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This programme contains some strong language. One of my guest tonight | 0:00:00 | 0:00:04 | |
starred in the new Disney video about characters who live in a | 0:00:04 | 0:00:08 | |
video game. What would that be like? I have got to concentrate and | 0:00:08 | 0:00:18 | |
0:00:18 | 0:00:37 | ||
dodge these lightening bolts! Hello! Hello! | 0:00:37 | 0:00:41 | |
CHEERING AND APPLAUSE Hello everybody. Good evening. | 0:00:41 | 0:00:47 | |
Welcome one and all. A great line- up for you tonne. It is a good | 0:00:47 | 0:00:57 | |
0:00:57 | 0:00:59 | ||
looking sofa tonight. Yes, it will be me letting it down! | 0:00:59 | 0:01:00 | |
LAUGHTER Who have we got? We have got | 0:01:00 | 0:01:02 | |
Hollywood A-lister, Mark Wahlberg is here, ladies and gentlemen. | 0:01:02 | 0:01:04 | |
CHEERING AND APPLAUSE I know. I know. | 0:01:04 | 0:01:09 | |
Acting superstar, Michael Fassbender is on the show! I know!, | 0:01:09 | 0:01:16 | |
the comic, Sarah Silverman is here. APPLAUSE | 0:01:16 | 0:01:19 | |
Plus we've got music from BRIT Award nominee, Laura Mvula. Yes, we | 0:01:19 | 0:01:29 | |
have. APPLAUSE | 0:01:29 | 0:01:31 | |
A huge welcome to my fellow fellow Irishman, Michael Fassbender. He is | 0:01:32 | 0:01:35 | |
half Irish and half German. Yes, what is it about Germany that the | 0:01:35 | 0:01:45 | |
0:01:45 | 0:01:46 | ||
Irish find so appealing? What is LAUGHTER | 0:01:46 | 0:01:48 | |
Did you remember the nuts? And Sarah Silverman is here. Not only a | 0:01:48 | 0:01:55 | |
brilliant comedian, she is one of the stars of the new Disney film, | 0:01:55 | 0:02:00 | |
Wreck-it Ralph. It is about video characters who comes to life. | 0:02:00 | 0:02:06 | |
Remember Tomb Raider, Super Mario and that time they combined Grand | 0:02:06 | 0:02:09 | |
Theft Auto with Sonic the Hedgehog, do you remember that? It was quite | 0:02:09 | 0:02:16 | |
a short film! LAUGHTER | 0:02:16 | 0:02:19 | |
Hey, it is great to have Mark Wahlberg back on the show. Did you | 0:02:19 | 0:02:22 | |
all see Ted? Where he lives with a foul-mouthed teddy bear and even | 0:02:22 | 0:02:25 | |
though it was a comedy they wanted to make sure the teddy bear didn't | 0:02:25 | 0:02:31 | |
do anything a real bear wouldn't do. Here is Ted drinking and hear is a | 0:02:31 | 0:02:37 | |
-- here a bear drinking. LAUGHTER | 0:02:37 | 0:02:47 | |
0:02:47 | 0:02:52 | ||
Here is Ted going to the toilet and here is a bear going to the toilet! | 0:02:52 | 0:02:53 | |
LAUGHTER That's incredible, isn't it? Here | 0:02:53 | 0:02:56 | |
is Ted being per miss cueious and here is a bear being pro promiscus. | 0:02:56 | 0:03:06 | |
0:03:06 | 0:03:09 | ||
First, Michael Fassbender. You are very welcome. Have a seat. It is | 0:03:09 | 0:03:19 | |
0:03:19 | 0:03:20 | ||
Sarah Silverman. There she is. Oh. I am so glood so glad to meet you. | 0:03:20 | 0:03:24 | |
It is Mark Wahlberg. CHEERING AND APPLAUSE | 0:03:24 | 0:03:30 | |
Hello, sir. It is so nice to see you again. Sit down. Sit down. Sit | 0:03:30 | 0:03:34 | |
down. APPLAUSE | 0:03:34 | 0:03:37 | |
Very nice to see you all. How are you? I'm really well. Are you all | 0:03:37 | 0:03:41 | |
well? I feel really good because you have a security blanket right | 0:03:41 | 0:03:51 | |
0:03:51 | 0:03:51 | ||
here. You are funny, but she is really funny! | 0:03:51 | 0:03:53 | |
LAUGHTER Look at you all fashioned up? | 0:03:53 | 0:03:55 | |
wearing fashion tights. No, they are fashion tights. I have | 0:03:55 | 0:04:00 | |
been need to go get thigh -- needing to get my thighs out | 0:04:00 | 0:04:05 | |
recently. I love your tights! | 0:04:05 | 0:04:07 | |
LAUGHTER This started backstage. Do you cut | 0:04:07 | 0:04:13 | |
your own hair? What the patches? What's going on with this? It is | 0:04:13 | 0:04:23 | |
0:04:23 | 0:04:24 | ||
from... Have you heard of where you drill little holes in your head to | 0:04:24 | 0:04:30 | |
release pressure. Yes. That's what you have? Is that true? I feel like | 0:04:30 | 0:04:33 | |
we are on a plane. LAUGHTER | 0:04:33 | 0:04:43 | |
0:04:43 | 0:04:47 | ||
There is different conversations occurring. | 0:04:47 | 0:04:48 | |
LAUGHTER Have you had your meal? What are | 0:04:49 | 0:04:51 | |
you watching? That's what happens when you get people to drink | 0:04:51 | 0:04:53 | |
alcohol and come on a show. That's a social thing. | 0:04:53 | 0:05:02 | |
I don't drink. It is a recipe for disaster. That vodka... We must | 0:05:02 | 0:05:08 | |
talk about Mark, your new movie, you produced it. You star in it. It | 0:05:08 | 0:05:13 | |
