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This programme contains some strong language. | 0:00:00 | 0:00:08 | |
These people want want to see Madonna. These people are about to | 0:00:08 | 0:00:18 | |
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APPLAUSE Oh. Oh. Oh. | 0:00:28 | 0:00:34 | |
CHEERING AND APPLAUSE Hello everybody. | 0:00:34 | 0:00:41 | |
CHEERING AND APPLAUSE Oh. Yeah! There is a lot of | 0:00:41 | 0:00:45 | |
excitement in the studio because yes, the one, the only Madonna is | 0:00:45 | 0:00:55 | |
here. CHEERING AND APPLAUSE | 0:00:55 | 0:01:03 | |
I said excitement. This is me when I heard I was going to meet Madonna. | 0:01:03 | 0:01:05 | |
LAUGHTER And this is Madonna when she heard | 0:01:05 | 0:01:10 | |
she was going to meet me! LAUGHTER | 0:01:10 | 0:01:13 | |
Madonna is in town for the opening of her new film W.E.. | 0:01:13 | 0:01:20 | |
A lavish film about the life of Wallace Simpson and Edward VIII. Do | 0:01:20 | 0:01:25 | |
we have the picture of palace? LAUGHTER | 0:01:25 | 0:01:28 | |
-- Wallace? Its ears are right! Madonna | 0:01:28 | 0:01:32 | |
directed the film and she cast two of Britain's hottest young actors | 0:01:32 | 0:01:37 | |
as Wallace and Edward and I will be meeting them, James DArcy and | 0:01:37 | 0:01:43 | |
Andrea Riseborough. APPLAUSE | 0:01:43 | 0:01:46 | |
I know, they are not Madonna, but well done! | 0:01:46 | 0:01:48 | |
LAUGHTER W.E. Is such a good story. Wallace | 0:01:48 | 0:01:53 | |
Simpson was a divorced woman who married The Prince of Wales. I | 0:01:54 | 0:02:03 | |
0:02:04 | 0:02:12 | ||
believe Madonna went to see Camilla for advice, yes, she did! | 0:02:12 | 0:02:14 | |
LAUGHTER Madonna, of course, as I'm sure you | 0:02:14 | 0:02:17 | |
know, she is down to earth, very down to earth, never looks down her | 0:02:17 | 0:02:23 | |
nose when she meets people who have less money than her! | 0:02:23 | 0:02:24 | |
LAUGHTER The Queen must have been so | 0:02:24 | 0:02:28 | |
confused. "but I'm Madge." Sex came with that amazing metal cover, do | 0:02:28 | 0:02:31 | |
you remember that? AUDIENCE: Yes. | 0:02:31 | 0:02:41 | |
0:02:41 | 0:02:49 | ||
Everyone was desperate to get a copy, yes! | 0:02:49 | 0:02:50 | |
LAUGHTER Madonna has taken her inspiration | 0:02:50 | 0:02:52 | |
for her looks from people throughout history, you know, here | 0:02:52 | 0:02:59 | |
is a Marilyn Monroe look. She likes Minnelli in car in cabaret and then | 0:02:59 | 0:03:05 | |
this look based on a 300-year-old queen. | 0:03:05 | 0:03:14 | |
Let's get our guest on, Sandbanks peninsula, Emeli Sande, but first | 0:03:14 | 0:03:24 | |
0:03:24 | 0:03:49 | ||
it is Madonna. CHEERING AND APPLAUSE | 0:03:49 | 0:03:55 | |
All right. All right. We're here for a while. I don't know how to | 0:03:55 | 0:04:01 | |
sit on this couch. It is like a hot dog bun. | 0:04:01 | 0:04:06 | |
You are a lovely filling. Thank you for being here. There is a lot of | 0:04:06 | 0:04:12 | |
excitement in the room. CHEERING AND APPLAUSE | 0:04:12 | 0:04:16 | |
The thing that struck me thinking about you is, obviously you can | 0:04:16 | 0:04:26 | |
0:04:26 | 0:04:34 | ||
remember, you know, when you weren't Madonna. | 0:04:34 | 0:04:36 | |
LAUGHTER You know what I mean, the per sown | 0:04:36 | 0:04:38 | |
narks the persona, can you remember what that felt like felt like? | 0:04:38 | 0:04:40 | |
enjoy when I am in environments when I feel anonymous. | 0:04:40 | 0:04:44 | |
When does that happen? When I was on my skiing holiday actually | 0:04:44 | 0:04:47 | |
because I was wearing a mask covering my face and goggles and so | 0:04:47 | 0:04:50 | |
I could ride the ski lift and nobody knew it was me. | 0:04:50 | 0:04:54 | |
So all the people watching this now... Like the people cutting in | 0:04:54 | 0:05:00 | |
front of me in the lines and hitting me with their ski pole. | 0:05:00 | 0:05:10 | |
0:05:10 | 0:05:15 | ||
It was a holiday for you! LAUGHTER | 0:05:15 | 0:05:18 | |
Jtsds you When I am at home with my children, they don't give a F who I | 0:05:18 | 0:05:21 | |
am. I hear the complaints and the moaning and I still have to | 0:05:21 | 0:05:23 | |
threaten to kill them if they don't do their homework! | 0:05:23 | 0:05:26 | |
Now, 2012, what a great year for you, not just the movie... But the | 0:05:26 | 0:05:33 | |
end of the world. Is it? No. What are we doing here? | 0:05:33 | 0:05:36 | |
