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-# Remember | 0:00:10 | 0:00:14 | |
-# Remember # | 0:00:21 | 0:00:24 | |
-Welcome to Cofio. | 0:00:26 | 0:00:28 | |
-Reminiscing with us tonight -is a prominent Welsh actress. | 0:00:28 | 0:00:32 | |
-She's a versatile actress -and writer. | 0:00:32 | 0:00:35 | |
-She's won two BAFTA awards -in a career spanning 40 years. | 0:00:35 | 0:00:40 | |
-Sharon Morgan. | 0:00:40 | 0:00:42 | |
-I thought it might be suitable -to start back in the late '70s... | 0:00:43 | 0:00:47 | |
-..with that classic comedy, -the rugby comedy, Grand Slam. | 0:00:47 | 0:00:51 | |
-It's still fresh. -People still remember the lines. | 0:00:52 | 0:00:55 | |
-Some know the script off by heart! | 0:00:55 | 0:00:58 | |
-I was in London, in Under Milk Wood -at the Mayfair, when it was shown. | 0:00:58 | 0:01:03 | |
-I missed all the fuss -in Wales at the time. | 0:01:03 | 0:01:06 | |
-I was doing four or five jobs, then -and it was just one amongst many. | 0:01:06 | 0:01:10 | |
-But, yes, it's amazing. -It was innocent and funny. | 0:01:11 | 0:01:14 | |
-You had Sion Probert, -Dewi and Windsor. | 0:01:14 | 0:01:17 | |
-The whole cast was excellent. | 0:01:17 | 0:01:20 | |
-Here's some of that fun -in our Grand Slam clip. | 0:01:20 | 0:01:23 | |
-It's gone two! | 0:01:32 | 0:01:34 | |
-It's gone two! - -Oui, it 'as been a very long night. | 0:01:34 | 0:01:37 | |
-I gotta go. | 0:01:37 | 0:01:39 | |
-I gotta go. - -What? What you mean, go? | 0:01:39 | 0:01:41 | |
-Well, the match. Where's the field? | 0:01:41 | 0:01:44 | |
-But you are not leaving -your little butterfly? | 0:01:44 | 0:01:47 | |
-Got to, bach, got a stand ticket. | 0:01:47 | 0:01:49 | |
-But we 'ave so much to do again. | 0:01:50 | 0:01:52 | |
-I know, you've been fantastic. | 0:01:52 | 0:01:55 | |
-You've equalled the record. | 0:01:56 | 0:01:58 | |
-Record? | 0:01:58 | 0:02:00 | |
-Mmm. | 0:02:00 | 0:02:02 | |
-You're a Triple Crown girl now. | 0:02:02 | 0:02:04 | |
-Listen, tell you what. | 0:02:05 | 0:02:07 | |
-If I come back here -after the match... | 0:02:07 | 0:02:09 | |
-..we could make it a Grand Slam, -couldn't we? | 0:02:10 | 0:02:13 | |
-But why go to match? | 0:02:13 | 0:02:14 | |
-But why go to match? - -I got to go, bach. I got to see it. | 0:02:14 | 0:02:17 | |
-But you can see it 'ere, wiz me. | 0:02:17 | 0:02:20 | |
-Voila! | 0:02:23 | 0:02:24 | |
-How did you, as a young actress, -fit in with that whole group? | 0:02:27 | 0:02:31 | |
-Marvellous. I had a wig -to make me look really French. | 0:02:32 | 0:02:35 | |
-My scenes weren't done in Paris -but at the BBC Club in Newport Road. | 0:02:36 | 0:02:41 | |
-Gwenlyn had scripted it in Welsh. | 0:02:41 | 0:02:43 | |
-Gwynne D Evans translated it. | 0:02:44 | 0:02:46 | |
-It was scripted and rehearsed, -but we did ad-lib. | 0:02:46 | 0:02:50 | |
-For example, -we ad-libbed a lot in the bedroom. | 0:02:50 | 0:02:53 | |
-Whilst watching the match... | 0:02:53 | 0:02:57 | |
-..Dewi and I were ad-libbing. | 0:02:57 | 0:02:59 | |
