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This programme contains adult humour. Tonight on the show, Daniel | :00:47. | :00:55. | |
Radcliffe is here to talk about his new scary film. Huh, I don't find | :00:55. | :01:05. | |
:01:05. | :01:21. | ||
movies scary at all. Aagh!, let's Oh! Oh! Hello. Hello, everyone. Oh, | :01:21. | :01:27. | |
you're very welcome. Hello, one and all. We've got a great show for you | :01:27. | :01:31. | |
tonight. Britain's most successful actor, Daniel Radcliffe is here. | :01:31. | :01:41. | |
:01:41. | :01:42. | ||
Yes, he is. Comedian, actor and belly-dancer,, Omid Djalili is on | :01:42. | :01:50. | |
the show. Oscar-winning actor, Cuba Gooding Jr is here. And, as if that | :01:50. | :01:53. | |
wasn't enough, we've got music from the very lovely Sinead O'Connor, | :01:53. | :01:58. | |
ladies and gentlemen. CHEERING AND APPLAUSE | :01:58. | :02:07. | |
Yes. Now, Daniel is here to tell us about his scary ghost film. It's a | :02:07. | :02:12. | |
ghost story, The Woman in Black. Yes. I know. The film is a classic | :02:12. | :02:17. | |
of the genre. You know, an abandoned house. An angry ghost | :02:17. | :02:25. | |
trying to drive him away. It's based on an original story. Spoiler | :02:25. | :02:30. | |
alert! The Woman in Black turns out to be the janitor in a rubber mask. | :02:30. | :02:39. | |
I might have got away for it too if it hadn't been for you pesky, Harry | :02:39. | :02:42. | |
Potter. People do love going to the sin mab to be terrified, don't | :02:42. | :02:50. | |
they? One good way of scaring yourself. Fill up a bag with a pick | :02:50. | :02:56. | |
n pick and see how much it costs! I tell you, the music score, the | :02:56. | :03:01. | |
music score in The Woman in Black is fantastic. Very spooky. Very | :03:01. | :03:09. | |
spooky. Music can be evocative in films. When when I see this I think | :03:09. | :03:19. | |
:03:19. | :03:19. | ||
PSYCHO THEME TUNE. When I see this I think JAWS THEME TUNE when I see | :03:19. | :03:25. | |
this I think. Later we will get music from Sinead O'Connor. But | :03:26. | :03:35. | |
:03:36. | :03:49. | ||
He's as good as it gets, it's Cuba Gooding Jr. | :03:49. | :03:59. | |
:03:59. | :04:03. | ||
CHEERING AND APPLAUSE . And, he's frighteningly talented, | :04:03. | :04:06. | |
it's Daniel Radcliffe. CHEERING AND APPLAUSE | :04:06. | :04:16. | |
:04:16. | :04:22. | ||
Hey, why did they give the black man a big glass of wine. What the | :04:22. | :04:32. | |
:04:32. | :04:33. | ||
hell! Can I get a brown paper bag. You asked gor it? I know, it's | :04:33. | :04:39. | |
genetics. That's all I'm saying. You are not drinking alone. It's a | :04:39. | :04:45. | |
sophisticated looking couch. We all you knew we would be on television. | :04:45. | :04:50. | |
I'm proud, Daniel is all grown up. He is playing a father himself now. | :04:50. | :04:54. | |
Yes, I am. You are a dad. playing a dad. It's bizarre. I | :04:54. | :04:59. | |
thought to myself, everyone having seen me in a schoolboy out fit for | :04:59. | :05:03. | |
ten years, it will be a leap to see me as a dad much I asked James to | :05:04. | :05:10. | |
audition my real-life God son. What would sell it it was if the | :05:10. | :05:15. | |
relationship between my son and I seem real. My real-life godson | :05:15. | :05:20. | |
plays my son. He is really good. At the time I was obsessed with him | :05:20. | :05:23. | |
not crying and not being cold on a night shoot. It was horrible. This | :05:23. | :05:32. | |
was a fill nm which the kids are really not all right. They are more | :05:32. | :05:37. | |
than disturbed. You see stuff happen to kids which you don't | :05:37. | :05:42. | |
normally see happen to kids in films. Do you see dead people? | :05:42. | :05:47. | |
There are a lot of dead people. don't play that. Man, we are a | :05:47. | :05:52. | |
religious family. I don't play that. I get scared easy. Do you get | :05:52. | :05:58. | |
scared easy? Quiet your mouth. you get scared? I don't. I scream a | :05:58. | :06:05. | |
lot. If I... I don't know why. Because you are scared. I have got | :06:05. | :06:12. | |
to merchandise at 5.55 am and they say, "we don't open up 6.00 am" and | :06:12. | :06:17. | |
