0:56:08Hmm, it's rather nice.
0:56:08 > 0:56:09You'll never guess what it is.
0:56:12 > 0:56:16When using insects, you've got to understand what you're handling.
0:56:16 > 0:56:19You've got to understand the fat, the mineral content of it,
0:56:19 > 0:56:22you've got to understand that some produce we'll fry, some we'll grill,
0:56:22 > 0:56:24some we'll dry roast.
0:56:26 > 0:56:28Take the wings off.
0:56:30 > 0:56:32Take them off here...
0:56:34 > 0:56:37..and here. And the head.
0:56:39 > 0:56:43One of the most important factors is to consult with a specialist.
0:56:43 > 0:56:45You liaise, you add the knowledge together,
0:56:45 > 0:56:48and between that, then you can break down the structures of what
0:56:48 > 0:56:50you are trying to create and what you are trying to use.
0:56:50 > 0:56:52Do not go into it blind,
0:56:52 > 0:56:55the risk of food poisoning could be very high, it is an unknown
0:56:55 > 0:56:58and you need to have that specialist subject well looked into.
0:57:01 > 0:57:03That looks like...
0:57:03 > 0:57:05Ah!
0:57:05 > 0:57:07I'm back!
0:57:07 > 0:57:09You've met Christine de la Rue...
0:57:09 > 0:57:12- Lady Russell, Lady de la Rue. - Hello.
0:57:12 > 0:57:16- I'm over eight months. Babies! - Are we comparing tummies?- Yes!
0:57:16 > 0:57:18- Fabulous.- It's just so amazing because when you walked in...
0:57:18 > 0:57:20- But it looks wonderful. - On you, wonderful.
0:57:20 > 0:57:23We are such different types, we're exact opposites.
0:57:23 > 0:57:26You both have exquisite taste.
0:57:26 > 0:57:27CHEERING
0:57:34 > 0:57:36Two, three!
0:57:37 > 0:57:39Off!
0:57:45 > 0:57:48CROWD CHEERS
0:58:06 > 0:58:09MUSIC: Nessun Dorma by Puccini
0:58:36 > 0:58:40Although his physique has become less than athletic,
0:58:40 > 0:58:42Pavarotti was a skilful teenage footballer
0:58:42 > 0:58:47and he and his friends have been Juventus supporters since boyhood.
0:58:47 > 0:58:49THEY SPEAK ITALIAN
0:58:52 > 0:58:55The match has to be decided on penalties.
0:58:55 > 0:58:58Juventus pray that their ace goalkeeper Buffon can save
0:58:58 > 0:59:01Andriy Shevchenko's crucial kick.
0:59:01 > 0:59:03ITALIAN COMMENTATOR ON TV
0:59:31 > 0:59:33So we're right in the middle of the dinner now, it's pretty...
0:59:33 > 0:59:35Tension here is pretty weird.
0:59:35 > 0:59:37Andy Warhol is wearing a pair of headphones which he
0:59:37 > 0:59:40brought with them and hasn't taken off since he sat down.
0:59:40 > 0:59:42William Burroughs is looking fairly relaxed,
0:59:42 > 0:59:44he's wearing a beautiful pearl-grey suit and Warhol is
0:59:44 > 0:59:47telling him that he is the best dressed man in New York
0:59:47 > 0:59:49and he admires his look more than anyone else's.
0:59:49 > 0:59:52Burroughs, slightly bemused perhaps by this chic approach, has given
0:59:52 > 0:59:55Warhol a copy of his new book, Cities Of The Red Night, a proof copy.
0:59:55 > 0:59:58- What? - Can you do drawings?- Oh, yes, sure.
1:00:01 > 1:00:05And has just drawn...signed in it and drawn a painting.
1:00:05 > 1:00:07Warhol is telling Burroughs that he should be a painter.
1:00:07 > 1:00:09WARHOL GASPS
1:00:09 > 1:00:10My God!
1:00:10 > 1:00:12Oh!
1:00:12 > 1:00:14More, more. On this side, right here, here.
1:00:14 > 1:00:19- No, no, no.- My God.
1:00:19 > 1:00:21- There we are.- Thanks a lot!
1:00:21 > 1:00:23- You're so lucky.- How great!
1:00:23 > 1:00:25I'll get back to you in a few minutes
1:00:25 > 1:00:27and let you know what else is going on.
