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CHEERING AND APPLAUSE Hello, everybody. Good evening and | 0:00:40 | 0:00:46 | |
welcome. Oh, we've go the a great show for you tonight. Smouldering | 0:00:46 | 0:00:53 | |
Spanish star, Antonio Banderas is here. South American sex pot, Salma | 0:00:53 | 0:01:03 | |
0:01:03 | 0:01:05 | ||
Hayek is on the show. Yeah. Top comic Jimmy Carr is here. And, | 0:01:05 | 0:01:14 | |
we'll be having music and chat from the fabulous Coldplay. I tell you. | 0:01:14 | 0:01:18 | |
There's a line-up. There's a line- up. Very excited about Antonio | 0:01:18 | 0:01:23 | |
Banderas. What a range of parts he has played over the years. From | 0:01:23 | 0:01:31 | |
Zorro, to Puss In Boots. So varied. Can we see who Puss in Boots is | 0:01:32 | 0:01:38 | |
fighting there? Yes, Antonio Banderas is in the new Puss In | 0:01:38 | 0:01:44 | |
Boots film with Salma who plays Kitty Softpaws. Actually, there is | 0:01:44 | 0:01:49 | |
a lovely romantic moment at the end of the film where the two of them | 0:01:49 | 0:01:59 | |
0:01:59 | 0:02:01 | ||
finally get together. CATS MEOW Is it still doggy style? Is it? Salma | 0:02:01 | 0:02:07 | |
was also the creator of the brilliant Ugly Betty. A silly | 0:02:07 | 0:02:10 | |
concept. Could anyone with daft glasses and big teeth really make | 0:02:10 | 0:02:18 | |
it in the world of fashion? Yes, they could. One of my favourite | 0:02:18 | 0:02:25 | |
films of Salma's is From Dusk Till Dawn where she played a sexy | 0:02:25 | 0:02:28 | |
vampire stripper. Mind you, if you think that is revealing, ladies and | 0:02:28 | 0:02:34 | |
gentlemen, I have a picture of Salma where you can clearly see her | 0:02:35 | 0:02:44 | |
"lady beard". Do you want to see it? YES! Let's get our guests on. | 0:02:44 | 0:02:51 | |
We will have muse fribg Coldplay later on. First, it's Jimmy Carr. | 0:02:51 | 0:03:01 | |
0:03:01 | 0:03:03 | ||
Hello, sir. You're very well. It's Salma Hayek. Thank you so much for | 0:03:03 | 0:03:13 | |
0:03:13 | 0:03:17 | ||
doing this. Jimmy Carr, Salma Hayek. It is, Antonio Banderas. He is the | 0:03:17 | 0:03:27 | |
coolest cat in town. There he is, Puss in Boots. Sit yourself down. | 0:03:27 | 0:03:31 | |
You have come from the Puss In Boots premier. That is right. | 0:03:31 | 0:03:35 | |
you very much. You were here, I know. I've come from a corridor | 0:03:35 | 0:03:41 | |
outside. It was so glamorous. were going to invite you, but the | 0:03:41 | 0:03:50 | |
theatre was so small. You've changed. This sounds like a stupid | 0:03:50 | 0:03:53 | |
question, did anyone bring a cat? Yes. There were three cats. They | 0:03:53 | 0:03:58 | |
kept them in a cage. That's terrible. Was thrpbt a special | 0:03:58 | 0:04:03 | |
screening for cats? There was a special screening for cats in LA. I | 0:04:03 | 0:04:09 | |
had to sit down with 24 trained cats. I thought it was going to be | 0:04:09 | 0:04:14 | |
crazy. I was the one who actually failed. He they did a lot of takes | 0:04:14 | 0:04:20 | |
because of me, not the cats. looks like you are wearing a really | 0:04:20 | 0:04:30 | |
0:04:30 | 0:04:32 | ||
weird after shave. An odd spray. I'm wearing tuna by John West. | 0:04:32 | 0:04:38 | |
Salma, after all these premiers you can say the title of the movie? | 0:04:38 | 0:04:41 | |
Didn't have you problems with the title? I did. What did you | 0:04:41 | 0:04:46 | |
originally call it? I shouldn't say things like that on telly. | 0:04:46 | 0:04:56 | |
0:04:56 | 0:05:02 | ||
Definitely say it. It's called Puss In Boots you called it? Pussy, ss. | 0:05:02 | 0:05:12 | |
0:05:12 | 0:05:14 | ||
Pussy Boots. That sounds like a uef nisism for a condom. You're fired. | 0:05:14 | 0:05:24 | |
0:05:24 | 0:05:26 | ||
Listen I loved Pussy Boots. She has Softpaws. Let's move on from this | 0:05:26 | 0:05:30 | |
subject. Don't go there. I have another idea, let's never move on | 0:05:30 | 0:05:35 | |
from this. Let's make the whole thing about this. No. You're called | 0:05:35 | 0:05:42 | |
soft... Softpaws. Which I did say once, Kitty Softporn. It was | 0:05:42 | 0:05:48 | |
difficult at the beginning. Now I'm used to the word. Kitty Softpaws, | 0:05:48 | 0:05:53 | |
Kitty Softpaws, we are being careful. Talk us through, who is | 0:05:53 | 0:05:57 | |