-It was innovative at that time. -Many have since copied it. | 0:02:59 | 0:03:03 | |
-And then, there was the camerawork, -with lightweight cameras being used. | 0:03:03 | 0:03:08 | |
-It had a natural look, -fresh and new. | 0:03:08 | 0:03:11 | |
-You had to do some nude scenes. | 0:03:11 | 0:03:14 | |
-Was that a difficult experience -for you, as a young actress? | 0:03:14 | 0:03:19 | |
-John Hefin told me about that -when he offered me the part. | 0:03:20 | 0:03:23 | |
-I was worried about -how I'd look, of course. | 0:03:24 | 0:03:27 | |
-But it formed part of the period. | 0:03:27 | 0:03:29 | |
-The pill had come in the late '60s. -The new idea was sexual equality. | 0:03:29 | 0:03:34 | |
-Some saw Odette as a prostitute, -but she just liked this bloke... | 0:03:34 | 0:03:38 | |
-..and wanted lovely uninhibited sex -with him, on an equal footing. | 0:03:39 | 0:03:43 | |
-I was a tad optimistic, -because in this age now... | 0:03:44 | 0:03:47 | |
-..naked women on cars -are on the cover of FHM. | 0:03:47 | 0:03:50 | |
-We haven't progressed -as much as I'd have liked. | 0:03:51 | 0:03:54 | |
-But no, it wasn't a moral problem... | 0:03:55 | 0:03:58 | |
-..and I guess it was important -and natural for the role. | 0:03:58 | 0:04:02 | |
-I don't know why there was a fuss. | 0:04:02 | 0:04:04 | |
-What did Mam-gu and Tad-cu say? | 0:04:05 | 0:04:06 | |
-What did Mam-gu and Tad-cu say? - -We didn't tell them it was on! | 0:04:06 | 0:04:10 | |
-At around the same time, -you were also a presenter. | 0:04:11 | 0:04:14 | |
-I've always been one who tries new -things and pushes the boundaries. | 0:04:14 | 0:04:19 | |
-I was doing Seren Wib, -and getting paid some 36 a week. | 0:04:19 | 0:04:23 | |
-That was a lot back then, -in '76, '77. | 0:04:23 | 0:04:26 | |
-Let's watch a clip of you -in Seren Wib. | 0:04:26 | 0:04:30 | |
-You're being taught how to get in -and out of a car in a dignified way. | 0:04:30 | 0:04:35 | |
-Getting in and out of a car -is the next part of the course. | 0:04:38 | 0:04:42 | |
-Judy, our trainer, -reminds us of two points. | 0:04:43 | 0:04:46 | |
-Legs last as you go in. -Legs first as you come out. | 0:04:46 | 0:04:49 | |
-It's Ceri's turn first. | 0:04:50 | 0:04:52 | |
-Legs last. | 0:04:53 | 0:04:55 | |
-And when stepping out... | 0:04:55 | 0:04:57 | |
-..remember it's legs first, -and a lovely smile for the cameras. | 0:04:57 | 0:05:02 | |
-It's my turn now. | 0:05:03 | 0:05:05 | |
-And the details? Legs last -going in, and legs first coming out. | 0:05:06 | 0:05:11 | |
-The idea of course is to do this... | 0:05:11 | 0:05:13 | |
-..in as smooth and elegant -a way as possible. | 0:05:13 | 0:05:17 | |
-In, legs last. | 0:05:20 | 0:05:22 | |
-Mmm, that could have been done -a little better. | 0:05:22 | 0:05:26 | |
-Out now, to face all those cameras. | 0:05:27 | 0:05:30 | |
-By the way, this will be invaluable -to you when you're rich and famous. | 0:05:30 | 0:05:35 | |
-Did that help you? | 0:05:36 | 0:05:38 | |
