Browse content similar to Michael Crawford. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
He's a legend of British television comedy. | 0:00:02 | 0:00:06 | |
What's extraordinary about Michael Crawford | 0:00:08 | 0:00:10 | |
is people pigeonhole him into the Phantom or Frank Spencer | 0:00:10 | 0:00:15 | |
and Some Mothers Do 'Ave 'Em, but it's a career that goes back eons. | 0:00:15 | 0:00:20 | |
A star of Hollywood musicals. | 0:00:20 | 0:00:22 | |
You stamped, Mr Vandergelder. | 0:00:22 | 0:00:23 | |
I think the sign "danger" draws Michael right to it | 0:00:23 | 0:00:27 | |
with such enthusiasm when most people would turn and run. | 0:00:27 | 0:00:31 | |
An icon of West End and Broadway stages. | 0:00:31 | 0:00:34 | |
He is probably the biggest musical theatre star in the world. | 0:00:34 | 0:00:39 | |
He's just got something - there's just that pinch of magic | 0:00:41 | 0:00:44 | |
that just comes in with Michael and I love it. | 0:00:44 | 0:00:49 | |
Betty, I can see my slippers! | 0:00:49 | 0:00:51 | |
Michael has been responsible for giving me a very weak bladder. | 0:00:51 | 0:00:55 | |
Who will take on the most extreme stunts. | 0:00:55 | 0:00:58 | |
He's barking to have done that on the bus off the bus on the roller skates. | 0:00:58 | 0:01:02 | |
Hello, Frank. What are you going to do with that? | 0:01:02 | 0:01:04 | |
-But it's him! -May I rub your ball, sir! It gives me great pleasure. | 0:01:04 | 0:01:08 | |
"You sure you're all right doing this, Michael?" | 0:01:08 | 0:01:10 | |
And you're going, "Yep, fine. Thank you." Whoo hoo! | 0:01:10 | 0:01:13 | |
These are the many faces of Michael Crawford. | 0:01:13 | 0:01:17 | |
Ooh! | 0:01:35 | 0:01:37 | |
Michael Crawford started life as Michael Patrick Dumbell-Smith. | 0:01:37 | 0:01:41 | |
At age nine, this hyperactively busy and creative young man | 0:01:41 | 0:01:45 | |
was involved in the London Choir School - | 0:01:45 | 0:01:47 | |
a school that provided choirs for some of the city's grandest churches and oratories. | 0:01:47 | 0:01:52 | |
I didn't have as good a voice as the other choristers. | 0:01:52 | 0:01:55 | |
But I looked quite good. | 0:01:55 | 0:01:57 | |
And so you had this little, round, blond-haired face | 0:01:57 | 0:02:02 | |
and I was always given a cross to hold, which was staggeringly heavy | 0:02:02 | 0:02:08 | |
but I would not be able to sing the passion, | 0:02:08 | 0:02:13 | |
I would have to... | 0:02:13 | 0:02:14 | |
I would mime to it. And I thought, no-one's going to know. | 0:02:14 | 0:02:19 | |
So, I was one of the earliest mimers, especially in St Paul's Cathedral. | 0:02:19 | 0:02:26 | |
He hated it and left after a year | 0:02:26 | 0:02:28 | |
but his talent for entertaining was noted at his new school | 0:02:28 | 0:02:31 | |
and the sound of applause became an addiction. | 0:02:31 | 0:02:34 | |
I got reaction from people. People were laughing at me | 0:02:34 | 0:02:37 | |
and I was supposed to have them laughing at me. | 0:02:37 | 0:02:39 | |
It wasn't like making them laugh in a classroom | 0:02:39 | 0:02:41 | |
and suddenly authority walks in | 0:02:41 | 0:02:44 | |
and you haven't got a friend in the place. | 0:02:44 | 0:02:46 | |
But you were actually being applauded for doing certain things | 0:02:46 | 0:02:49 | |
so that really appealed to me. | 0:02:49 | 0:02:52 | |
Benjamin Britten spotted his talent and adapted part | 0:02:52 | 0:02:56 | |
of his amateur opera, Noye's Fludde, to suit young Michael. | 0:02:56 | 0:03:00 | |
My voice was beginning to slide. | 0:03:00 | 0:03:02 | |
It didn't break, it was beginning to slide. | 0:03:02 | 0:03:06 | |
So, he said, "Well, I'm sure we can adapt, I'm sure we can adapt this." | 0:03:06 | 0:03:12 | |
And he changed the notes. He started to change the part of Jaffett, | 0:03:12 | 0:03:16 | |
so that it would accommodate me | 0:03:16 | 0:03:19 | |
as I couldn't get the higher notes any more. | 0:03:19 | 0:03:21 | |
# Mother, we pray you altogether | 0:03:21 | 0:03:26 | |
# We are here, your own children | 0:03:26 | 0:03:29 | |
# Come into the ship for fear of the weather | 0:03:29 | 0:03:34 | |
# For his not that you bought... # | 0:03:34 | 0:03:37 | |
It was the beginning of... I really wanted was, the next step. | 0:03:37 | 0:03:40 | |
I wanted to be on stage. | 0:03:40 | 0:03:43 | |
If you are a choirboy, you go to a choir school, then that sets you up, | 0:03:43 | 0:03:48 | |
doesn't it, for some kind of a career of musical activity? | 0:03:48 | 0:03:52 | |
I wonder whether it didn't have some other sort of influence on him too. | 0:03:52 | 0:03:55 | |
I think throughout his career, | 0:03:55 | 0:03:58 | |
he's maintained a kind of awkward boyishness | 0:03:58 | 0:04:01 | |
that I think somehow must have been formed in those years. | 0:04:01 | 0:04:05 | |
Michael's career was off. He was able to leave school at age 14 | 0:04:05 | 0:04:09 | |
with some radio acting credits and an agent. | 0:04:09 | 0:04:12 | |
A biscuit van gave Michael Dumbell-Smith | 0:04:12 | 0:04:14 | |
the inspiration for a name change. | 0:04:14 | 0:04:16 | |
And Michael Crawford - the multi-talented child actor - | 0:04:16 | 0:04:20 | |
rolled from one part to another. | 0:04:20 | 0:04:22 | |
I mean, it's a child's dream to do this sort of stuff. | 0:04:22 | 0:04:26 | |
They're saying, "Are you sure you're all right doing this, Michael?" | 0:04:26 | 0:04:28 | |
And you're going, "Yep, fine, thank you." | 0:04:28 | 0:04:32 | |
And you were just like a pig in a farm yard. It was brilliant fun. | 0:04:32 | 0:04:38 | |
Aged just 14, Michael Crawford had parts in two movies | 0:04:38 | 0:04:42 | |
for the Children's Film Foundation. | 0:04:42 | 0:04:44 | |
Soap Box Derby and Blow Your Own Trumpet. | 0:04:44 | 0:04:47 | |
He could sing, he could act | 0:04:47 | 0:04:49 | |
and now, for the first time, we saw what would be a trademark. | 0:04:49 | 0:04:52 | |
Michael loved to do stunts. | 0:04:52 | 0:04:54 | |
One of the things was you had to dive into the Thames | 0:04:56 | 0:04:59 | |
at Battersea Power Station. | 0:04:59 | 0:05:01 | |
They said, "Well, you can't do this bit." I'd love to. | 0:05:01 | 0:05:04 | |
"I can do it because I'm a really good swimmer." | 0:05:04 | 0:05:07 | |
So, they let me do it and I dived in. | 0:05:07 | 0:05:09 | |
Everybody's going, "Oh, that was amazing!" | 0:05:09 | 0:05:12 | |
So, again, it's getting... It's having acceptance, I think. | 0:05:12 | 0:05:17 | |
As a youngster. Suddenly in the world, and I loved adventure. | 0:05:17 | 0:05:22 | |
Most boys do. | 0:05:22 | 0:05:24 | |
Michael Crawford enjoyed a perfect start to his career. | 0:05:24 | 0:05:27 | |
He had a proven singing voice, he had a knack for comedy | 0:05:27 | 0:05:31 | |
and he enjoyed physical action. | 0:05:31 | 0:05:33 | |
From thereon, I loved the physical side. | 0:05:33 | 0:05:36 | |
I hadn't used it comedically yet but, for dramatic effect, | 0:05:36 | 0:05:41 | |
I felt sort of early Steve McQueen. | 0:05:41 | 0:05:45 | |
As the 1950s came to a close, he made his first appearances | 0:05:47 | 0:05:50 | |
on television in the long-running series Billy Bunter. | 0:05:50 | 0:05:54 | |
-You stole that tin from Coker. -Just going to scoff it! | 0:05:54 | 0:05:58 | |
No, I didn't. I got this in a pub yesterday. | 0:05:58 | 0:06:01 | |
-Oh, you fat chump. We saw you pick it up and make off with it. -Oh, did you? | 0:06:01 | 0:06:05 | |
He was in every single British soap around, | 0:06:05 | 0:06:10 | |
from Emergency Ward 10 to Dixon Of Dock Green. | 0:06:10 | 0:06:13 | |
So, he was a real working lad in his teens. | 0:06:13 | 0:06:18 | |
In 1962, he met his idol | 0:06:18 | 0:06:21 | |
and featured alongside Steve McQueen in the film, The War Lover. | 0:06:21 | 0:06:25 | |
Often these days, you get actors who come from nowhere. | 0:06:25 | 0:06:30 | |
