Browse content similar to Episode 11. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Tonight on the show, an Oscar- nominated actor, a fine comedian | :00:11. | :00:18. | |
and the star of the medical sitcom, Scrubs. Now, microphone..questions | :00:18. | :00:28. | |
:00:28. | :00:53. | ||
for guests, fine wine. Now, clear. Oh, you're so kind. Thank you very | :00:53. | :00:59. | |
much, everybody and welcome to the show. We've got a great line-up for | :00:59. | :01:06. | |
you tonight. Oscar-nominated thespsian, Kenneth Branagh is here. | :01:06. | :01:14. | |
That's posh. And star of Scrubs, Zack Braff is joining us, and | :01:14. | :01:22. | |
comedian Frank Skinner is here. And music from the brilliant Taio Cruz. | :01:22. | :01:28. | |
Yes! I can't wait to meet Kenneth Branagh. He shot to fame as the | :01:28. | :01:37. | |
director and star of the film Henry V. Kenneth portrayed him as a tough, | :01:37. | :01:45. | |
gritty warrior. Here's the actual Henry V. No oil painting, mind you, | :01:45. | :01:51. | |
here's Henry VIII and the most famous of all Henrys, Henry the | :01:51. | :01:57. | |
Hoover. Kenneth also directed and starred in Mary Shelley's | :01:57. | :02:07. | |
:02:07. | :02:08. | ||
Frankenstein. That was a creature with two left feet. This is it! | :02:08. | :02:13. | |
Doh! Kenneth is currently appearing in | :02:13. | :02:19. | |
the Oscar-tipped film, My Week With Marilyn. All about Marilyn Monroe. | :02:19. | :02:25. | |
She had affairs with so many famous men, it was even rumoured she had | :02:26. | :02:32. | |
an affair with Albert Einstein. What did she like about him? | :02:32. | :02:42. | |
Let's get some guests on. Later in the show, Taio Cruz, but | :02:42. | :02:50. | |
first, it's Frank Skinner. How are you? | :02:50. | :03:00. | |
:03:00. | :03:03. | ||
He scrubs up well, it's Zack Braff! Oh, oh, oh! | :03:03. | :03:10. | |
Shove up! But soft, he approaches. He is nigh. | :03:10. | :03:20. | |
:03:20. | :03:31. | ||
Oh, oh! It's like having one direction on the show, isn't it? | :03:31. | :03:37. | |
30 years' time. Welcome to you all. But a special hello to you, Zack, | :03:37. | :03:42. | |
and welcome to London. Thank you for having me. | :03:42. | :03:49. | |
You're here for a while? I've moved here. I'm doing the play in the | :03:49. | :03:54. | |
West end at the Duke of York York and I'll be here until April. So I | :03:54. | :04:00. | |
like to think of myself as a Londoner. And are we treating you | :04:00. | :04:05. | |
well? Are you settling in? Yes, I'm getting used to the changes. Not | :04:05. | :04:11. | |
tipping. I tipped the cab driver too much the other day and he said, | :04:11. | :04:18. | |
"Why are you wasting your money?" That was a rare cab driver. I | :04:18. | :04:22. | |
wouldn't go on television saying you don't tip cabbies. You'll be | :04:22. | :04:29. | |
waiting a long time. And Kenneth, you've just come from the London | :04:29. | :04:35. | |
Circle Film Awards. I have. Did you win? Yes, I did! | :04:35. | :04:40. | |
Congratulations. Thank you. What did you get? It was a very | :04:40. | :04:45. | |
splendid glass platter, mounted on another glass thing that is both | :04:45. | :04:49. | |
beautiful and a wonderful blunt object if someone tried to break | :04:49. | :04:56. | |
into the house. But it was a thrill, both to be nominated and to win. | :04:56. | :05:02. | |
And you're now nominated for a BAFTA as well? Yes. And all of this | :05:02. | :05:11. | |
for your film about Marilyn Monroe. But I saw you at the Globes. I was | :05:11. | :05:17. | |
on an unbelievable table. Over here was Madonna, and then Meryl Streep | :05:17. | :05:25. | |
and I was the albatros. But it was lovely to watch. And I hope you get | :05:25. | :05:33. | |
the Oscar as well. Thank you. Frank you're currently the new host | :05:33. | :05:40. | |
of Room 101. I don't like the "currently" what have you heard? | :05:40. | :05:47. | |
rumours are flying around. No, you're the third host. Do you guys | :05:47. | :05:53. | |
know the show? Yes. I don't, but I've heard it's popular.. I think | :05:53. | :06:01. | |
you'll be fine! Thanks, Zack, I'm warming to you. You were on it | :06:01. | :06:08. | |
once? Yes. What did you put in? put in Action Man. What was wrong | :06:08. | :06:14. | |