-No, but with paparazzi -trying to get shots of knickers... | 0:05:39 | 0:05:43 | |
-..as people get in and out of cars, -it'd be handy for celebrities. | 0:05:43 | 0:05:47 | |
-I loved that red boiler suit! | 0:05:47 | 0:05:49 | |
-Were you at ease being yourself, -as a change from acting? | 0:05:50 | 0:05:54 | |
-When I'm acting, -I like being a different person... | 0:05:54 | 0:05:58 | |
-..such as Odette in Grand Slam, -and forgetting about myself totally. | 0:05:58 | 0:06:03 | |
-That's the point of it, I think, -escaping from oneself. | 0:06:03 | 0:06:07 | |
-We've come on since those days -of etiquette and being ladylike. | 0:06:07 | 0:06:12 | |
-You're well known -for supporting women's rights. | 0:06:12 | 0:06:16 | |
-It's been very important for you. | 0:06:16 | 0:06:19 | |
-It was only when I had my son, -Steffan, in 1980, that I realized... | 0:06:19 | 0:06:23 | |
-..what the reality of life -is for women. | 0:06:24 | 0:06:27 | |
-My own life had changed a lot, -but not my partner's. | 0:06:27 | 0:06:31 | |
-I feel that feminism -passed us by in Wales. | 0:06:31 | 0:06:34 | |
-All forms of activism were linked -to the language and nationality. | 0:06:34 | 0:06:39 | |
-Feminism was looked upon -as an alien, English thing... | 0:06:39 | 0:06:43 | |
-..and not relevant to Wales. | 0:06:43 | 0:06:45 | |
-We've come far, -but there's still a long way to go. | 0:06:46 | 0:06:49 | |
-This next clip takes us back -to 1981, to Greenham Common. | 0:06:50 | 0:06:55 | |
-It's 1981, and the first women -arrive at Greenham Common. | 0:06:59 | 0:07:03 | |
-They had marched from Cardiff -to Newbury to protest against... | 0:07:03 | 0:07:07 | |
-..the storage of nuclear missiles -at this military site. | 0:07:08 | 0:07:13 | |
-Robust protesting followed -and many were arrested... | 0:07:13 | 0:07:17 | |
-..at confrontations -near the infamous fence. | 0:07:17 | 0:07:20 | |
-The protest lasted for 19 years. | 0:07:28 | 0:07:30 | |
-The women put the topic of peace -on the world's agenda. | 0:07:31 | 0:07:35 | |
-That was an extremely -strong clip, wasn't it? | 0:07:38 | 0:07:41 | |
-They were badly treated, -and one woman was killed. | 0:07:41 | 0:07:45 | |
-We wouldn't see scenes -like that today, of course. | 0:07:45 | 0:07:50 | |
-It's quieter politically, but -feminism has fed into our society. | 0:07:50 | 0:07:54 | |
-Domestic violence, -sexual abuse and other issues... | 0:07:55 | 0:07:58 | |
-..wouldn't be considered as serious -issues if it weren't for feminism. | 0:07:59 | 0:08:03 | |
-Did you go to Greenham Common? | 0:08:04 | 0:08:06 | |
-I didn't because I'd had a baby, -and I was working at the time. | 0:08:06 | 0:08:09 | |
-I haven't always been free to be -a street protester in that way. | 0:08:10 | 0:08:14 | |
-I've had jobs and children. | 0:08:14 | 0:08:16 | |
-But I've tried to include this -spirit in my acting and writing. | 0:08:16 | 0:08:20 | |
-Setting up the Bara Caws group, -for instance, was a political act. | 0:08:20 | 0:08:24 | |
-As a sample of your acting work, -you've asked for this next clip. | 0:08:25 | 0:08:29 | |