Kitty Softpaws she is knew to us, we don't know her? She's great. | 0:05:57 | 0:06:02 | |
She's a street cat. She's saucy and cheeky like they would say here in | 0:06:02 | 0:06:07 | |
London, right, cheeky? I would definitely say cheeky, why not? | 0:06:07 | 0:06:15 | |
Sure. She's very smart and free spirited and independent and | 0:06:15 | 0:06:18 | |
kourraig raigious she is a fantastic thief. What I love about | 0:06:18 | 0:06:23 | |
her, we are used to princesses who never have a job. They are | 0:06:23 | 0:06:26 | |
unemployed. Always waiting for the guy to come and rescue them. Like | 0:06:26 | 0:06:34 | |
The Only Way Is Essex. Essentially. Yes. This is my kitty. She doesn't | 0:06:34 | 0:06:38 | |
need anybody to rescue her, as a matter-of-fact, sometimes, like in | 0:06:38 | 0:06:44 | |
real-life, I have to go and rescue him. Yes. I would say, yes. I mean | 0:06:44 | 0:06:53 | |
- You were going to say some funny pussy word now. No, I wasn't. | 0:06:53 | 0:06:58 | |
Awesome. We have to hire him for the laughter. I have a weird laugh. | 0:06:58 | 0:07:03 | |
Most people laugh on the ha-ha. They laugh out. It sounds like a | 0:07:03 | 0:07:10 | |
goose fighting a seal. You swallow your own laughter. Spit it out, | 0:07:10 | 0:07:20 | |
0:07:20 | 0:07:23 | ||
boy! Oh! I like the rough stuff. Let it go. I will give you a moment | 0:07:23 | 0:07:29 | |
to recover. Thanks, Graham. We will watch a clip of Kitty and Puss in | 0:07:29 | 0:07:39 | |
0:07:39 | 0:07:52 | ||
action. You're twisted lies. I Oh, oh... Look what I've found. | 0:07:52 | 0:08:01 | |
Someone forgot his money. Oh, you are dangerous. Weapons of mass | 0:08:01 | 0:08:08 | |
destruction Humpty Dumpty says you like danger. Just think of all the | 0:08:08 | 0:08:17 | |
trouble we can get into. The two of us together. We can steal a lot of | 0:08:17 | 0:08:27 | |
0:08:27 | 0:08:32 | ||
golden eggs. Umm? So adorable. It is a funny movie. | 0:08:32 | 0:08:37 | |
It's in cinema's tonight. Yes. have always been a sex symbol now | 0:08:37 | 0:08:45 | |
you are a sex symbol who is a -- Cat who is a sex symbol? Yeah. When | 0:08:45 | 0:08:50 | |
I got to America I didn't speak the language when I was 31 years old. | 0:08:50 | 0:08:54 | |
They call me because of the use of my voice. It's the most successful | 0:08:54 | 0:09:00 | |
character I have done in my life. It's weird. A paradox in my life. | 0:09:00 | 0:09:06 | |
People come up to you and say, "do the voice?"? They do a lot. Can you | 0:09:06 | 0:09:16 | |
do the voice. I am doing the voice. That's Puss in Boots. Fear me, if | 0:09:16 | 0:09:22 | |
you dare. Wasn't the original character didn't have to be a | 0:09:22 | 0:09:26 | |
swashbuckleer, was he made a swashbuckleer because of Zorro? | 0:09:26 | 0:09:30 | |
They took reference from stuff I had done before, definitely. They | 0:09:30 | 0:09:36 | |
build those characters around you. When I got to the Shrek series I | 0:09:36 | 0:09:41 | |
thought he was going to be a recurring character. I didn't think | 0:09:41 | 0:09:44 | |
he would be that back. They determined the personality of the | 0:09:44 | 0:09:49 | |
character. We decided to put a voice on a very little character | 0:09:49 | 0:09:53 | |
that actually goes against that body. It doesn't match him. There | 0:09:53 | 0:09:58 | |
is the creation of comedy. What is really funny is they keep them cats. | 0:09:58 | 0:10:02 | |
They humanise them to a degree. The chasing the thing. They become cats | 0:10:02 | 0:10:06 | |
in the movie. They can be as humanised as they want, eventually | 0:10:06 | 0:10:14 | |
they do cat things. There is dodgy licking you will be pleased to know. | 0:10:14 | 0:10:21 | |
In Zorro, you know, lots of people do sword fights it's choreographed? | 0:10:21 | 0:10:26 | |
A lot of people do sword fights. You trained with the Spanish | 0:10:27 | 0:10:31 | |
Olympic team? I did for four months. Come on. It's true. Why did you do | 0:10:31 | 0:10:39 | |
that? She is doing that the whole day in interviews. He is so good at | 0:10:39 | 0:10:44 | |
everything. Mummy and daddy are fighting, I don't like it. Oh, my | 0:10:44 | 0:10:53 | |
God! Show them. Who am I going to sword fight against. I thought you | 0:10:53 | 0:10:59 | |