I scream for no reason. Single dads who push their kids in prams and | :06:17. | :06:23. | |
they think about their life and go, ah, ah, that kind of screaming. | :06:23. | :06:27. | |
do. When you have kids you see the more horrific things happening to | :06:27. | :06:32. | |
them. You think, what if I drop them now. You think, my goodness, | :06:32. | :06:39. | |
no. It's a built in thing. When the kid is in bed and you lie on them, | :06:39. | :06:45. | |
or you are nearly on top of them. It's like ah, ah! Our first child | :06:45. | :06:50. | |
was laying between us, he was only one. I was sleeping. In my dream I | :06:50. | :06:55. | |
got in a fight, right. So, seriously. I did one of these. His | :06:55. | :07:02. | |
little forehead was right here. I went. Oh, I woke up. I turned the | :07:02. | :07:12. | |
:07:12. | :07:14. | ||
light on the other hand and he's like this... BABY SCREAMING. MY | :07:14. | :07:22. | |
WIFE WAS LIKE, "WHAT THE HELL". I WAS LIKE "I HIT THE BABY". I TURNED | :07:22. | :07:29. | |
THE LIGHT ON SKCHES AND IT WAS HIS FACE. THERE A MOMENT WHERE THEY GET | :07:29. | :07:35. | |
HURT. FIVE SECOND WHEN THEY PROCESS IT AND REALISE AND GO MENTAL.. | :07:35. | :07:42. | |
Daniel, have you been through the experience of your in laws. I met | :07:42. | :07:48. | |
my girlfriend's parents. We are a little way of off them being the | :07:48. | :07:52. | |
inlaws. It's a nerve-wracking experience when you meet your | :07:52. | :07:56. | |
girlfriend's family. Was your girlfriend not there She wasn't | :07:56. | :08:01. | |
there. That seems cruel. Absolutely not. When I was in New York doing | :08:01. | :08:05. | |
the show I did out. There I lived with my parents moved back in with | :08:05. | :08:14. | |
me at the beginning of the year. Spongers. I know. She was with me | :08:14. | :08:19. | |
over there as well. There goes that relationship. She was living with | :08:19. | :08:23. | |
me out there as well. And, she spent months with my parents just | :08:23. | :08:27. | |
her and them in the house. Her parents came over to New York, I | :08:27. | :08:34. | |
took them out to lunch. It was lovely. Hello Jill, hello Malcolm. | :08:34. | :08:42. | |
I turned around and said, "have I passed?" You are not going to phone | :08:42. | :08:46. | |
Rosie and go, "he's terrible. You can't see him again, he's the most | :08:46. | :08:50. | |
awful person I have met". That didn't happen. We are still going | :08:50. | :08:57. | |
out. I guess that OK -- is OK. are pleased for you. Wonderful. | :08:57. | :09:02. | |
When I met Jill and Malcolm that was weird. They were confused as to | :09:02. | :09:09. | |
why you were at their house. That was strange. Malcolm and Jill | :09:10. | :09:17. | |
adopted me in the 1970s to heal the wounds from my childhood. The two | :09:17. | :09:21. | |
of you, funny, funny. He has to go back and talk to them after this. | :09:21. | :09:27. | |
They will be fine. They have a good sense of humour. Fingers crossed. | :09:27. | :09:32. | |
Huge congratulations The Woman in Black, a big hit? Well, yes. So far. | :09:32. | :09:36. | |
Not just here but in America? amazingly in America. Everyone pays | :09:37. | :09:41. | |
a lot of attention to box office stuff over there. You hear a lot of | :09:41. | :09:47. | |
it. Apparently, the film was predicted to make �million and it | :09:47. | :09:51. | |
made �21 million, which is awesome. What is awesome about that. It's | :09:51. | :09:56. | |
always, kind of, possible to just see those figures. It seems quite | :09:56. | :10:01. | |
cold how much money the film made. What that meant is that a tonne of | :10:01. | :10:04. | |
people went to see it. When you make a film all you want is people | :10:04. | :10:09. | |
to see it. They did, so thanks. an industry you are seen as a | :10:09. | :10:14. | |
bankable star not that guy part of a franchise you can sale movie by | :10:14. | :10:19. | |
yourself? It's a good start. I wasn't under the illusion that | :10:19. | :10:24. | |
people would see this film and say, he is not Harry Potter any more, | :10:24. | :10:30. | |
and it has changed my opinion. I look different. There will never be | :10:30. | :10:34. | |