-You were an alcoholic, Mary Murphy, -in the series, Tair Chwaer. | 0:08:29 | 0:08:34 | |
-Why this clip in particular? | 0:08:34 | 0:08:36 | |
-Mary Murphy was a small part -in Tair Chwaer... | 0:08:37 | 0:08:40 | |
-..and she didn't speak much. | 0:08:40 | 0:08:42 | |
-Every so often she'd go mad -when the drink took over. | 0:08:42 | 0:08:46 | |
-Here, you see her life, -her hopes and her sadness. | 0:08:46 | 0:08:51 | |
-She thinks of the things -that she has been unable to achieve. | 0:08:51 | 0:08:55 | |
-She's afraid, but she can be herself -when she's alone with the piano. | 0:08:55 | 0:09:00 | |
-Here's a clip of you at the piano. | 0:09:00 | 0:09:03 | |
-# I was struck blind by the Devil | 0:09:32 | 0:09:35 | |
-# He took me away to the stars | 0:09:36 | 0:09:40 | |
-# I cried out all night -for my darling | 0:09:41 | 0:09:45 | |
-# But the windows -were all locked and barred | 0:09:45 | 0:09:49 | |
-# He took this young rose -from the garden | 0:09:51 | 0:09:54 | |
-# He tore it right out of the ground | 0:09:55 | 0:10:00 | |
-# I traded my soul | 0:10:01 | 0:10:03 | |
-# For a rainbow of gold | 0:10:04 | 0:10:07 | |
-# But the rainbows -came tumbling down # | 0:10:09 | 0:10:15 | |
-You're going out, why? | 0:10:34 | 0:10:36 | |
-Why are you going out? | 0:10:37 | 0:10:40 | |
-I want to see someone. | 0:10:42 | 0:10:43 | |
-I want to see someone. - -To see who? | 0:10:43 | 0:10:45 | |
-Don't look so stupid. -Who do you want to see? | 0:10:47 | 0:10:50 | |
-Isn't it a fair question? | 0:10:50 | 0:10:52 | |
-Who? Who d'you want to see? | 0:10:52 | 0:10:55 | |
-You've been drinking. | 0:10:55 | 0:10:58 | |
-No, I haven't been drinking. | 0:11:01 | 0:11:03 | |
-I have not been drinking. | 0:11:05 | 0:11:08 | |
-Of course, you won a BAFTA -for playing that role. | 0:11:15 | 0:11:19 | |
-Is it nice to get recognition -for your acting work? | 0:11:19 | 0:11:24 | |
-Yes, of course, especially when -it comes from your peers. | 0:11:25 | 0:11:28 | |
-It's an honour and a privilege. | 0:11:28 | 0:11:31 | |
-You were with Ray Gravell there. | 0:11:31 | 0:11:34 | |
-How did you feel beforehand -about acting with Ray Gravell? | 0:11:34 | 0:11:40 | |
-I had interviewed him -for Seren Wib, as it happens. | 0:11:40 | 0:11:43 | |
-It was a bit of a shock. | 0:11:43 | 0:11:45 | |
-I thought to myself, "Oh, dear. -How am I going to do this?" | 0:11:46 | 0:11:49 | |
-But Ray had a direct -access route to his heart. | 0:11:50 | 0:11:53 | |
-He knew how to go for the emotions. | 0:11:53 | 0:11:55 | |
-He hit the emotional bull's-eye -when he was required to do so. | 0:11:56 | 0:11:59 | |
-He had a difficult part too. | 0:12:00 | 0:12:02 | |
-He played a gay man, -a murderer, a very mixed-up man. | 0:12:02 | 0:12:06 | |
-He was excellent, truly excellent. | 0:12:06 | 0:12:09 | |
-He was wonderful company, of course. | 0:12:09 | 0:12:12 | |
-I saw you watching yourself there. | 0:12:12 | 0:12:15 | |
-Are you a harsh judge of yourself -when you view such scenes? | 0:12:15 | 0:12:19 | |