with him? It wasn't against Action Man per se, but I come from a very | :06:15. | :06:20. | |
poor family and we couldn't afford the outfits. So my mother used to | :06:20. | :06:28. | |
make them. And she knitted him a matching throufrs and Cardigan in | :06:28. | :06:34. | |
quite a heavy stitch with buttons on. And he looked like an offduty | :06:34. | :06:41. | |
nurse. And when I played with my friends, they had Nazi Storm | :06:41. | :06:49. | |
Troopers. So I was very unhappy as a child. What would you put in? | :06:49. | :06:54. | |
Protective texts. I'm useless at it, but the idea of predicting words | :06:54. | :07:00. | |
that I've never heard of rather than the ones I really want, it | :07:01. | :07:06. | |
takes me four or five times longer to do the thing that is supposed to | :07:06. | :07:13. | |
save you time! And then the ones that slip through. Oh, have you had | :07:13. | :07:22. | |
some like that? I've discovered that Cole and anal and cock are the | :07:22. | :07:31. | |
same thing! You can say a lot more on a British chat show than you can | :07:31. | :07:41. | |
:07:41. | :07:42. | ||
in America! And what would you like to say? Cock and anal! With all | :07:42. | :07:48. | |
boys on the couch tonight, it had to kick off. | :07:48. | :07:56. | |
I find the people who walk around with Bluetooth in their ear | :07:56. | :08:04. | |
incredibly annoying. London is really shutting down for you now. | :08:04. | :08:11. | |
Now, My Week With Marilyn is a huge hit. You are playing Sir Lawrence | :08:11. | :08:17. | |
Olivier. Yes. And when you started out, there were a lot of | :08:17. | :08:23. | |
comparisonons between you and Sir Lawrence, the Shakespeare and | :08:23. | :08:29. | |
directing. But you've gone from mainstream and Hollywood. What was | :08:29. | :08:34. | |
that like going to Hollywood? it was very exciting. You can't | :08:34. | :08:37. | |
quite believe you are there, and lots of things happen to make you | :08:37. | :08:42. | |
doubt it as well. When I first went there 20 years ago, they asked what | :08:42. | :08:50. | |
car I would like to drive. I had no idea. And the guy said, "What about | :08:50. | :08:56. | |
the Ford Mustang, open top and red?" so I said, "OK. So the car | :08:57. | :09:02. | |
waits for me at the hotel and I put the sunglasses on. And I keep going | :09:02. | :09:10. | |
over the wrong side of the road so people are hanging at me. And I get | :09:10. | :09:16. | |
to Paramount studios, and because I'm a Brit my name is not on the | :09:16. | :09:22. | |
gates. And I say, "But I'm directing this big Hollywood film." | :09:22. | :09:30. | |
And I wasn't getting in. Eventually I had to call my mum, as it were, | :09:30. | :09:34. | |
the producer, and spell my name. And they sent me to the parking | :09:35. | :09:40. | |
structure. So I took deep breaths, you've arrived now go and direct | :09:40. | :09:44. | |
your big, Hollywood film. I couldn't get the ignition key out | :09:44. | :09:50. | |
of the car. I couldn't get the roof to go up. And there's a button on | :09:50. | :09:54. | |
the steering column you had to press to let the thing go. And I | :09:54. | :10:00. | |
had to call my mum again and they had to come and get me. So now I'm | :10:01. | :10:05. | |
an hour late and you feel an idiot and you have to explain you don't | :10:05. | :10:11. | |
know anything about cars. I hired a car, because new cars are always | :10:11. | :10:16. | |
scary. And I couldn't get it into reverse and I was coming off a | :10:16. | :10:21. | |
driveway and moving really slowly and somebody blasted their horn and | :10:21. | :10:29. | |
there was an old couple in the car. And every time I turned to reverse | :10:29. | :10:35. | |
they blasted the horn and I swore at them and they looked shocked and | :10:35. | :10:43. | |
who are fied and I went to reverse again and I was leaning on the horn | :10:43. | :10:51. | |
and it was me! Because, Zack, you made it big with | :10:51. | :10:57. | |
skrabsskrabs so proper cash was coming in and you -- Scrubs so | :10:57. | :11:01. | |
proper cash was coming in and you went crazy with the money, didn't | :11:02. | :11:09. | |
you and cars? Yes, the first thing I did was get a beautiful Porche. | :11:09. | :11:15. | |
And my co-star on the show thought it would be funny to play a | :11:16. | :11:21. | |