1:03:08 > 1:03:12# Please don't have any more
1:03:12 > 1:03:17# The more you 'ave The more you want, they say... #
1:03:17 > 1:03:20You ought to be ashamed, I said To look so antique
1:03:20 > 1:03:22And her only 31
1:03:22 > 1:03:25I can't help it, she said Pulling a long face
1:03:25 > 1:03:28It's them pills I took To bring it off, she said
1:03:28 > 1:03:31She's had five already And nearly died of young George
1:03:31 > 1:03:33The chemist said it would be all right
1:03:33 > 1:03:35But I've never been the same
1:03:35 > 1:03:37You are a proper fool, I said
1:03:37 > 1:03:40Well, if Albert won't leave you alone, there it is, I said
1:03:40 > 1:03:44What you get married for if you don't want children?
1:03:44 > 1:03:47Hurry up, please, it's time
1:03:47 > 1:03:50Hurry up, please, it's time
1:03:50 > 1:03:52Goonight, Bill
1:03:52 > 1:03:54Goonight, Lou
1:03:54 > 1:03:55Goonight, May
1:03:55 > 1:03:57Goonight
1:03:57 > 1:03:58Ta ta
1:03:58 > 1:03:59Goonight
1:03:59 > 1:04:01Goonight
1:04:01 > 1:04:02Good night, ladies
1:04:02 > 1:04:04Good night, sweet ladies
1:04:04 > 1:04:07Good night, good night.
1:04:16 > 1:04:18SALIF KEITA SINGS
1:05:26 > 1:05:29It was a cold November night in 1941.
1:05:29 > 1:05:32I was living in digs in a Hertfordshire village.
1:05:32 > 1:05:36My coal fire had gone out, I was already in my pyjamas.
1:05:37 > 1:05:40What I needed was an idea strong enough for a series
1:05:40 > 1:05:42of six programmes.
1:05:42 > 1:05:47I was just about to get into bed and then I had the inspiration.
1:05:47 > 1:05:49- RADIO:- # Let's drift away
1:05:49 > 1:05:51# On Dreamers Bay
1:05:51 > 1:05:56# Let's sail along and sing a song together. #
1:05:56 > 1:06:00Normally, I'd have been inclined to leave it until the morning,
1:06:00 > 1:06:04by which time I'd probably have forgotten about it.
1:06:04 > 1:06:07But I felt compelled to go straight to my typewriter.
1:06:11 > 1:06:13We don't know where this island is, do we?
1:06:13 > 1:06:15We don't know but it's not a bad island.
1:06:15 > 1:06:20It's got everything on it that you need. You can get married.
1:06:20 > 1:06:23- Oh, I think I could survive. - Would you know which way to go?
1:06:23 > 1:06:29- Do you know anything about stars or navigation?- Yes, I do know the stars.
1:07:14 > 1:07:17Within these four walls I am at peace.
1:07:17 > 1:07:19Nothing can touch me.
1:07:19 > 1:07:20Not the darkness of men's souls,
1:07:20 > 1:07:25nor their contempt, nor their hatred, nor their judgment.
1:07:25 > 1:07:29Once I was weak, once I was lost.
1:07:29 > 1:07:32Now there is no question without answer.
1:07:32 > 1:07:36There was so much I needed to ask and so much he alone could answer.
1:07:36 > 1:07:38He to whom I submit.
1:07:38 > 1:07:42Where I thought I was going to lose, there was so much more to gain.
1:07:42 > 1:07:45I can't really describe where I'm at.
1:07:45 > 1:07:48Paradise is beyond what my mind can conceive.
1:07:50 > 1:07:55I want to be in paradise. The purpose of life is worshipping the Creator.
1:07:55 > 1:08:00All of God's creations - the sun and the moon and the Earth
1:08:00 > 1:08:03and the stars - also worship him.
1:08:04 > 1:08:07This is what drives me.
1:08:07 > 1:08:08Saves me.
1:08:08 > 1:08:10Frees me.
1:08:15 > 1:08:17BELLS TOLL
1:08:54 > 1:09:00We had one shot where we would put poor John Russell
1:09:00 > 1:09:03out on a flagpole, hanging onto his camera.
1:09:03 > 1:09:07And it was the one shot where I fall, and it could never be
1:09:07 > 1:09:11duplicated because the stuntman and all that got paid
1:09:11 > 1:09:13so much for doing it.
1:09:13 > 1:09:20And the next day at rushes we put in all the sound effects over black film
1:09:20 > 1:09:24in order to make Russell think he'd forgotten to rack over!