-Yes. You never reach -where you'd like to get to. | 0:12:19 | 0:12:24 | |
-Watching that now, it's as if -I was somebody else completely. | 0:12:24 | 0:12:28 | |
-I don't see me, I see Mary. -I feel a sense of longing for her. | 0:12:29 | 0:12:33 | |
-I recall the time I spent with her -when she was part of my life. | 0:12:33 | 0:12:38 | |
-You always hope, well, I do, -that you've transformed yourself. | 0:12:38 | 0:12:43 | |
-I expect to see someone completely -different, but it never turns out... | 0:12:43 | 0:12:48 | |
-..quite as you imagine -when you're acting, it never does. | 0:12:48 | 0:12:53 | |
-That's it for now. Thanks, Sharon. | 0:12:53 | 0:12:55 | |
-Join us again in Part Two, -for a protest and a strike. | 0:12:56 | 0:13:00 | |
-# Remember # | 0:13:03 | 0:13:06 | |
-. | 0:13:07 | 0:13:08 | |
-888 | 0:13:12 | 0:13:12 | |
-888 - -888 | 0:13:12 | 0:13:13 | |
-# Remember # | 0:13:16 | 0:13:19 | |
-Welcome back, -and we'll start the second half... | 0:13:20 | 0:13:24 | |
-..in a very exciting period, -the late '60s. | 0:13:24 | 0:13:27 | |
-Sharon, you were involved -in the excitement and the protests. | 0:13:27 | 0:13:31 | |
-I was at the university in Cardiff -from '67 to '70. | 0:13:32 | 0:13:35 | |
-It was the time of the Investiture -and Welsh Language Society demos. | 0:13:35 | 0:13:40 | |
-But I never went to jail. | 0:13:40 | 0:13:42 | |
-Apparently, about 2,000 -were imprisoned during that period. | 0:13:42 | 0:13:47 | |
-They should all receive -an honour, in my view. | 0:13:47 | 0:13:50 | |
-They made a sacrifice. | 0:13:51 | 0:13:53 | |
-Were you aware of -the great shift taking place? | 0:13:54 | 0:13:57 | |
-No, not at the time. -You didn't realize. | 0:13:58 | 0:14:01 | |
-Certainly, the developments during -that period involving Plaid Cymru... | 0:14:01 | 0:14:05 | |
-..and Gwynfor Evans being elected... | 0:14:06 | 0:14:08 | |
-..all contributed -towards creating modern Wales. | 0:14:09 | 0:14:13 | |
-Without them, we wouldn't have -a Senedd building. | 0:14:13 | 0:14:16 | |
-I still can't believe it's there! | 0:14:16 | 0:14:18 | |
-That period laid the foundations -for today's democratic Wales. | 0:14:18 | 0:14:23 | |
-We'll have a clip -of the protests at Cilmeri next. | 0:14:23 | 0:14:26 | |
-The Welsh Language Society -also gained notoriety in 1969... | 0:14:31 | 0:14:34 | |
-..for its anti-Investiture stance. | 0:14:34 | 0:14:37 | |
-Protest meetings were held, one -in Caernarfon on St David's Day... | 0:14:37 | 0:14:43 | |
-..and another in Cilmeri, -just before the Investiture. | 0:14:44 | 0:14:47 | |
-# Farewell, the bended knee | 0:14:48 | 0:14:51 | |
-# And licking English boots | 0:14:52 | 0:14:55 | |
-# Farewell, onerous serfdom | 0:14:56 | 0:14:59 | |
-# We'll sing in one true voice | 0:15:00 | 0:15:02 | |
-# To the fields, we'll take our song | 0:15:03 | 0:15:06 | |
-# Whilst shouting as we're seen | 0:15:06 | 0:15:10 | |
-# Wales is now on fire | 0:15:10 | 0:15:13 | |
-# And we'll paint -the whole world green | 0:15:14 | 0:15:17 | |
