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On tonight's show, two top detectives from Luther | 0:00:02 | 0:00:04 | |
and Broadchurch. I'd be a great detective. | 0:00:04 | 0:00:07 | |
Now, madam, where were you on the night of January 17th at 10:35? | 0:00:07 | 0:00:11 | |
-Sleeping. -No, you're here. -I was here. -You're here. It's now. | 0:00:11 | 0:00:16 | |
Let's start the show! | 0:00:16 | 0:00:18 | |
Oh, oh, hello! | 0:00:34 | 0:00:38 | |
Hello over there! | 0:00:39 | 0:00:40 | |
Hello back there! Hello to you all! | 0:00:40 | 0:00:43 | |
A very warm welcome. We have a great line-up for you tonight. | 0:00:46 | 0:00:49 | |
Star of The Wire, Luther and now the stunning Long Walk To Freedom, | 0:00:49 | 0:00:52 | |
Idris Elba's here, ladies and gentlemen! | 0:00:52 | 0:00:55 | |
CHEERING AND APPLAUSE | 0:00:55 | 0:00:57 | |
Back off, lady, security. | 0:01:00 | 0:01:02 | |
Britain's newest national treasure, Olivia Colman, is on this show! | 0:01:02 | 0:01:06 | |
CHEERING AND APPLAUSE | 0:01:06 | 0:01:07 | |
Yes! | 0:01:07 | 0:01:09 | |
Creator and star of the hit US sitcom, Girls, | 0:01:12 | 0:01:15 | |
Lena Dunham is here! Yes! | 0:01:15 | 0:01:16 | |
CHEERING AND APPLAUSE | 0:01:16 | 0:01:18 | |
Plus we've got music from the brilliant Keane, ladies and gentlemen. Woo hoo! | 0:01:18 | 0:01:22 | |
CHEERING AND APPLAUSE | 0:01:22 | 0:01:25 | |
Very good. I tell you, it'll be a sofa full of exciting, happy people. | 0:01:25 | 0:01:29 | |
Sort of the exact opposite of this. | 0:01:29 | 0:01:32 | |
LAUGHTER | 0:01:32 | 0:01:33 | |
Celebrity Big Brother, isn't it great? | 0:01:34 | 0:01:37 | |
Tell you, more faded TV stars than a magistrates court. | 0:01:37 | 0:01:40 | |
LAUGHTER AND APPLAUSE | 0:01:40 | 0:01:42 | |
What? | 0:01:42 | 0:01:44 | |
Great to have Idris Elba on the show, star of the brilliant | 0:01:47 | 0:01:49 | |
new film about Nelson Mandela, Long Walk To Freedom. | 0:01:49 | 0:01:53 | |
It is a great honour for anyone to have a biopic. | 0:01:53 | 0:01:56 | |
You do wonder who would play me in a film of my life. | 0:01:56 | 0:01:58 | |
LAUGHTER | 0:01:59 | 0:02:01 | |
Stupid. I don't smoke. | 0:02:01 | 0:02:04 | |
Idris, very cool, ladies and gentlemen, very cool man. | 0:02:05 | 0:02:08 | |
No matter what role he's playing, he always looks great. | 0:02:08 | 0:02:11 | |
Whether he's a drug dealer, a policeman, a toasting fork... | 0:02:11 | 0:02:17 | |
LAUGHTER | 0:02:18 | 0:02:20 | |
That's a hard look to carry off. | 0:02:22 | 0:02:25 | |
I'm delighted to welcome Olivia Colman back to the show! Oh! | 0:02:25 | 0:02:28 | |
She starred in the brilliant Broadchurch, of course, as DS Miller. | 0:02:31 | 0:02:35 | |
She's up for a National Television Award for best detective. | 0:02:35 | 0:02:39 | |
And you do think, really? Best detective? | 0:02:39 | 0:02:42 | |
She didn't spot her husband was the murderer. He's upstairs. | 0:02:42 | 0:02:47 | |
In the first episode, | 0:02:47 | 0:02:50 | |
there was the harrowing scene when they removed the body | 0:02:50 | 0:02:53 | |