would make it do things. Let me see that. I haven't trained with an | 0:10:59 | 0:11:07 | |
Olympic team. You wouldn't kill anybody like this. Teach me a move | 0:11:07 | 0:11:17 | |
0:11:17 | 0:11:23 | ||
that would impress people. There are, I think, seven positions. | 0:11:23 | 0:11:27 | |
You put your leg here like this and hang like this. I'm doing exactly | 0:11:27 | 0:11:33 | |
what you are doing. Don't laugh at me. Comfortable and relax. This is | 0:11:33 | 0:11:39 | |
the first position. Hang on. Wouldn't it be awful if I killed | 0:11:39 | 0:11:45 | |
Antonio Banderas. You get a guest on and you kill one. First position. | 0:11:45 | 0:11:53 | |
That's first. That is not that bad. First and second. Third and fourth. | 0:11:53 | 0:12:00 | |
Fifth. I've cut my own leg, I will ignore that. Sixth. A fancy one in | 0:12:00 | 0:12:05 | |
case someone attacks you in the back like this. You are so good. | 0:12:05 | 0:12:15 | |
0:12:15 | 0:12:17 | ||
thought so. Now, try that. You can try this. Fancy. That is good. Keep | 0:12:17 | 0:12:27 | |
0:12:27 | 0:12:32 | ||
it there. What did I tell you. He's a showoff. And then you go... | 0:12:32 | 0:12:37 | |
You could have been a professional soccer player? I could have. I | 0:12:37 | 0:12:42 | |
broke my left foot when I was 16 years old. Yeah, yeah, yeah.... | 0:12:42 | 0:12:49 | |
Weren't you good enough to be an Olympic gymnast? That's true. | 0:12:49 | 0:12:53 | |
couple of things, right here. Could you have been a professional | 0:12:53 | 0:12:58 | |
football player. I don't know if you have been to a pub England in | 0:12:58 | 0:13:03 | |
there is one man in every pub who had trials for sp Spurs. You could | 0:13:04 | 0:13:08 | |
have been an Olympic gymnast, more information than you want. I had a | 0:13:08 | 0:13:13 | |
thing about gymnasts much I always fantasized about having sex with a | 0:13:13 | 0:13:23 | |
0:13:23 | 0:13:25 | ||
gymnast, because they do amazing dismounts. I just imagine... That | 0:13:25 | 0:13:29 | |
is funny. I imagine after sex you would be by the side of the bed | 0:13:29 | 0:13:35 | |
like that. You bend your legs even a little bit I could make you do it | 0:13:35 | 0:13:45 | |
0:13:45 | 0:13:46 | ||
Very excited, because you were Zorro again recently, for security | 0:13:46 | 0:13:55 | |
reasons. This is very cool. You had a benefit in your own house. | 0:13:55 | 0:14:00 | |
have a then a -- benefit for the campaign of Barack Obama. We | 0:14:00 | 0:14:04 | |
received the President of the United States in my home. It makes | 0:14:04 | 0:14:10 | |
me laugh because it is something you don't do every day. Yes, we all | 0:14:10 | 0:14:17 | |
had codenames. Up for security? South who gave you the code names? | 0:14:17 | 0:14:27 | |
0:14:27 | 0:14:30 | ||
Secret services. Thank you were? It must have been amazing, you have | 0:14:30 | 0:14:35 | |
the President in your house. It is only 20 years ago, 19 years ago, | 0:14:35 | 0:14:41 | |
that you did not speak English, you were unknown in America. It is a | 0:14:41 | 0:14:44 | |
fabulous... When you first went to America, you didn't speak the | 0:14:44 | 0:14:49 | |
language? Nothing at all. How good looking does a man have to be to | 0:14:49 | 0:14:54 | |
get cast in a film and the director says language is not a problem! | 0:14:54 | 0:15:04 | |
0:15:04 | 0:15:11 | ||
doesn't matter how good looking you 5th you had to meet with producers. | 0:15:11 | 0:15:21 | |
0:15:21 | 0:15:23 | ||
I met somebody there who was just taking coffee to the agents. He | 0:15:23 | 0:15:28 | |
said, you want a representative in America? I said, yeah, sure. I went | 0:15:28 | 0:15:33 | |
to do an Italian movie. When I came back, he said, you have to go to | 0:15:33 | 0:15:37 | |
London, I have a meeting with an American director. I said, I don't | 0:15:37 | 0:15:42 | |
speak English. He said, just go there and pretend you speak English. | 0:15:42 | 0:15:47 | |
So just go there and do something. I came to London, I met with this | 0:15:47 | 0:15:51 | |
guy, in a very fancy restaurant. He started speaking with me and I | 0:15:51 | 0:15:59 | |
didn't understand one word. I was saying, yes. And yes. Eventually, | 0:15:59 | 0:16:05 | |
something more complicated, like, of course. At the end of the | 0:16:05 | 0:16:11 | |