1:09:24 > 1:09:27HE LAUGHS
1:09:27 > 1:09:33That's the sort of cruelty that was common on the sets in those days!
1:09:33 > 1:09:35And we were all very forgiving, "It doesn't matter,
1:09:35 > 1:09:38"we'll do it again tomorrow night." He had been so scared!
1:09:38 > 1:09:40HE LAUGHS
1:09:46 > 1:09:50I once said I thought you could define humanity
1:09:50 > 1:09:52as people who prayed,
1:09:52 > 1:09:56and I was met with rather cynical laughter.
1:09:59 > 1:10:02And my friend said, "What about these
1:10:02 > 1:10:06"dreadful louts and yobbos and murderers?"
1:10:08 > 1:10:11"They don't pray." And I said, "How do you know?"
1:10:11 > 1:10:13I said, "I'll bet there has never been
1:10:13 > 1:10:17"a person who hasn't, perhaps in the night,
1:10:17 > 1:10:20"had that sense of longing and incompleteness
1:10:20 > 1:10:24"and shame at what they are." And that's prayer.
1:10:24 > 1:10:27It's not explicit prayer, but it's real prayer.
1:10:27 > 1:10:31I think we're made to pray because God made us for himself.
1:10:40 > 1:10:46# ..Dreamed a dream by the old canal
1:10:47 > 1:10:53# Kissed my girl by the factory wall
1:10:54 > 1:10:58# Dirty old town
1:11:00 > 1:11:04# Dirty old town
1:11:04 > 1:11:10# Clouds are drifting across the moon
1:11:12 > 1:11:19# Cats are prowling on their beat
1:11:21 > 1:11:26# Spring's a girl on the street tonight
1:11:29 > 1:11:32# Dirty old town
1:11:33 > 1:11:36# Dirty old town
1:11:54 > 1:12:00# Heard a siren from the docks
1:12:02 > 1:12:09# Saw a train set the night on fire
1:12:10 > 1:12:18# I smelled the spring on the smoky wind
1:12:19 > 1:12:23# Dirty old town
1:12:24 > 1:12:27# Dirty old town. #
1:12:30 > 1:12:34APPLAUSE
1:13:02 > 1:13:06If I'm not working and things, I don't like to go out.
1:13:06 > 1:13:08Where do you go, first of all?
1:13:08 > 1:13:12Should I take the car to drive around without any destination,
1:13:12 > 1:13:15just to drive around? No.
1:13:21 > 1:13:27But any Italian would suggest that if I am going to go round Rome to
1:13:27 > 1:13:32do a thing like we did yesterday, you should take me to the fountain.
1:13:32 > 1:13:37Even the Italians say it's Anita's fountain. It is my fountain!
1:14:05 > 1:14:10Marcello, come here, hurry up.
1:14:26 > 1:14:28'But why does the time have to change?
1:14:29 > 1:14:33'Why do we have to change like that so drastically, too?
1:14:37 > 1:14:39'Time goes by to everybody.'
1:14:50 > 1:14:53This is the hour when the theatre crowds have gone,
1:14:53 > 1:14:56the late-night restaurants have closed
1:14:56 > 1:14:59and you become aware that you have crossed, all unwittingly,
1:14:59 > 1:15:02some invisible frontier into a different world.
1:15:02 > 1:15:05Without moving a single step from where you have been standing,
1:15:05 > 1:15:09you have travelled during these few minutes into a far country -
1:15:09 > 1:15:12the land of the night people.
1:15:12 > 1:15:15A legendary kingdom of whose customs and laws you know nothing
1:15:15 > 1:15:18and of whose inhabitants you have been told
1:15:18 > 1:15:21only that they are dangerous and strange
1:15:21 > 1:15:25and that a wise man or woman will keep well away from them.
1:15:25 > 1:15:28You are in the kingdom of the night.
1:15:36 > 1:15:40# Candy came from out on the Island
1:15:40 > 1:15:45# In the back room she was everybody's darling
1:15:45 > 1:15:47# But she never lost her head
1:15:47 > 1:15:50# Even when she was giving head
1:15:50 > 1:15:54# She says, hey, babe Take a walk on the wild side
1:15:54 > 1:15:58# Said, hey, babe Take a walk on the wild side
1:15:58 > 1:16:03# And the coloured girls go Doo-do-do, do-do, do-do-doo-doo
1:16:03 > 1:16:07# Doo-do-do, do-do, do-do-doo-doo
1:16:07 > 1:16:09# Doo-do-do, do-do-do... #
1:16:09 > 1:16:11Don't disappoint me.