practical joke on me. There was a show called punked. Did you have it | :11:21. | :11:26. | |
here? We did. Three days off the lot and I was going to a liquor | :11:26. | :11:33. | |
store, and there were hidden cameras and some teenagers asked us | :11:33. | :11:38. | |
to buy them booze because you can't buy it until you're 21 in the | :11:38. | :11:44. | |
States. And I said no I wasn't going to do it. And when we came | :11:44. | :11:52. | |
out of the liingor store the car appeared to be completely covered | :11:52. | :12:01. | |
in graffiti. Ruined, and the whole thing had been choreographed that I | :12:01. | :12:09. | |
wouldn't be able to catch the little b..... But I caught them and | :12:09. | :12:15. | |
I was pummelling them. And I couldn't see from my per cent | :12:15. | :12:21. | |
public sectorive because my adrend line was pumping -- adrenaline was | :12:21. | :12:29. | |
pumping that he was looking like a little boy. But, of course they | :12:29. | :12:34. | |
edited that bit out because they don't want you beating up children | :12:34. | :12:39. | |
on television. But they got me really badly. And when we went into | :12:40. | :12:46. | |
the store, my co-star knew he was on camera. And we walk in and | :12:46. | :12:51. | |
there's a giant rack of porn. It's the first thing you see and I'm | :12:52. | :12:59. | |
with my buddy. Magazines and DVDs. Both, probable. I'll give you the | :12:59. | :13:04. | |
address. I can picture it in my mind. Stay with us. So I walk over | :13:05. | :13:11. | |
to the rack, because I'm, like,, "Check this out" and my mate, | :13:11. | :13:19. | |
because he knows he's on camera is, like, "Oh, I'm not into that" and | :13:19. | :13:29. | |
:13:29. | :13:31. | ||
I'm like, "Yes, you are." Now, Kenneth, you play Lawrence | :13:31. | :13:37. | |
Olivier, and it was like the Prince and the show girl. Yes, he | :13:37. | :13:41. | |
considered himself very traditional. She had an acting coach who was | :13:41. | :13:46. | |
with her most of the time. And aside from showing up late, they | :13:46. | :13:51. | |
also played a love scene and he wanted her to react to the scene | :13:51. | :13:56. | |
but she wanted to feel it and she said famously that when she wanted | :13:56. | :14:02. | |
to show in her eyes that she was in love with him she had to think of | :14:02. | :14:10. | |
things that she loved, like Coca- Cola. And she said she needed to | :14:10. | :14:19. | |
feel it, and he wanted to turn up and do it, but she wanted the muse | :14:19. | :14:25. | |
to visit. And it didn't visit very often. We have a clip here. This is | :14:25. | :14:31. | |
you coping with the acting coach. Well, we're still the first ones. | :14:31. | :14:38. | |
Ghee, this is all right, isn't it. Cut. Can't we just drop it. Well, | :14:38. | :14:45. | |
the thing is, you've already admired the hall downstairs in the | :14:45. | :14:53. | |
first scene and now you're admiring this room as well. Sure. Paula! | :14:53. | :15:01. | |
Christ. I don't get it. He's a strange man I think he already | :15:01. | :15:11. | |
:15:11. | :15:14. | ||
figured it out that he invited her here just to sleep with him. What | :15:14. | :15:21. | |
is it? Marilyn doesn't believe the situation she is in. Then she needs | :15:21. | :15:29. | |
to think about the truth. truth..Marilyn needs as long as it | :15:29. | :15:38. | |
takes, Chaplin took eight months to make a movie. Eight months, I'd | :15:38. | :15:43. | |
rather kill myself! I've seen that film. It is so funny. Actors who | :15:43. | :15:47. | |
are at the end of their tether is always the funniest thing. I did a | :15:47. | :15:56. | |
play with an actor who used to get very mad about people coughing in | :15:56. | :16:02. | |
the audience. And I'd be standing in the wings and he'd say, "Why | :16:02. | :16:09. | |
don't you cough yourselves to death!" and the hand dryers in the | :16:09. | :16:15. | |
toilets. Yes, and now it's people taxing. And the phone famously | :16:15. | :16:25. | |
:16:25. | :16:27. | ||
ringing. Al Pachino apparently picked one up from the audience and | :16:27. | :16:33. | |
said, "I'm acting go away." And it's the same with the cinema, | :16:33. | :16:38. | |
people are eating and bring their sandwiches out and they can't hear | :16:38. | :16:47. | |