Who leave drama school, who find, wow, bang, the movie, the play | 0:06:30 | 0:06:35 | |
that puts them right in the forefront. | 0:06:35 | 0:06:39 | |
But you don't often find actors who've been around from a kid - | 0:06:39 | 0:06:44 | |
almost a child actor. | 0:06:44 | 0:06:47 | |
20-year-old Michael timed his entrance to the '60s perfectly. | 0:06:47 | 0:06:50 | |
He was an opinionated Mod for a David Frost TV show. | 0:06:50 | 0:06:54 | |
The reason I'm here is, I wouldn't be here at all if someone had a spanner. | 0:06:54 | 0:06:57 | |
I'd be off like a spit from a bugler if I had a spanner | 0:06:57 | 0:07:00 | |
only nobody round here knows how to fasten a fly button | 0:07:00 | 0:07:02 | |
let alone do up a nut. | 0:07:02 | 0:07:04 | |
So, I'm waiting for my brother to give me a lift home. | 0:07:04 | 0:07:08 | |
Michael had grown up. The singing voice was sidelined. | 0:07:08 | 0:07:11 | |
He was a face of a new generation with a boy next door charm. | 0:07:11 | 0:07:14 | |
When the Beatles made their first film, Hard Day's Night, | 0:07:17 | 0:07:20 | |
they chose the radical American director, Richard Lester, | 0:07:20 | 0:07:24 | |
the father of the music video. | 0:07:24 | 0:07:26 | |
He next turned his zany talents to a highly-stylised story of boys, | 0:07:26 | 0:07:30 | |
girls and coming of age - The Knack And How To Get It. | 0:07:30 | 0:07:34 | |
It was black and white. I think Lester was a zany director. | 0:07:34 | 0:07:40 | |
It was kind of bizarre in a way - very bizarre. | 0:07:40 | 0:07:43 | |
White rooms and girls everywhere outside the Albert Hall. | 0:07:43 | 0:07:47 | |
Thousands of girls, you know. | 0:07:47 | 0:07:49 | |
It was a strange film. It only took four weeks to shoot - | 0:07:49 | 0:07:53 | |
mostly in Shepherd's Bush. | 0:07:53 | 0:07:56 | |
It was that world of pure, cool Kings Road, Biba, | 0:07:56 | 0:08:00 | |
all this stuff, you know? | 0:08:00 | 0:08:03 | |
And Jean Shrimpton, and all this Twiggy. | 0:08:03 | 0:08:05 | |
All the world of... | 0:08:05 | 0:08:07 | |
Everything was beautiful people. | 0:08:07 | 0:08:10 | |
Michael plays a shy, young schoolteacher | 0:08:10 | 0:08:13 | |
obsessed with getting a girl. | 0:08:13 | 0:08:15 | |
But, first, he needs a bigger bed. | 0:08:15 | 0:08:17 | |
The three boys in it were, you know, | 0:08:24 | 0:08:27 | |
Mr Cool, Mr Grey, um... | 0:08:27 | 0:08:31 | |
And me in the middle - this innocent - which was me really. | 0:08:31 | 0:08:36 | |
As an actor, you have to recognise what are those things. | 0:08:36 | 0:08:39 | |
You don't act it, you have to be it. | 0:08:39 | 0:08:44 | |
So, now I'm playing the role, so the frustration | 0:08:44 | 0:08:47 | |
was sort of coming through the eyes. | 0:08:47 | 0:08:50 | |
But I was looking at all these models. | 0:08:50 | 0:08:52 | |
I mean, there was Charlotte Rampling and Jane Birken. | 0:08:52 | 0:08:55 | |
They were all parading up the stairs - | 0:08:55 | 0:08:57 | |
these very well known young actresses and models then were in this film. | 0:08:57 | 0:09:02 | |
How can I get a woman? | 0:09:02 | 0:09:04 | |
-You want advice? -How? | 0:09:04 | 0:09:07 | |
-Oh, the right food is important... -It's not that. Listen. | 0:09:07 | 0:09:10 | |
If I should see this girl, listen. Should I come across...? | 0:09:10 | 0:09:14 | |
Would you show me? | 0:09:16 | 0:09:19 | |
You mean how I get women, hm? | 0:09:19 | 0:09:22 | |
Yes. Working with Richard Lester | 0:09:22 | 0:09:25 | |
was so golden. It was so special. | 0:09:25 | 0:09:32 | |
The Knack was the best. You learn. | 0:09:32 | 0:09:36 | |
To do that as sort of really my first major film | 0:09:36 | 0:09:41 | |
was priceless. | 0:09:41 | 0:09:43 | |
When it was shown, everyone stood up and applauded. It was extraordinary. | 0:09:43 | 0:09:47 | |
Suddenly, we found that this tiny little film - | 0:09:47 | 0:09:50 | |
that was shot for £125,000 - in Shepherd's Bush, | 0:09:50 | 0:09:55 | |
was suddenly a bonanza. | 0:09:55 | 0:09:58 | |
The success of The Knack projected Michael Crawford | 0:09:58 | 0:10:01 | |
into one of London's coolest film circles. | 0:10:01 | 0:10:03 | |
One of the things that I think he was quite fortunate about | 0:10:03 | 0:10:06 | |
was coming along at the right time. | 0:10:06 | 0:10:08 | |
He would never have been a film star in the early-1950s, | 0:10:08 | 0:10:12 | |
he just wasn't physically right for it. | 0:10:12 | 0:10:15 | |
But, at the beginning of the '60s, the studio system is collapsing. | 0:10:15 | 0:10:19 | |
All of those film stars are being pensioned off really. | 0:10:19 | 0:10:22 | |
Audiences are looking for a new kind of actor. | 0:10:22 | 0:10:26 | |
Actually, his awkwardness and his gangliness suited that moment. | 0:10:26 | 0:10:31 | |
HE CHANTS | 0:10:31 | 0:10:33 | |
-Sir, you're in need of a soothsayer. -How do you know? | 0:10:37 | 0:10:41 | |
I'd be a fine soothsayer if I didn't. | 0:10:41 | 0:10:44 | |
Richard Lester's next project was a more mainstream movie | 0:10:44 | 0:10:47 | |
and he cast Michael Crawford as a lead | 0:10:47 | 0:10:50 | |
alongside legends of film comedy | 0:10:50 | 0:10:52 | |
Zero Mostel, Buster Keaton and Phil Silvers. | 0:10:52 | 0:10:55 | |
It's the musical farce A Funny Thing Happened On the Way To The Forum. | 0:10:55 | 0:11:00 | |
-To the garden and break the news. -What news? | 0:11:02 | 0:11:04 | |
-That you're going to run away to marry her. -Won't I catch the plague? | 0:11:04 | 0:11:08 | |
There is no plague. We made it up so as to get her out of there. | 0:11:08 | 0:11:10 | |
Ah, that was clever. | 0:11:10 | 0:11:11 | |
Wasn't it? I'll high myself to the harbour to hire a boat. Hoe you to the garden. | 0:11:11 | 0:11:15 | |
You high...and I'll hoe. | 0:11:15 | 0:11:19 | |
Good luck! | 0:11:19 | 0:11:22 | |
When we weren't shooting, we'd all gravitate towards Zero's caravan | 0:11:23 | 0:11:28 | |
and the three of... I mean Phil Silvers and he, | 0:11:28 | 0:11:34 | |
it was a battle of these comics, and stories from the old days. | 0:11:34 | 0:11:40 | |
Again, you just eat them up. | 0:11:40 | 0:11:43 | |
You don't interrupt. You don't... | 0:11:43 | 0:11:46 | |
You just listen. | 0:11:46 | 0:11:49 | |
And you learn. And their timing... | 0:11:49 | 0:11:52 | |
The timing was superb. | 0:11:52 | 0:11:54 | |
Heargh! | 0:11:54 | 0:11:56 | |
We did a big stunt sequence in Forum, | 0:11:56 | 0:12:00 | |
which Dick Lester let me go out | 0:12:00 | 0:12:02 | |
with the Second Unit and that was it. | 0:12:02 | 0:12:07 | |
He just gave me a camera and we went out and did stunts | 0:12:07 | 0:12:10 | |
on the back of this horseless chariot. | 0:12:10 | 0:12:13 | |
And they were really quite dangerous. | 0:12:13 | 0:12:16 | |
But, you just wanted to be more daring every single day. | 0:12:16 | 0:12:21 | |
It was the best. | 0:12:21 | 0:12:24 | |
It's 1965 and Michael's daredevil stunts are getting more extreme. | 0:12:26 | 0:12:33 | |
Michael gallops off with the girl but his next film | 0:12:34 | 0:12:38 | |
with Richard Lester, has an altogether darker tone. | 0:12:38 | 0:12:41 | |
Well done! | 0:12:51 | 0:12:54 | |
It's How I Won The War with Beatle | 0:12:54 | 0:12:56 | |
and iconic anti-war campaigner John Lennon. | 0:12:56 | 0:13:00 | |
Er, Musketeer Gripweed, without whose help | 0:13:00 | 0:13:02 | |
these memoirs would never have been written. | 0:13:02 | 0:13:04 | |
My faithful batman. | 0:13:04 | 0:13:07 | |
May I rub your ball, sir? It gives me great pleasure. | 0:13:07 | 0:13:10 | |
Very black anti-war comedy, | 0:13:10 | 0:13:13 | |
as much as one can find humour in war. | 0:13:13 | 0:13:15 | |
Rally to me the troop. | 0:13:15 | 0:13:18 | |
If it is humanly possible, | 0:13:18 | 0:13:21 | |
I shouldn't be left on my own. | 0:13:21 | 0:13:24 | |
I can't win a war on my own. | 0:13:25 | 0:13:28 | |
I'm rather too young. | 0:13:29 | 0:13:30 | |
Aged just 25, Michael Crawford could hardly have had | 0:13:30 | 0:13:34 | |