is called Broken City and it opens on 1st March, you got a great cast | 0:05:13 | 0:05:18 | |
together? Well, we have Russell Crowe playing a corrupt mayor, a | 0:05:18 | 0:05:25 | |
larger than life crime figure who is very charismatic and Kath lin | 0:05:25 | 0:05:29 | |
Zeta-Jones -- Catherine Zeta-Jones plays his wife. So I start to | 0:05:29 | 0:05:33 | |
investigate her and I start to unravel all this corruption and we | 0:05:34 | 0:05:37 | |
have the great character actors like Jeffrey Wright and I offered | 0:05:38 | 0:05:46 | |
the part of my character to Michael, but he passed! | 0:05:46 | 0:05:52 | |
Awkward! Awkward! There is so much energy right now. I had to play the | 0:05:52 | 0:05:55 | |
part myself. I went in thinking he was going to | 0:05:55 | 0:05:59 | |
be a cop story, crime thing, but it is more of a political thriller, | 0:05:59 | 0:06:05 | |
would you say? Well, the political backdrop. More More often than not | 0:06:05 | 0:06:10 | |
the system fails us, the political system. The fact that I got away | 0:06:10 | 0:06:14 | |
with a lot of things in real life that I shouldn't have and I get to | 0:06:14 | 0:06:18 | |
be a movie star and it is a problem. It is a problem. Now, I turn my | 0:06:18 | 0:06:22 | |
life around and I have done the right thing, but many people have | 0:06:22 | 0:06:25 | |
been wrongfully convicted and the system is flawed so we need to | 0:06:25 | 0:06:30 | |
figure that out and in our elected officials more than not are | 0:06:30 | 0:06:34 | |
corrupted by power and enticed by money and that's a situation that | 0:06:34 | 0:06:40 | |
we need to deal with. We have got a clip. This is you and | 0:06:40 | 0:06:45 | |
rustle Crow as the mayor and the tables are about to be turned. | 0:06:45 | 0:06:55 | |
can I do for you? I want to know why you hired me. I hired you to | 0:06:55 | 0:07:00 | |
investigate my wife. Investigate her for what? For not minuting her | 0:07:00 | 0:07:06 | |
own business as for one. But having a big mouth and asking too many | 0:07:06 | 0:07:15 | |
questions is for one. You better be careful following her. I might have | 0:07:15 | 0:07:20 | |
to hire someone to investigate you. You have got it all worked out. | 0:07:20 | 0:07:27 | |
That's why people keep electing me. So it is all for the city? | 0:07:27 | 0:07:37 | |
0:07:37 | 0:07:40 | ||
Everything I do is for this city. I chose you because I own you. | 0:07:40 | 0:07:42 | |
APPLAUSE That was the exciting incident. | 0:07:42 | 0:07:51 | |
Oh, it all kicks off. It is a throw back to the great 70s characters | 0:07:51 | 0:07:59 | |
like China Town. James Cagney and Steve McQueen and these great ugly | 0:07:59 | 0:08:02 | |
ugly character actors which made me feel confident and the possibility | 0:08:02 | 0:08:08 | |
that I could be one of those guys. They looked my dad and reminded me | 0:08:08 | 0:08:13 | |
of my dad, kind of short, a little weird. But had some bulls that | 0:08:13 | 0:08:17 | |
would stand up for the every man. So there is more kind of ugly | 0:08:17 | 0:08:21 | |
little little weird people in the world than there are tall good | 0:08:21 | 0:08:27 | |
looking people like Michael Fassbender. Those people root for | 0:08:27 | 0:08:30 | |
me hence the fact that I get to star in the movie. | 0:08:30 | 0:08:34 | |
Have your kids seen any of your films? They have seen moderate | 0:08:34 | 0:08:38 | |
pieces like the Disney football movie that I did and the other guys, | 0:08:38 | 0:08:46 | |
but my son did see a piece of Transformers. Have you finished | 0:08:46 | 0:08:51 | |
Transformers? He watched the one that is preceded our movie. We're | 0:08:51 | 0:08:55 | |
playing football in our theatre and my youngest son who is four years | 0:08:55 | 0:09:05 | |
old, throws the football down and goes, "Fucking shit." he got | 0:09:05 | 0:09:09 | |
stopped for the touch down, it made sense what he said, but I was like, | 0:09:09 | 0:09:13 | |
"Why did you say that? Get over here. I want to wash your mouth out | 0:09:13 | 0:09:19 | |
with soap soap." He wants to smile because he knows he made daddy | 0:09:19 | 0:09:24 | |
proud. I said, "Get over here. Where did you hear that from?" He | 0:09:24 | 0:09:31 | |
looks at me and Says, "Transformers." That's how we pay | 0:09:31 | 0:09:37 | |
the bills, kid. Was it a proud moment when you | 0:09:37 | 0:09:44 | |
introduced them to the Rock Johnson? They are huge fans of | 0:09:44 | 0:09:50 | |
wrestling. This is the Michael Payne movie. I'm like, "Dude, you | 0:09:50 | 0:09:54 | |