and they're saying, "Is that him? He's a bit short, isn't he!" and | :16:47. | :16:53. | |
you carry on regardless. And did you ever meet Lawrence? I never met | :16:53. | :16:59. | |
him, but I wrote to him. I was struggle with a part which he had | :16:59. | :17:04. | |
played it was check-off. And I wrote and said, because I was at | :17:05. | :17:10. | |
that point bending over double and pouring flour over my hair and | :17:10. | :17:16. | |
pretending to be old, which wasn't effective. And I asked if there was | :17:16. | :17:21. | |
anything he had watched or heard or listened to that he could share | :17:21. | :17:28. | |
with me and he wrote back and said, yes there was, but no he wouldn't. | :17:28. | :17:35. | |
Because you have to work it out. But he said his advice was "to have | :17:35. | :17:42. | |
a bash and I wish you good luck" but what I remember of the | :17:42. | :17:47. | |
experience of that letter coming through to my bedsit was the letter | :17:47. | :17:51. | |
itself. The quality of the notepaper was so rich I felt like | :17:51. | :17:59. | |
somebody had sent me a table cloth. And the embossed Lawrence Olivier | :17:59. | :18:06. | |
at the top, it's in a special drawer. To have just someone even | :18:06. | :18:11. | |
bother, from a drama student who found his address in the Who's Who | :18:11. | :18:20. | |
of the theatre. I was tibl write to him and be inspire ed -- I was able | :18:20. | :18:26. | |
to write to him and be inspired for the rest of my days. That's an | :18:26. | :18:30. | |
incredible story. When you were launched on the world it looked | :18:30. | :18:36. | |
like you were very driven and did these amazing things one after the | :18:36. | :18:42. | |
other. Would the younger Branagh have said "yes" to directing a | :18:42. | :18:47. | |
blockbuster like Thor? Well, I certainly used to read that comic | :18:47. | :18:52. | |
when I was a kid so I knew it was true about my feeling for it. But | :18:52. | :18:58. | |
for me, working-class from Belfast, just to even be an actor was | :18:58. | :19:03. | |
already such an amazing leap of faith, my parents were amazed. They | :19:04. | :19:10. | |
thought if you were going to be an actor you were about to be | :19:10. | :19:15. | |
unemployed, homosexual and broke. Well....All Of which is perfectly | :19:15. | :19:20. | |
fine but it doesn't remotely include the idea of directing a | :19:20. | :19:28. | |
great, big movie like Thor. even then you didn't take your | :19:28. | :19:38. | |
Shakespeare hat off, because Christmas Hemsworth, you made him | :19:38. | :19:44. | |
do things. But he's an amazing feller. Even I had to sometimes sit | :19:44. | :19:50. | |
down and have a quick rub with the Radio Times! He's very stimulating. | :19:50. | :19:56. | |
He had all those good looks, but he was an amazing proper, proper on | :19:56. | :20:01. | |
actor and he wanted people to follow Thor into the jaws of death. | :20:02. | :20:08. | |
And it was all about his hammer swinging. And he has an impressive | :20:08. | :20:15. | |
hammer and a great gift with it! That's the DVD extras! But he was | :20:15. | :20:19. | |
able to take on board using the language. A fantastic kid and a | :20:19. | :20:24. | |
straight up and down movie star, an amazing guy but ready to do all of | :20:24. | :20:30. | |
it, a real worker who wanted not just to look it but feel it as well. | :20:30. | :20:37. | |
If you're looking for keep fit advice, Zack you've got some...Oh, | :20:37. | :20:45. | |
Yes, my tips are outrageous. you have some top tips? Well, I | :20:45. | :20:50. | |
think like most people New Year you think, "This is the time" and I | :20:50. | :20:58. | |
went to the gym and I was working out and I'd chosen a day, randomly, | :20:58. | :21:05. | |
Arnold Schwarzenegger walked into the gym! I knew I was in the right | :21:05. | :21:10. | |
one. I tried to put some more weights on to look more impressive. | :21:10. | :21:16. | |
I think he knew the gym owner and he was taking a tour. And he | :21:16. | :21:22. | |
approached me, and I don't know whether he knew me as an actor or | :21:22. | :21:29. | |
as a govern er to say, "Hello citizen" and he said, "What are | :21:29. | :21:34. | |
your goals with your workout." I was so on the spot that I retreated | :21:34. | :21:41. | |