a better start to a career in film. | 0:13:34 | 0:13:36 | |
He had ten years as a child actor, | 0:13:36 | 0:13:38 | |
with numerous appearances on television. | 0:13:38 | 0:13:41 | |
He'd starred in an award-winning cult hit. | 0:13:41 | 0:13:43 | |
He'd shared screens with big time Hollywood talent | 0:13:43 | 0:13:46 | |
and one of the world's biggest recording artists. | 0:13:46 | 0:13:48 | |
But Michael had kept working in theatre | 0:13:48 | 0:13:51 | |
and his next massive move was away from cinema altogether. | 0:13:51 | 0:13:55 | |
Broadway's neon lights drew young Michael to America | 0:14:00 | 0:14:04 | |
in a very unusual and physically demanding show - Black Comedy. | 0:14:04 | 0:14:09 | |
It was a very, very physical role. | 0:14:09 | 0:14:11 | |
I most probably hurt my neck a bit | 0:14:11 | 0:14:15 | |
and used to spend days in a neck brace | 0:14:15 | 0:14:19 | |
and then go in to the theatre and do these stunts - live stunts - | 0:14:19 | 0:14:24 | |
but I mean the reaction from the audience was just amazing. | 0:14:24 | 0:14:29 | |
It's a brilliant play. | 0:14:29 | 0:14:31 | |
Broadway was a shop window of new talent | 0:14:31 | 0:14:34 | |
and Michael's performances were attracting good reviews. | 0:14:34 | 0:14:37 | |
That brought a knock on the door from a surprising fan, | 0:14:37 | 0:14:40 | |
a Hollywood song and dance legend - now turned director - Gene Kelly. | 0:14:40 | 0:14:45 | |
I opened the door. He said, "Hi! I'm Gene Kelly." | 0:14:45 | 0:14:50 | |
I said, "I know!" And he walked down the corridor into the main room | 0:14:50 | 0:14:55 | |
and he walked just like he does on film. | 0:14:55 | 0:14:58 | |
I mean, the shoulders were going | 0:14:58 | 0:14:59 | |
and it's like he turned round and said, "Now!" | 0:14:59 | 0:15:04 | |
And all I could do was giggle about it. | 0:15:04 | 0:15:07 | |
And he said... He asked me a few questions. | 0:15:07 | 0:15:11 | |
"Do you sing?" I said, "Well, I do a little. | 0:15:11 | 0:15:15 | |
"I've been to choir schools and I sing in the bath. | 0:15:15 | 0:15:17 | |
"I sing in the bath." And he didn't laugh. | 0:15:17 | 0:15:21 | |
And then he said, "Can you dance?" | 0:15:21 | 0:15:23 | |
I said, "I've got a bit of jet lag at the moment. | 0:15:23 | 0:15:26 | |
"I wouldn't be at my best right now | 0:15:26 | 0:15:29 | |
"but I CAN dance." | 0:15:29 | 0:15:31 | |
So, he said... He kept looking at me, | 0:15:31 | 0:15:34 | |
and then he said, "Listen, what we're looking for | 0:15:34 | 0:15:38 | |
"is an attractive idiot." | 0:15:38 | 0:15:41 | |
My wife thinks you're attractive and I think you're an idiot. | 0:15:41 | 0:15:45 | |
# Yes, New York, it's really us | 0:15:50 | 0:15:53 | |
# Barnaby and Cornelius... # | 0:15:53 | 0:15:56 | |
# Put on your Sunday clothes when you feel down... # | 0:15:56 | 0:15:59 | |
In Hello, Dolly, Michael Crawford is a Hollywood movie star | 0:15:59 | 0:16:03 | |
with a superstar lead actress. | 0:16:03 | 0:16:06 | |
# Before the parade | 0:16:06 | 0:16:09 | |
# Passes by... # | 0:16:09 | 0:16:11 | |
It's a full-on musical spectacular. | 0:16:16 | 0:16:19 | |
A love story in which Gene Kelly fought for Michael | 0:16:19 | 0:16:22 | |
to sing an emotional solo. | 0:16:22 | 0:16:24 | |
It Only Takes A Moment is his perfect confession of love. | 0:16:24 | 0:16:28 | |
I'm talking about none other than love. | 0:16:29 | 0:16:33 | |
-Love?! -Love! | 0:16:33 | 0:16:35 | |
It makes me tear to think of that. | 0:16:35 | 0:16:40 | |
Because it's beautiful. | 0:16:40 | 0:16:41 | |
# It only | 0:16:41 | 0:16:44 | |
# Takes a moment | 0:16:44 | 0:16:48 | |
# For your eyes to meet | 0:16:48 | 0:16:53 | |
# And then | 0:16:53 | 0:16:56 | |
# Your heart knows... # | 0:16:56 | 0:17:00 | |
So, at the end, I was indeed crying slightly. | 0:17:00 | 0:17:04 | |
And he came over, and he just says, "You little mother." | 0:17:04 | 0:17:10 | |
And he hugged me so tightly. | 0:17:10 | 0:17:14 | |
The truth pays off so much. | 0:17:14 | 0:17:16 | |
Some people won't like that. | 0:17:16 | 0:17:19 | |
They want to say, # It only | 0:17:19 | 0:17:22 | |
# Takes a moment | 0:17:22 | 0:17:27 | |
# To be loved... # | 0:17:28 | 0:17:32 | |
I didn't sing it really well - I know that. | 0:17:34 | 0:17:38 | |
I sang it sincerely. | 0:17:38 | 0:17:41 | |
There was a thing I didn't know until about three months ago. | 0:17:41 | 0:17:46 | |
But the producers didn't actually want to use my voice. | 0:17:46 | 0:17:51 | |
And I only found this out three months ago in my life. | 0:17:51 | 0:17:54 | |
Thank God I didn't find out earlier. | 0:17:54 | 0:17:56 | |
I'd have had depression for years. | 0:17:56 | 0:17:58 | |
But they didn't want to use my voice for singing, It Only Takes A Moment. | 0:17:58 | 0:18:02 | |
And, um, Gene insisted - | 0:18:02 | 0:18:07 | |
absolutely insisted - that they did. | 0:18:07 | 0:18:10 | |
Hello, Dolly was a critical success. | 0:18:10 | 0:18:13 | |
But Hollywood was in decline. | 0:18:13 | 0:18:15 | |
Hello, Dolly cost 25 million to make | 0:18:15 | 0:18:18 | |
but took just 9 million at American box offices. | 0:18:18 | 0:18:21 | |
Michael finished a three-film deal with two minor films - The Games | 0:18:22 | 0:18:27 | |
and Hello Goodbye. | 0:18:27 | 0:18:29 | |
And with that, cheerio to Hollywood. | 0:18:29 | 0:18:32 | |
Michael was back in Britain in the doldrums. | 0:18:32 | 0:18:35 | |
Hello Goodbye, which really summed up my contract there | 0:18:36 | 0:18:41 | |
because it's the least favourite thing I've ever done in my career. | 0:18:41 | 0:18:46 | |
And, when I'd finished that, I was embarrassed about what I'd done. | 0:18:46 | 0:18:51 | |
I didn't work for... | 0:18:51 | 0:18:53 | |
..a year and a half, two years. I just couldn't. | 0:18:56 | 0:19:00 | |
I was completely demoralised by it. | 0:19:00 | 0:19:03 | |
Within my own life, someone had gone off with the money I'd earned - | 0:19:03 | 0:19:08 | |
a business adviser had gone off with everything I'd earned | 0:19:08 | 0:19:12 | |
from the films that I'd done. | 0:19:12 | 0:19:14 | |
And, from driving rather a snazzy car, the next day I was in a van. | 0:19:14 | 0:19:19 | |
My wife and I, we started a business, selling floor cushions. | 0:19:19 | 0:19:24 | |
And so I used to go and stuff cushions every day | 0:19:24 | 0:19:27 | |
in this factory at the back of Chelsea football ground. | 0:19:27 | 0:19:31 | |
He'd tumbled from Hollywood to stuffing cushions | 0:19:31 | 0:19:34 | |
and eventually found a part in a West End farce. | 0:19:34 | 0:19:38 | |
No Sex, Please We're British gathered great reviews | 0:19:38 | 0:19:41 | |
and cash-strapped Michael was even able | 0:19:41 | 0:19:43 | |
to do a spot of moonlighting in disguise. | 0:19:43 | 0:19:46 | |
# I'll zoom like a rocket as fast as I can | 0:19:46 | 0:19:48 | |
# Now that I have my gloves and my fan... # | 0:19:48 | 0:19:51 | |
-If you please, sir. -What? | 0:19:51 | 0:19:54 | |
I think we'd been going for quite some time shooting the movie | 0:19:59 | 0:20:02 | |
before Michael actually arrived on the set. | 0:20:02 | 0:20:06 | |
Um, and he was my white rabbit. | 0:20:06 | 0:20:09 | |
I'll have to wear these in case I'm recognised. | 0:20:09 | 0:20:12 | |
He had the white face, the white hair, facial hair, | 0:20:12 | 0:20:16 | |
and the teeth and everything. So, apart from his eyes, | 0:20:16 | 0:20:19 | |
it was difficult to get to know him. | 0:20:19 | 0:20:22 | |
-Rather a nice day, isn't it? -Yes, very. | 0:20:27 | 0:20:31 | |
The whole thing takes about an hour and a quarter. | 0:20:31 | 0:20:33 | |
The eyes again taking the longest, I would say. | 0:20:33 | 0:20:37 | |
The only thing left for the actor to work with when you're finished, | 0:20:37 | 0:20:43 | |
are your eyes, which is what one uses mostly anyway. | 0:20:43 | 0:20:47 | |