have got to do me a favour. My kids are huge fans, can you please come | 0:09:54 | 0:10:00 | |
over and say hi?" He is like, "I would love to. I love kids. I have | 0:10:01 | 0:10:05 | |
a daughter." He comes over. He comes in the trailer. They are all | 0:10:05 | 0:10:09 | |
being shy. They are hiding in the bathroom and he is like, "Where are | 0:10:09 | 0:10:13 | |
your kids?" I was like, "They are over there." He goes, "Guys come on | 0:10:14 | 0:10:21 | |
out. Give me a high five." My youngest kid punches him in the | 0:10:21 | 0:10:25 | |
nuts as hard as he can. The youngest one, as hard as he can. | 0:10:25 | 0:10:30 | |
Wow. He is like, "What's wrong with this | 0:10:30 | 0:10:34 | |
kid? He needs some counselling." That's what he does. My son scored | 0:10:34 | 0:10:41 | |
a basket, my oldest son scored a basket at a basketball last week | 0:10:41 | 0:10:47 | |
and my son's idea of of celebrating was turning around and punching me | 0:10:47 | 0:10:52 | |
in the nuts! That's what he does. You need to get him out of that | 0:10:52 | 0:10:58 | |
habit. Did they understand why they couldn't see the lovely teddy bear | 0:10:58 | 0:11:02 | |
film? Absolutely not. They think, "Daddy, | 0:11:02 | 0:11:05 | |
there is a movie where you and the daddy bear, you are you are | 0:11:05 | 0:11:10 | |
laughing and having fun. I can see this." Ted is inappropriate and my | 0:11:10 | 0:11:15 | |
wife is very conservative. I am thinking the boys, eight and nine, | 0:11:15 | 0:11:19 | |
we will show them the movie and she is like 24, 25. Never show the | 0:11:19 | 0:11:24 | |
daughters which I agree. Was Ted set in Boston because you | 0:11:24 | 0:11:32 | |
liked doingted Boston Dunkirk -- doing the Boston accent? No, there | 0:11:32 | 0:11:37 | |
were many jokes that offended me and my family. I liked Seth and I | 0:11:37 | 0:11:41 | |
liked it. I heard he is good at voice. If he is good at voices, I | 0:11:41 | 0:11:46 | |
want to challenge you. Oh shit. | 0:11:46 | 0:11:52 | |
I want to challenge you to a big dick contest. I will challenge you | 0:11:52 | 0:11:58 | |
to a voice contest. Sarah is my back-up. | 0:11:58 | 0:12:05 | |
She is She is is the real deal. Sarah knows her Boston voices. | 0:12:05 | 0:12:12 | |
I can do my dad. I don't want to interrupt this thing. High dad had | 0:12:12 | 0:12:22 | |
0:12:22 | 0:12:25 | ||
a retail store, discount women's clothing store... You smell so good. | 0:12:25 | 0:12:27 | |
LAUGHTER He did his own radio ads. He would | 0:12:27 | 0:12:35 | |
go, "When I see the prices at the mallI just want to vomit." Where is | 0:12:36 | 0:12:40 | |
this competition? They asked me if I could do Ted's voice? It is not | 0:12:40 | 0:12:50 | |
0:12:50 | 0:12:53 | ||
fair. It is like a hyped up version of the Boston accent. Is. Control | 0:12:53 | 0:12:57 | |
your mind. You don't just do do voices, you do | 0:12:57 | 0:13:01 | |
noises. He is like the guy from the | 0:13:01 | 0:13:08 | |
Beverley Hills Police Academy. not as good as that guy. | 0:13:08 | 0:13:18 | |
0:13:18 | 0:13:22 | ||
What can you do? HE WHISTLES | 0:13:22 | 0:13:32 | |
0:13:32 | 0:13:41 | ||
Can you do machinery? I can do a sin is a thizer -- synthesizer! | 0:13:41 | 0:13:44 | |
LAUGHTER I played racket ball... I have got | 0:13:44 | 0:13:54 | |
0:13:54 | 0:14:03 | ||
a 198 0s silencer! LAUGHTER | 0:14:03 | 0:14:06 | |
Your dad, does he speak with a German accent? No, with just make | 0:14:06 | 0:14:11 | |
noises to each other! LAUGHTER | 0:14:11 | 0:14:14 | |
Your dad really follows your career, doesn't he? He tells me what I'm | 0:14:14 | 0:14:17 | |
doing before I know what I'm doing. He has got me on Google Earth which | 0:14:17 | 0:14:19 | |
is very frustrating. It is kind of worrying. It is sweet and creepy at | 0:14:19 | 0:14:23 | |
the same time. So yeah, he is like,, "I hear you | 0:14:23 | 0:14:29 | |
are going to be doing this film next." He goes, "I don't like your | 0:14:29 | 0:14:38 | |
new haircut.". He must find out bizarre things about you? Yes. | 0:14:38 | 0:14:40 | |
LAUGHTER Does he know you were naked in that | 0:14:40 | 0:14:47 | |
movie? No, I kept that secret! LAUGHTER | 0:14:47 | 0:14:57 | |
0:14:57 | 0:14:57 | ||
I can see your penis in front of my face. | 0:14:57 | 0:14:59 | |
LAUGHTER Michael, what was going on, you | 0:14:59 | 0:15:01 | |
thought it was a good idea to invite your parents to the premiere | 0:15:02 | 0:15:02 | |
of Shame. LAUGHTER | 0:15:02 | 0:15:05 | |
I know, yeah. How did that go? Well, you know, my mother didn't | 0:15:05 | 0:15:14 | |