-# We'll paint -the whole world green, boys | 0:15:17 | 0:15:21 | |
-# We'll paint the whole world green | 0:15:21 | 0:15:24 | |
-# Wales is now on fire, boys | 0:15:25 | 0:15:28 | |
-# We'll paint the whole world green | 0:15:28 | 0:15:32 | |
-# We'll paint -the whole world green, boys | 0:15:32 | 0:15:36 | |
-# We'll paint the whole world green | 0:15:36 | 0:15:39 | |
-# Wales is now on fire, boys | 0:15:39 | 0:15:42 | |
-# We'll paint -the whole world green # | 0:15:43 | 0:15:49 | |
-It's incredible how much -we take for granted now, isn't it? | 0:15:51 | 0:15:55 | |
-I'm thinking of the language. | 0:15:56 | 0:15:58 | |
-Yes, we've come a long way. | 0:15:58 | 0:16:00 | |
-I'm very proud, watching that clip, -of the extent of the activism. | 0:16:00 | 0:16:05 | |
-It was a happy time, a fun time. | 0:16:05 | 0:16:07 | |
-There was forever a protest -or a march to attend. | 0:16:07 | 0:16:12 | |
-We would also gather -outside prisons to support people. | 0:16:12 | 0:16:16 | |
-It was exciting and, of course, -we knew we were right. | 0:16:17 | 0:16:20 | |
-We knew we were right, -and we were all young. | 0:16:21 | 0:16:24 | |
-We were students mainly, although -older people also played their part. | 0:16:24 | 0:16:29 | |
-We went to Cilmeri in a baby Austin. | 0:16:30 | 0:16:32 | |
-It belonged to Gruffydd Miles, -I think. | 0:16:33 | 0:16:35 | |
-I went with boys from the Dyniadon -group, who were fellow students. | 0:16:36 | 0:16:40 | |
-At Pontrhydfendigaid that same -night, a noson lawen was held. | 0:16:41 | 0:16:45 | |
-At pop concerts, protest leaders -such as Dafydd Iwan performed songs. | 0:16:45 | 0:16:50 | |
-There was a homogenous -and integrated feel to it all. | 0:16:50 | 0:16:54 | |
-You felt you belonged -to a big, strong group of people. | 0:16:54 | 0:16:59 | |
-There was nothing to stop it. | 0:17:00 | 0:17:03 | |
-There was a shared ideology. -We'll now move on to the Strike. | 0:17:03 | 0:17:07 | |
-This took place 15 years later, -the Miners' Strike. | 0:17:07 | 0:17:11 | |
-Aren't you from a mining family? | 0:17:11 | 0:17:14 | |
-Yes, Tad-cu was an Amman Valley -collier, as were other relatives. | 0:17:14 | 0:17:18 | |
-Coal mining is part of my heritage. | 0:17:19 | 0:17:21 | |
-Let's watch the prominent role -played by women at this time. | 0:17:22 | 0:17:27 | |
-First of all, -are there any apologies? | 0:17:36 | 0:17:38 | |
-Glenys? | 0:17:40 | 0:17:42 | |
-Glenys and Mair, is it? | 0:17:42 | 0:17:44 | |
-Most of the work entails collecting -money and distributing food... | 0:17:44 | 0:17:49 | |
-..to all Cynheidre families. | 0:17:50 | 0:17:52 | |
-There are nearly 750 in all. | 0:17:52 | 0:17:54 | |
-The bill comes -to some 3,000 a week. | 0:17:54 | 0:18:00 | |
-We collect between -1,000 and 1,500. | 0:18:00 | 0:18:04 | |
-I don't think these women -are behind the miners... | 0:18:08 | 0:18:12 | |
-..or next to the miners. | 0:18:12 | 0:18:14 | |
-I think they're half a mile -ahead of the miners. | 0:18:15 | 0:18:18 | |