Isn't that what everyone says, it is the last year as life as we know | 0:05:36 | 0:05:40 | |
it. But things could get better. Things are changing rapidly. | 0:05:40 | 0:05:43 | |
Yes, they are. Some for the better, some for the | 0:05:43 | 0:05:46 | |
worse. One of the good things, back to my | 0:05:46 | 0:05:50 | |
point... Yes. One of the good things, unless the | 0:05:50 | 0:05:56 | |
world ends will be happening is you are back on tour. Well, we are | 0:05:56 | 0:06:02 | |
going out with a bang, baby. CHEERING AND APPLAUSE I'm thrilled | 0:06:02 | 0:06:06 | |
you're going on tour. They're thrilled you're going on tour. But | 0:06:06 | 0:06:13 | |
you, Madonna, how can you be arsed going on tour? Well, I just spent | 0:06:13 | 0:06:18 | |
the last three years making a film. OK, so will this be more fun? | 0:06:18 | 0:06:20 | |
it is just that I have to pay the rent. | 0:06:20 | 0:06:25 | |
Oh, I see. Now I hear you. I wasn't getting it at all. Is that what | 0:06:25 | 0:06:28 | |
motivates you? A girl has to make a living. | 0:06:28 | 0:06:34 | |
Well, I do enjoy it, truthfully. I enjoy putting the show together. I | 0:06:34 | 0:06:39 | |
enjoy the first two weeks and I enjoyted last two weeks. | 0:06:39 | 0:06:44 | |
So are the bits in the middle... There are great things along the | 0:06:44 | 0:06:48 | |
way, it is like doing a show every night, it is really hard. It is | 0:06:48 | 0:06:53 | |
hard work, but you know, for me it is the most rewarding of my jobs. I | 0:06:53 | 0:06:59 | |
love writing songs and I love, I loved making my film. I love all | 0:06:59 | 0:07:04 | |
the things that I do, but to be able to stand on a stage and feel | 0:07:04 | 0:07:09 | |
that very visceral connection with human beings and that thing that | 0:07:09 | 0:07:19 | |
0:07:19 | 0:07:23 | ||
only music can do with other humans is, there is nothing like it. | 0:07:23 | 0:07:25 | |
APPLAUSE And, a new album, quite soon, a new | 0:07:25 | 0:07:29 | |
album? Yeah. When is the new album? Soon. I mean | 0:07:29 | 0:07:36 | |
depending on how soon people download it, hack it my server and | 0:07:36 | 0:07:39 | |
leak it. Do people really do that? It is | 0:07:39 | 0:07:44 | |
terrible. It is just terrible. Can't people just wait and like | 0:07:44 | 0:07:49 | |
wait and let me finish it. It is fans that do it, isn't it? | 0:07:49 | 0:07:55 | |
keep saying to my manager, "Are they really my fans? If they love | 0:07:55 | 0:08:02 | |
me so much, why don't they let me put it out when I want to put it | 0:08:02 | 0:08:06 | |
out?" It is confusing behaviour, hackers, you know. | 0:08:06 | 0:08:09 | |
They arrested one of them, didn't they? Yes. | 0:08:09 | 0:08:15 | |
Have you seen him? I haven't. Should I? He is here. | 0:08:15 | 0:08:21 | |
No, he is not. No, he is in jail. What he has done | 0:08:21 | 0:08:25 | |
is a criminal offence. The album is out soon so does it | 0:08:25 | 0:08:34 | |
have a name? Yes. Why don't you ask my hacker? What's it called? Do you | 0:08:34 | 0:08:44 | |
0:08:44 | 0:08:47 | ||
know what it is called? Can you tell us? Oh, go on. | 0:08:47 | 0:08:49 | |
APPLAUSE Oh, go on. | 0:08:49 | 0:08:54 | |
Well, the only reason I hesitated because I could change my mind, I | 0:08:54 | 0:09:04 | |
0:09:04 | 0:09:08 | ||
am known to do that. You might not like it. They like it, trust me. | 0:09:08 | 0:09:18 | |
0:09:18 | 0:09:23 | ||
Mm, well I'm into initials... No, I was going to call it M DNA | 0:09:23 | 0:09:29 | |
Very good. Actually that points to the whole | 0:09:29 | 0:09:34 | |
thing about your music is you are quite, you are always ahead of the | 0:09:34 | 0:09:38 | |
trend? OK. Earlier in your career that must have been easier because | 0:09:38 | 0:09:42 | |
you were out in the clubs, you were setting the trends and you were | 0:09:42 | 0:09:49 | |
seeing people voguing... I send me daughter out. Seriously... No. She | 0:09:49 | 0:09:56 | |
is 14. Reconnaissance. How do you stay in | 0:09:56 | 0:10:00 | |
touch? With the real world. With the trends and what the kids... | 0:10:00 | 0:10:03 | |
I go out. Do you really? Yes. | 0:10:03 | 0:10:09 | |
You have got so much energy. LAUGHTER | 0:10:09 | 0:10:19 | |
0:10:19 | 0:10:24 | ||
I will just wait for your album? have friends in in low places! | 0:10:24 | 0:10:26 | |
LAUGHTER Because Lourdes is 14... Wait a | 0:10:26 | 0:10:33 | |
minute, she is 15. She is 16, but she is very sophisticated. Do you | 0:10:33 | 0:10:41 | |