conversation, I learned a line that was the key to my career. I said, I | 0:16:11 | 0:16:16 | |
can do that. And he actually believed it. That is why we are | 0:16:16 | 0:16:26 | |
0:16:26 | 0:16:29 | ||
talking now. But it is like a fairy-tale. I | 0:16:29 | 0:16:33 | |
can't imagine going to Spain now, I don't speak any Spanish, and saying, | 0:16:33 | 0:16:39 | |
I will become a film star, I will be fine. Do I get a boat docks in | 0:16:39 | 0:16:44 | |
texting in my tongue so that I have a list? -- injection in my tongue. | 0:16:44 | 0:16:51 | |
If you wrote your story in a film, people would not believe it. | 0:16:51 | 0:16:56 | |
spoke English when you came to America? I spoke shopping English! | 0:16:56 | 0:17:03 | |
Small, medium! Was there a thing when you got a review of Desperado, | 0:17:03 | 0:17:10 | |
and you got a -- you thought it was a bad review. They said, bombshell. | 0:17:10 | 0:17:17 | |
And I thought they said that I bombed. You do these movies and | 0:17:17 | 0:17:22 | |
then afterwards, you have to do the press. Not speaking very good | 0:17:22 | 0:17:27 | |
English... That was mad, I made the huge mistakes. Was there a | 0:17:27 | 0:17:30 | |
journalist who asked to your favourite American food? Yes, and I | 0:17:30 | 0:17:40 | |
said, Francis Ford Coppola. He does make a pasta sauce. What did the | 0:17:40 | 0:17:48 | |
journalist do? He just laughed his but off. His what? What did you | 0:17:48 | 0:17:55 | |
say? Don't! There seems to be a lot of sexual tension, I think you need | 0:17:55 | 0:18:05 | |
0:18:05 | 0:18:06 | ||
to get each other out of your systems! You are just projecting! | 0:18:06 | 0:18:15 | |
Do you are right, I really like him. By know that. -- I know that. You | 0:18:15 | 0:18:23 | |
broke 1 million hearts when you said I'd do. Fine, it is totally | 0:18:24 | 0:18:31 | |
fine. You are the only one in the house he doesn't speak French? | 0:18:31 | 0:18:35 | |
speak very bad French. Isn't that your own fault? You had the | 0:18:35 | 0:18:41 | |
opportunity? I did. My parents sent me to learn French when I was | 0:18:41 | 0:18:45 | |
really young. It sounded like a good idea but when I got to Paris | 0:18:45 | 0:18:50 | |
and they told me I had to have eight hours straight private | 0:18:50 | 0:18:56 | |
lessons in French, at 16 or 17... What a terrible opportunity. | 0:18:56 | 0:19:01 | |
Imagine, for the summer. I am sorry, when you are 17, you don't want to | 0:19:01 | 0:19:06 | |
be stuck in a room with a teacher. I lied, I told my parents that my | 0:19:06 | 0:19:15 | |
teacher died. That's why I don't trust you. A dangerous woman. | 0:19:15 | 0:19:22 | |
regret it, I wish I hadn't killed that teacher! Your husband and | 0:19:22 | 0:19:27 | |
daughter, do they plot against you? I understand it now. Those days are | 0:19:27 | 0:19:32 | |
gone, Baby! You should have pretended that you still didn't | 0:19:32 | 0:19:42 | |
0:19:42 | 0:19:42 | ||
understand it. I did, for a while. Did you find out good did? Oh, yeah, | 0:19:42 | 0:19:48 | |
it was good to be a spy. I don't mean to ruin the chemistry, but | 0:19:48 | 0:19:58 | |
Jimmy has a girlfriend. Yeah, I'm lucky. In it your tour next year, | 0:19:58 | 0:20:04 | |
you are already booking that. this one has finished. I notice you | 0:20:04 | 0:20:11 | |
are doing fewer updates. It is likely to do with having a bit more | 0:20:11 | 0:20:15 | |
time at home. I was always so much. Getting into that argument with my | 0:20:15 | 0:20:19 | |
girlfriends saying, you treat this house like you are a hotel -- like | 0:20:19 | 0:20:29 | |
0:20:29 | 0:20:33 | ||
a hotel. When I travel, I get love sick. Well, they call it chlamydia. | 0:20:33 | 0:20:36 | |
We have been together 10 years, we have a great relationship. We | 0:20:36 | 0:20:41 | |
occasionally get into regular arguments that couples get into. It | 0:20:41 | 0:20:45 | |
is the same situation. We went to a party only a week ago. A great | 0:20:45 | 0:20:50 | |
party, really fun. 2:30am, I am driving home, I haven't had | 0:20:50 | 0:20:53 | |
anything to drink. She has had quite a lot to drink in terms of | 0:20:53 | 0:20:58 | |
units to a colt, but she is not drunk. And I know that, because she | 0:20:58 | 0:21:04 | |
told me 400 times. -- units of alcohol. She is talking a lot, I am | 0:21:04 | 0:21:09 | |