-They deserve our sincere thanks. | 0:18:18 | 0:18:21 | |
-This is from the Stratford Footplate -Staff Social and Welfare Club. | 0:18:21 | 0:18:27 | |
-Dear colleagues, I am pleased -to inform you that the committee... | 0:18:27 | 0:18:30 | |
-..have agreed that 300 -should be donated to you... | 0:18:30 | 0:18:33 | |
-..so that the children can have -a few presents at Christmas. | 0:18:33 | 0:18:36 | |
-That man hit the nail on the head... | 0:18:37 | 0:18:40 | |
-..when he described -the women's response at that time. | 0:18:40 | 0:18:44 | |
-They were unbelievable, -and the hardships were awful. | 0:18:44 | 0:18:49 | |
-I had great respect for them. | 0:18:49 | 0:18:51 | |
-It transformed the lives -of many of them. | 0:18:51 | 0:18:55 | |
-Many of them went back to education. | 0:18:55 | 0:18:57 | |
-Sian James, the MP, -is an example of one who changed. | 0:18:58 | 0:19:02 | |
-Some positives emerged, -but there was terrible anguish. | 0:19:03 | 0:19:07 | |
-In the same year as the Strike, -you were playing a dumb blonde. | 0:19:08 | 0:19:12 | |
-That was in Magnificent Evans, -with Ronnie Barker. | 0:19:13 | 0:19:16 | |
-What was it like to work with him? | 0:19:16 | 0:19:19 | |
-It was delightful, in all honesty. | 0:19:19 | 0:19:21 | |
-I questioned beforehand -whether I should do the job. | 0:19:22 | 0:19:25 | |
-My friend Ifan Huw Dafydd remarked -that actors had played Hitler. | 0:19:26 | 0:19:30 | |
-Karl Francis said, "You don't -choose the car, you just drive it." | 0:19:30 | 0:19:35 | |
-I decided not to tell Ronnie, -who was a bit right wing... | 0:19:35 | 0:19:39 | |
-..about feminism, -socialism or nationalism! | 0:19:39 | 0:19:43 | |
-I feared I'd create a problem. | 0:19:43 | 0:19:45 | |
-But I was in every scene with him -for four months. | 0:19:46 | 0:19:49 | |
-You can't work that closely -with someone and not be yourself. | 0:19:50 | 0:19:54 | |
-We had many interesting chats. | 0:19:54 | 0:19:56 | |
-Weren't you filming -in front of a live audience? | 0:19:57 | 0:20:00 | |
-We filmed in mid Wales -for a lengthy period. | 0:20:01 | 0:20:04 | |
-The studio stuff was done -at Television Centre in London. | 0:20:04 | 0:20:08 | |
-I had done live audience work -here in Wales, of course. | 0:20:08 | 0:20:13 | |
-I remember the first studio session, -and he was very nervous. | 0:20:13 | 0:20:18 | |
-I asked him why he was so nervous. | 0:20:18 | 0:20:20 | |
-"I've a lot to lose," he replied. | 0:20:20 | 0:20:22 | |
-He did one other series after that, -but I think he was ready to retire. | 0:20:23 | 0:20:28 | |
-We have a clip of you -with Ronnie Barker here. | 0:20:28 | 0:20:32 | |
-Hey, I tell you what, -I've got a present for you. | 0:20:33 | 0:20:36 | |
-Come and try it on. | 0:20:40 | 0:20:42 | |
-I couldn't wear that. | 0:20:42 | 0:20:44 | |
-Well, just on early closing days -around the house. | 0:20:44 | 0:20:47 | |
-D'you think I could? | 0:20:48 | 0:20:49 | |
-D'you think I could? - -'Course you could! | 0:20:49 | 0:20:51 | |