from the beach. Always traumatic. | 0:02:53 | 0:02:55 | |
Heave! | 0:02:55 | 0:02:57 | |
LAUGHTER | 0:02:57 | 0:02:59 | |
That's it, that's it. Where did I put my chair? | 0:02:59 | 0:03:02 | |
I loved Olivia in the Olympic sitcom Twenty Twelve. Oh, yes. | 0:03:04 | 0:03:08 | |
I enjoyed that one. | 0:03:08 | 0:03:11 | |
I like that people in the audience go, "Oh, yes, | 0:03:11 | 0:03:14 | |
"she was very good in that, yes. I did enjoy that, yes." | 0:03:14 | 0:03:16 | |
Of course, it's the Winter Olympics soon in Russia. | 0:03:16 | 0:03:20 | |
Been a lot of controversy over how welcome | 0:03:20 | 0:03:23 | |
gay athletes are going to be, | 0:03:23 | 0:03:25 | |
but honestly, are there any gay athletes in the Winter Olympics? | 0:03:25 | 0:03:29 | |
LAUGHTER AND APPLAUSE | 0:03:29 | 0:03:32 | |
I guess we'll never know. | 0:03:34 | 0:03:36 | |
The Winter Olympics, very similar to the Summer Olympics. | 0:03:36 | 0:03:39 | |
In the summer you have the sprint event, | 0:03:39 | 0:03:42 | |
in the winter you have the sprint event. | 0:03:42 | 0:03:45 | |
Summer, the jumps, winter, the jumps. | 0:03:45 | 0:03:48 | |
In the summer, the snatch lifts, and in winter... | 0:03:48 | 0:03:50 | |
LAUGHTER | 0:03:51 | 0:03:53 | |
Let's get some guests on! | 0:03:53 | 0:03:56 | |
Later we'll be having music from Keane. | 0:03:56 | 0:04:00 | |
But first, she's keen as mustard, it's Olivia Colman! | 0:04:00 | 0:04:04 | |
CHEERING | 0:04:04 | 0:04:06 | |
-Oh, oh! -Hello. -So beautiful. | 0:04:06 | 0:04:08 | |
Hello, darling. So nice to see you. | 0:04:08 | 0:04:10 | |
Sit yourself down, Olivia Colman. | 0:04:10 | 0:04:12 | |
She's the hot star of the cool Girls, it's Lena Dunham. | 0:04:14 | 0:04:19 | |
CHEERING AND APPLAUSE | 0:04:19 | 0:04:21 | |
Hi! | 0:04:21 | 0:04:23 | |
Hello, darling. So nice to see you. | 0:04:23 | 0:04:26 | |
-Thank you. -Sit yourself down. | 0:04:26 | 0:04:28 | |
And he's taking the long walk to my sofa, | 0:04:28 | 0:04:30 | |
it's Idris Elba! | 0:04:30 | 0:04:31 | |
CHEERING AND APPLAUSE | 0:04:31 | 0:04:34 | |
-Hey, you made it. -How are you? -Really well. | 0:04:34 | 0:04:39 | |
Lovely to see you. Sit down, sit down, sit down. | 0:04:39 | 0:04:41 | |
Nice couch, and we often get people on the sofa | 0:04:46 | 0:04:49 | |
who like and admire each other. | 0:04:49 | 0:04:51 | |
But Olivia Colman down the end, | 0:04:51 | 0:04:53 | |
you're like a competition winner tonight. | 0:04:53 | 0:04:55 | |
I know, I'm so excited. | 0:04:55 | 0:04:58 | |
I got so excited in the corridor, meeting them both, I nearly weed. | 0:04:58 | 0:05:01 | |
It would've been so cute if she had. | 0:05:07 | 0:05:10 | |
A little awkward, though. | 0:05:10 | 0:05:12 | |
Oh, not that awkward. Um... | 0:05:13 | 0:05:15 | |
I saw you at the Golden Globes. | 0:05:15 | 0:05:17 | |
-Did you not meet at the Golden Globes? -No. -No, I looked at him. | 0:05:17 | 0:05:20 | |
I looked at him extensively. | 0:05:22 | 0:05:24 | |
Is it true that at the Golden Globes, | 0:05:24 | 0:05:26 | |