get things off her? I don't ask her. I get her opinion. I play her songs | 0:10:41 | 0:10:46 | |
and clothes, other artists, she is very opinionated. | 0:10:46 | 0:10:51 | |
You did a really cute thing online, you and her were working together | 0:10:51 | 0:10:54 | |
on Material Girl and you are looking for a new face for Material | 0:10:54 | 0:11:04 | |
Face. We will show a clip of you and Lourdes together. | 0:11:04 | 0:11:14 | |
0:11:14 | 0:11:18 | ||
Material Girl. I will talk to my girls. They don't say that anymore. | 0:11:18 | 0:11:28 | |
0:11:28 | 0:11:30 | ||
I will say it in my world. I will say what I want in the timeless | 0:11:30 | 0:11:40 | |
0:11:40 | 0:11:44 | ||
world. I think you are an ageist. You are loo looksist and an ageist. | 0:11:44 | 0:11:47 | |
APPLAUSE That is our relationship. | 0:11:47 | 0:11:51 | |
Completely and utterly sums up our relationship. | 0:11:51 | 0:11:56 | |
I hear she is quite bossy as well? That's an under statement. | 0:11:56 | 0:11:58 | |
Where did she get it from? I don't know. | 0:11:59 | 0:12:04 | |
That's the other thing, I suppose. You have got four kids, how hard is | 0:12:04 | 0:12:08 | |
it to be a strict parent given that they know that you have broken | 0:12:08 | 0:12:14 | |
every rule in the book? You made a career out of doing that? Yes, but | 0:12:14 | 0:12:17 | |
there is two things I say to them. You can't cheat, you have to work | 0:12:17 | 0:12:20 | |
hard for everything and that is a really important thing in our house | 0:12:20 | 0:12:24 | |
and that includes all areas, where it is an after school activity or | 0:12:24 | 0:12:29 | |
your school work. No cheating, work hard, that's how you get ahead in | 0:12:29 | 0:12:34 | |
the world. If I see them, you know, being slackers then I can stand by | 0:12:34 | 0:12:39 | |
that and no one can say, I didn't work hard for what I did. If I say | 0:12:39 | 0:12:47 | |
to my daughter, "That outfit is too risque and revealing." And my | 0:12:47 | 0:12:57 | |
0:12:57 | 0:13:10 | ||
daughter looks at me and says, "That's rich coming from you." | 0:13:10 | 0:13:11 | |
APPLAUSE But I say, you know, I'm, you know, | 0:13:11 | 0:13:14 | |
when you're 15, you're going to have to allow me to guide you in | 0:13:14 | 0:13:16 | |
the dressing dressing department and when you get older, you can | 0:13:16 | 0:13:19 | |
make make decisions for yourself. We have lots of discussions and I | 0:13:19 | 0:13:21 | |
say, "Trust me on this." We have discussion between separating the | 0:13:21 | 0:13:23 | |
artest me with the parent me. Yes. | 0:13:23 | 0:13:31 | |
That's important too. And sometimes you just have to say, "Because I | 0:13:31 | 0:13:33 | |
said so." That's it. You can't have anymore discussions about it. | 0:13:33 | 0:13:36 | |
Now, we must talk about why you're here. A new movie, W.E. Out. | 0:13:36 | 0:13:37 | |
Congratulations. I have seen it twice? You have. | 0:13:37 | 0:13:40 | |
I've really enjoyed T the story is really well told. You must be | 0:13:40 | 0:13:44 | |
pleased with it? I'm super proud of it. Three years of my life. | 0:13:44 | 0:13:49 | |
And you were, I mean, you were incredibly hands on? Well, I wrote | 0:13:50 | 0:13:53 | |
it, but if I start from the writing process and the research up until | 0:13:53 | 0:14:00 | |
this moment, it has been three years of my life. The story is | 0:14:00 | 0:14:04 | |
familiar to a lot of people in Britain. You tell the story through | 0:14:04 | 0:14:10 | |
a prism of a modern love story. Well, the story is told through the | 0:14:10 | 0:14:15 | |
eyes of and the eyes, the brain, the consciousness of a modern day | 0:14:15 | 0:14:19 | |
woman who is looking at the story and thinking, "Oh my goodness, what | 0:14:20 | 0:14:24 | |
must it be like to be loved so much that someone would give up the | 0:14:24 | 0:14:29 | |
throne for you?" It is her journey, but you end up learning about the | 0:14:29 | 0:14:32 | |
story of Wallace Simpson and Edward VIII. | 0:14:32 | 0:14:37 | |
We are meeting the actors later. Here is a clip with Abbie Cornish | 0:14:37 | 0:14:47 | |
0:14:47 | 0:14:57 | ||
and Oscar Isaac setting up the London crowds stand stunned at the | 0:14:57 | 0:15:03 | |
almost unbelievable news. What are you thinking about? What it must | 0:15:03 | 0:15:08 | |
feel like to be loved that much. And what is your definition of | 0:15:08 | 0:15:18 | |
0:15:18 | 0:15:21 | ||