listening a little, my back. In my defence, she was telling me about | 0:21:09 | 0:21:17 | |
the evening in real time, and I had A mutual friend of ours said | 0:21:17 | 0:21:21 | |
something that she did not like. She said, that girl said my dress | 0:21:21 | 0:21:26 | |
was short. And I agreed, I said yeah, it is short. She goes from 0 | 0:21:26 | 0:21:34 | |
to 100 as an angry in two minutes. She goes... You taking her side? Go | 0:21:34 | 0:21:39 | |
back to the party, pick up and drive her home, and I'll just walk | 0:21:39 | 0:21:44 | |
I'm on my fat little legs that can't even where a short skirt. The | 0:21:44 | 0:21:49 | |
-- walk home. In 30 seconds she is opening the car door. I had to stop | 0:21:49 | 0:21:54 | |
the car. As soon as I stop the car, she is out. Teetering up the road | 0:21:54 | 0:21:59 | |
on heels, no coat, no keys, no money, no phones, no idea where she | 0:21:59 | 0:22:03 | |
is going. I had to do the dutiful boy friend thing of driving along | 0:22:03 | 0:22:07 | |
at 4 mph. Get back in the car, it is my fault. It is not my fault, I | 0:22:07 | 0:22:12 | |
have done nothing! Get back in the car, I will buy you chips. I got | 0:22:12 | 0:22:22 | |
0:22:22 | 0:22:27 | ||
arrested for trying to pick up a That's my story and I'm sticking to | 0:22:27 | 0:22:36 | |
it. Salma Hayek, you were very well known in your home country of | 0:22:36 | 0:22:44 | |
Mexico. What would your character, Teresa? -- what was your character. | 0:22:45 | 0:22:49 | |
That is a big decision, to leave. If you are an actor and you get a | 0:22:49 | 0:22:53 | |
job, that is already very good. To go looking for another job seems... | 0:22:53 | 0:22:59 | |
Ambitious. Yeah, but I didn't want to do the Spanish show for the rest | 0:22:59 | 0:23:09 | |
of my life. At that time, there was no film industry in Mexico. If you | 0:23:09 | 0:23:13 | |
don't want to do theatre or that show, you have no choice but to be | 0:23:13 | 0:23:16 | |
miserable, or take a chance. must have been biddable, a nice | 0:23:16 | 0:23:21 | |
kind of poetic justice, to get to America and sell ugly Betty to | 0:23:21 | 0:23:31 | |
0:23:31 | 0:23:33 | ||
America -- it must have been beautiful. The IU behind that? | 0:23:33 | 0:23:39 | |
are you behind that? Yeah, that's me. When I became -- when I came, I | 0:23:39 | 0:23:44 | |
did not come with a story nominated for an Oscar. I said, can I get an | 0:23:44 | 0:23:54 | |
0:23:54 | 0:23:56 | ||
agent? They would kick me out of -- kick me out of the office! I | 0:23:56 | 0:24:00 | |
should have just said, yes, yes. I maybe I would have got an something. | 0:24:00 | 0:24:06 | |
You should have just said, I can do that. I can do that! It is not | 0:24:06 | 0:24:14 | |
working, Jimmy. I can't imagine you were ever, in any way, ugly. But I | 0:24:14 | 0:24:17 | |
know that you did have some insecurities about your physical | 0:24:17 | 0:24:21 | |
appearance when you were younger. Are we talking about my breasts? | 0:24:21 | 0:24:30 | |
Yes, we are. Finally! At half! were a -- back off! You were | 0:24:30 | 0:24:34 | |
insecure when you were young? I was the youngest in my class and | 0:24:34 | 0:24:38 | |
all the girls started getting them, and I wasn't getting anything, and | 0:24:38 | 0:24:45 | |
I was really scared. What did you do? We went on a road trip with my | 0:24:45 | 0:24:49 | |
parents, we went to this church that had a saint that was supposed | 0:24:49 | 0:24:59 | |
to be doing a lot of miracles. I was getting teased a lot. When we | 0:24:59 | 0:25:02 | |
went back to the car, I said, I have forgotten something. I went | 0:25:02 | 0:25:07 | |
back to the judge, put my hands in the holy water, and went, please, | 0:25:07 | 0:25:17 | |
0:25:17 | 0:25:31 | ||
4th the weird thing about that, Because you played a cad... I did. | 0:25:31 | 0:25:40 | |
What? -- you played a cat. In the movie, Kitty Softpaws? A happy | 0:25:40 | 0:25:46 | |
chance, we found this little club. Have you seen this clip of the oh | 0:25:46 | 0:25:55 | |
my God cat? It is very cute. Here he is. He starts to get a bit | 0:25:55 | 0:26:05 | |
0:26:05 | 0:26:18 | ||
If we watch it again, you can tell them something shocking, and it | 0:26:18 | 0:26:24 | |