because you're for film, you're for TV, are you separate? | 0:05:26 | 0:05:29 | |
Um, I think so, yes. | 0:05:29 | 0:05:31 | |
There's a sort of film section and there's a TV section, I guess. | 0:05:31 | 0:05:35 | |
That's a very nice way of putting it. | 0:05:35 | 0:05:37 | |
Basically, it's like all the film people are in a glorious area | 0:05:37 | 0:05:40 | |
with confetti streaming down and you're drinking champagne, | 0:05:40 | 0:05:43 | |
and all the TV people are just like in shanties at the back. | 0:05:43 | 0:05:47 | |
This year I was nominated for both. Not bragging... | 0:05:47 | 0:05:51 | |
It's just true. | 0:05:51 | 0:05:53 | |
TV and film. I chose the film section. | 0:05:53 | 0:05:56 | |
It's the right choice. | 0:05:56 | 0:05:58 | |
No-one's going to visit the TV section if they don't have to. | 0:05:58 | 0:06:02 | |
-Is it one party at the end? Did you dance? -Yeah. | 0:06:02 | 0:06:05 | |
-I didn't go to the party. -No? | 0:06:05 | 0:06:08 | |
Did you go to the party? | 0:06:08 | 0:06:10 | |
I did, I went to, like, six. | 0:06:10 | 0:06:13 | |
-The last time I saw you, you were behind the decks. -Yeah, yeah. | 0:06:13 | 0:06:17 | |
You were doing all this stuff. One on, one off. | 0:06:17 | 0:06:21 | |
He was so good, they had to tell him to stop dancing. | 0:06:22 | 0:06:25 | |
-It's true, isn't it? -It is, yeah. | 0:06:25 | 0:06:27 | |
It was one of these buildings that is sort of a heritage building. | 0:06:27 | 0:06:30 | |
There were so many people dancing because I'm a great DJ. | 0:06:30 | 0:06:34 | |
The floor was shaking, literally, | 0:06:34 | 0:06:36 | |
and they thought nothing was going to cave in, | 0:06:36 | 0:06:38 | |
so I had to get on the mic, | 0:06:38 | 0:06:39 | |
this is a first, to tell people, "Stop dancing, please." | 0:06:39 | 0:06:42 | |
That was the first time I've ever done that. | 0:06:42 | 0:06:44 | |
-And then you did your Carpenters mix. -Yeah. | 0:06:44 | 0:06:48 | |
Carpenters, a bit of Jay-Z. | 0:06:48 | 0:06:50 | |
-Do you talk when you DJ? -Back in the day I did. | 0:06:50 | 0:06:54 | |
-I was a mics man, on the mic. -You did all that? | 0:06:54 | 0:06:57 | |
"Ladies in the house!" All that stuff? | 0:06:57 | 0:06:59 | |
LAUGHTER | 0:06:59 | 0:07:01 | |
Easy, Graham Norton, what's gwannin'? | 0:07:01 | 0:07:04 | |
-That's called the hype man, right? -That's right. I was that guy. | 0:07:04 | 0:07:07 | |
-Well done. -Cool. | 0:07:07 | 0:07:10 | |
And you're young, so obviously dancing, it's your world. | 0:07:10 | 0:07:13 | |
I love to dance. I love to express myself through dance. | 0:07:13 | 0:07:17 | |
I express myself all over my home through dance. | 0:07:18 | 0:07:22 | |
I have to say, I did feel for you. | 0:07:22 | 0:07:24 | |
-There was that episode of Girls, by the way, I'm a big fan... -Thank you. | 0:07:24 | 0:07:27 | |
There's an episode of Girls where you're high on substances | 0:07:27 | 0:07:32 | |
-and you go clubbing. -Yeah. | 0:07:32 | 0:07:34 | |
Which was weird, because I've never actually been clubbing | 0:07:34 | 0:07:37 | |