love? He gave up everything for her. APPLAUSE | 0:15:21 | 0:15:27 | |
I suppose, the juicy parallels between you and Wallace... | 0:15:27 | 0:15:29 | |
LAUGHTER Well, I am not as skinny as she is. | 0:15:29 | 0:15:34 | |
Don't go on about that! I have no sympathy at all. I'm just | 0:15:34 | 0:15:37 | |
kidding. Well, to a certain extent, there | 0:15:37 | 0:15:44 | |
are many aspects to her life that I could relate to in that I feel like | 0:15:44 | 0:15:48 | |
people reduced to her a couple of personality traits which weren't | 0:15:48 | 0:15:58 | |
0:15:58 | 0:15:58 | ||
complimentary and she was labelled ambitious and conniving and quite | 0:15:58 | 0:16:02 | |
one dimensional and I thought that was unfair and, you know, sometimes | 0:16:02 | 0:16:12 | |
0:16:12 | 0:16:14 | ||
being a celebrity one finds themselves being reduced to | 0:16:14 | 0:16:18 | |
adjectives that that aren't true. . Talk us through some of the | 0:16:18 | 0:16:24 | |
things you found. When Wallace Simpson walked into my bedroom one | 0:16:24 | 0:16:29 | |
night? Yes, that one. I had gone through lots of trials | 0:16:29 | 0:16:32 | |
and tribulation to say get the rights about her and I couldn't get | 0:16:32 | 0:16:36 | |
that and it seemed problematic and too many challenges and I thought, | 0:16:36 | 0:16:40 | |
"What am I doing, I am writing a story about the Royal Family, are | 0:16:40 | 0:16:46 | |
they going to hate my guts for telling this story? It is Wallace | 0:16:46 | 0:16:52 | |
Simpson and people are polarized about their opinion of her. One day | 0:16:52 | 0:17:02 | |
0:17:02 | 0:17:05 | ||
the doorbell rang and I answered it in my pie in my pyjamas and there | 0:17:05 | 0:17:11 | |
was no one there, but there was a height removals -- white removals | 0:17:11 | 0:17:21 | |
van and it said Montague Removals. She was Montague before she was | 0:17:21 | 0:17:25 | |
married. The universe is trying to tell me something. | 0:17:25 | 0:17:29 | |
The real oddness about that story is that you answered your own door. | 0:17:29 | 0:17:36 | |
You don't always answer your door, do you? Well, when my bloody staff | 0:17:36 | 0:17:42 | |
don't answer it! The ringer is going on and on. It | 0:17:42 | 0:17:47 | |
triggers the phone. So the phone is ringing and ringing and you are | 0:17:47 | 0:17:52 | |
like... LAUGHTER | 0:17:52 | 0:17:57 | |
I answered it myself. We kind of see it as the greatest love story | 0:17:57 | 0:18:01 | |
ever told, but your angle is different? I thought it was too. | 0:18:01 | 0:18:06 | |
Once I started reading and watching the documentaries, and when I got | 0:18:06 | 0:18:10 | |
to the letters because the letters are revealing, I realised whilst | 0:18:10 | 0:18:15 | |
there was great love between them, they both made huge sacrifices and | 0:18:16 | 0:18:20 | |
many compromises and they suffered because after they married they | 0:18:20 | 0:18:27 | |
were exiled. They lived in exiled and that pained Edward greatly. | 0:18:27 | 0:18:30 | |
Once you are the king, you can't get a job as a waiter, right? | 0:18:30 | 0:18:36 | |
will find that. Your way tretting days are behind | 0:18:36 | 0:18:42 | |
you, Madonna. I know, but you do have to think about these things | 0:18:42 | 0:18:46 | |
when things go tits up. LAUGHTER | 0:18:46 | 0:18:56 | |
0:18:56 | 0:19:00 | ||
I do have other talents. APPLAUSE | 0:19:00 | 0:19:02 | |
Remind me about your mindset, you talked about you don't believe in | 0:19:02 | 0:19:05 | |
perfect love anymore? Well, it is not that I ever believed in perfect | 0:19:05 | 0:19:09 | |
love, it is just from the outside, you know, if you are a romantic | 0:19:09 | 0:19:13 | |
like me, and every girl I know is. Every girl wants to be swept off | 0:19:13 | 0:19:18 | |
her feet by a knight in shining armour, unfortunately we are raised | 0:19:18 | 0:19:24 | |
on those fairytales and even if we are evolved human beings, we still | 0:19:24 | 0:19:29 | |
in the back of our mind think that Mr Right is going to come along and | 0:19:29 | 0:19:37 | |
sweep us off our feet and take us into the sunset and live happily | 0:19:37 | 0:19:44 | |
ever after. Am I right, ladies? AUDIENCE: Yes. | 0:19:44 | 0:19:47 | |
Am I right, ladies and gentlemen? AUDIENCE: Yes. | 0:19:47 | 0:19:52 | |
OK and then, you know, in the back of my mind we believe that, but in | 0:19:52 | 0:19:58 | |
the front of our mind we keep being reminded that it is not true. So we | 0:19:58 | 0:20:03 | |