to this very little boy place. And I said, "Well, to be honest, Arnold, | :21:41. | :21:48. | |
if I could have anything, did you ever see the movie Fight Club? I | :21:48. | :21:58. | |
:21:58. | :21:59. | ||
really liked Brad Pittsabs. And he immediately said, "That's all diet. | :22:00. | :22:09. | |
:22:10. | :22:11. | ||
You have to eat a lot of carrots. "And there's Arnold Schwarzenegger, | :22:11. | :22:16. | |
he's Ms Universe. Oops, too many steroids. So I ran home and I | :22:16. | :22:21. | |
bought a shit tonne of carrots and I was eating them for weeks, but | :22:21. | :22:29. | |
nothing ever happened. Now, if you want nutrition advice, Frank | :22:29. | :22:35. | |
Skinner does supplements? Well, someone, very comiccally bought me | :22:35. | :22:43. | |
something called 50 Plus for my 50th birthday. Which are vitamin | :22:43. | :22:49. | |
tablets to get you to the end! And I took them, I thought, "Why not, | :22:49. | :22:56. | |
they might help" and after three days I noticed that my urine had | :22:56. | :23:00. | |
become completely humanness. So the point where it basically shined in | :23:00. | :23:07. | |
the dark. There was, like, a little landing strip from my bed to the | :23:07. | :23:13. | |
ensuite where I'd done a sort of dribbley return! It was scary. You | :23:13. | :23:20. | |
know the rug you get in front of the toilet, it was like flying over | :23:20. | :23:30. | |
:23:30. | :23:33. | ||
Vegas. Now, we turn to modern-day Shakespeare because Zack, you have | :23:33. | :23:38. | |
written a play? Yes. And you're performing is around the country. | :23:38. | :23:46. | |
We're starting in Manchester. Then going to Glasgow. Yes. | :23:46. | :23:52. | |
then ten wonderful weeks in the West End. So please come and see it, | :23:52. | :24:00. | |
Mr Branagh, please come and see it. Oh, you're invited too! | :24:00. | :24:05. | |
Too little, too late. I sense you're going to give me the box | :24:05. | :24:11. | |
office number! It's called All New People. Yes, | :24:11. | :24:17. | |
Sir. Tell us about it. I wrote this play about four strangers who come | :24:18. | :24:23. | |
together in a desolate beach house in the dead of winter. And it's a | :24:23. | :24:29. | |
comedy about these four strangers and it takes place in real-time, 90 | :24:29. | :24:34. | |
minutes. Nice. We did it off Broadway in New York and we had a | :24:34. | :24:38. | |
wonderful reaction. It was my first play so I was very pleased and | :24:39. | :24:44. | |
excited. And then we got this call to bring it to the West End. So it | :24:44. | :24:49. | |
was just beyond my imagination. I'm so honoured. And I didn't play the | :24:50. | :24:54. | |
role the first time, because it was my first play and I wanted to sit | :24:54. | :25:00. | |
at the back of the house and tweak it. And now I think we have it in | :25:00. | :25:06. | |
pretty good shape I'm excited to play in it this time. But now | :25:06. | :25:14. | |
you're performing your own lines are you thinking," Eeeek" or "this | :25:14. | :25:21. | |
is very good." It was funny when we did the play the first time and the | :25:21. | :25:25. | |
actor was saying, "I don't like this line" and I couldn't | :25:25. | :25:34. | |
understand it, but now I do. And it's funny because all my fellow | :25:34. | :25:40. | |
actors think I will know it off the book, because they thought I'd | :25:40. | :25:48. | |
written it I would know it off by heart, but I don't. But do you | :25:48. | :25:54. | |
rewrite it? Not now. Do you know what you could do is make changes | :25:54. | :26:04. | |
every day for the rest of them. Really screw them up! Yeah, not so | :26:04. | :26:10. | |
clever now? But just the thought of being able to do it here. I'm very | :26:10. | :26:15. | |
aware, as a theatre student, about the story of the West End and just | :26:15. | :26:21. | |
to be here is very exciting. are going to Manchester and Glasgow | :26:21. | :26:29. | |
first, just to remind you! Now, Zack is very careful with his fans, | :26:29. | :26:36. | |
you're very in touch through Facebook and Tweeting? Yes. I'm in | :26:36. | :26:41. | |
favour of Facebook because it's a great way to talk to the fans. And | :26:41. | :26:47. | |
whatever I'm doing, whether it's an independent film or a play, they | :26:47. | :26:51. | |
don't have the publicity behind them so it's great to get right to | :26:51. | :26:56. | |