We would finish filming at Shepperton Studios | 0:20:47 | 0:20:50 | |
at about, I don't know, 5:30pm, | 0:20:50 | 0:20:53 | |
which meant that, for him, to get to the West End, it was quite tight. | 0:20:53 | 0:20:56 | |
So he would actually get into the car, minus his costume, | 0:20:56 | 0:21:00 | |
but with all his facial prosthetics on. | 0:21:00 | 0:21:03 | |
And would have to remove that makeup in the car. | 0:21:03 | 0:21:06 | |
He had a driver who would take him back, straight into the West End, | 0:21:06 | 0:21:09 | |
where he could get ready for the show every night. | 0:21:09 | 0:21:11 | |
Every night, I used to say, "Bye!" And he'd be peeling off all these layers of latex. | 0:21:11 | 0:21:16 | |
Well, it has no business in there! Go and take it away. | 0:21:16 | 0:21:19 | |
Sure, I don't like it, your honour, at all, at all! | 0:21:19 | 0:21:22 | |
Alice's Adventures in Wonderland was hardly a star vehicle for Michael. | 0:21:23 | 0:21:28 | |
But No Sex Please, We're British was a different matter. | 0:21:28 | 0:21:32 | |
A BBC producer saw something in Michael's character | 0:21:32 | 0:21:35 | |
that would become a television legend. | 0:21:35 | 0:21:37 | |
I wonder what they'll do next. | 0:21:39 | 0:21:41 | |
Norman Wisdom had already turned it down. | 0:21:41 | 0:21:43 | |
Er, Ronnie Barker had already turned it down. | 0:21:43 | 0:21:47 | |
So, I was third in line for this. | 0:21:47 | 0:21:49 | |
That's happened to me a great deal. | 0:21:49 | 0:21:53 | |
I've not often been first choice. | 0:21:53 | 0:21:56 | |
And then, I started to read it, | 0:21:56 | 0:21:59 | |
and saw the possibilities of the humour | 0:21:59 | 0:22:03 | |
and bringing stunts in - | 0:22:03 | 0:22:06 | |
marrying in - | 0:22:06 | 0:22:08 | |
and they said, | 0:22:08 | 0:22:12 | |
"Yeah, we could do that." | 0:22:12 | 0:22:13 | |
And Raymond Allen adapted his thoughts as the writer. | 0:22:13 | 0:22:17 | |
And we started to get that. | 0:22:17 | 0:22:20 | |
And I used the characterisation vaguely | 0:22:20 | 0:22:24 | |
from what I'd done in No Sex Please, We're British | 0:22:24 | 0:22:26 | |
to use it in Some Mothers... | 0:22:26 | 0:22:29 | |
The sitcom Some Mothers Do 'Ave 'Em | 0:22:33 | 0:22:36 | |
was a perfect vehicle for Michael - | 0:22:36 | 0:22:39 | |
comic innocence combined with his love of physical comedy. | 0:22:39 | 0:22:42 | |
Frank, I keep telling you. | 0:22:47 | 0:22:49 | |
You don't have to keep jumping through the doors like that. | 0:22:49 | 0:22:52 | |
They're perfectly safe. | 0:22:52 | 0:22:54 | |
From the moment I walked in the door, we didn't stop laughing. | 0:22:54 | 0:22:58 | |
And, in fact, if I recall, I don't think we even read the script. | 0:22:58 | 0:23:03 | |
We just laughed a lot | 0:23:03 | 0:23:06 | |
and that continued throughout the whole series as well. | 0:23:06 | 0:23:10 | |
Well, this is ridiculous. | 0:23:35 | 0:23:38 | |
I want... I'll jam it. | 0:23:38 | 0:23:44 | |
TOILET FLUSHES | 0:23:46 | 0:23:48 | |
It's... But I haven't even... | 0:23:48 | 0:23:52 | |
I'll leave it. | 0:23:56 | 0:23:57 | |
Some Mothers showed off Michael's exceptional comic timing. | 0:23:57 | 0:24:00 | |
-It was jammed when you put your foot on the pedal. -Yes. | 0:24:00 | 0:24:04 | |
Just needs a few final adjustments. | 0:24:14 | 0:24:17 | |
Well, I'm glad you're making a few improvements about the house. | 0:24:18 | 0:24:21 | |
Well, it all adds to the value, doesn't it? | 0:24:21 | 0:24:24 | |
I just wish it was a bit bigger, that's all. | 0:24:24 | 0:24:26 | |
Oh, it's quite big enough, Frank. | 0:24:26 | 0:24:28 | |
There's plenty of room for the two of us. | 0:24:28 | 0:24:31 | |
Plenty of room for three really. | 0:24:31 | 0:24:34 | |
-Three? -Could you come and sit down a minute, Frank? | 0:24:36 | 0:24:40 | |
There's going to be a little addition to our family. | 0:24:47 | 0:24:53 | |
We played it for real and, in the absurdity of course - | 0:24:55 | 0:24:59 | |
the nonsense that went on. But we played it for real. | 0:24:59 | 0:25:04 | |
And, I think, most of all, the key was that she loved him - | 0:25:04 | 0:25:10 | |
she really loved him - | 0:25:10 | 0:25:12 | |
and so, consequently, er, put up with the nightmare that he was, | 0:25:12 | 0:25:17 | |
um, because of that. | 0:25:17 | 0:25:20 | |
We're going to hear the patter of tiny little feet. | 0:25:20 | 0:25:23 | |
No, no, no... Don't be silly. | 0:25:25 | 0:25:27 | |
I'm not having another cat in this house. | 0:25:27 | 0:25:30 | |
I've had enough trouble with Cleopatra. | 0:25:34 | 0:25:37 | |
Last week I caught her scratching the wallpaper over there, | 0:25:37 | 0:25:39 | |
and when I told her to stop, she did a whoopsie in my beret. | 0:25:39 | 0:25:42 | |
He was truly an innocent abroad | 0:25:43 | 0:25:46 | |
who would annoy the heck out of you. | 0:25:46 | 0:25:49 | |
But he was honest to himself. | 0:25:49 | 0:25:53 | |
He was honest, and she adored him. | 0:25:53 | 0:25:57 | |
And without having married, which he wasn't in the first place, | 0:25:57 | 0:26:02 | |
we had him married and he found Michelle, | 0:26:02 | 0:26:06 | |
who was such a gift to the show. | 0:26:06 | 0:26:09 | |
Because we got on so well and there was such a rapport. | 0:26:11 | 0:26:15 | |
And she loved Frank, just loved him. | 0:26:15 | 0:26:19 | |
You're going to be a father. | 0:26:19 | 0:26:21 | |
Ohh... | 0:26:22 | 0:26:24 | |
Ohhh... | 0:26:27 | 0:26:29 | |
One of the keys to the success of that programme | 0:26:29 | 0:26:32 | |
is how impersonatable Frank Spencer was. | 0:26:32 | 0:26:36 | |
Frank Spencer was in the repertoire of every impressionist | 0:26:36 | 0:26:40 | |
in the country, from New Faces down to my school playground. | 0:26:40 | 0:26:43 | |
There was nobody in the country in the '70s, | 0:26:43 | 0:26:46 | |
who couldn't be persuaded to at least attempt | 0:26:46 | 0:26:48 | |
a Frank Spencer impersonation. | 0:26:48 | 0:26:50 | |
Oh, nice. | 0:26:50 | 0:26:52 | |
If you have a character who is really impersonatable, | 0:26:52 | 0:26:55 | |
then you're inside the head of the nation. | 0:26:55 | 0:26:58 | |
And that's the brilliance of that performance. | 0:26:58 | 0:27:01 | |
Some Mothers was also popular for its stunts. | 0:27:01 | 0:27:04 | |
Stunts that Michael had the experience to design and perform. | 0:27:04 | 0:27:07 | |
I'll get it back for you. | 0:27:09 | 0:27:11 | |
CAR HONKS | 0:27:11 | 0:27:12 | |
I'm sorry! | 0:27:12 | 0:27:14 | |
There's a lorry! | 0:27:26 | 0:27:27 | |
When you come to a point, | 0:27:29 | 0:27:31 | |
where somebody has in the script | 0:27:31 | 0:27:33 | |
that this car goes over the edge of a cliff | 0:27:33 | 0:27:37 | |
and is teetering with your leading man on the bonnet to hold up there, | 0:27:37 | 0:27:42 | |
and a dog in the back seat | 0:27:42 | 0:27:43 | |
and your wife on the roof, that's about as dangerous as you can get. | 0:27:43 | 0:27:48 | |
Just hold on to my legs! | 0:27:48 | 0:27:50 | |
Hold my feet! | 0:27:52 | 0:27:54 | |
And then I talked Michelle into... She was very eager to do it, | 0:27:54 | 0:27:58 | |
I might say, cos she's a real good sport. | 0:27:58 | 0:28:02 | |
And she was on the roof of the car, and she wouldn't have a double. | 0:28:02 | 0:28:07 | |
There was this guy dressed up in the skirt and hat ready to do it | 0:28:07 | 0:28:12 | |
and she said, "No, I'm going to do it!" So, she did it. | 0:28:12 | 0:28:16 | |
The Morris Minor, where I was involved, was terrifying! | 0:28:16 | 0:28:21 | |
We actually were up on top of that Morris Minor, | 0:28:21 | 0:28:25 | |
which was doing all of that, | 0:28:25 | 0:28:27 | |
and I said to somebody, "Do I have a harness?" | 0:28:27 | 0:28:31 | |
And I'm wearing quite a strappy summer dress and a hat - | 0:28:31 | 0:28:37 | |
why am I wearing a hat? I don't know. | 0:28:37 | 0:28:40 | |
Anyway, I'm up on there and I said to somebody, | 0:28:40 | 0:28:43 | |