end up turning up so that was OK. LAUGHTER | 0:15:14 | 0:15:17 | |
Mum went and checked it out I don't know, when it came out in Tralee | 0:15:17 | 0:15:20 | |
actually, I think. Nice, a day of it. She got all her | 0:15:20 | 0:15:26 | |
friends together. Go and see Michael's new film. | 0:15:26 | 0:15:31 | |
can see it now. They are opened minded people. | 0:15:31 | 0:15:36 | |
Your penis had its own Twitter account and George Clooney talking | 0:15:37 | 0:15:42 | |
about it at the Golden Globes, I mean that's weird? It is kind of, | 0:15:43 | 0:15:46 | |
just sort of, I guess, sort of reflects how our relationship with | 0:15:46 | 0:15:51 | |
that is. You know, people are still kind of awkward about it and | 0:15:51 | 0:15:58 | |
uncomfortable. LAUGHTER | 0:15:58 | 0:16:02 | |
You have got everything out. You let it all hang out in... I did, | 0:16:02 | 0:16:10 | |
yeah, I did. You did. Was it Take This Waltz with Michelle Williams? | 0:16:10 | 0:16:15 | |
It wasn't sexual. It was very non- sexual because women on a daily | 0:16:15 | 0:16:18 | |
basis are naked around each other. You are changing. You are getting | 0:16:18 | 0:16:22 | |
clothes on. One is in the tub. And one is reading a magazine, it is a | 0:16:22 | 0:16:26 | |
natural thing, but you never see that reflected in movies, it is | 0:16:26 | 0:16:32 | |
only in a sexual way with lightening and you know, so... | 0:16:32 | 0:16:37 | |
it a dormitory or something? naked all the time. Today, I was | 0:16:37 | 0:16:42 | |
naked. In the rest room and the dressing | 0:16:42 | 0:16:47 | |
room and sull of a sudden -- all of a sudden everyone is naked. | 0:16:47 | 0:16:57 | |
0:16:57 | 0:17:03 | ||
I'm just having a good time. APPLAUSE | 0:17:03 | 0:17:06 | |
I turn to Sarah Silverman because I know a lot about you because I have | 0:17:06 | 0:17:09 | |
read the Bed Wetter. It is still available. Do books stop being | 0:17:09 | 0:17:15 | |
available. Yeah, they do. | 0:17:15 | 0:17:19 | |
Classics? This book will be around forever, but what is weird about | 0:17:19 | 0:17:27 | |
this book, it seems unlikely, but this is what got you your part in | 0:17:27 | 0:17:33 | |
Wreck-it Ralph? That's true. The director read the book and | 0:17:33 | 0:17:36 | |
thought she is perfect as a a cartoon character? That's right. | 0:17:36 | 0:17:46 | |
0:17:46 | 0:17:46 | ||
You have seen the movie how many times? Ten and about 20 on bootleg. | 0:17:46 | 0:17:52 | |
My kids love the movie. I have two boys and two girls and and she | 0:17:52 | 0:18:02 | |
0:18:02 | 0:18:09 | ||
changed my life! LAUGHTER | 0:18:09 | 0:18:19 | |
0:18:19 | 0:18:22 | ||
Don't be left out. It is like a weird foreign film! | 0:18:22 | 0:18:23 | |
LAUGHTER There will be subtitles in a minute | 0:18:23 | 0:18:26 | |
now and I'm the inn keeper I must top up your glasses and | 0:18:26 | 0:18:33 | |
leave! The movie, Wreck-it Ralph is written around you? Kind of, I feel | 0:18:33 | 0:18:36 | |
cocky saying that. But it is true? It is a nine-year- | 0:18:36 | 0:18:41 | |
old girl by the way. Just so people know what we are talking about. | 0:18:41 | 0:18:49 | |
Let's watch a clip. This is Wreck- it Ralph. He left your game and he | 0:18:49 | 0:18:55 | |
entered your game. The other kids won't let me race because they say | 0:18:55 | 0:19:05 | |
0:19:05 | 0:19:11 | ||
I am a glitch. And And Ralph is causing havoc. | 0:19:11 | 0:19:16 | |
Those girls won't let you race. is a bad guy, but he wants to be | 0:19:16 | 0:19:24 | |
good. He is flawed. He is damaged. He | 0:19:24 | 0:19:29 | |
wants your attention. He wants a broken city. Which I saw ten times | 0:19:29 | 0:19:33 | |
with my kids. Here is the clip. Here is the clip. Here it is. | 0:19:33 | 0:19:38 | |
What's your name? Ralph. Wreck-it Ralph. You are not from here, are | 0:19:38 | 0:19:45 | |
you? I'm not from right in this area. I'm doing work? What kind of | 0:19:45 | 0:19:49 | |
work? Routine candy tree trimming. You want to stand back. This area | 0:19:49 | 0:19:56 | |
is closed while we are trimming. Who is we? The candy tree | 0:19:56 | 0:20:06 | |
0:20:06 | 0:20:09 | ||
department. Hey, are you a a hobo? No,, but I | 0:20:09 | 0:20:18 | |
am busy. What is that, I didn't hear you? Your breath makes me ears | 0:20:18 | 0:20:26 | |
numb. You're Mimicking me. This conversation is rude. I wouldn't | 0:20:26 | 0:20:31 | |
grab that branch if I was you. I am from the candy tree department | 0:20:31 | 0:20:41 | |
0:20:41 | 0:20:44 | ||