the fans and say, "This is what I'm up to." You made an extraordinary | :26:56. | :27:02. | |
promise to a fan on Facebook. Tell us. I reached a million fans | :27:02. | :27:06. | |
on Facebook, which I thought was pretty cool. It's very cool. | :27:06. | :27:13. | |
what I decided to do as a thank you for all these people supporting me, | :27:13. | :27:19. | |
I said if you submit a video telling me what you would do if I | :27:19. | :27:26. | |
hung out with you for a day, and it need not be special, it could be | :27:26. | :27:32. | |
childcare or a personal assistant. And whatever you want me to do for | :27:33. | :27:39. | |
a day, I'll come and do. A lot of small print, I think. And I put it | :27:39. | :27:44. | |
out, because Facebook is all over the globe. And we narrowed it down | :27:44. | :27:49. | |
to ten and the fans themselves voted and the video that won are | :27:49. | :27:54. | |
these fellows in Austria and as soon as my play is done I'll go and | :27:54. | :27:58. | |
visit them in Austria. But what will you do? I don't know, I think | :27:58. | :28:06. | |
they just want to party. Have you been to Austria before? No. I hear | :28:06. | :28:11. | |
it's lovely. If they have a basement, don't go into it. I don't | :28:11. | :28:19. | |
get it. Kenneth Branagh explaining. Kenneth | :28:19. | :28:26. | |
is filling me in on that. Oh! hoping they won't take me to their | :28:26. | :28:33. | |
basement. No, don't go. Well, the part of the videos was to let me | :28:33. | :28:38. | |
not see that you're not a crazy person. But I guess people can hide | :28:38. | :28:43. | |
that! Yes. None of the neighbours knew! | :28:43. | :28:51. | |
The neighbours always say, "He was just a normal guy." Yes. I used to | :28:51. | :29:00. | |
be written to by this woman I came to know as a jigsaw woman. And she | :29:00. | :29:07. | |
used to send me graphic sexual letters, very neatly cut into | :29:07. | :29:12. | |
perfect jigsaw pieces so you had to piece them together. And my PA, who | :29:12. | :29:18. | |
was a very sweet woman would carefully Sellotape these pieces | :29:18. | :29:24. | |
together to make sure all the fifthy words were available. And | :29:24. | :29:30. | |
she used to sign it and I was on tour and my tour manager said, | :29:30. | :29:34. | |
"There's a woman from the local radio station who wants to | :29:34. | :29:39. | |
interview you" and I said, "Fine" so I came in and we spoke and she | :29:39. | :29:46. | |
said, "Here's my card, if you want to speak again" and I looked at it | :29:46. | :29:55. | |
and it had this symbol on it, and I said, "You're the jigsaw woman, | :29:55. | :30:02. | |
aren't you?" and she said, "That's all in the past" and I said, "I got | :30:02. | :30:11. | |
the last one three weeks ago." And I said, "I want you to go or I'll | :30:11. | :30:18. | |
scream" and she said, "Let me sleep with you tonight" and I said you | :30:18. | :30:25. | |
are out of your mind. I'll never wake up. She said," Please, I'll | :30:25. | :30:31. | |
never bother you again. One night and I'll go." And I said" no, | :30:31. | :30:38. | |
please go" and she lifted up her jumper. And she had a bra on, it | :30:38. | :30:45. | |
was quite nice and she stood like this. And I said, "And you promise | :30:45. | :30:55. | |
:30:55. | :30:58. | ||
me I'll never hear from you again!" And I....I did it. I risked it! | :30:58. | :31:04. | |
Thank you for sharing that so much I'm not going to sleep with these | :31:04. | :31:09. | |
Austrian boys. You break it to them like this. If you're watching, I'm | :31:09. | :31:16. | |
not! Listen, Frank, you're doing a show | :31:16. | :31:22. | |
in the West End and you have your radio show still going and new host | :31:22. | :31:30. | |
of Room 101. Mm. And it has a new formula, it's more like a panel | :31:30. | :31:36. | |
show? Yes, I'm the host and there are three guests competing to get | :31:36. | :31:42. | |
their hates into Room 101. I hate the logo so much it's put me off | :31:42. | :31:50. | |
the Olympics. Look at that. It's like the worst jigsaw you've ever | :31:50. | :31:58. | |
seen. I do think that's the tinyest, tinyest part of the Games. But I | :31:58. | :32:03. | |
could do a better logo right now. I'll do a better logo for the | :32:03. | :32:13. | |