one part that separates me from those ten years of my life. It's a | :10:34. | :10:40. | |
matter of getting people accustomed to seeing me in other films and | :10:41. | :10:48. | |
keeping busy. I saw Daniel in the West End. Was terrifying. He got | :10:48. | :10:58. | |
:10:58. | :10:59. | ||
naked and we saw his willy. No-one knew if it was him or the horse! | :10:59. | :11:05. | |
Malcolm and Jill. Tell me they never saw it? They never did. | :11:05. | :11:14. | |
He got that shit from his daddy. Stop it. I like how you are talking | :11:14. | :11:21. | |
about a small opening, and big, Harry Potter made hundreds of | :11:21. | :11:28. | |
dollars you arnt aren't worried about money any more, man. | :11:28. | :11:34. | |
thing is, people so often people... Huge star, mother. That fame thing. | :11:34. | :11:38. | |
Fame doesn't last. Fame is a by- product. It is fleeting. It's a by- | :11:38. | :11:43. | |
product of good work. I know... do good work. Thank you, sir. | :11:44. | :11:50. | |
are an artist. I hate that word. Don't say that to him! I hate actor | :11:50. | :11:56. | |
the calling... You can't paint. Because I can't paint. I have a | :11:56. | :12:06. | |
:12:06. | :12:07. | ||
problem who say, "artist who --" when they are not near an easel. It | :12:07. | :12:14. | |
makes me murderous. Let's move on. I have some questions here. I'll | :12:14. | :12:19. | |
use one of these. I'll use one of these. It's interesting. In press | :12:19. | :12:24. | |
for The Woman in Black we found out a lot more about you. You know, you | :12:24. | :12:31. | |
talked about your girlfriend and problems with alcohol and the fans. | :12:31. | :12:36. | |
All those, I didn't know. That was that deliberate, or was it because | :12:36. | :12:39. | |
you could. Presumably during Harry Potter someone would have killed | :12:40. | :12:46. | |
you if you told these stories at all. They let me go to the West | :12:46. | :12:49. | |
End. They were OK with stuff. In the last year I came to the | :12:49. | :12:55. | |
conclusion that the easest way to be, if you're well-known is to have | :12:55. | :12:59. | |
as little gap, as little difference between how people perceive you and | :12:59. | :13:03. | |
how you actually rfplt I do interviews like this and I feel I'm | :13:03. | :13:08. | |
lying or hiding stuff. It ease's easier if I don't, if... For me I | :13:08. | :13:12. | |
find it easier if I don't feel I have to do that. That is why I | :13:12. | :13:16. | |
talked about, well I talked about Rosie pictures came out and people | :13:16. | :13:20. | |
were like, "who is she?" I needed to tell them much I talked about | :13:20. | :13:26. | |
the drinking thing it came up as well it felt better to be honest. | :13:26. | :13:35. | |
It seems like you made bold choices. Big Broadway musical, a classic | :13:35. | :13:38. | |
gothic horror. They are the things that have come along. I have been | :13:38. | :13:43. | |
lucky. You have to show people you are willing to take risks. You have | :13:43. | :13:47. | |
to show people... When you are in a big franchise people expect to you | :13:47. | :13:50. | |
do nothing. In terms of the money thing thaw mentioned, Cuba, | :13:51. | :13:55. | |
everyone says, "you don't need to work again". What they never ask, I | :13:55. | :14:00. | |
have worked every day sense since I was ten. I didn't know how to do | :14:00. | :14:06. | |
anything else. I didn't mean. I meant you accomplished everything | :14:06. | :14:16. | |
:14:16. | :14:20. | ||
else. That's ought -- August all So do you take time off? I am | :14:20. | :14:25. | |
having three weeks off in about two weeks. I'm very excited. I haven't | :14:25. | :14:31. | |
taken that time off in four years. Try shopping and lying down. It's | :14:31. | :14:41. | |
:14:41. | :14:41. | ||
great. I think you will like it! He may never get back up again. He is | :14:41. | :14:46. | |
blessed. If I love it. Talking about the Woman In Black, it is | :14:46. | :14:53. | |
fantastic, it is proper old- fashioned Gothic art. It makes you | :14:53. | :14:59. | |
gasp. It does. There is no call for blood, it is not like that. But | :15:00. | :15:05. | |