"Should I have some sort of safety equipment?" | 0:28:43 | 0:28:45 | |
And they said, "Oh, yes, we've got this cotton thread | 0:28:45 | 0:28:50 | |
"which goes round your ankle and somebody will be holding onto it." | 0:28:50 | 0:28:55 | |
"Oh, good, that's very encouraging. Thank you." | 0:28:55 | 0:28:59 | |
And that was it, literally - | 0:28:59 | 0:29:01 | |
tiny, thread thing between me and death, 200 feet below! | 0:29:01 | 0:29:05 | |
Frank? | 0:29:09 | 0:29:10 | |
Frank! | 0:29:12 | 0:29:14 | |
Oh, no! | 0:29:14 | 0:29:17 | |
What shall I do? | 0:29:17 | 0:29:18 | |
-Betty! -Yes! | 0:29:18 | 0:29:21 | |
I can't... | 0:29:22 | 0:29:24 | |
I can't... | 0:29:24 | 0:29:27 | |
Oh, where are you? | 0:29:29 | 0:29:31 | |
It's all right, Betty! | 0:29:31 | 0:29:33 | |
Frank! | 0:29:33 | 0:29:34 | |
I might need a bit of help, though! | 0:29:34 | 0:29:37 | |
When it was shown, I was sitting in the sitting room | 0:29:37 | 0:29:39 | |
with my mum and my dad and my two sisters, | 0:29:39 | 0:29:42 | |
and when it finished, my mother came over to me and slapped me. | 0:29:42 | 0:29:46 | |
I was aged 24 or something, and she slapped me. | 0:29:46 | 0:29:49 | |
She said, "What the hell do you think you were doing?" | 0:29:49 | 0:29:53 | |
But, of course, you couldn't do any of that stuff now. | 0:29:53 | 0:29:56 | |
I want to make this a night to remember. | 0:29:56 | 0:29:59 | |
Oh, I will remember it, Frank. | 0:29:59 | 0:30:02 | |
I'll never forget it. | 0:30:02 | 0:30:04 | |
You're not sorry we came? | 0:30:04 | 0:30:05 | |
Of course not. | 0:30:05 | 0:30:08 | |
Oh, Frank. | 0:30:08 | 0:30:09 | |
Betty... Oh... | 0:30:09 | 0:30:12 | |
As a sitcom star, Michael Crawford reached a huge television audience | 0:30:13 | 0:30:17 | |
but over a five-year period, only 22 episodes were made. | 0:30:17 | 0:30:22 | |
This place should be condemned! | 0:30:22 | 0:30:24 | |
We'll be condemned if they catch us! | 0:30:26 | 0:30:29 | |
The last series, it wasn't the same. | 0:30:29 | 0:30:31 | |
It just wasn't the same, and I don't think I played him as well. | 0:30:31 | 0:30:36 | |
I think I played him more... | 0:30:36 | 0:30:39 | |
obviously... | 0:30:39 | 0:30:41 | |
thinking he was funny sometimes, | 0:30:41 | 0:30:43 | |
instead of him just being natural, | 0:30:43 | 0:30:47 | |
which is what I'd been talking about before. | 0:30:47 | 0:30:52 | |
I think he needed simplicity. | 0:30:52 | 0:30:54 | |
And I think I lost that simplicity. | 0:30:54 | 0:30:56 | |
That's the best I can do for now. | 0:31:10 | 0:31:13 | |
It was time for a move. | 0:31:14 | 0:31:16 | |
When the original producer went to ITV, Michael was drawn away | 0:31:16 | 0:31:20 | |
to play a very different character. | 0:31:20 | 0:31:22 | |
-I can't see him. -No? | 0:31:25 | 0:31:27 | |
He must have gone in. Thank God for that! | 0:31:27 | 0:31:30 | |
Who would that be then? | 0:31:30 | 0:31:31 | |
Um... | 0:31:31 | 0:31:32 | |
-You. -Settling in, then. Settling in. | 0:31:34 | 0:31:36 | |
In Chalk And Cheese, Michael Crawford plays a slovenly layabout - | 0:31:36 | 0:31:39 | |
the awkward Cockney neighbour in a posh suburb. | 0:31:39 | 0:31:42 | |
'It was completely the opposite to Frank.' | 0:31:42 | 0:31:46 | |
He was a great sort of down-to-earth guy, | 0:31:47 | 0:31:50 | |
and I grew a beard and had curly hair. | 0:31:50 | 0:31:52 | |
It was a street, lazy person, but very intelligent. | 0:31:52 | 0:31:58 | |
He had a very quick mind. | 0:31:58 | 0:32:01 | |
And we got, I think, 13 million viewers, | 0:32:01 | 0:32:05 | |
but they didn't want to see me playing that character. | 0:32:05 | 0:32:09 | |
What's up, then? Having a break, are you? | 0:32:16 | 0:32:19 | |
I did six or seven, and we didn't do any more. | 0:32:19 | 0:32:21 | |
But I did enjoy doing that. It was a good exercise. | 0:32:21 | 0:32:24 | |
I just shows you the power of the public | 0:32:24 | 0:32:26 | |
as to what they really want to see you do. | 0:32:26 | 0:32:29 | |
So, you can deny them that, | 0:32:29 | 0:32:32 | |
and go and be very independent and do what you want to do, | 0:32:32 | 0:32:36 | |
but, I... I tend to take notice of that. | 0:32:36 | 0:32:43 | |
It's no good saying, "I want to act, and I want to do this." | 0:32:43 | 0:32:47 | |
It doesn't always work that way. | 0:32:47 | 0:32:49 | |
It was May 1979 and his last starring role on television. | 0:32:49 | 0:32:54 | |
All right, love, don't worry, won't be long. Keep pushing. | 0:32:54 | 0:32:58 | |
I have to do something different if I'm going to do anything. | 0:33:00 | 0:33:04 | |
Because, it won't appeal to me, it won't intrigue me. | 0:33:04 | 0:33:08 | |
It won't challenge me. | 0:33:08 | 0:33:10 | |
So rather than do the ordinary, | 0:33:10 | 0:33:13 | |
I'd rather not do anything. | 0:33:13 | 0:33:16 | |
He'd been a boy actor, a trendsetter in '60s film, | 0:33:16 | 0:33:19 | |
had starred in a Hollywood musical, | 0:33:19 | 0:33:21 | |
was a master of physical comedy and had even played a white rabbit. | 0:33:21 | 0:33:25 | |
As a giant of television sitcom he had reached a peak audience | 0:33:25 | 0:33:28 | |
of 25 million viewers. | 0:33:28 | 0:33:32 | |
He loved the West End stage, but his time on screen wasn't over yet. | 0:33:32 | 0:33:36 | |
Does the name "Condorman" mean anything to you? | 0:33:38 | 0:33:42 | |
The name Condorman meant a starring role in a Disney film. | 0:33:42 | 0:33:46 | |
Coming quite out of the blue, it gave Michael a new line on his CV - | 0:33:46 | 0:33:49 | |
Action hero. | 0:33:49 | 0:33:51 | |
-Condorman, eh? -Yes, Condorman. | 0:34:00 | 0:34:03 | |
Vulture of the Western world. | 0:34:05 | 0:34:06 | |
This is a job for Condorman! | 0:34:17 | 0:34:20 | |
Cheap effects got the movie panned by critics. | 0:34:20 | 0:34:23 | |
Once again Michael's film career failed to fly | 0:34:23 | 0:34:27 | |
and Condorman was his last major film or television role. | 0:34:27 | 0:34:30 | |
I jumped off the Eiffel Tower and flew and that was done by stuntman. | 0:34:30 | 0:34:36 | |
But I did the landing in the Seine, | 0:34:36 | 0:34:38 | |
with these wings on, and they pulled me on the boat, | 0:34:38 | 0:34:42 | |
and that's the nearest I've ever come to drowning. | 0:34:42 | 0:34:46 | |
So I started to slow up on the stunts at this point! | 0:34:46 | 0:34:50 | |
Aghh! | 0:34:50 | 0:34:52 | |
From now on, Michael's career would have a different focus. | 0:34:52 | 0:34:56 | |
In fact, he had already spent most of the '70s in the West End, | 0:34:56 | 0:35:00 | |
quietly perfecting his musical theatre skills. | 0:35:00 | 0:35:03 | |
When you really love acting... | 0:35:03 | 0:35:07 | |
..and you can play a character from beginning to end in one take, | 0:35:09 | 0:35:16 | |
the adrenaline rush of that, | 0:35:16 | 0:35:20 | |
and then take it into musicals, | 0:35:20 | 0:35:23 | |
and you're doing so many different skills. | 0:35:23 | 0:35:27 | |
Every night, you go out and do a musical, say like Billy, | 0:35:27 | 0:35:31 | |
for two years, eight shows a week. | 0:35:31 | 0:35:34 | |
# Some of us belong to the stars... # | 0:35:34 | 0:35:36 | |
'I'm a hard taskmaster when I'm working. | 0:35:36 | 0:35:40 | |
'I learned that discipline from people like Gene Kelly. | 0:35:40 | 0:35:45 | |
'Because I saw what the result' | 0:35:45 | 0:35:48 | |
of hard work could bring and the pleasure it can bring. | 0:35:48 | 0:35:52 | |
And the more exciting you can make a person's night at the theatre, | 0:35:52 | 0:35:59 | |
the more...unforgettable it is to you as well. | 0:35:59 | 0:36:03 | |
Despite Gene Kelly's coaxing, he wasn't a natural dancer. | 0:36:03 | 0:36:07 | |
He did dance in Hello, Dolly and he danced very well. | 0:36:07 | 0:36:11 | |
I cannot imagine how many hours of rehearsal he must have had. | 0:36:11 | 0:36:17 | |
And knowing Michael, not just the hours of rehearsal | 0:36:17 | 0:36:21 | |