works. You know the actress Salma Hayek, she is on my show. She is. | 0:26:24 | 0:26:30 | |
She used to have a really flat chest, she did. But then she prayed | 0:26:30 | 0:26:40 | |
0:26:40 | 0:26:43 | ||
to God and now she has a really big Jimmy Carr, you are touring next | 0:26:43 | 0:26:49 | |
year. Restore is finished? Yes, last Sunday. -- this tour is | 0:26:49 | 0:26:54 | |
finished. The DVD is out. Is it in the small cupboard behind me? | 0:26:54 | 0:27:00 | |
imagine it is. Is this it? Yeah, the colours... I thought it was | 0:27:00 | 0:27:05 | |
going to look punk rock. It is maybe a little bit pink. It is | 0:27:05 | 0:27:11 | |
quite pink. Is it in shops now? It is. Just in time for Christmas. | 0:27:11 | 0:27:19 | |
guess! That is lovely, what a great idea! We were talking about | 0:27:19 | 0:27:24 | |
difficulties with English when they got to America. In this tour, you | 0:27:24 | 0:27:28 | |
do a masterclass in accents. I was trying to get better. I have been a | 0:27:28 | 0:27:32 | |
stand-up comedian for 10 years and I was trying to get better at it. I | 0:27:32 | 0:27:36 | |
have gone away and discover the secrets of a good regional accent, | 0:27:36 | 0:27:40 | |
you need a key phrase to get you started. Once you get that in your | 0:27:40 | 0:27:49 | |
head, you can get started. I can do once from around Britain. It will | 0:27:49 | 0:27:53 | |
be useful if you start playing British people, Meryl Streep gets | 0:27:53 | 0:28:01 | |
them all now. You could be in desperate Scouse wives. If you want | 0:28:01 | 0:28:07 | |
to talk like someone from Liverpool, you say this phrase, chicken and a | 0:28:07 | 0:28:15 | |
can of Coke. You have got to try it. I want some chicken and a can of | 0:28:15 | 0:28:25 | |
0:28:25 | 0:28:27 | ||
Coke. That is very good! I want some chicken and a can of Coke! | 0:28:27 | 0:28:33 | |
works! You sounded like you were trying to be a ventriloquist. Once | 0:28:33 | 0:28:38 | |
you say it, you can say something authentically Scouse. I am going on | 0:28:38 | 0:28:43 | |
the rob, I have got to get a prosy, it is my granny's birthday. She is | 0:28:43 | 0:28:53 | |
0:28:53 | 0:28:56 | ||
Obviously, I'm not knocking Liverpool. I love Liverpool. | 0:28:56 | 0:29:04 | |
Liverpool is the only town in Great Britain where JD Sport has an | 0:29:04 | 0:29:12 | |
evening department. Rollercoaster, pooper Scooper. If you want to do | 0:29:13 | 0:29:22 | |
0:29:23 | 0:29:23 | ||
the Georgy accent. IN GEORDIE ACCENT" ROLLERCOASTER, | 0:29:23 | 0:29:33 | |
0:29:33 | 0:29:38 | ||
POOPERSCOOPER do it. Rollercoaster. Pooper scooper. Um pa lum per. | 0:29:38 | 0:29:48 | |
0:29:48 | 0:29:49 | ||
Love it. Obviously, we are very excited about the music tonight. | 0:29:49 | 0:29:57 | |
Before we hear them play, let's meet the lead singer of the global | 0:29:57 | 0:30:07 | |
0:30:07 | 0:30:08 | ||
chart-topping Coldplay, it's Chris Martin. | 0:30:08 | 0:30:12 | |
CHEERING AND APPLAUSE Sit down, sir. That was funny that. | 0:30:12 | 0:30:18 | |
Thank you very much. I was watching. It's clever that. Different ones | 0:30:18 | 0:30:25 | |
around the country. I can do Welsh. That is the other one. The confused | 0:30:25 | 0:30:30 | |
Welsh. "who's coat is that jacket, who's shoes are those trainers?". | 0:30:31 | 0:30:40 | |
0:30:41 | 0:30:46 | ||
We had a guy on tour who said that for real. He said, "who's Coke is | 0:30:46 | 0:30:56 | |
0:30:56 | 0:31:01 | ||
that Pepsi?". Congratulations to you. My real name isn't that | 0:31:01 | 0:31:07 | |
interesting. It's not like Antonio Banderas or Jimmy Carr. The great | 0:31:07 | 0:31:13 | |
thing is it's been a huge success. Yeah. Every band dreams of being | 0:31:13 | 0:31:17 | |
successful. Once you got success there is all that terrible pressure | 0:31:17 | 0:31:21 | |
of, now we have to stay successful. You dream of having a girlfriend | 0:31:21 | 0:31:29 | |
then you dream of being successful. Both have come true. Those are the | 0:31:29 | 0:31:35 | |
two dreams. How much pressure do you feel before a new album? | 0:31:35 | 0:31:40 | |
stone. If it's more than a movie hopefully you have another one in | 0:31:40 | 0:31:44 | |
the pipeline. This is... This is the end. This is three years. | 0:31:44 | 0:31:50 | |
Not three years long. No. That is value! You know shall I was | 0:31:50 | 0:31:55 | |