1:16:11 > 1:16:14Be beautiful. That's very good, very good.
1:16:14 > 1:16:16Give me your heart.
1:16:16 > 1:16:19Max's Kansas City, a restaurant near The Factory, is the gathering
1:16:19 > 1:16:21place for New York's underground.
1:16:21 > 1:16:26Almost every evening, Warhol's clan can be found here.
1:16:26 > 1:16:29Kansas City functions as both an unofficial casting agency
1:16:29 > 1:16:31and a public playground.
1:16:35 > 1:16:38Oh, God, that place was sick, it was wonderful!
1:16:40 > 1:16:42Yeah, so much happened back there.
1:16:42 > 1:16:45In one night, I mean, you would just see, like, you know,
1:16:45 > 1:16:48everybody from Patti Smith,
1:16:48 > 1:16:53Robert Mapplethorpe... Mick Jagger would be there,
1:16:53 > 1:16:55somebody else would be there,
1:16:55 > 1:16:59Jane Fonda and Roger Vadim would be in the toil... No.
1:16:59 > 1:17:00Um, they'd be somewhere else.
1:17:00 > 1:17:04And of course in the bathroom people were just doing drugs,
1:17:04 > 1:17:06and, of course, the music.
1:17:12 > 1:17:15You're not paying attention!
1:17:25 > 1:17:27# Here's Room 506
1:17:27 > 1:17:32# It's enough to make you sick
1:17:33 > 1:17:36# Bridget's all wrapped up in foil
1:17:36 > 1:17:42# You wonder if she can uncoil
1:17:44 > 1:17:51# Here they come now See them run now
1:17:53 > 1:17:57# Here they come now
1:17:57 > 1:18:00# Chelsea Girls. #
1:18:04 > 1:18:08He'd had enough of public performance
1:18:08 > 1:18:11and enough even of his own exhibitionism,
1:18:11 > 1:18:16and in despair he said, "I've come to the melancholy conclusion
1:18:16 > 1:18:19"that my health is totally gone.
1:18:19 > 1:18:22"I've seen the gates of hell."
1:18:24 > 1:18:28Between 2 and 3.30am on the morning of November 3rd,
1:18:28 > 1:18:341953, in this bar, Dylan Thomas consumed 18 straight whiskys.
1:18:34 > 1:18:40That is 18 English doubles, rather than 18 English singles.
1:18:40 > 1:18:44He died six days later of what one doctor described as this
1:18:44 > 1:18:47"severe insult to the brain".
1:18:51 > 1:18:52Whew.
1:18:54 > 1:18:57Does this story sound familiar to you?
1:18:57 > 1:19:01I myself have read it in no less an authoritative source than
1:19:01 > 1:19:03the Rough Guide To Britain.
1:19:03 > 1:19:07It does sound exactly the way this wild, drunken Welsh poet
1:19:07 > 1:19:13might have died. The trouble is, it's almost certainly completely untrue.
1:19:14 > 1:19:17There were people in the bar that night and none of them
1:19:17 > 1:19:20remember him drinking anything like that amount.
1:19:22 > 1:19:27The phrase "severe insult to the brain" first surfaces in this book,
1:19:27 > 1:19:31Dylan Thomas In America by John Malcolm Brinnin,
1:19:31 > 1:19:35the fountainhead of the Dylan Thomas myth.
1:19:35 > 1:19:39This is the poet as pulp fiction hero.
1:19:51 > 1:19:54APPLAUSE
1:22:45 > 1:22:47APPLAUSE
1:22:50 > 1:22:53- Last drink. - Two here, two there. Same thing.
1:22:53 > 1:22:54Yes, sir.
1:22:54 > 1:22:56- It's funny.- What?
1:22:56 > 1:22:58Time, Alec.
1:22:58 > 1:23:01Did you ever think about time?
1:23:02 > 1:23:04It goes, Alec.
1:23:04 > 1:23:06That's the business of time.
1:23:06 > 1:23:09'Little Ronnie Reagan we called him.'
1:23:09 > 1:23:13He was just a nice little contract player, you know?
1:23:13 > 1:23:17One does sit around and say, "Anything can happen in America."
1:23:17 > 1:23:19There's no question about it.