there are things that will make you scare -- scared of the dark. It is | :15:06. | :15:14. | |
creepy, chilling, suspenseful. on set, presumably you tried to | :15:14. | :15:19. | |
frighten each other? He has, it was very useful on this film because I | :15:19. | :15:24. | |
actually had an actress there who plays the Woman In Black, and the | :15:24. | :15:29. | |
main scare comes from the fact that me and my body double, who has been | :15:29. | :15:33. | |
doubling me since the fourth Harry Potter because that is the last | :15:33. | :15:43. | |
:15:43. | :15:46. | ||
time I grew! No, it's true. We got into a thing where we would try to | :15:46. | :15:48. | |
scare each other round the set randomly, and he eventually won | :15:48. | :15:53. | |
because I was going home one night and he had hit himself in the foot | :15:53. | :15:57. | |
while of the passenger seat side of the car, and I just opened the door | :15:58. | :16:07. | |
:16:08. | :16:11. | ||
and he leapt at May, and I was terrified. It could have been a | :16:11. | :16:21. | |
:16:21. | :16:23. | ||
black on black crime. I knocked him out! Did. We are going to watch a | :16:23. | :16:29. | |
clip, so deep breaths, everybody. You may want to hold hands. This is | :16:29. | :16:39. | |
:16:39. | :16:39. | ||
Apology for the loss of subtitles for 75 seconds | :16:39. | :17:54. | |
you alone in the house, and you are Know, that wasn't scary. A change | :17:54. | :18:04. | |
:18:04. | :18:11. | ||
of underwear. -- no that wasn't Nothing happens right after that. | :18:11. | :18:17. | |
The rocking chair features quite heavily. Anyone who has seen the | :18:17. | :18:20. | |
play will know the rocking chair features quite heavily. Cuba | :18:20. | :18:30. | |
:18:30. | :18:31. | ||
Gooding Jr, you have just had a big hit. We are going to talk about it | :18:31. | :18:35. | |
in a minute, but in a way, you have had a similar experience to Daniel | :18:35. | :18:39. | |
in that you had something so successful that it doesn't leave | :18:40. | :18:46. | |
you alone. Is it true that still you get the show me the money thing. | :18:46. | :18:56. | |
:18:56. | :19:02. | ||
Yes, all the time. I wish I could have it again so I can say, bam! | :19:02. | :19:07. | |
There must be days when it is so hard. Yes, especially in a bar when | :19:07. | :19:14. | |
some drunk comes up you and spits it in your face. Were they want you | :19:14. | :19:21. | |
to say it, and they say, no, say it like in the movie! And did you have | :19:21. | :19:25. | |
to bang your father from visiting the set again after Jerry Maguire? | :19:25. | :19:35. | |
:19:35. | :19:37. | ||
Is that true? Why, because when I introduced him to Tom Cruise...? | :19:37. | :19:45. | |
Yes, the answer is yes, I told him, no more visits to my set. What did | :19:45. | :19:55. | |
:19:55. | :20:03. | ||
he say? He was like, Tom, I love I almost fainted. I was like, | :20:03. | :20:13. | |
:20:13. | :20:15. | ||
please, Lord, let me disappear. what did he say? Thank you, Tom. | :20:15. | :20:25. | |
:20:25. | :20:26. | ||
Get back in the car he! One of those moments in life. And was your | :20:26. | :20:33. | |
father...? Mentally ill! That is why I do stand up, to heal the | :20:33. | :20:39. | |
wounds of my childhood. Being from an Iranian background, he would say | :20:39. | :20:45. | |
things like, you have to take opportunities, because some people | :20:45. | :20:49. | |
if you put opportunity in a test- tube and shove it up their arse, | :20:49. | :20:58. | |
they farted out. You know when you shoot a cat up your arse, it took | :20:58. | :21:02. | |
me a while to understand, this is the Iranian version of the saying | :21:02. | :21:12. | |
:21:12. | :21:21. | ||
Thank you so much. I feel healed. Healing through laughter. Red tails, | :21:21. | :21:30. | |
a big hit in the States, so talk us through it. It is about the fighter | :21:30. | :21:36. | |
pilots in World War Two who were bomber escorts for the big bombers. | :21:36. | :21:41. | |
At the time, it was a segregated military, so they refused entry, | :21:41. | :21:45. | |
and finally when they were allowed to fight, they had exemplary | :21:45. | :21:51. | |