:32:13. | :32:24. | ||
Very good. I've seen that logo everywhere and I didn't know it was | :32:24. | :32:30. | |
for the Olympics. You didn't know what it was? No, I just thought it | :32:30. | :32:37. | |
was some graphic weird design and now I know, thank you. It is some | :32:37. | :32:41. | |
graphic weird design. But you are doing something extraordinary for | :32:41. | :32:46. | |
sports relief? Well, it is extraordinary for me, but it's one | :32:46. | :32:54. | |
of those challenges, you know Eddie Izzard ran 44 marathons, and David | :32:54. | :32:59. | |
Walliams swam the Thames. I'm swimming a length. Now, I should | :32:59. | :33:03. | |
say I can't swim and I'm frightened of water. I've always been | :33:03. | :33:07. | |
frightened of water. And it gets worse because it looks like the | :33:07. | :33:12. | |
chances are, it's not certain yet, but we're going to be doing it in | :33:12. | :33:18. | |
the Olympic pool. And the Olympic pool is twice the size of any other | :33:18. | :33:24. | |
pool. So they have said it will an width. Which makes it sound even | :33:25. | :33:32. | |
more rubbish. And I didn't go to the gym. I have a terrible physique. | :33:32. | :33:38. | |
I'm thinking I might have to do it in a suit to preserve my dignity. | :33:38. | :33:45. | |
You can't swim at all. I can't go out of my depth. Will you have the | :33:45. | :33:51. | |
water wings on? No, I have six weeks to learn and they're going to | :33:51. | :33:56. | |
give me therapy to get observer the fear. Are you making this up? | :33:56. | :34:01. | |
People are laughing. I have a phobia of cake. I'm going to | :34:01. | :34:06. | |
attempt to eat this for sports relief? No, for years, I'm the | :34:07. | :34:11. | |
person who minds other people's stuff on beach hoiltdz while they | :34:11. | :34:18. | |
go off and swim. -- holidays while they go off and swim. What is the | :34:18. | :34:23. | |
most frightening thing? Drowning. That's number one. It's also number | :34:23. | :34:29. | |
two. And I'm doing this live on sports relief night. So I could | :34:29. | :34:35. | |
actually drown on the night. I don't know if they'll carry on, or | :34:35. | :34:42. | |
will people still get their money. Or if you're taking too long, will | :34:42. | :34:49. | |
they just leave it. You could just bob there. I'll be lying on the | :34:49. | :34:55. | |
bottom of the pool. Don't wear clothes or a suit, because they'll | :34:55. | :35:00. | |
be heavy. And also be careful of those tight-fitting one-pieces as | :35:00. | :35:06. | |
well. I'm not worried about the aero-dynamic. It's going to be | :35:06. | :35:12. | |
quite cold in there. I imagine my testicles, by that stage, will have | :35:12. | :35:21. | |
just gone past my heart. Can I just say it's still not certain we're | :35:21. | :35:26. | |
going to do the Olympic pool. Because they're concerned to have | :35:26. | :35:31. | |
someone as frightened as me in an Olympic pool. And also, it's not a | :35:31. | :35:38. | |
good idea if you died. I like the aid of, you know the white line | :35:38. | :35:45. | |
they put around a body in murder films! In mosaic. Good luck with | :35:45. | :35:53. | |
the swim. I hope it goes well. really serious. It's a big deal. | :35:53. | :36:01. | |
Time for some music now. Performing Troublemaker, please welcome, Taio | :36:01. | :36:11. | |
:36:11. | :36:13. | ||
Cruz. 4 # I saw when you arrived look | :36:13. | :36:18. | |
like a super model # Your ass from the side looks just | :36:18. | :36:23. | |
like a coke bottle # I love the way you ride | :36:23. | :36:29. | |
# Put that thing on full throttle # So get up on the sald | :36:29. | :36:35. | |
# I want to see you move like they move in Jamaica | :36:35. | :36:42. | |
# Pretend that I am dinner, she can be my song. | :36:42. | :36:47. | |
# Though my hands up # If you believe in me now | :36:48. | :36:56. | |
# I keep my hands up # I do it all for you now | :36:56. | :37:06. | |
:37:06. | :37:13. | ||
# And sing out oheohoeoha, oheohoeoha # Oheohoeoha sexy little | :37:13. | :37:19. | |
mama-# It's really nice to meet you # Can I be in your classroom | :37:19. | :37:25. | |
# And be your private teacher # If I bring up my camera | :37:25. | :37:32. | |
# Will you with in my future # 'Cos we're gonna do some things | :37:32. | :37:38. | |
# Hope your daddy ain't a preacher # I wanna 150 you move like they | :37:38. | :37:42. | |
move in Jamaica # Pretend that I'm a dinner | :37:42. | :37:52. | |