so I know... Why are your hands so freakish big? I don't know. Why are | 0:20:44 | 0:20:51 | |
you so so freakishly annoying? Because it is you. It is you. | 0:20:51 | 0:21:00 | |
The good thing about big movies, you get get get merchandise and | 0:21:00 | 0:21:05 | |
Sarah is an adorable doll. It is quite nice, isn't it? It is nice | 0:21:05 | 0:21:15 | |
0:21:15 | 0:21:17 | ||
and it speaks. It says things. Hello. Did you really do it? Yeah. | 0:21:17 | 0:21:25 | |
Tom Hanks gets his brother to do the Woody doll. My brother does my | 0:21:25 | 0:21:30 | |
show! What are you doing girl? took me two seconds. | 0:21:30 | 0:21:39 | |
While I was in the shop, it is all tax deductable. How cute is that? | 0:21:39 | 0:21:47 | |
Also, how expensive is that? He speaks too. Hey Johnny, are you | 0:21:47 | 0:21:57 | |
0:21:57 | 0:21:58 | ||
having a beer? OK, so I will start with her. Hello. I'm adorable. | 0:21:58 | 0:22:06 | |
OK, that's a good start to a conversation for him. | 0:22:06 | 0:22:16 | |
0:22:16 | 0:22:16 | ||
Come here. It is cute. She replies with? | 0:22:16 | 0:22:19 | |
LAUGHTER Possibly fainted. I know what I | 0:22:19 | 0:22:29 | |
0:22:29 | 0:22:29 | ||
would like to do her. And she replies? I've got a date with | 0:22:29 | 0:22:39 | |
destiny. Very good. Now, the glitch, it is | 0:22:39 | 0:22:43 | |
based on your childhood, what was the glitch in your life? | 0:22:43 | 0:22:49 | |
I think what you saw in the book was that I was a bed wetter into my | 0:22:49 | 0:22:55 | |
teens and it was humiliating and that was kind of like something I | 0:22:55 | 0:23:00 | |
thought would be my greatest shame, you know. And then I think the kind | 0:23:00 | 0:23:06 | |
of the lesson of the movie which is kind of the lesson of the book | 0:23:06 | 0:23:10 | |
which is something that you think is your biggest down fall, | 0:23:10 | 0:23:13 | |
something that you think you are going to be ashamed of your whole | 0:23:13 | 0:23:17 | |
life, if you let it, it can be your super power, you know. | 0:23:17 | 0:23:27 | |
It is true. Thank you. Tas British audience. They are like, | 0:23:27 | 0:23:31 | |
"Whatever.". What I liked about it, there are stories in this book that | 0:23:31 | 0:23:37 | |
could have been someone's childhood trauma, but they are anecdotes like | 0:23:37 | 0:23:41 | |
the sleep over when that lady came in. Elvis Presley saved my life in | 0:23:41 | 0:23:48 | |
a way because I was at a sleep over party when I was six or seven and I | 0:23:48 | 0:23:52 | |
had to borrow pyjamas. I didn't know it was a sleep over and then | 0:23:52 | 0:23:58 | |
she was like, "It's a sleep over." I went, "I have got to call my mum | 0:23:58 | 0:24:03 | |
and see." And I was praying she would say no and she said yes. I | 0:24:03 | 0:24:08 | |
would have to punch myself awake all night to not pee and then I did. | 0:24:08 | 0:24:14 | |
I feel asleep and I woke up and she had too sexy pyjamas for a six- | 0:24:14 | 0:24:21 | |
year-old. LAUGHTER | 0:24:21 | 0:24:24 | |
She gave her daughter curls every day. It was like sexy hair on | 0:24:24 | 0:24:29 | |
pyjamas and they are drenched. So everyone is getting changed and I'm | 0:24:29 | 0:24:34 | |
just numb inside. I'm just doing what everyone else is doing and her | 0:24:34 | 0:24:44 | |
mother walks in and she steps right in my pee pyjamas and can you | 0:24:44 | 0:24:54 | |
0:24:54 | 0:24:58 | ||
imagine... Listen to the nice lady. LAUGHTER | 0:24:58 | 0:25:06 | |
That's wrong. Don't touch the man there. | 0:25:06 | 0:25:08 | |
LAUGHTER I was looking for this. You hid it | 0:25:08 | 0:25:18 | |
0:25:18 | 0:25:20 | ||
for me. Sit yourself down. Wow... If you want this. Is this my | 0:25:21 | 0:25:25 | |
microphone? You can throw it under the sofa. So we are getting to the | 0:25:25 | 0:25:30 | |
end of this bloody story. We should. We should. | 0:25:30 | 0:25:35 | |
She stepped in... Can you imagine being a mother and doing this. She | 0:25:35 | 0:25:45 | |
0:25:45 | 0:26:02 | ||
goes, "Who did this?" I'm just like paralysed with fear. | 0:26:02 | 0:26:03 | |
LAUGHTER Can I finish this story? | 0:26:03 | 0:26:06 | |
I'm exhausted. LAUGHTER | 0:26:06 | 0:26:09 | |
Finish the story. Just when I think she is going to kill me, the | 0:26:09 | 0:26:14 | |
husband walks in and says, "Elvis Presley died.". You see, we got | 0:26:14 | 0:26:24 | |
0:26:24 | 0:26:26 | ||
there in the end. What are you looking at my tights? | 0:26:26 | 0:26:30 | |
I wanted to see if your wire was still connected to your mime roe | 0:26:30 | 0:26:37 | |