records. They really were exceptional. That is amazing, | :21:51. | :21:57. | |
because you from that in Prague? Yes, in an abandoned Russian air | :21:57. | :22:01. | |
base in the Czech Republic. It was interesting because you really felt | :22:01. | :22:05. | |
like you are backing 1943, because the whole air base was we done into | :22:05. | :22:09. | |
that time period, and I don't know if you have never been to Prague, | :22:09. | :22:17. | |
there are not many black people. And on the set it was all black | :22:17. | :22:25. | |
faces. And remember the first time we went to the set, we would say, | :22:25. | :22:35. | |
:22:35. | :22:36. | ||
this is amazing! And they didn't understand people, and oh, you are | :22:36. | :22:46. | |
:22:46. | :22:46. | ||
not American. They bossed people in. African Americans don't like | :22:46. | :22:56. | |
:22:56. | :22:59. | ||
Africans? No, that's not true. people come and to cure people and | :22:59. | :23:04. | |
to accuse someone else, 500 years later, a few Africans turn up in | :23:04. | :23:14. | |
:23:14. | :23:15. | ||
America, with briefcases and watches. If you is the same with | :23:15. | :23:20. | |
Spanish and Mexicans, if you go to Spain and say, are you Mexican, I | :23:20. | :23:25. | |
will fight you! And George Lucas was passionate about this, he put | :23:25. | :23:30. | |
his own money in. Was he around for the film? Heeded and directed, he | :23:30. | :23:40. | |
:23:40. | :23:43. | ||
produced it. He produced it, but his hands were on it. And, action! | :23:43. | :23:53. | |
Waiters second, stay there. It is so funny, because the first time I | :23:53. | :24:03. | |
:24:03. | :24:04. | ||
walked on the set, he looks at you, and he said, got more dialogue than | :24:04. | :24:08. | |
the stormtroopers, hey? And he breaks into this story, and the | :24:08. | :24:13. | |
whole set stops. You don't realise how much power this man has. He is | :24:13. | :24:21. | |
a film icon. Some of those big actors, there is something | :24:21. | :24:26. | |
charismatic, Berwick -- they are quite presidential. I worked with | :24:26. | :24:31. | |
Robert Redford, and whenever he walked on set, everyone stood up. | :24:31. | :24:36. | |
You realise these people are so quick. I was introduced to him, and | :24:36. | :24:42. | |
are thought I would do a joke, I said Mr Redford, you're a big fan, | :24:42. | :24:49. | |
I love Hawaii Five-O. And he looked at me and said, thanks, you were | :24:49. | :24:54. | |
great in Dr Zhivago, but you let yourself go. So he is very quick. | :24:55. | :25:01. | |
Never try to outwit them. What was he like? Presidential, as I just | :25:01. | :25:11. | |
said a few moments ago. You were too busy playing with you sure long. | :25:11. | :25:17. | |
Yes, every time the camera cut away from me. Focus, everyone! We are | :25:17. | :25:24. | |
about to see a clip - sorry I was hoping for a nice introduction than | :25:24. | :25:34. | |
:25:34. | :25:42. | ||
this. Just go to the clip! Role the What was your question? What we do, | :25:42. | :25:51. | |
how well we do it. Does it matter? You sign up, you get shiny boots | :25:51. | :25:56. | |
and a uniform and you think that would be the end of bigotry? You | :25:56. | :26:03. | |
are coloured men in a white man's Army, and you thought that you | :26:03. | :26:07. | |
would be equal? Any of you want to wash yourselves out? Feel free to | :26:07. | :26:13. | |
do so. I will have you on the next thing back home to make room for | :26:13. | :26:21. | |
those who want to stay and fight. Get your head up, son. You are | :26:21. | :26:31. | |
:26:31. | :26:41. | ||
fighter pilots. Watch the rest of That's what I'm talking about! | :26:41. | :26:44. | |
Vancouver that, and I'm very excited for you all to see it. | :26:44. | :26:47. | |
Let's talk about your film career, because you have been in so many | :26:47. | :26:51. | |
films, and I have many fears, so for me, and watching one of these | :26:51. | :26:58. | |
films, and then suddenly, Omid Djalili is in it! I am a comeback | :26:58. | :27:08. | |
:27:08. | :27:09. | ||
specialist. And I can talk up here, or down here. I can do whatever you | :27:09. | :27:19. | |