thinking about names and stuff. I knew you would ask me about what it | 0:31:55 | 0:32:02 | |
means. Banderas means "flags". His name ising are Tony Flags. Which | 0:32:02 | 0:32:06 | |
isn't so glamorous. Don't they put that in your trailer sometimes. | 0:32:07 | 0:32:11 | |
it in my trailer. When I go to Italy I will say that is my name at | 0:32:11 | 0:32:17 | |
the hotel. Don't say that to them! I'm leaving tonight. It's fine. | 0:32:17 | 0:32:22 | |
Codename Zorro, checked in under Tony Flag, you will find him. On | 0:32:22 | 0:32:28 | |
this album you have a duet Rihanna. Yes. Very exciting? It is. | 0:32:29 | 0:32:36 | |
people speak to me or Chris calling Rihanna? I went to visit her and | 0:32:36 | 0:32:40 | |
sat down with a piano and her sitting where you are, looking very | 0:32:40 | 0:32:46 | |
similar. I can imagine. She looked rough. I said, "I have this song" I | 0:32:46 | 0:32:51 | |
was English about it. It took 20 minutes to ask the question. I just | 0:32:51 | 0:33:01 | |
0:33:01 | 0:33:01 | ||
played and she was "OK" for $2 million she said, "I'll do it". | 0:33:01 | 0:33:05 | |
We've never done a duet before, it was a risk. It doesn't sound that | 0:33:05 | 0:33:14 | |
bad. Fur looking for collaborators Salma there loves singing. No. | 0:33:14 | 0:33:22 | |
are karaoke queen. You love it? He does everything well. Do you do | 0:33:22 | 0:33:27 | |
the Mexican dancing? Do you know the amazing dancing. You are a | 0:33:27 | 0:33:33 | |
natural. The amazing dancing is not Mexican. I'm sorry I messed up. | 0:33:33 | 0:33:43 | |
Again who does flamenco. I can do salsa pretty good. SPEAKS IN | 0:33:43 | 0:33:49 | |
SPANISH What are we going to, do put subtitles on it. Come on, make | 0:33:49 | 0:33:58 | |
an effort. I dance in a strange hopping, it's not technically | 0:33:58 | 0:34:04 | |
dancing. Like some kind of a fit. People come and see it in concert. | 0:34:04 | 0:34:14 | |
0:34:14 | 0:34:15 | ||
You are, we heard you in Evita. have a character. If you work with | 0:34:15 | 0:34:21 | |
him it would be a dramatic scene. Just stop it... I did it on | 0:34:21 | 0:34:25 | |
Broadway, I did it on movies or did it as a professional singer or | 0:34:25 | 0:34:29 | |
anything like thasm I don't don't want to be... He's on a tour next | 0:34:29 | 0:34:39 | |
0:34:39 | 0:34:40 | ||
year, go with him. Tony Flag and his Band. The Tony Flags Quartet. | 0:34:40 | 0:34:44 | |
You have something in common. In Salma's house everyone speaks | 0:34:44 | 0:34:49 | |
French. In your house you are the one who doesn't speak Spanish? | 0:34:49 | 0:34:54 | |
is true. Have you tried to learn Spanish? Yes. No luck. Everyone | 0:34:55 | 0:34:58 | |
else speaks Spanish in the house and they just let you... They just | 0:34:58 | 0:35:05 | |
let me watch Neighbours. They do. It's wonderful. I grew up speaking | 0:35:05 | 0:35:12 | |
English and Davon. Which is from Devon. Farm language much I can't | 0:35:12 | 0:35:17 | |
speak anything international. us the farm language. That bales a | 0:35:17 | 0:35:27 | |
0:35:27 | 0:35:27 | ||
bit wrong. I know what that means. Listen, I know you are going to | 0:35:27 | 0:35:33 | |
play for us. You are heading off to a gig. A concert. What will you | 0:35:33 | 0:35:39 | |
perform for us? A song called Paradise. Ush rushing off so I will | 0:35:39 | 0:35:49 | |
0:35:49 | 0:35:51 | ||
say good night to you now. Thank CHEERING AND APPLAUSE | 0:35:51 | 0:35:57 | |
Still to come this week's stories in the famous Red Chair, first, | 0:35:57 | 0:36:07 | |
0:36:07 | 0:36:25 | ||
singing Paradise it is Coldplay. # Oh-oh-oh | 0:36:25 | 0:36:35 | |
0:36:35 | 0:36:36 | ||
# When she was just a girl, she expected the world | 0:36:36 | 0:36:42 | |
# But it flew away from her reach # She ran away in her sleep | 0:36:42 | 0:36:47 | |
# Dreamed of para-para-paradise # Para-para-paradise | 0:36:47 | 0:36:57 | |
0:36:57 | 0:37:08 | ||
# Every time she closed her eyes # Whooooo... | 0:37:08 | 0:37:14 | |
# When she was just a girl # She expected the world | 0:37:14 | 0:37:21 | |
# But it flew away from her reach # The bullets catch in her teeth | 0:37:21 | 0:37:31 | |
# Life goes on, it gets so heavy # The wheel breaks the butterfly | 0:37:31 | 0:37:36 | |
# Every tear a waterfall # In the night a stormy night | 0:37:37 | 0:37:41 | |
she'll close her eyes # In the night the stormy night | 0:37:42 | 0:37:50 | |