keep getting disappointed. What you are saying is... It is a paradox, | 0:20:03 | 0:20:07 | |
isn't it? Because you want that, but on the other hand if if you | 0:20:07 | 0:20:11 | |
have got half a brain, you know it doesn't really exist. | 0:20:11 | 0:20:16 | |
Can you see yourself walking down the aisle again in an, "I do" | 0:20:16 | 0:20:26 | |
situation? I could actually, yes. APPLAUSE | 0:20:26 | 0:20:28 | |
I want want to talk about music and your career? | 0:20:28 | 0:20:33 | |
The people, the people must. Now, I don't want to kind of go | 0:20:33 | 0:20:39 | |
through all the statistics about 250 million albums. We have a nice | 0:20:39 | 0:20:46 | |
visual way... I hope it is nice. This is lovely. We are showing it | 0:20:46 | 0:20:53 | |
through the artistic prowess of two Italian men and they have made all | 0:20:53 | 0:20:58 | |
these dolls of you, I know this this sounds lame, these are really | 0:20:58 | 0:21:03 | |
good. You don't believe me, do you? Let me pick a good one. No, I'm | 0:21:03 | 0:21:07 | |
sorry. These are good. These are good. Where are the guys who made | 0:21:07 | 0:21:14 | |
them. There they are. What are your names? Hi. | 0:21:14 | 0:21:24 | |
0:21:24 | 0:21:29 | ||
Their names are hi and hi! You have got your mike pack on and | 0:21:29 | 0:21:39 | |
0:21:39 | 0:21:40 | ||
everything. That's Vogue. Sort of. Sort of. This is good. Not bad. | 0:21:40 | 0:21:47 | |
We're getting there! They are good, aren't they? Yeah, she is cute. Let | 0:21:47 | 0:21:55 | |
me see that one. The detail, I think, is amazing. You made me look | 0:21:55 | 0:21:59 | |
like a supermodel. When we said we would like tosses | 0:21:59 | 0:22:04 | |
your dolls and they were coming to the show, they then, see specially | 0:22:04 | 0:22:14 | |
for us, they made this, this is you at the Venice Film Festival. Well, | 0:22:14 | 0:22:17 | |
you don't have the glasses, you forgot the sunglasses. Oh, you have | 0:22:18 | 0:22:22 | |
them. Look at that, isn't that good? | 0:22:22 | 0:22:27 | |
APPLAUSE Well | 0:22:27 | 0:22:28 | |
Well done. | 0:22:28 | 0:22:28 | |
Well done. Thank | 0:22:28 | 0:22:28 | |
Well done. Thank you. | 0:22:28 | 0:22:32 | |
Well done. Thank you. Do | 0:22:32 | 0:22:32 | |
Do I | 0:22:32 | 0:22:32 | |
Do I get | 0:22:32 | 0:22:32 | |
Do I get to | 0:22:32 | 0:22:42 | |
0:22:42 | 0:22:51 | ||
Do I get to keep any of those? The other one is the only way to | 0:22:51 | 0:22:54 | |
have you at my home. That's a good one. | 0:22:54 | 0:23:02 | |
This is for her. Oh, that's why it is in a box. Thank you so much. | 0:23:02 | 0:23:12 | |
0:23:12 | 0:23:13 | ||
Can I have the sunglasses too? Come on, hurry up. | 0:23:13 | 0:23:17 | |
Thank you very much. Oh, look, they are adorable. Oh, | 0:23:17 | 0:23:23 | |
this is amazing, look at these... Put them on. Put them on. Look at | 0:23:23 | 0:23:29 | |
the detail. They open and everything. Isn't that amazing? | 0:23:29 | 0:23:37 | |
That is really impressive. APPLAUSE | 0:23:37 | 0:23:46 | |
They are not exactly the shape! Oh. Oh. Now, the thing is when I | 0:23:47 | 0:23:51 | |
was saying to people that you were coming on the show, a lot of my | 0:23:51 | 0:24:01 | |
friends said, "Are you going to ask Madonna about Lady Gaga?" | 0:24:01 | 0:24:06 | |
Well, what am I supposed to ask. What do people ask you about Lady | 0:24:06 | 0:24:12 | |
Gaga? I'm not saying. You have seen them come, you have | 0:24:12 | 0:24:20 | |
seen them go. When you see Lady Gaga, due do you think good luck to | 0:24:20 | 0:24:26 | |
you girl? When I saw her, I saw her performing in a small club in | 0:24:26 | 0:24:30 | |
Manhattan a few years ago, maybe it was three years ago, I was really | 0:24:30 | 0:24:34 | |
impressed by her. I thought she was really cool and she did remind me | 0:24:34 | 0:24:41 | |
of me back in the day. There was something fresh about her and the | 0:24:41 | 0:24:45 | |
way she spoke to the audience and it sounded like she had a similar | 0:24:45 | 0:24:50 | |
sense of humour and quite ironic and I liked her. I liked her. I | 0:24:50 | 0:25:00 | |
0:25:00 | 0:25:02 | ||
think she is very talented. APPLAUSE | 0:25:02 | 0:25:05 | |
I think it is more important that we discuss the fact that you have | 0:25:05 | 0:25:08 | |
named your dog after me. No, I didn't name my dog after you. | 0:25:08 | 0:25:15 | |
I heard you did. My dog is called Madge, but... | 0:25:15 | 0:25:19 | |