-By such devices -are the depressions... | 0:20:52 | 0:20:55 | |
-..commonly associated -with middle age kept at bay. | 0:20:55 | 0:20:59 | |
-I'm not middle-aged. | 0:20:59 | 0:21:00 | |
-I'm not middle-aged. - -No, but I am though, aren't I? | 0:21:00 | 0:21:02 | |
-My mam would die if she heard -I was wearing a blonde wig. | 0:21:04 | 0:21:08 | |
-Suits you. | 0:21:08 | 0:21:09 | |
-Suits you. - -Especially if it suits me. | 0:21:09 | 0:21:10 | |
-Nobody in my family ever wore -a blonde wig, except Uncle Teilo... | 0:21:11 | 0:21:15 | |
-..who went to be a steward -in the Merchant Navy. | 0:21:15 | 0:21:19 | |
-Yes, I remember him, yes. | 0:21:20 | 0:21:22 | |
-Shirley Temple, we used to call him. | 0:21:22 | 0:21:25 | |
-You mentioned that you worked -with him for four months. | 0:21:27 | 0:21:31 | |
-You got to know him well. | 0:21:31 | 0:21:33 | |
-Yes, I did, and he was a lovely man. | 0:21:34 | 0:21:36 | |
-He was so lovely and supportive. | 0:21:36 | 0:21:39 | |
-I remember early on thinking, -"My God, this is Ronnie Barker!" | 0:21:39 | 0:21:43 | |
-It was difficult... | 0:21:44 | 0:21:46 | |
-..but he made you feel relaxed. | 0:21:46 | 0:21:48 | |
-I learnt a lot -about comedy and about acting. | 0:21:48 | 0:21:52 | |
-He would debate with the director -about how best to do a scene. | 0:21:52 | 0:21:56 | |
-Timing was important -to a perfectionist like him. | 0:21:56 | 0:22:00 | |
-I was very fond of that dear man. | 0:22:00 | 0:22:02 | |
-I have happy memories of the series. | 0:22:02 | 0:22:04 | |
-You've looked back -at your career tonight. | 0:22:05 | 0:22:08 | |
-You're also in the middle -of writing your autobiography. | 0:22:08 | 0:22:13 | |
-Yes, I've reached 1985 -or thereabouts! | 0:22:13 | 0:22:16 | |
-It takes up a lot of time, -but it's an interesting process. | 0:22:16 | 0:22:20 | |
-Is it a cathartic process? | 0:22:21 | 0:22:23 | |
-Perhaps it is. Yes, in a way. | 0:22:23 | 0:22:25 | |
-One tends to forget about things. | 0:22:25 | 0:22:28 | |
-Reverting to my diaries -has been useful... | 0:22:28 | 0:22:31 | |
-..but I don't always -know to whom I'm referring! | 0:22:31 | 0:22:35 | |
-Yes, it's been very interesting, -and you see things differently now. | 0:22:35 | 0:22:40 | |
-You think, "That's why," and you -wonder why you thought otherwise. | 0:22:40 | 0:22:45 | |
-It's extremely interesting. | 0:22:45 | 0:22:47 | |
-Does upsetting others bother you? | 0:22:47 | 0:22:50 | |
-That's some responsibility, -the portrayal of other people. | 0:22:50 | 0:22:54 | |
-It's a major dilemma, -because you want to be honest. | 0:22:55 | 0:22:58 | |
-At the same time, -you don't wish to hurt anyone. | 0:22:58 | 0:23:01 | |
-It's a very difficult thing. | 0:23:02 | 0:23:04 | |
-Thank you for tonight, Sharon. -It's been most interesting. | 0:23:04 | 0:23:08 | |
-That's all for this evening. -Goodnight. | 0:23:08 | 0:23:11 | |
-# Remember | 0:23:18 | 0:23:19 | |
-# Remember # | 0:23:29 | 0:23:32 | |
-S4C Subtitles by Simian 04 Cyf. | 0:23:33 | 0:23:35 | |
-. | 0:23:35 | 0:23:36 |