1:23:23 > 1:23:28Light breaks where no sun shines
1:23:28 > 1:23:31Where no sea runs The waters of the heart
1:23:31 > 1:23:34Push in their tides
1:23:34 > 1:23:39And broken ghosts with glow-worms in their heads
1:23:39 > 1:23:42The things of light
1:23:42 > 1:23:48File through the flesh where no flesh decks the bones.
1:23:48 > 1:23:51APPLAUSE
1:23:53 > 1:23:55# There's a coal train
1:23:59 > 1:24:00# There's a coal train
1:24:00 > 1:24:04# That comes from Angola and Mozambique
1:24:04 > 1:24:08# There's a coal train that comes from Namibia, from Caprivi
1:24:08 > 1:24:11# From Zimbabwe and Zambia
1:24:12 > 1:24:16# There's a coal train the comes from Malawi, from Swaziland
1:24:16 > 1:24:18# From Lesotho and Botswana
1:24:18 > 1:24:22# The whole hinterland of southern Africa
1:24:22 > 1:24:24# And it carries with it young men
1:24:24 > 1:24:28# And old men who are conscripted to come and work under contract
1:24:28 > 1:24:36# In the gold, the coal, the mineral and diamond mines of Johannesburg
1:24:36 > 1:24:40# And surrounding metropoli
1:24:40 > 1:24:43# Deep, deep, deep down in the belly of the Earth
1:24:43 > 1:24:50# When they are drilling and digging for that evasive mighty stone
1:24:52 > 1:24:57# Or when they dish that mish mesh mush food out of cold iron shovels
1:24:57 > 1:24:59# Into the iron plates
1:25:02 > 1:25:07# Or when they sit miserably in their filthy, flea-ridden barracks
1:25:07 > 1:25:10# And they think about the lands and their herds
1:25:10 > 1:25:13# That were taken away from them
1:25:13 > 1:25:16# They think about their lovers Their mothers, their brothers
1:25:16 > 1:25:18# Their fathers
1:25:19 > 1:25:23# Their sisters Their children and their friends
1:25:23 > 1:25:29# Who are daily forcibly removed away from their lands
1:25:29 > 1:25:32# Some of them they never may see again
1:25:34 > 1:25:38# And when they hear that choo-choo train steaming away over the horizon
1:25:38 > 1:25:42# They always curse the coal train
1:25:42 > 1:25:46# The coal train that brought them to Johannesburg. #
1:25:46 > 1:25:50TRAIN WHISTLE BLOWS
1:26:25 > 1:26:27GASPING AND SHOUTING
1:26:31 > 1:26:34Would you endure prolonged loneliness?
1:26:34 > 1:26:38What would you be most glad to have got away from?
1:26:38 > 1:26:41THUNDER CRASHES
1:26:41 > 1:26:43Would you try to escape?
1:26:46 > 1:26:49Do you know which way to go?
1:26:57 > 1:27:00As a child, I suffered from the most horrific nightmares.
1:27:00 > 1:27:03I used to strike out in my sleep at anyone within distance.
1:27:03 > 1:27:09And one recurring dream came night after night, and that was my hands
1:27:09 > 1:27:13seemed to grow larger and larger, like giant balloons.
1:27:13 > 1:27:15I couldn't stand it.
1:27:51 > 1:27:56It seems to me I am trying to tell you a dream, making a vain attempt,
1:27:56 > 1:28:02because no relation of a dream can convey the dream sensation.
1:28:02 > 1:28:06That commingling of absurdity, surprise and bewilderment,
1:28:06 > 1:28:09and a tremor of struggling revolt.
1:28:11 > 1:28:14That notion of being captured by the incredible,
1:28:14 > 1:28:17which is of the very essence of dreams.
1:28:53 > 1:28:56To begin at the beginning...
1:28:57 > 1:29:01It is spring, moonless night in the small town,
1:29:01 > 1:29:06starless and bible-black, the cobblestreets silent
1:29:06 > 1:29:11and the hunched, courters'-and- rabbits' wood limping invisible
1:29:11 > 1:29:16down to the sloeblack, slow, black, crowblack,
1:29:16 > 1:29:19fishingboat-bobbing sea.
1:29:21 > 1:29:23The houses are blind as moles,
1:29:23 > 1:29:29though moles see fine to-night in the snouting, velvet dingles,
1:29:29 > 1:29:34and all the people of the lulled and dumbfound town
1:29:34 > 1:29:36are sleeping now.