LAUGHTER But... What does that mean? It was | 0:25:19 | 0:25:22 | |
a rescue dog... LAUGHTER | 0:25:22 | 0:25:27 | |
Wait. It was a rescue dog and when I went to the rescue place they had | 0:25:27 | 0:25:32 | |
already called her Madonna and I thought I can't have a dog called | 0:25:32 | 0:25:36 | |
Madonna so I called her Madge. that help you separate those | 0:25:36 | 0:25:40 | |
things? I have got two two dogs, what am I | 0:25:40 | 0:25:46 | |
going to call the other one Madonna. What's your other dog's name? | 0:25:46 | 0:25:56 | |
Bailey. Not Not Ga Ga? | 0:25:56 | 0:25:57 | |
APPLAUSE Now, here is a weird thing. You | 0:25:57 | 0:26:01 | |
know we were talking about coincidences earlier. This is a bit | 0:26:01 | 0:26:05 | |
spooky, it may freak you out, but the other two guests on the show | 0:26:05 | 0:26:09 | |
tonight, they are only in the same film you directed. Yes, they play | 0:26:09 | 0:26:18 | |
Edward and Mrs Simpson in W.E. Please welcome James DArcy and | 0:26:18 | 0:26:26 | |
Andrea Riseborough. CHEERING AND APPLAUSE | 0:26:26 | 0:26:36 | |
0:26:36 | 0:26:36 | ||
Sit yourselves down. There you go. What a very smart | 0:26:36 | 0:26:41 | |
couch it is now. Don't they look handsome. | 0:26:41 | 0:26:49 | |
Gorgeous, tall and slender. Can we call him, His Royal Highness. | 0:26:49 | 0:26:58 | |
Madonna does and I think you should. That was a mistake at first, I sent | 0:26:58 | 0:27:06 | |
her a mistake. I sent her an e-mail and I said, "I hope you are God." I | 0:27:06 | 0:27:10 | |
thought I will just leave it. This must be beyond anything else | 0:27:10 | 0:27:14 | |
you have experienced being in a movie with Madonna at the helm? | 0:27:14 | 0:27:18 | |
It is unlike anything else I have experienced. | 0:27:18 | 0:27:23 | |
Do you meet? Did you have a face- to-face auditiony type type thing | 0:27:23 | 0:27:29 | |
or were they meetings? For my part Madonna had seen me playing | 0:27:29 | 0:27:31 | |
Margaret Thatcher in something I made. | 0:27:31 | 0:27:37 | |
That was really good. Have you seen the new one, have you seen the Iron | 0:27:37 | 0:27:43 | |
Lady one? You were robbed. And so had sent me the script and I | 0:27:43 | 0:27:47 | |
thought it was very unique and wonderful and I wanted to hear | 0:27:47 | 0:27:51 | |
about it and hear what fuelled her passion for it and I went to meet | 0:27:51 | 0:27:56 | |
her and I rr thinking she was very graceful and fine boned and | 0:27:56 | 0:27:58 | |
delicate and she sat down and started getting passionate about | 0:27:58 | 0:28:03 | |
the subject. It was infectious and fortunately, she liked me and | 0:28:03 | 0:28:09 | |
then... I thought she was fine boned and delicate too. And then we | 0:28:09 | 0:28:12 | |
spent every day together for seven months really. | 0:28:12 | 0:28:18 | |
And what about yourself? Well, Madonna had seen me play Margaret | 0:28:18 | 0:28:28 | |
Thatcher and we met on Skype, I was in... Was that a coincidence or... | 0:28:28 | 0:28:35 | |
Do you go on Chat Roulette? What is that? I just stay away from | 0:28:35 | 0:28:39 | |
the internet full stop. You should. | 0:28:39 | 0:28:46 | |
Except from when she she Skyped me to say hello and tell me about the | 0:28:46 | 0:28:54 | |
pro project. I don't know if you know this. She froze in a slightly | 0:28:54 | 0:28:57 | |
unflattering, well you didn't strike a pose and I didn't know | 0:28:57 | 0:29:03 | |
what to say and I spent the next 20 minutes thinking, "I suspect I also | 0:29:03 | 0:29:07 | |
froze and I'm looking like a gargoyle and I don't think I'm | 0:29:07 | 0:29:12 | |
going to get this job.". It was when I met him that I felt let | 0:29:12 | 0:29:22 | |
0:29:22 | 0:29:22 | ||
down! APPLAUSE | 0:29:22 | 0:29:27 | |
James, you learned new skills for this film, didn't you? I did, yeah. | 0:29:27 | 0:29:33 | |
Madonna wrote it into the film that I had to play the bagpipes. I cut | 0:29:33 | 0:29:39 | |
the scene. I don't remember that. He really learned how to play them | 0:29:39 | 0:29:43 | |
and it is really hard. And then you cut it. | 0:29:43 | 0:29:46 | |
You learned how do dance. You cut that. | 0:29:46 | 0:29:56 | |
0:29:56 | 0:29:57 | ||
The dance was with you and Andrea. The big dance has gone. | 0:29:57 | 0:30:03 | |
These are stills you have for life! We have got a clip on this is | 0:30:03 | 0:30:08 | |
Wallace meeting Edward and you are doing beautiful dancing. Feast your | 0:30:08 | 0:30:18 | |