that have been given, but up at 4am | 0:36:21 | 0:36:23 | |
to practise and practise and practise. | 0:36:23 | 0:36:26 | |
And then again, at the end of the day, to practise | 0:36:26 | 0:36:28 | |
and practise and practise. No detail is ever left unturned with Michael. | 0:36:28 | 0:36:34 | |
# ..In every part of the atlas... # | 0:36:34 | 0:36:37 | |
He doesn't let one move go by without knowing how to do it | 0:36:37 | 0:36:41 | |
in every sense of the word. | 0:36:41 | 0:36:44 | |
So, all I would say was, | 0:36:44 | 0:36:46 | |
"step right" and he'd have to know how do you step right? On the heel? | 0:36:46 | 0:36:50 | |
On the ball? Where are your shoulders placed? | 0:36:50 | 0:36:52 | |
What do I have to do to step right? And it was as detailed as that. | 0:36:52 | 0:36:57 | |
Away from the big and small screen, | 0:36:57 | 0:37:00 | |
he was a showman who loved to hear an audience applaud. | 0:37:00 | 0:37:04 | |
In 1981, Michael heard a new show was heading for London | 0:37:04 | 0:37:08 | |
that could take his physical skills to a new level. | 0:37:08 | 0:37:11 | |
In preparation, he spent three months in New York | 0:37:11 | 0:37:14 | |
at the Big Apple Circus School. | 0:37:14 | 0:37:16 | |
I had this Hungarian teacher who taught me how to walk the high wire. | 0:37:16 | 0:37:21 | |
And I thought, "Ah, this is a piece of cake!" | 0:37:21 | 0:37:24 | |
And after about four or five days, I thought, "This is ridiculous! | 0:37:24 | 0:37:28 | |
"This thing is two feet off the ground, and I cannot master it. | 0:37:28 | 0:37:32 | |
"I cannot do it." And he's saying, "Yes, you can!" | 0:37:32 | 0:37:35 | |
All right, argghh! | 0:37:37 | 0:37:39 | |
The show was Barnum. | 0:37:42 | 0:37:43 | |
Barnum's the name, PT Barnum. Here they are! | 0:37:43 | 0:37:47 | |
Charity Barnum, I'll have a kiss before you leave. | 0:37:50 | 0:37:53 | |
A pleasure, Mr Barnum. | 0:37:53 | 0:37:55 | |
APPLAUSE | 0:37:55 | 0:37:58 | |
You may not make much sense, but you're beautiful. | 0:37:59 | 0:38:03 | |
It was joyous to do every night. | 0:38:03 | 0:38:06 | |
Every show, you were exhausted. | 0:38:06 | 0:38:08 | |
I mean, you were absolutely exhausted. | 0:38:08 | 0:38:10 | |
Hey! | 0:38:10 | 0:38:12 | |
Because there was circus tricks involved, | 0:38:16 | 0:38:18 | |
you had to be very secure with your other team members around you. | 0:38:18 | 0:38:23 | |
# Fires glow, flags streaming | 0:38:23 | 0:38:27 | |
# Spires grow, towers gleaming | 0:38:27 | 0:38:32 | |
# In a land where the dawn is clear | 0:38:32 | 0:38:34 | |
# In a sky where the sun's forever | 0:38:34 | 0:38:36 | |
# On a plain where it's spring all year | 0:38:36 | 0:38:38 | |
# And the dark of the night comes never... # | 0:38:38 | 0:38:40 | |
And the tightrope walk and everything. | 0:38:40 | 0:38:43 | |
He worked so hard at what he wanted to achieve | 0:38:43 | 0:38:46 | |
and what he wanted to do that it was a consistently high performance. | 0:38:46 | 0:38:51 | |
I have to say, I don't want it to sound boring, | 0:38:51 | 0:38:55 | |
but it was highly professional in that sense. | 0:38:55 | 0:38:58 | |
You never got the feeling of, | 0:38:58 | 0:39:00 | |
"I don't know what sort of show we've got today" | 0:39:00 | 0:39:03 | |
with him or anyone else on stage. | 0:39:03 | 0:39:05 | |
DRUM ROLL | 0:39:05 | 0:39:09 | |
HE PANTS | 0:39:19 | 0:39:20 | |
Yeah! | 0:39:22 | 0:39:24 | |
APPLAUSE | 0:39:24 | 0:39:27 | |
It was high-energy throughout, | 0:39:33 | 0:39:34 | |
just one trick after the other of high energy. | 0:39:34 | 0:39:37 | |
Just enjoyment and affirmation | 0:39:37 | 0:39:42 | |
and explosion of circus and music, | 0:39:42 | 0:39:45 | |
and leaving everybody going out with a most wonderful feeling of high | 0:39:45 | 0:39:49 | |
which is, of course, what musicals are all about. | 0:39:49 | 0:39:52 | |
# I like your style | 0:39:52 | 0:39:56 | |
# Style! # | 0:39:56 | 0:40:00 | |
It was a high-pressure full-on circus spectacular - | 0:40:00 | 0:40:04 | |
as well as a musical. | 0:40:04 | 0:40:05 | |
Despite singing since his childhood, like many West End stars, | 0:40:05 | 0:40:09 | |
Michael took regular voice coaching. | 0:40:09 | 0:40:12 | |
Many singers and musicians crossed paths | 0:40:14 | 0:40:17 | |
in Ian Adam's South Kensington studio, | 0:40:17 | 0:40:19 | |
constantly training and perfecting their technique. | 0:40:19 | 0:40:22 | |
Andrew Lloyd Webber came with his then wife Sarah Brightman. | 0:40:25 | 0:40:29 | |
He was on the hunt for a leading man | 0:40:29 | 0:40:31 | |
to star in a new musical spectacular - | 0:40:31 | 0:40:34 | |
a dark, gothic love story with a disfigured, tormented anti-hero. | 0:40:34 | 0:40:39 | |
Michael was a sitcom star with a flair for physical stunts. | 0:40:39 | 0:40:44 | |
A comedy showman. | 0:40:44 | 0:40:46 | |
-When you first sang to me Danny Boy, do you remember? -Yes. | 0:40:46 | 0:40:49 | |
It was an extraordinary experience, | 0:40:49 | 0:40:52 | |
because you hung your head afterwards and said, | 0:40:52 | 0:40:55 | |
"I'm terribly sorry, I don't suppose it's a musical." | 0:40:55 | 0:41:00 | |
And it was a wonderful experience. | 0:41:00 | 0:41:03 | |
When I was nearing the end of the lesson, | 0:41:03 | 0:41:07 | |
Sarah Brightman arrived with Andrew, early for her lesson. | 0:41:07 | 0:41:12 | |
And I was downstairs singing Care Selve, | 0:41:12 | 0:41:15 | |
and most probably murdering it! | 0:41:15 | 0:41:18 | |
And I finished, and he said, "Very good, Michael. | 0:41:18 | 0:41:26 | |
"That was so good. It can be better, but it was good. All right?" | 0:41:26 | 0:41:32 | |
"I'll see you next week." | 0:41:32 | 0:41:34 | |
I said, "Thank you, Ian, thank you." And off I went, | 0:41:34 | 0:41:39 | |
and went out the front door, | 0:41:39 | 0:41:41 | |
Andrew apparently came down with Sarah... | 0:41:41 | 0:41:44 | |
Sorry, came UP the stairs with Sarah and said, | 0:41:44 | 0:41:48 | |
"Who was that that was just singing just now?" | 0:41:48 | 0:41:52 | |
And he said, "Oh," he said, "I'm sorry, did it disturb you, Andrew?" | 0:41:52 | 0:41:56 | |
He said, "He's going to get better." He said, "No, no, no!" | 0:41:56 | 0:41:59 | |
He said, "It was Michael Crawford." | 0:41:59 | 0:42:02 | |
He said, "I think we may have found our Phantom." | 0:42:02 | 0:42:05 | |
Michael had the potential to play the Phantom Of The Opera | 0:42:07 | 0:42:10 | |
but it was a controversial casting. | 0:42:10 | 0:42:13 | |
'Before we opened in London, everyone was saying, | 0:42:13 | 0:42:16 | |
'"Michael Crawford as The Phantom? | 0:42:16 | 0:42:18 | |
'"I'm not quite sure what it's going to be like. | 0:42:18 | 0:42:20 | |
'"Apparently, he's going to be doing a lot of swinging | 0:42:20 | 0:42:23 | |
'"and be on the chandeliers and things."' | 0:42:23 | 0:42:26 | |
You must be brave, go too far... | 0:42:26 | 0:42:28 | |
'I spent hours and days and weeks in that room. | 0:42:28 | 0:42:32 | |
'You needed to. | 0:42:32 | 0:42:34 | |
'I mean, Music Of The Night took months to sing properly. | 0:42:34 | 0:42:38 | |
'It took months to make the joins seamless between the notes | 0:42:38 | 0:42:43 | |
'in the way you were going to do it, so that it was a cry of love.' | 0:42:43 | 0:42:46 | |
MUSIC: "Overture to Phantom Of The Opera" by Andrew Lloyd Webber | 0:42:46 | 0:42:52 | |
People say it was a big shock | 0:42:52 | 0:42:55 | |
when he was named as the Phantom, because of Frank Spencer. | 0:42:55 | 0:42:58 | |
All of those people had forgotten Barnum. They had forgotten Billy. | 0:42:58 | 0:43:02 | |
The guy was a great, big musical star. | 0:43:02 | 0:43:06 | |
Maybe the shock was the guy was a great big musical star | 0:43:06 | 0:43:11 | |
that the world thought depended on physicality. | 0:43:11 | 0:43:16 | |
And the physicality of the Phantom was totally different. | 0:43:16 | 0:43:21 | |