:27:19. | :27:25. | ||
I get confused. But yes, it has been an interesting career. | :27:26. | :27:35. | |
:27:36. | :27:37. | ||
money, Sex And The City, Gladiator, James Bond. I did play Picasso in | :27:37. | :27:44. | |
one film. I was very overweight, and they asked me to lose four | :27:44. | :27:48. | |
stone in six weeks, and I couldn't, so I was losing weight as we went | :27:49. | :27:53. | |
along, and then at the Film Festival, they were asking | :27:53. | :28:02. | |
questions, can you explain, Picasso was overweight. And they said, in | :28:02. | :28:05. | |
between the rows period and the blue period, there was the fast | :28:05. | :28:13. | |
food period. And if you notice Picasso's painting with doughnuts... | :28:13. | :28:20. | |
And they bought it! I was the first fat Picasso. And touring around the | :28:20. | :28:27. | |
world, stand-up tours, a lot of people tonight will know you from | :28:27. | :28:35. | |
the adverts, the money supermarket. It is interesting, because I had a | :28:35. | :28:44. | |
mother come up to me and said, my eight-year old loves me in those | :28:44. | :28:54. | |
:28:54. | :28:55. | ||
ads, and I said to him, do you like me in those ads, and he started | :28:55. | :29:05. | |
:29:05. | :29:07. | ||
singing and he sang go compare, and I said no! And I said no, I am not | :29:07. | :29:14. | |
sign anything for this kid, he thinks I am in the other advert. I | :29:14. | :29:24. | |
:29:24. | :29:28. | ||
am not a meerkat! And I am not Stavros flatly! And does anyone | :29:28. | :29:38. | |
:29:38. | :29:45. | ||
ever get recognised as him of Daniel, do you still get taken for | :29:45. | :29:52. | |
Elijah Wood? Not as often, but still quite a lot. You don't look | :29:52. | :29:58. | |
quite so alike any more. Oh, I take it back! I thought that was a | :29:58. | :30:08. | |
:30:08. | :30:09. | ||
I was fortunate enough to meet Elijah, and he is a lovely guy. It | :30:09. | :30:16. | |
is much more disturbing for him, because he was being recognised as | :30:16. | :30:23. | |
me when I was 13 and he was in his twenties. I signed a photo once in | :30:23. | :30:28. | |
Japan, because somebody gave me a photo on the red carpet of Elijah | :30:28. | :30:32. | |
Wood, and there is no time to explain to the male language that | :30:32. | :30:39. | |
is not their first in that moment but it is not me, so I just wrote, | :30:39. | :30:49. | |
:30:49. | :30:50. | ||
I am not LIG would, and Daniel Radcliffe. -- I am not Elijah Wood. | :30:50. | :30:55. | |
Some of these lookalikes are very good. Dobby is Prime Minister | :30:56. | :31:02. | |
Vladimir Putin. Yes, and one of the funniest things about that is | :31:02. | :31:07. | |
apparently it makes him really angry. You would think that other | :31:07. | :31:16. | |
things would PC off. And they did very well with Hagrid. He looks a | :31:16. | :31:25. | |
bit like the guy from Lost. But not everyone using this website got the | :31:25. | :31:34. | |
concept. Somebody put in Voldemort, and they suggested he looked eerily | :31:34. | :31:44. | |
:31:44. | :31:55. | ||
Omid Djalili your tour is coming to a big climax. Yes. It's called Tour | :31:55. | :31:58. | |
of Duty. You brought the dancing back into the show. You didn't want | :31:58. | :32:04. | |
it do it for a while. Yes. People said, sing and dance more. I got | :32:04. | :32:09. | |
deaf threats. There was a card that said, "we heard you are not dancing, | :32:09. | :32:15. | |
you better dance or die" it was dance or die. It was like a wedding | :32:15. | :32:21. | |
invitation. Ironic. It only happens to me. You started dancing again? | :32:21. | :32:28. | |
did. Believe me, I dance the whole bloody show. It's more than a dance | :32:28. | :32:33. | |
routine. Like a movement art piece. Fantastic. Can I encourage you to | :32:33. | :32:38. | |
do a little bit for us. No, sorry, I don't dance. | :32:39. | :32:44. | |
CHEERING AND APPLAUSE . The only thing I would say... | :32:44. | :32:52. | |
Come on. Kueb ya is an amazing dancer. Daniel Radcliffe won the | :32:52. | :32:58. | |
Fred Astire award. I didn't win. It I was nominated. Some loser is good | :32:58. | :33:08. | |