0:30:18 | 0:30:31 | ||
I love it, except for the lack of central heating. | 0:30:31 | 0:30:41 | |
0:30:41 | 0:30:41 | ||
You need somewhere to keep you warm. Isn't that what husbands are for? | 0:30:41 | 0:30:51 | |
0:30:51 | 0:31:00 | ||
don't know. You might have to find out. | 0:31:00 | 0:31:06 | |
A stunning couple. Congratulation on the score, Golden Globe | 0:31:06 | 0:31:10 | |
nominations. Are you doing press for this all over the world? Yes, | 0:31:10 | 0:31:13 | |
we are best friends now. Of course, you are. Are you doing | 0:31:13 | 0:31:18 | |
lots of global press, you guys, are you talking to journalist from | 0:31:18 | 0:31:22 | |
around the world? Yes, we are talking to journalist from around | 0:31:22 | 0:31:25 | |
the world, you you being one of them. It is like obvious that we're | 0:31:25 | 0:31:29 | |
doing it! APPLAUSE | 0:31:29 | 0:31:35 | |
It is going somewhere. Oh. Oh yes. You are not stalling for time. | 0:31:35 | 0:31:39 | |
This is going somewhere because I thought I could give you a little, | 0:31:39 | 0:31:49 | |
0:31:49 | 0:31:58 | ||
well a little sort of warning... SNORING | 0:31:58 | 0:32:04 | |
You should have got an Oscar for Evita. You gave an interview in | 0:32:04 | 0:32:09 | |
English to an Hungarian journalist and it got translate nood Hungarian | 0:32:09 | 0:32:13 | |
and they put it through a translation computer site to get it | 0:32:13 | 0:32:18 | |
back into English... What I supposedly said. | 0:32:19 | 0:32:26 | |
I thought we would re-create it and Andrea, if you could give us your | 0:32:26 | 0:32:31 | |
Madonna, you have studied the lady for sometime, I am expecting a | 0:32:31 | 0:32:36 | |
marvellous performance. You are an unnamed Hungarian journalist. I am | 0:32:36 | 0:32:41 | |
so sorry to give you so little to work with. I would would lean on | 0:32:41 | 0:32:48 | |
accent. OK, very good actors. Re- creating your interview in an | 0:32:48 | 0:32:58 | |
0:32:58 | 0:33:00 | ||
Hungarian magazine. Action! Madonna, did you have a visit that | 0:33:00 | 0:33:10 | |
was agreeable? Are you in good order? Thank you for saying these | 0:33:10 | 0:33:20 | |
0:33:20 | 0:33:24 | ||
come compliments. APPLAUSE | 0:33:24 | 0:33:26 | |
Please, stop taking sensationalist photographs until I have removed my | 0:33:26 | 0:33:28 | |
garments for all the scene. LAUGHTER | 0:33:28 | 0:33:34 | |
This is a joke I have made. Madonna, let's cut to the hunt. Are you a | 0:33:34 | 0:33:39 | |
bold hussy woman who feasts on men who are toys? | 0:33:39 | 0:33:42 | |
Yes! Yes! This is certainly something that brings to the | 0:33:42 | 0:33:47 | |
surface my longings. LAUGHTER | 0:33:47 | 0:33:50 | |
Don't make this up. In America is not considered to be | 0:33:50 | 0:34:00 | |
0:34:00 | 0:34:00 | ||
mentally ill when a woman advances on her prey in a discotech setting. | 0:34:00 | 0:34:04 | |
LAUGHTER OK. These are questions from Left | 0:34:04 | 0:34:14 | |
0:34:14 | 0:34:17 | ||
Space. What was your book Slut about? | 0:34:17 | 0:34:20 | |
APPLAUSE My book was called Sex. Not in | 0:34:20 | 0:34:30 | |
0:34:30 | 0:34:35 | ||
Hungary. Here it was called Slut. CHEERING AND APPLAUSE | 0:34:35 | 0:34:40 | |
Right, it is time for our music act tonightment this lady has just won | 0:34:40 | 0:34:46 | |
the Brits Critic's Choice Award and now she is going to sing for | 0:34:46 | 0:34:56 | |
0:34:56 | 0:35:16 | ||
Madonna. Performing Next To Me, # Rolling dice staying out to three. | 0:35:16 | 0:35:24 | |
# You won't find me unfaithful # You you won't find him Next To Me | 0:35:24 | 0:35:32 | |
# # You won't find him trying to chase the devil | 0:35:32 | 0:35:41 | |
# For money, power and greed # You won't ever find him | 0:35:41 | 0:35:50 | |
# You will find him Next To Me # Next To Me | 0:35:50 | 0:36:00 | |
0:36:00 | 0:36:05 | ||
# You will find him, you will find him Next To Me | 0:36:05 | 0:36:10 | |
# When the money is spent and all my friends have vanished | 0:36:10 | 0:36:19 | |
# And I can't seem to find no help # I know there is no need for me to | 0:36:19 | 0:36:24 | |
panic because I'll find him, I'll find him Next To Me | 0:36:24 | 0:36:29 | |
# When the skies are grey and all the doors are closing | 0:36:29 | 0:36:33 | |
# And the rising pressure makes it hard to breathe | 0:36:33 | 0:36:40 | |
# When all I need to stop the tears from falling, I will find him, I | 0:36:40 | 0:36:49 | |
will find him Next To Me # Next To Me | 0:36:49 | 0:36:59 | |