phone? -- microphone? There is a lovely scene on your | 0:26:37 | 0:26:42 | |
grandmother's deathbed. Behave. Behave. This is a good story. | 0:26:42 | 0:26:51 | |
will keep it tight. LAUGHTER | 0:26:51 | 0:26:58 | |
You guys are disgusting. Now, I have started doing exercises. My | 0:26:58 | 0:27:01 | |
grandmother, my nanna was dying. She is on her deathbed and it is | 0:27:01 | 0:27:04 | |
the kind of thing where she was ready. She said goodbye and every | 0:27:04 | 0:27:11 | |
time she woke up, she was like scwlth am am -- like, "Am I still | 0:27:11 | 0:27:18 | |
here?" She opens her eyes and my sister and I are sitting either | 0:27:18 | 0:27:24 | |
side of her and she looks up and says, "So beautiful." We go, she is | 0:27:24 | 0:27:30 | |
talking to me. She is talking to me. With her last last breath she was | 0:27:30 | 0:27:40 | |
0:27:40 | 0:27:53 | ||
like, "Laura." LAUGHTER | 0:27:53 | 0:27:54 | |
Meanwhile, whine meanwhile meanwhile, I am still being host | 0:27:55 | 0:27:57 | |
over here. Michael Fassbender, a different childhood, you grew up in | 0:27:57 | 0:28:02 | |
rural Ireland. What is weird, Hollywood comes to call. You had | 0:28:02 | 0:28:05 | |
Star Wars, didn't you think you were Superman when you were a kid? | 0:28:05 | 0:28:08 | |
When I was a kid? LAUGHTER | 0:28:08 | 0:28:14 | |
Yes, I did actually, yeah. High the Superman outfit. | 0:28:14 | 0:28:22 | |
Did you believe you could fly? had a ringing in my ear one night, | 0:28:22 | 0:28:27 | |
but I was too tired to get up out of bed. | 0:28:27 | 0:28:32 | |
There were plenty of kids that thought the same. I had the suit | 0:28:32 | 0:28:36 | |
and I wanted to take it to the swimming pool and practise. My | 0:28:36 | 0:28:40 | |
cousin and I had a game where he would be dressed as a civilian | 0:28:40 | 0:28:43 | |
civilian child, of course, and he would run behind the bush and I | 0:28:43 | 0:28:49 | |
would come out dressed as Superman. Like the phone box? Yeah, but we | 0:28:49 | 0:28:52 | |
used a bush! LAUGHTER | 0:28:52 | 0:29:02 | |
0:29:02 | 0:29:03 | ||
It was Ireland. It was simple, happier times. | 0:29:03 | 0:29:05 | |
LAUGHTER And Clark Kent ran behind a bush. | 0:29:05 | 0:29:10 | |
How old were you when you drebg add stage version of -- directed a | 0:29:10 | 0:29:17 | |
stage version of Reservoir Dogs? You were in it as well? Yes, I | 0:29:18 | 0:29:20 | |
managed to get it together somehowment I didn't really know | 0:29:20 | 0:29:25 | |
what I was getting myself into. I wanted to do it and it was great, | 0:29:25 | 0:29:27 | |
yeah. I just organised my friends together. | 0:29:27 | 0:29:32 | |
Did you go to the butcher's and great real blood? We had a lamb | 0:29:32 | 0:29:42 | |
chop for the ear which we filleted down to the right size. We stopped | 0:29:42 | 0:29:46 | |
cars in the street with pretend guns and through flyers in their | 0:29:46 | 0:29:51 | |
window and if you did that in America, you would get shot. | 0:29:51 | 0:29:57 | |
Did you tell quent quen when you -- Quentin Tarantino when you met him? | 0:29:57 | 0:30:00 | |
Yes, but I told him it was for charity. | 0:30:00 | 0:30:10 | |
0:30:10 | 0:30:15 | ||
You have done that thing of of going into big studio movies like | 0:30:15 | 0:30:22 | |
Prometheus and X-Men? If they make enough money they go for another | 0:30:22 | 0:30:26 | |
one. In X-Men, it was you and James | 0:30:26 | 0:30:30 | |
McAvoy. You weren't even filming when you and James... You have had | 0:30:30 | 0:30:36 | |
him here. Oh yeah. He is crazy. He is | 0:30:36 | 0:30:43 | |
fantastic, but he is crazy. We were sort of mucking around on the golf | 0:30:43 | 0:30:46 | |
carts that you go on between studios. James jumped behind the | 0:30:46 | 0:30:52 | |
wheel and he was off. It was one of the faster ones. It goes about 7mph | 0:30:52 | 0:30:55 | |
as opposed to 5mph. We were weaving through the cars and we were | 0:30:55 | 0:31:00 | |
heading back to base camp where the trailers and when when he was | 0:31:00 | 0:31:04 | |
steering, I decided I would do opposite balance with the outside | 0:31:04 | 0:31:10 | |
tyres were gripping and you get the most grip and take the corn corners | 0:31:10 | 0:31:20 | |
0:31:20 | 0:31:23 | ||
faster. That's a happy tale. You ruined the peeing story and now | 0:31:24 | 0:31:27 | |
you are going to ruin the golf story. | 0:31:27 | 0:31:36 | |
I apologised. I napped... He is atrocious. So you are on the golf | 0:31:36 | 0:31:43 | |
cart. And you and James McAvoy enter twined? Through his driving. | 0:31:43 | 0:31:47 | |