Opening in 1986, The Phantom Of The Opera was a huge success, | 0:43:22 | 0:43:27 | |
with a spin-off hit record, an Olivier Award | 0:43:27 | 0:43:30 | |
and Tony Award for Crawford as Best Actor. | 0:43:30 | 0:43:33 | |
# ..And stirs imagination... # | 0:43:33 | 0:43:38 | |
I thought Phantom was a big surprise and a big leap | 0:43:38 | 0:43:42 | |
and that was what was so wonderful, to see him do something | 0:43:42 | 0:43:46 | |
so very different after being very used to him as PT Barnum. | 0:43:46 | 0:43:51 | |
Phantom was very withdrawn and very inward, | 0:43:51 | 0:43:54 | |
but that's another one where he didn't.... | 0:43:54 | 0:43:58 | |
Cos he can't! He's incapable of taking on the role and going, | 0:43:58 | 0:44:03 | |
"OK, I'll do it this way." He delves. | 0:44:03 | 0:44:07 | |
# Night unfold its splendour | 0:44:07 | 0:44:10 | |
# Grasp it, sense it | 0:44:10 | 0:44:14 | |
# Tremulous and tender... # | 0:44:14 | 0:44:18 | |
He's a storyteller. | 0:44:18 | 0:44:20 | |
And he's a storyteller with every song he sings. | 0:44:20 | 0:44:23 | |
But the other thing is that Michael uses his arms | 0:44:23 | 0:44:28 | |
and his hands to continue the storytelling from his heart. | 0:44:28 | 0:44:34 | |
And I'm fascinated by his hands, | 0:44:34 | 0:44:37 | |
absolutely fascinated by the way he uses them. | 0:44:37 | 0:44:42 | |
# For your eyes will only tell the truth | 0:44:42 | 0:44:47 | |
# And the truth isn't what you want to see... # | 0:44:47 | 0:44:55 | |
As the Phantom, watching him, it's all one. | 0:44:55 | 0:44:58 | |
It seems to come from his heart, and reach out to his fingertips, | 0:44:58 | 0:45:04 | |
to express what he's saying. | 0:45:04 | 0:45:07 | |
# That the truth is what it ought to be... # | 0:45:07 | 0:45:14 | |
It was just a revelation. I thought he was completely wonderful in it. | 0:45:14 | 0:45:19 | |
My breath was taken away. | 0:45:19 | 0:45:20 | |
# Music shall caress you | 0:45:20 | 0:45:24 | |
# Hear it, feel it... # | 0:45:24 | 0:45:28 | |
I just think it's the most extraordinary gift that he has. | 0:45:28 | 0:45:32 | |
# Floating, falling | 0:45:32 | 0:45:37 | |
# Sweet intoxication | 0:45:37 | 0:45:43 | |
# Touch me, trust me | 0:45:43 | 0:45:49 | |
# Savour each sensation | 0:45:49 | 0:45:55 | |
# Let the dream begin... # | 0:45:55 | 0:45:57 | |
When my daughters came to see it first, | 0:45:57 | 0:46:02 | |
it was in London at one of the previews. | 0:46:02 | 0:46:06 | |
And it's a very emotional show. | 0:46:06 | 0:46:10 | |
But they came round and my youngest daughter was absolutely sobbing. | 0:46:10 | 0:46:16 | |
And she said, "I didn't know you could do that, Daddy." | 0:46:17 | 0:46:22 | |
And, um, I just said this, | 0:46:27 | 0:46:31 | |
"Did you ever believe that we would have this feeling | 0:46:31 | 0:46:36 | |
"about something that I'd done?" | 0:46:36 | 0:46:40 | |
And... | 0:46:40 | 0:46:42 | |
we kind of just hugged and it was...special. | 0:46:42 | 0:46:47 | |
# You alone can make my song take flight | 0:46:47 | 0:46:52 | |
# Help me make the music of the | 0:46:52 | 0:47:01 | |
# Night... # | 0:47:01 | 0:47:13 | |
And the winner is Michael Crawford for Phantom Of The Opera. | 0:47:13 | 0:47:17 | |
CHEERING AND APPLAUSE | 0:47:17 | 0:47:21 | |
There's been so many wonderful things that have happened to me. | 0:47:26 | 0:47:29 | |
I know, by the law of averages, | 0:47:29 | 0:47:32 | |
I must be due to be knocked down by a truck any day now. | 0:47:32 | 0:47:35 | |
LAUGHTER | 0:47:35 | 0:47:39 | |
Oh... | 0:47:39 | 0:47:41 | |
Andrew, once again, I thank you for choosing me. | 0:47:41 | 0:47:45 | |
After two years in London, | 0:47:45 | 0:47:47 | |
Michael starred in the Broadway production | 0:47:47 | 0:47:50 | |
and opened the show in Los Angeles. | 0:47:50 | 0:47:52 | |
In 25 years of productions all around the world, | 0:47:52 | 0:47:55 | |
The Phantom Of The Opera has now taken | 0:47:55 | 0:47:58 | |
more than £3.5 billion of ticket receipts. | 0:47:58 | 0:48:02 | |
Michael had created the title character | 0:48:02 | 0:48:04 | |
in one of the greatest theatre productions of all time. | 0:48:04 | 0:48:07 | |
But in April 1990, after three and a half years in the Phantom role, | 0:48:08 | 0:48:14 | |
he left. | 0:48:14 | 0:48:15 | |
It seemed he had reached the pinnacle of his career. | 0:48:15 | 0:48:18 | |
For the next three years, | 0:48:18 | 0:48:19 | |
Michael headlined a world tour of Lloyd Webber songs. | 0:48:19 | 0:48:23 | |
The comic, the action hero | 0:48:23 | 0:48:25 | |
and stuntman seemed to have settled as a singer. | 0:48:25 | 0:48:29 | |
In 1994, it had been 16 years | 0:48:31 | 0:48:35 | |
since Michael starred on television screens. | 0:48:35 | 0:48:38 | |
He'd wowed live audiences all around the world, | 0:48:38 | 0:48:41 | |
but was so far off the British radar he might have been in a desert. | 0:48:41 | 0:48:45 | |
And that's where he headed next. Las Vegas Nevada. | 0:48:45 | 0:48:48 | |
Home of some of the world's most extravagant entertainment events, | 0:48:48 | 0:48:52 | |
but culturally, off the beaten track. | 0:48:52 | 0:48:54 | |
MGM producers planned a spectacular show in Las Vegas | 0:49:01 | 0:49:05 | |
bigger than anything ever before seen on stage. | 0:49:05 | 0:49:08 | |
It would test Michael Crawford, now in his fifties, to the limit. | 0:49:08 | 0:49:12 | |
It was colossal. | 0:49:19 | 0:49:21 | |
They wanted a show that they could truly say | 0:49:21 | 0:49:27 | |
is the seventh wonder of the world | 0:49:27 | 0:49:29 | |
And it was. It was, like, awesome. | 0:49:31 | 0:49:34 | |
That is, terrifying. The ride across is terrifying. | 0:49:35 | 0:49:39 | |
Because as you bang into the cables, | 0:49:39 | 0:49:42 | |
the thing is going from under your feet | 0:49:42 | 0:49:44 | |
so you've just got this arm loop to hold onto. | 0:49:44 | 0:49:46 | |
I am the effects master. | 0:49:46 | 0:49:48 | |
I'm in charge of this unusual world. | 0:49:48 | 0:49:51 | |
A world governed by... | 0:49:51 | 0:49:54 | |
I think it had been running for a year | 0:49:54 | 0:49:57 | |
and he wanted to put changes into the show | 0:49:57 | 0:49:59 | |
and asked if I would come and look at the show | 0:49:59 | 0:50:03 | |
and work with him to make some changes. | 0:50:03 | 0:50:05 | |
Well, I arrived, and Michael was doing the most hair-raising stunt | 0:50:05 | 0:50:13 | |
you could imagine! | 0:50:13 | 0:50:15 | |
It was astonishing! | 0:50:15 | 0:50:18 | |
Talk about torturing the body! | 0:50:18 | 0:50:21 | |
He wouldn't stop. He wanted more and he wanted more danger. | 0:50:21 | 0:50:25 | |
He did destroy his body. | 0:50:25 | 0:50:28 | |
He was doing this slide for life | 0:50:28 | 0:50:31 | |
where he came from the back of this vast auditorium. | 0:50:31 | 0:50:34 | |
It was quite a harsh landing and gradually, I was watching, | 0:50:34 | 0:50:38 | |
and Michael could barely walk and yet, | 0:50:38 | 0:50:41 | |
he would go through that show night after night. | 0:50:41 | 0:50:44 | |
I think there was nine shows a week. | 0:50:44 | 0:50:47 | |
He would not take a show off. He would not rest. | 0:50:47 | 0:50:50 | |
And I think after the injury became so severe, | 0:50:50 | 0:50:56 | |
he then had to pull out of the show. | 0:50:56 | 0:50:59 | |
A hip replacement operation ended Michael's time in Las Vegas. | 0:51:01 | 0:51:06 | |
He left the show in 1996 and returned to playing concert tours. | 0:51:06 | 0:51:11 | |
Crawford the stuntman seemed to have retired. | 0:51:11 | 0:51:14 | |
Five years passed, and then in 2001 came a surprise announcement | 0:51:17 | 0:51:22 | |
that he was to star in a new Broadway production - | 0:51:22 | 0:51:25 | |
Dance Of The Vampires. | 0:51:25 | 0:51:29 | |
Dance Of The Vampires was going to be Crawford's comeback vehicle. | 0:51:29 | 0:51:33 | |
There he is, back on Broadway, | 0:51:33 | 0:51:35 | |