# She gonna be my salt shaker # Throw my hands up if you believe | :37:52. | :37:55. | |
in thee now # I keep my hands up | :37:55. | :38:03. | |
# And do it all for you now # And and sing how | :38:03. | :38:05. | |
Oheohoeoha # Oheohoeoha | :38:05. | :38:15. | |
:38:15. | :38:18. | ||
# I love the way you dance # It makes me casesy | :38:18. | :38:23. | |
# I wanna see you move # So just let it go, baby | :38:23. | :38:28. | |
# I feel like we can do this # Let's take it to.top | :38:28. | :38:32. | |
# We'll push, push, push it to be limit | :38:32. | :38:39. | |
# To be the limit, limit, limit, limit, # | :38:39. | :38:45. | |
# I though my hands up # If you believe in me now | :38:45. | :38:54. | |
# I keep my hands up # I do it all for the now | :38:54. | :39:00. | |
# And sing out # Oheohoeoha | :39:00. | :39:10. | |
:39:10. | :39:15. | ||
# Oheohoeoha st # Oheohoeoha # Oheohoeoha | :39:15. | :39:25. | |
:39:25. | :39:40. | ||
Oh, yes, well done, Sir! Thank you very much. | :39:40. | :39:50. | |
:39:50. | :39:54. | ||
Come and take a seat. Mr Skinner, Mr Braff, Mr Branagh. | :39:54. | :39:58. | |
Thank you. I looked at them. I wasn't sure they were the party | :39:59. | :40:03. | |
generation, but look at them. That's the single out at the moment, | :40:03. | :40:11. | |
Troublemaker. That's right. And the album is out in March. Yes. It's | :40:11. | :40:17. | |
called Taio. I feel so stupid, I always assumed you were American? | :40:17. | :40:24. | |
lot of people think that, and even when I talk to them for ten to 20 | :40:24. | :40:28. | |
minutes they still think I'm American. And they say, "Say | :40:28. | :40:35. | |
something" and when I say "hello" they say, "Oh, yes, you're | :40:35. | :40:41. | |
English." And did you write Umbrella? It's a long story, but, | :40:41. | :40:51. | |
:40:51. | :40:52. | ||
yes, it was my song before Rhianna stole it. Bitch! I'll do her when I | :40:52. | :41:00. | |
see her. It's cool. I'm still here. I'm on the Graham Norton show! | :41:00. | :41:04. | |
where's she? She's not here. No. Thank you very much for doing that | :41:05. | :41:09. | |
and thanks for all the dancers. We're going to go, but just before | :41:09. | :41:19. | |
:41:19. | :41:22. | ||
we have a story in the Red Chair. Hello. Hiya. What is your name? | :41:22. | :41:28. | |
Aisling. I'm guessing you're from Ireland? I am. The north of the | :41:28. | :41:37. | |
country. What do you do? Costume design. Interpretation. There will | :41:37. | :41:45. | |
be subtitles on Friday! Can you understand her? I can't. So far, | :41:45. | :41:52. | |
you're not missing anything. I've never heard of costume | :41:52. | :41:59. | |
interpretation before? It's the same as design, isn't it? Except | :41:59. | :42:05. | |
posher. Pull the leaver. Off you go? OK, leading up to Christmas I | :42:05. | :42:12. | |
was at home. Look at Zack's face. Did you get it? Something about | :42:12. | :42:20. | |
Christmas. Just pick out words. Christmas and home. I went to the | :42:20. | :42:30. | |
:42:30. | :42:32. | ||
shop and I had to- get-milk-and- bread. And I was a bit stressed, so | :42:32. | :42:41. | |
it was like, run in, run out, let's go. I just told my boyfriend pick | :42:41. | :42:49. | |
me up, no need to park the car. I came out, perfect timing. Saw the | :42:49. | :42:58. | |
silver people carrier, casual speed. So I sprinted across with my | :42:58. | :43:03. | |
groceries, jumped in the back and thumped the back of the chair | :43:03. | :43:08. | |
saying go, go, go and because it was Christmas I had a scarf up here | :43:08. | :43:13. | |
and a hat down here. And I thought the person who was my boyfriend, | :43:13. | :43:20. | |
turned out to be this middle-aged, 60-year-old woman. And she was | :43:20. | :43:26. | |
screaming, "Jesus" and pushed her foot on the accelerator and went | :43:26. | :43:36. | |
:43:36. | :43:39. | ||
straight into a lamp post! Oh. Very good. And you can get in touch at | :43:39. | :43:46. | |
the website and please thank all my guests tonight. Taio Cruz, Frank | :43:46. | :43:53. | |
Skinner, Zack Braff and Mr Kenneth Branagh. Thank you. Joining me next | :43:53. | :44:02. |