:33:08. | :33:09. | ||
at dancing in America. Who cares. If you dance, we compete the trio. | :33:09. | :33:19. | |
:33:19. | :33:23. | ||
I'm sorry. Even if I played music. Sorry. Cue the music. | :33:23. | :33:25. | |
APPLAUSE Beautiful. Thank you very much, | :33:25. | :33:35. | |
:33:35. | :33:35. | ||
Right, it's time for our music act now. My next guest is one of the | :33:35. | :33:39. | |
greatest musical exports Ireland has ever produced much we are | :33:39. | :33:42. | |
thrilled to have her back on the show. Ladies and gentlemen, would | :33:42. | :33:48. | |
you, please, put your hands together for Sinead O'Connor. Hello. | :33:48. | :33:58. | |
:33:58. | :34:05. | ||
Very good. Welcome to the boys club. Great pleasure to meet you. One of | :34:05. | :34:10. | |
my children had many imaginary baths with you. I have bathed you | :34:10. | :34:14. | |
often with one of my children. to get better acquainted. I thought | :34:14. | :34:18. | |
I felt something. I didn't recognise you with your clothes on. | :34:18. | :34:22. | |
There is a difference. Under a cloak of invisibility. You don't | :34:22. | :34:27. | |
want him in the bath with your children. Sinead O'Connor, | :34:27. | :34:30. | |
congratulations you are singing The Wolf Is Getting Married, I think | :34:30. | :34:33. | |
it's the best thing you have done in years. It's fantastic. I'm | :34:33. | :34:43. | |
:34:43. | :34:44. | ||
playing it on the roofplt it's very good. It's off the album. I rushed | :34:44. | :34:52. | |
out earlier and bought it. that's not it! That's not the could | :34:52. | :34:59. | |
have been of my record. Where did you buy that? There is an inside | :34:59. | :35:05. | |
sleeve. Don't. No, no. No. That is not going to go well. No. There | :35:05. | :35:15. | |
:35:15. | :35:15. | ||
isn't even one it! CHEERING AND APPLAUSE | :35:15. | :35:23. | |
I must have left it in the car! Great come back. Thank you, very | :35:23. | :35:27. | |
much. It's still at the radio station where it's being played | :35:27. | :35:33. | |
constantly. It's on a loop. How are you? Are you all right? Are you | :35:33. | :35:38. | |
well. People worry about you. Reread all these things about you. | :35:38. | :35:42. | |
Bla, bla. I don't know how I should answer those questions. In one way | :35:42. | :35:46. | |
I want to talk about music. The only thing that bothers me about my | :35:46. | :35:50. | |
stuff is that I have dealt with 25 years like this with everyone | :35:50. | :35:55. | |
treating me like a crazy person. It's a great source of | :35:55. | :35:59. | |
entertainment. We live in a world where crazy is an abuse. I think it | :36:00. | :36:04. | |
should be outlawed. I know you don't mean. That I adore you. | :36:04. | :36:08. | |
really don't mean you any harm. are lovely. Absolutely. It's a | :36:08. | :36:14. | |
weird question. People go, "are you all right?" How do I prove I am. | :36:14. | :36:18. | |
You prove you are all right by being here and smiling. I'm a | :36:19. | :36:22. | |
nervous wreck about interviews, to be honest. I have a record company | :36:22. | :36:28. | |
going, "don't is a anything" on the other hand I'm.... Don't worry. | :36:28. | :36:32. | |
That is why I'm saying. It what you see now before you is what I sing. | :36:32. | :36:41. | |
When you see me singing I make sense. Look. Sinead O'Connor, go | :36:41. | :36:45. | |
and sing. Go sing, baby. All right. In a minute, we will have this | :36:46. | :36:52. | |
week's storys in the famous Red Chair. First performing her new | :36:52. | :36:58. | |
single, The Wolf Is Getting Married it is Sinead O'Connor. | :36:59. | :37:08. | |
:37:09. | :37:17. | ||
CHEERING AND APPLAUSE # I used to have no wolves around | :37:17. | :37:27. | |
:37:27. | :37:34. | ||
# I was too free, if that's possible to be$$NEWLINE# No safety, | :37:34. | :37:44. | |
:37:44. | :37:46. | ||
is what I mean # No solid foundation to keep me | :37:46. | :37:56. | |
:37:56. | :37:56. | ||
# But the sun's peeping out of the # Where there used to be only gray | :37:56. | :38:06. | |
:38:06. | :38:17. | ||
# The wolf is getting married # And he'll never cry again | :38:17. | :38:27. | |
:38:27. | :38:35. | ||