in this enormous musical adapted from a '60s film by Roman Polanski. | 0:51:35 | 0:51:42 | |
Two things go terribly wrong with this. | 0:51:42 | 0:51:44 | |
First, 9/11 happens, which means that the show doesn't open, | 0:51:44 | 0:51:48 | |
it gets delayed for ages. | 0:51:48 | 0:51:50 | |
But then, when it does open, it's just a disaster. | 0:51:50 | 0:51:54 | |
The critics absolutely hated it. | 0:51:54 | 0:51:57 | |
It didn't sell and closed after just 56 performances | 0:51:57 | 0:52:01 | |
and losses of 12 million - | 0:52:01 | 0:52:03 | |
making it the most expensive flop in the history of Broadway. | 0:52:03 | 0:52:08 | |
He could've vanished and disappeared, but he didn't. | 0:52:08 | 0:52:11 | |
And it's interesting that he chose to come back | 0:52:11 | 0:52:14 | |
with another piece of Gothic horror. | 0:52:14 | 0:52:17 | |
He comes back as Count Fosco in Andrew Lloyd Webber's version | 0:52:17 | 0:52:21 | |
of Wilkie Collins's The Woman In White. | 0:52:21 | 0:52:23 | |
Andrew Lloyd Webber's latest West End show | 0:52:23 | 0:52:27 | |
needed an obese leading man. | 0:52:27 | 0:52:28 | |
# I can get away with anything | 0:52:28 | 0:52:31 | |
# Because I have | 0:52:31 | 0:52:34 | |
# No-o-o-o-o-o | 0:52:34 | 0:52:39 | |
# Sha-a-a-a-a-a-ame. # | 0:52:39 | 0:52:47 | |
Michael was back. | 0:52:47 | 0:52:51 | |
He won the Variety Club's award | 0:52:51 | 0:52:53 | |
for Outstanding Stage Performance Of The Year in 2004. | 0:52:53 | 0:52:56 | |
But inside the fatsuit, he was boiling up. | 0:52:56 | 0:52:59 | |
After just weeks, Michael had to leave the show. | 0:52:59 | 0:53:04 | |
Eventually it developed into ME. | 0:53:05 | 0:53:08 | |
And you have no idea, I was going for every test known to man | 0:53:08 | 0:53:14 | |
and it left me vulnerable. | 0:53:14 | 0:53:17 | |
Michael's long recovery | 0:53:17 | 0:53:19 | |
was on the other side of the world in New Zealand. | 0:53:19 | 0:53:22 | |
Seven years later, London's musical theatre machine was changing. | 0:53:22 | 0:53:27 | |
A television talent contest | 0:53:27 | 0:53:29 | |
found a new young lead for The Wizard Of Oz. | 0:53:29 | 0:53:32 | |
But once again Andrew Lloyd Webber was on the hunt for a star | 0:53:32 | 0:53:35 | |
for the sage-like old professor. | 0:53:35 | 0:53:38 | |
Andrew phoned me up he said, | 0:53:38 | 0:53:40 | |
"What about Michael Crawford as the wizard?" | 0:53:40 | 0:53:43 | |
And I promise you, I said, "In your dreams". | 0:53:43 | 0:53:46 | |
Andrew said, "He's going to come in and meet us." | 0:53:48 | 0:53:52 | |
# We're off to see the wizard... # | 0:53:52 | 0:53:56 | |
The whole reason that I did Wizard Of Oz was for my grandchildren. | 0:53:56 | 0:54:01 | |
They hadn't seen me in anything that they could remember, live. | 0:54:01 | 0:54:07 | |
They'd seen me do concerts at Royal Festival Hall, | 0:54:07 | 0:54:10 | |
and they were sitting in the rehearsal, | 0:54:10 | 0:54:13 | |
but I don't think they were paying much attention. | 0:54:13 | 0:54:16 | |
And, I didn't hold their attention. | 0:54:16 | 0:54:19 | |
They were about four, five, six. | 0:54:19 | 0:54:22 | |
And now they were 13, 14, 15, and I thought this would be fun. | 0:54:22 | 0:54:28 | |
Michael didn't just play the Wizard in The Wizard Of Oz, | 0:54:28 | 0:54:33 | |
he had to play the Doorkeeper | 0:54:33 | 0:54:35 | |
and then we created something new called the Tour Guide, | 0:54:35 | 0:54:38 | |
so Michael could join in the vast Emerald City number | 0:54:38 | 0:54:42 | |
and lead the dancers. | 0:54:42 | 0:54:44 | |
# That's how we laugh the day away | 0:54:44 | 0:54:47 | |
# With a ha-ha-ha, ha-ha-ha ha-ha-ha | 0:54:47 | 0:54:51 | |
# In the merry old land merry old land | 0:54:51 | 0:54:54 | |
# Merry old, merry old, merry old land of Oz! # | 0:54:54 | 0:55:01 | |
In some ways, I found a very, very different Michael. A calmer... | 0:55:01 | 0:55:07 | |
Nevertheless, just as demanding. | 0:55:07 | 0:55:14 | |
"I am the sponge," says Michael, | 0:55:14 | 0:55:16 | |
"and I want to soak up everything I can." | 0:55:16 | 0:55:20 | |
So once again, working really hard at performing in The Wizard Of Oz | 0:55:20 | 0:55:26 | |
where he played different characters | 0:55:26 | 0:55:29 | |
was something that Michael wanted to do. | 0:55:29 | 0:55:33 | |
# Because, because, because | 0:55:33 | 0:55:36 | |
# Because of the wonderful things he does... # | 0:55:36 | 0:55:38 | |
When I started, I was a little bit terrified. | 0:55:38 | 0:55:41 | |
Because, as well as Michael, so many people were coming into this show | 0:55:41 | 0:55:46 | |
that I admired and had admired from afar for such a long time. | 0:55:46 | 0:55:51 | |
And I thought, "I'm going to have to stand on the stage | 0:55:51 | 0:55:54 | |
"and be in a rehearsal room with these people, | 0:55:54 | 0:55:56 | |
"I hope I'm good enough, I hope I can give what they need." | 0:55:56 | 0:56:00 | |
But from the second I walked into the rehearsal room on day one, | 0:56:00 | 0:56:05 | |
I just let out a sigh of complete relief because he was so generous | 0:56:05 | 0:56:10 | |
with his time and his knowledge and so welcoming. | 0:56:10 | 0:56:15 | |
I felt like I had a real rock next to me. | 0:56:15 | 0:56:18 | |
It wasn't the biggest of parts, but Grandpa Michael was back, | 0:56:20 | 0:56:24 | |
determined to make the most of what he had. | 0:56:24 | 0:56:27 | |
# Because, because, because... # | 0:56:27 | 0:56:29 | |
The Wizard goes off in the balloon at the end for Dorothy. | 0:56:29 | 0:56:32 | |
And he suggested having himself - at 69 - | 0:56:32 | 0:56:35 | |
falling out of the balloon | 0:56:35 | 0:56:37 | |
and being attached by his ankle and being taken up. | 0:56:37 | 0:56:42 | |
Most 69-year-olds would be like, "No way!" | 0:56:42 | 0:56:45 | |
They'd already built the set, so their excuse was | 0:56:45 | 0:56:48 | |
there was no room for me to go upside down. | 0:56:48 | 0:56:51 | |
I have a feeling that the insurance man had said to them, | 0:56:51 | 0:56:54 | |
"Under no circumstances is this 70-year-old to go | 0:56:54 | 0:56:58 | |
"upside down hanging by one leg from a balloon!" | 0:56:58 | 0:57:02 | |
And I suppose I'm grateful to the insurance man, | 0:57:02 | 0:57:07 | |
because it would have hurt, most probably. | 0:57:07 | 0:57:09 | |
But it was worth a try. | 0:57:11 | 0:57:13 | |
# You must come visit one of my Shangri-Las... # | 0:57:13 | 0:57:16 | |
He's a hero of stage and screen. | 0:57:16 | 0:57:18 | |
He's pushed himself to the limits for the perfect performance. | 0:57:18 | 0:57:22 | |
He's in his seventies now, | 0:57:22 | 0:57:24 | |
but we might not have seen the last of Michael Crawford just yet. | 0:57:24 | 0:57:28 | |
# I belong to the stars! # | 0:57:28 | 0:57:30 | |
I would love to do something else, | 0:57:30 | 0:57:32 | |
but the thing is it would have to be something... | 0:57:32 | 0:57:35 | |
What do the Americans say? Out of left-field. | 0:57:37 | 0:57:40 | |
It would have to be something off the wall. | 0:57:40 | 0:57:42 | |
Number one, get out of bed. | 0:57:42 | 0:57:44 | |
There's nobody quite like him, | 0:57:44 | 0:57:46 | |
so he's out there on his own really. | 0:57:46 | 0:57:49 | |
He doesn't think he's a big star. | 0:57:49 | 0:57:51 | |
He doesn't wear the coat of a big star. | 0:57:51 | 0:57:56 | |
He wears the coat of a man who always, always | 0:57:56 | 0:58:00 | |
wants to please and wants to learn. | 0:58:00 | 0:58:04 | |
I don't think you get stars like Michael Crawford any more. | 0:58:04 | 0:58:07 | |
I don't think they exist. | 0:58:07 | 0:58:08 | |
I don't think someone can do everything that he did in television | 0:58:08 | 0:58:11 | |
and everything that he's done for theatre. | 0:58:11 | 0:58:14 | |
To me, he's a megastar and he always will be. | 0:58:14 | 0:58:18 | |
Ooh... | 0:58:21 | 0:58:22 | |
Subtitles by Red Bee Media Ltd | 0:58:28 | 0:58:31 |