0:36:59 | 0:37:04 | ||
# I will find, I will find him Next To Me | 0:37:04 | 0:37:14 | |
0:37:14 | 0:37:15 | ||
# When the end has come and the building is falling down fast | 0:37:15 | 0:37:21 | |
# When everyone lass lost their heads around us | 0:37:21 | 0:37:25 | |
# I will find him, I will find him Next To Me | 0:37:25 | 0:37:34 | |
# Next To Me # # Next To Me | 0:37:34 | 0:37:42 | |
# Next To Me # I will find him, I will find him | 0:37:42 | 0:37:50 | |
Next To Me # Next To Me | 0:37:50 | 0:38:00 | |
# # Next To Me # Next To Me | 0:38:00 | 0:38:10 | |
0:38:10 | 0:38:17 | ||
# I will find him, I will find him Ladies and gentlemen, Emeli Sande. | 0:38:17 | 0:38:27 | |
0:38:27 | 0:38:28 | ||
Hello, lovely lady. Congratulations. Sit down. | 0:38:28 | 0:38:34 | |
That was really beautiful. Oh. Was that a little nerve- | 0:38:34 | 0:38:37 | |
wracking and cruel to do to you? Yes, a little bit. | 0:38:37 | 0:38:45 | |
Did you like it, Madonna? Yeah, I loved it. You sung great. Nice hair. | 0:38:45 | 0:38:55 | |
0:38:55 | 0:38:56 | ||
That's off Emeli Sande's album and it is called M DNA - no, the title | 0:38:56 | 0:39:04 | |
has gone. Our Version Of Events. Wow, it is very small writing. | 0:39:04 | 0:39:09 | |
Isn't it true, your actual name is Adel? Yes. | 0:39:09 | 0:39:19 | |
How annoying is that? Three years ago I made the big decision to be | 0:39:19 | 0:39:23 | |
Emeli. Congratulations and best of luck with the future. A gorgeous | 0:39:23 | 0:39:26 | |
song. Before we go, it is a red chair | 0:39:26 | 0:39:35 | |
special because this week only stories are that involve Madonna. | 0:39:35 | 0:39:41 | |
Your gloves would look very good on herment I'm just saying. I'm I'm | 0:39:41 | 0:39:44 | |
just saying. I'm not saying anything. | 0:39:44 | 0:39:47 | |
Who is up first. Who is up first. | 0:39:47 | 0:39:54 | |
Hi, how are you? What's your name, sir? It is John. | 0:39:54 | 0:40:00 | |
What do you do, John? I work as a commercials producer. I make ads. | 0:40:00 | 0:40:07 | |
He makes odds! Wait. Wait, what is an ad? It is | 0:40:07 | 0:40:13 | |
like an ad in Ireland. He looks like he is preparing to tip over. | 0:40:13 | 0:40:21 | |
He should be preparing! Off you go. When I was 11 I asked | 0:40:21 | 0:40:27 | |
for In Bed with Madonna for Christmas and I got Michael | 0:40:27 | 0:40:37 | |
0:40:37 | 0:40:37 | ||
Bolton's greatest hits. I saved up my pocket money and my mother came | 0:40:37 | 0:40:43 | |
home and said what is this and Madonna climbed into bed and began | 0:40:43 | 0:40:47 | |
to touch herself and there was silence and then I was asked to go | 0:40:47 | 0:40:52 | |
to bed. Think it gave my mother two years of hope that I might one day | 0:40:52 | 0:40:57 | |
give her grandchildren. APPLAUSE | 0:40:57 | 0:41:05 | |
Well done, John. Wow. | 0:41:05 | 0:41:08 | |
John was very fashion forward there, wasn't he? | 0:41:09 | 0:41:18 | |
That is not a January look! LAUGHTER | 0:41:18 | 0:41:22 | |
Time for one more. Hello. What's the deal with the yellow? | 0:41:22 | 0:41:30 | |
is big, isn't it?. Your name, I'm guessing isn't Fred Mello. | 0:41:30 | 0:41:35 | |
My name is Lucan. I have got a message for Madonna. | 0:41:35 | 0:41:40 | |
The story is when she came to Romania, we had to write a message | 0:41:40 | 0:41:47 | |
and I won the contest and I won a signed photo for her, thank you, | 0:41:47 | 0:41:51 | |
Madonna. That's what they gave you for | 0:41:51 | 0:41:53 | |
writing the welcome message for a country. | 0:41:53 | 0:41:56 | |
It was just a contest. This is the winning entry? Yes, | 0:41:56 | 0:42:01 | |
this is the winning entry. I changed it. Dear Madge, I know | 0:42:01 | 0:42:05 | |
you're going to hear this message. I'm nervous and it takes a lot of | 0:42:05 | 0:42:09 | |
courage. This is my way to say say how much you mean to me and after | 0:42:09 | 0:42:17 | |
reading this, you will know just how I feel. | 0:42:17 | 0:42:21 | |
Shush. Wait. This could be could be Shakespeare. | 0:42:21 | 0:42:26 | |
I have been a fan of yours since I was very young. Your music is like | 0:42:26 | 0:42:32 | |
a drug. The rhythm and the beat makes me feel high. Sometimes it | 0:42:32 | 0:42:42 | |
0:42:42 | 0:42:51 | ||
makes me cry. Finally. | 0:42:51 | 0:42:52 | |
APPLAUSE If | 0:42:52 | 0:42:52 | |
If you | 0:42:52 | 0:42:52 | |
If you want | 0:42:52 | 0:42:52 |