He was the driver and I was counterbalancing at the back and as | 0:31:47 | 0:31:57 | |
0:31:57 | 0:31:57 | ||
I have said said already if you were listening, Mark. So anyway, we | 0:31:57 | 0:32:00 | |
went flying into the base camp and the wheels dug in too much so we | 0:32:00 | 0:32:05 | |
took a swerve to the left and crashed into the back of a Lexus | 0:32:05 | 0:32:09 | |
and he went flying out of the car and I went flying over the back and | 0:32:09 | 0:32:13 | |
ended up where he was sitting and I got the blame for everything! | 0:32:13 | 0:32:18 | |
Twins. Twins were born on the sidewalk. That was a separate | 0:32:18 | 0:32:22 | |
incident. I don't know what chateau that red | 0:32:22 | 0:32:32 | |
0:32:32 | 0:32:40 | ||
wine came from, but my god... APPLAUSE | 0:32:40 | 0:32:42 | |
Somewhere out the back there is Laura Mvula who has to sing a song | 0:32:42 | 0:32:45 | |
and she is thinking, "When am I coming on?" This is all very funny. | 0:32:45 | 0:32:47 | |
I have to sing a song. Who? LAUGHTER | 0:32:47 | 0:32:50 | |
You will meet her shortly. Tas lovely -- it is a lovely song. | 0:32:50 | 0:32:57 | |
Don't join in! Now this young singer is tipped for | 0:32:57 | 0:33:03 | |
greatness in 2013. Her debut album comes out next month and forming | 0:33:03 | 0:33:10 | |
her -- performing her new single, green Green Garden, please welcome | 0:33:11 | 0:33:20 | |
0:33:21 | 0:33:21 | ||
# Take me outside # Sit in the green garden | 0:33:21 | 0:33:25 | |
# Nobody out there # But its soaking now | 0:33:25 | 0:33:30 | |
# Bathe in the sunlight # Don't mind if rain falls | 0:33:30 | 0:33:40 | |
0:33:40 | 0:33:43 | ||
# Take me outside # Sit in the green garden | 0:33:44 | 0:33:48 | |
# And I'll fly on the wings of a butterfly | 0:33:48 | 0:33:54 | |
# High as a tree top and down again # Putting my bag down | 0:33:54 | 0:34:03 | |
# Taking my shoes off # Walking a carpet of green velvet | 0:34:03 | 0:34:13 | |
0:34:13 | 0:34:14 | ||
# Dance in my garden like we used # Dance in my garden like we used | 0:34:14 | 0:34:24 | |
0:34:24 | 0:34:24 | ||
# Take me outside # Sit in the green garden | 0:34:24 | 0:34:29 | |
# Nobody out there # But its soaking now | 0:34:29 | 0:34:33 | |
# Bathe in the sunlight # Don't mind if rain falls | 0:34:33 | 0:34:43 | |
0:34:43 | 0:34:55 | ||
# Take me outside # Sit in the green garden | 0:34:55 | 0:35:00 | |
# And I'll fly on the wings of a butterfly | 0:35:00 | 0:35:05 | |
# High as a tree top and down down again | 0:35:05 | 0:35:09 | |
# Putting my bag down # Taking my shoes off | 0:35:10 | 0:35:16 | |
# Walking a carpet of green velvet # Dance in my garden like we used | 0:35:17 | 0:35:26 | |
0:35:27 | 0:35:34 | ||
# Dance in my garden like we used # I know wherever you go | 0:35:34 | 0:35:41 | |
# Wherever you take me, I'll go # I know wherever you go | 0:35:41 | 0:35:51 | |
0:35:51 | 0:35:52 | ||
# Wherever you take me, I'll go # I know wherever you go, | 0:35:52 | 0:36:01 | |
# Wherever you take me, I'll go # I know wherever you go | 0:36:01 | 0:36:09 | |
# Wherever you take me, I'll go # I know wherever you go | 0:36:09 | 0:36:18 | |
# Wherever you take me, I'll go # I know wherever you go | 0:36:18 | 0:36:28 | |
0:36:28 | 0:36:40 | ||
APPLAUSE Gorgeous. Come and join me. | 0:36:40 | 0:36:42 | |
APPLAUSE Absolutely stunning. Laura Mvula, | 0:36:42 | 0:36:51 | |
everybody. Michael, Sarah, that's Mark down | 0:36:51 | 0:37:01 | |
0:37:01 | 0:37:03 | ||
the end there. Steady. Steady. LAUGHTER | 0:37:03 | 0:37:05 | |
Now, I can't believe it, is it true, that's your first TV performance? | 0:37:05 | 0:37:10 | |
Yes. You are as cool as a cucumber. | 0:37:10 | 0:37:13 | |
APPLAUSE It is such a pretty song. I loved | 0:37:13 | 0:37:20 | |
the last single She as well and this new album is out on the 4th | 0:37:20 | 0:37:27 | |
March Arthe Green -- and the Green Garren is on the -- garden is on | 0:37:27 | 0:37:36 | |
the 4th February. -- 24th February. We are looking for a young emy | 0:37:36 | 0:37:41 | |
Sandy -- Emily Sandy, we got her. We got her. You have You have made | 0:37:41 | 0:37:49 | |
it now. Really, OK? You have made it. Depressing, isn't it? You | 0:37:49 | 0:37:59 | |
0:37:59 | 0:38:02 | ||
dreamt so big. This is it! LAUGHTER | 0:38:02 | 0:38:04 | |
But like everybody, you were a resiptionist and -- receptionist | 0:38:04 | 0:38:07 | |
and you decided to be a music supply teacher? I didn't quite | 0:38:07 | 0:38:10 | |
decide like that. I kind of fell into it. That sounds bad... But you | 0:38:10 | 0:38:12 | |