# Your smile, makes me smile # Your laugh, makes me laugh | :38:35. | :38:45. | |
:38:45. | :38:54. | ||
# Your joy, gives me joy # Your hope, gives me hope | :38:54. | :39:04. | |
:39:04. | :39:05. | ||
# And the sun's peeping out of the # Where there used to be only gray | :39:05. | :39:15. | |
:39:15. | :39:18. | ||
# The wolf is getting married # And he'll never cry again | :39:18. | :39:23. | |
# Never cry again # Even when something terrible is | :39:23. | :39:27. | |
happening # You laugh and that's the thing I | :39:27. | :39:33. | |
love about you most # Even when something terrible is | :39:33. | :39:38. | |
happening # You laugh and that's the thing I | :39:38. | :39:48. | |
:39:48. | :39:50. | ||
love about you most # Your smile, make -- makes me | :39:50. | :40:00. | |
:40:00. | :40:00. | ||
smile # And your hope, gives me hope | :40:00. | :40:08. | |
# And the sun's peeping out of the # Where there used to be only gray | :40:08. | :40:18. | |
:40:18. | :40:20. | ||
# The wolf is getting married # And he'll never cry again | :40:20. | :40:30. | |
:40:30. | :40:34. | ||
# Never cry again # Oh-oh # | :40:34. | :40:39. | |
CHEERING AND APPLAUSE Sinead O'Connor, come on back and | :40:39. | :40:46. | |
join us. That was so fantastic. Come and sit there. We will do the | :40:46. | :40:51. | |
Red Chair and we'll all go home. You sit there. It's a lovely song, | :40:51. | :40:54. | |
isn't it? CHEERING AND APPLAUSE | :40:54. | :41:00. | |
They are liking the singing. Seriously, I think it's the best | :41:00. | :41:05. | |
thing you have done in years. I really love it. Congratulations. | :41:05. | :41:09. | |
I'm glad you love it. Then the talent comes out. You should do | :41:09. | :41:15. | |
what you do and don't do nothing else really. Lessons are learnt. | :41:15. | :41:19. | |
Right, before we go tonight just time for a story or two in the Red | :41:19. | :41:29. | |
Chair, who is up first? Hello. Hi. I can imagine what this story | :41:29. | :41:32. | |
is going to be. I apologise in advance for anything that might | :41:32. | :41:36. | |
have happened to you in your life. What is your name? Stephen. I think | :41:36. | :41:42. | |
we know the story, off you go. or three times a week I get | :41:42. | :41:52. | |
:41:52. | :41:57. | ||
mistaken for one of your guests on Do something with your eyebrows. | :41:57. | :42:02. | |
That's what's doing it. Only this town is big enough for one set of | :42:02. | :42:10. | |
eyebrows like this. He has to do something about them. Do you pluck | :42:10. | :42:14. | |
in between? I occasionally have to. For everyone else's sake really. | :42:14. | :42:19. | |
It's not an attractive thing. I wondered, you brought tup. I did. | :42:19. | :42:27. | |
thought I would ask while we were talking. What is your name? Garo. | :42:27. | :42:36. | |
Yes? All right. Where are you from? Mexico. Mexico. They are loving the | :42:36. | :42:42. | |
Mexico. What do you do in Mexico? Well, I'm studying abroad here. | :42:42. | :42:49. | |
What are you studying here in the United Kingdom? I go to NYU. I'm | :42:49. | :42:59. | |
:42:59. | :43:02. | ||
doing a semister... I'm studying here. NYU... Do you want to go with | :43:02. | :43:12. | |
:43:12. | :43:13. | ||
the next one. Yeah, I do. Sit up here. Excellent. Let's see who is | :43:13. | :43:21. | |
up next. Good luck. CHEERING AND APPLAUSE | :43:21. | :43:31. | |
:43:31. | :43:32. | ||
Right! Shall we try one more? Let's try one more. OK. What is your | :43:32. | :43:40. | |
name? Josie. Where are you from? Norwich. What do you do in Norwich? | :43:40. | :43:47. | |
I don't do it in Norwich I do it in London. She is a hooker. Aim' a | :43:47. | :43:57. | |
:43:57. | :43:59. | ||
journalist. NO! She said she was a journalists. In fairness... I had | :43:59. | :44:02. | |
better move again. Well done everyone in the Red Chair, very | :44:02. | :44:06. | |
good. If you would like to join us on the show and have a go in the | :44:06. | :44:11. | |
Red Chair, good luck, contact us at our website. Thank you to our | :44:11. | :44:13. | |
guests tonight, Sinead O'Connor, Omid Djalili, Cuba Gooding Jr and | :44:13. | :44:23. | |
:44:23. | :44:26. |