away she'd flies # And dream of para-para-paradise | 0:37:50 | 0:38:00 | |
0:38:00 | 0:38:01 | ||
# Para-para-paradise # Para-para-paradise oh-oh-oh | 0:38:01 | 0:38:07 | |
# She'd dream of para-para-paradise # Para-para-paradise | 0:38:07 | 0:38:17 | |
0:38:17 | 0:38:40 | ||
# Lalalala # So lying underneath those stormy | 0:38:40 | 0:38:43 | |
skies # She'd say, oh-oh-oh | 0:38:43 | 0:38:51 | |
# I know the sun must set to rise # This could be para-para-paradise | 0:38:51 | 0:39:01 | |
0:39:01 | 0:39:03 | ||
# Para-para-paradise # Oh-oh-oh | 0:39:03 | 0:39:10 | |
# This could be para-para-paradise # Para-para-paradise | 0:39:10 | 0:39:20 | |
0:39:20 | 0:39:29 | ||
# Oh-oh-oh saig -- oh-oh-oh # Whoooo | 0:39:29 | 0:39:36 | |
# This could be para-para-paradise # Para-para-paradise | 0:39:36 | 0:39:46 | |
0:39:46 | 0:39:53 | ||
# Oh-oh-oh # Whoooo | 0:39:53 | 0:39:59 | |
# Whoooo... # Thank you. | 0:39:59 | 0:40:08 | |
CHEERING AND APPLAUSE Coldplay everybody. Fantastic. OK. | 0:40:08 | 0:40:12 | |
Before we go tonight let's have a story or two in the Red Chair. Who | 0:40:12 | 0:40:21 | |
is up first? Hello, sir. Hi. What is your name? Gary. Where are you | 0:40:21 | 0:40:26 | |
from? Newcastle and living in Essex. I liked Jimmy's impressions before, | 0:40:26 | 0:40:32 | |
very good. Essex, are you mugging me off, you slag? What do you do? | 0:40:32 | 0:40:38 | |
nurse. We weren't expecting that, were we? Whatever profession I | 0:40:38 | 0:40:44 | |
thought you were going to say that was not top of my list. People say | 0:40:44 | 0:40:52 | |
male nurse. It's not pronounced male nurse. What do you mean? | 0:40:52 | 0:40:57 | |
actually pronounced kpwtion "male nurse ". What is your story. I got | 0:40:57 | 0:41:01 | |
locked out of my car in Newcastle. I was trying to get into the car. I | 0:41:01 | 0:41:05 | |
was trying all sorts of equipment. This guy came past, older guy shall | 0:41:05 | 0:41:10 | |
he stopped us and said said, "do you want help to tkpwhet your car?" | 0:41:10 | 0:41:15 | |
I said "great" he picked a brick up off the floor and put it through | 0:41:15 | 0:41:22 | |
the window of the car. I thanked him. Anyway he then said, "would | 0:41:22 | 0:41:29 | |
you like to get a new window I work in the scrapyard down the road" I | 0:41:29 | 0:41:39 | |
gave him �20. He gave me a recipe, "Mr Smith I took �20 off you I will | 0:41:39 | 0:41:49 | |
0:41:49 | 0:41:49 | ||
be back with a window whenever". That was seven years ago. Ahh! | 0:41:49 | 0:41:55 | |
began well and he tailed off. the most gullible man who has ever | 0:41:55 | 0:42:03 | |
lived? I like the window bit. didn't understand the rest. | 0:42:03 | 0:42:08 | |
weren't missing.... He should have had said "rollercoaster". One more. | 0:42:08 | 0:42:17 | |
Hi, Jimmy, do you remember me? Hello, how are you. Where did I | 0:42:17 | 0:42:26 | |
meet snu At High Wycombe we were a double act. Hello. Is this your | 0:42:26 | 0:42:36 | |
0:42:36 | 0:42:36 | ||
story? It's piss poor so far. What do you do? I'm a student. What do | 0:42:36 | 0:42:46 | |
0:42:46 | 0:42:47 | ||
you study? Religion. Again, not an answer I was expecting. That is why | 0:42:47 | 0:42:54 | |
her boobies grew. Leave me alone. Delight us with your tale. Prince | 0:42:54 | 0:42:59 | |
Philip came to my school. I was sat in the front row. I thought "I'll | 0:42:59 | 0:43:04 | |
touch him when he comes past". He walked past me I put my hand out he | 0:43:04 | 0:43:09 | |
stamp on me, he was like "move". I didn't get to touch him really. | 0:43:09 | 0:43:15 | |
that the end of that story? Yes. I quite enjoyed that story. Do you | 0:43:15 | 0:43:21 | |
remember her now? When she flipped back and her legs... I recognised | 0:43:21 | 0:43:31 | |
0:43:31 | 0:43:32 | ||
her. I have met her, yeah. If you would like to join us on the the -- | 0:43:32 | 0:43:37 | |
show and have a go in the Red Chair contact us on this guest. Thank you | 0:43:37 | 0:43:40 | |
to all my guests tonight, Coldplay, Jimmy Carr, Salma Hayek and Antonio | 0:43:40 | 0:43:45 | |
Banderas. Join ne me next week with X Factor's Rebecca Ferguson, | 0:43:45 | 0:43:47 |