thought you would enjoy it because it would combine music with helping | 0:38:12 | 0:38:20 | |
children. And it was a great challenge. | 0:38:20 | 0:38:21 | |
LAUGHTER Yeah, I found it pretty tough. I | 0:38:21 | 0:38:25 | |
wasn't a great teacher, I don't think. | 0:38:25 | 0:38:29 | |
Will there be kids watching going, "Oh my god, is it that woman we | 0:38:29 | 0:38:36 | |
used to throw stuff at? Oh, she is a singer.". It must be lovely now. | 0:38:36 | 0:38:42 | |
Are you planning tours? Yeah. I'm going to tour with Jessie Ware in | 0:38:42 | 0:38:52 | |
March which is exciting for me... You don't need her! Well, I think | 0:38:52 | 0:39:02 | |
0:39:02 | 0:39:03 | ||
she's amazing. She is all right. No, she is very good. She is very good. | 0:39:03 | 0:39:07 | |
Listen, congratulation and good luck with the album. I'm going to | 0:39:07 | 0:39:11 | |
spend money and buy it! Unless it is sen to me! | 0:39:11 | 0:39:15 | |
-- sent to me! Let's pay a visit to the big red | 0:39:15 | 0:39:21 | |
chair. Who Have we got? Hello. Oh god. Oh god. It is that time. | 0:39:21 | 0:39:24 | |
You look lovely, what's your name? Megan. | 0:39:24 | 0:39:30 | |
Where are you from? From Dublin. This is going to be a short | 0:39:30 | 0:39:35 | |
section! Brace yourself, Megan. What do you | 0:39:35 | 0:39:38 | |
do in Dublin? I am a nurse. I live here now. | 0:39:38 | 0:39:48 | |
0:39:48 | 0:39:55 | ||
She is a nurse. You poor thing... Nurse your own wounds. Why is she | 0:39:55 | 0:39:59 | |
nursing? She is just wasting her nursing time sat there. | 0:39:59 | 0:40:05 | |
A woman as attractive as she is. They are sick. They are in the | 0:40:05 | 0:40:12 | |
hospital. They see a attractive young woman. Being some sort of | 0:40:12 | 0:40:16 | |
like reality star... She sat in a chair. I don't think she is trying | 0:40:16 | 0:40:22 | |
to be a star. She said she decided to be a | 0:40:22 | 0:40:31 | |
nurse... She is a nurse. She said four words. | 0:40:31 | 0:40:39 | |
She said, "I am a nurse." LAUGHTER | 0:40:39 | 0:40:42 | |
She went out to a club with Prince Harry. | 0:40:42 | 0:40:50 | |
Bring her back. Bring her back. Thnchts is a. This is a redemption | 0:40:51 | 0:40:54 | |
story. It is her again. Her again? It is | 0:40:54 | 0:41:02 | |
the nurse again. She is is back! I'm back. | 0:41:02 | 0:41:10 | |
I don't like her disposition. is a nurse. Hi. Hi, thanks for that. | 0:41:10 | 0:41:16 | |
Quick. A couple of months I was at the gym, a full face of make-up | 0:41:16 | 0:41:25 | |
on... Why you would wear make-up to the gym? | 0:41:25 | 0:41:31 | |
If you are going to go to the gym, work out and exercise and inspire | 0:41:31 | 0:41:36 | |
people that need to exercise. It is OK to go to the gym. You are not | 0:41:36 | 0:41:39 | |
going to compete, wearing make-up to the gym. Bring her back. I like | 0:41:39 | 0:41:44 | |
her! LAUGHTER | 0:41:44 | 0:41:47 | |
Give her another shot. OK, we are we are bringing her back. | 0:41:47 | 0:41:57 | |
We are, we are bringing her back. She is a bit bruised! | 0:41:57 | 0:42:05 | |
But she is still game. OK, so you were at the gym. So I am at the gym | 0:42:05 | 0:42:11 | |
in my make-up...? Why? Let it go. Let it go. | 0:42:11 | 0:42:21 | |
0:42:21 | 0:42:21 | ||
So I had my tightest top on and I noticed a group... Bring her back. | 0:42:21 | 0:42:27 | |
Why would she wear her tightest top with make-up? Why? | 0:42:27 | 0:42:28 | |
LAUGHTER To look very attractive. | 0:42:28 | 0:42:36 | |
OK, bring her back. OK. Here she is. | 0:42:36 | 0:42:42 | |
She has got whiplash now. OK, I'm looking after you! You are wearing | 0:42:42 | 0:42:46 | |
a tight top and you are covered in make-up. We disagree with all of | 0:42:46 | 0:42:50 | |
that, but on you? The purpose of all the make-up was in case I met | 0:42:50 | 0:42:55 | |
Prince Charming at the gym. I I was looking at this really good looking | 0:42:55 | 0:42:59 | |
group of guys that was standing nearby. I start doing my push-ups | 0:42:59 | 0:43:02 | |
and I try to look up to give him like a little smile, but what | 0:43:02 | 0:43:12 | |
0:43:12 | 0:43:18 | ||
happened was I fell off the fitness and caused runner onted treadmill, | 0:43:18 | 0:43:23 | |
to fall on top of me and I turned around the guys had walked away. | 0:43:23 | 0:43:29 | |
That's all we have time for. Thank you so much to my guest, | 0:43:29 | 0:43:32 | |
Laura Mvula. APPLAUSE | 0:43:32 | 0:43:34 | |
Michael Fassbender. APPLAUSE | 0:43:34 | 0:43:37 | |
Sarah Silverman. APPLAUSE | 0:43:37 | 0:43:47 | |
0:43:47 | 0:43:54 |