so I had to get really method | 0:07:37 | 0:07:39 | |
and ask a lot of people what clubbing was like. | 0:07:39 | 0:07:42 | |
-But you were in a club with people. -I was, but it was like 10am. -Oh, OK. | 0:07:42 | 0:07:47 | |
That same club three days later was where Chris Brown | 0:07:47 | 0:07:50 | |
-and Drake got in a fight over Rihanna. -Wow. | 0:07:50 | 0:07:53 | |
And I like to think I have something to do with it. | 0:07:53 | 0:07:55 | |
LAUGHTER | 0:07:55 | 0:07:58 | |
I felt because of your character was a bit out of her head | 0:07:58 | 0:08:02 | |
so she swapped her top... | 0:08:02 | 0:08:03 | |
With a handsome gay man. | 0:08:03 | 0:08:05 | |
-But you ended up in a string vest and no bra. -It's true. | 0:08:05 | 0:08:08 | |
For the whole episode. | 0:08:08 | 0:08:10 | |
Which seemed like the funniest idea in the writer's room. | 0:08:10 | 0:08:12 | |
"Oh, my God, my nipples are going to be out for the entire episode." | 0:08:12 | 0:08:15 | |
Then the reality of having my nipples out | 0:08:15 | 0:08:18 | |
for the entire episode... | 0:08:18 | 0:08:20 | |
The worst was that by the end it was normal. | 0:08:20 | 0:08:22 | |
In the end my breasts had lost... | 0:08:22 | 0:08:24 | |
If they hadn't already lost all their power, it had just gone. | 0:08:24 | 0:08:28 | |
Olivia, as an actress, where do you stand on the whole kit off thing? | 0:08:29 | 0:08:33 | |
I'd rather not. | 0:08:33 | 0:08:35 | |
-You'd rather not take your shirt off, you mean? -Yes. | 0:08:35 | 0:08:38 | |
That's a totally respectable choice. | 0:08:38 | 0:08:39 | |
In fact, it might be THE respectable choice. | 0:08:39 | 0:08:43 | |
Those days have long gone. | 0:08:43 | 0:08:45 | |
Early on, what was the audition where you dressed all sexy? | 0:08:45 | 0:08:50 | |
Yes, that was, yeah... | 0:08:50 | 0:08:52 | |
It was very early on, so my third or fourth ever audition. | 0:08:53 | 0:08:57 | |
I was going to see a really well-known, well-respected | 0:08:57 | 0:09:00 | |
theatre casting director. I was so excited. | 0:09:00 | 0:09:04 | |
I had this script sent through. | 0:09:04 | 0:09:06 | |
The character was quite a raunchy hooker. | 0:09:06 | 0:09:09 | |
So I bought some fishnets and I had my top as low as I dared | 0:09:09 | 0:09:12 | |
and a short skirt, and I wore a big duffel on the way there. | 0:09:12 | 0:09:16 | |
When I got there, I took it off and she sort of looked at me. | 0:09:16 | 0:09:21 | |
I was thinking that wasn't the reaction I was hoping for. | 0:09:21 | 0:09:24 | |
Then she was saying, | 0:09:24 | 0:09:25 | |
"What did you think about the character of Matilda?" or something. | 0:09:25 | 0:09:29 | |
I was thinking, "I don't think that's the character I was looking at." | 0:09:29 | 0:09:33 | |
There was half an hour of trying to pretend I knew | 0:09:33 | 0:09:37 | |
what she was talking about, and then she realised I hadn't got | 0:09:37 | 0:09:40 | |
the same script that she had, and passed over the real script, | 0:09:40 | 0:09:43 | |
which was about nuns. | 0:09:43 | 0:09:44 | |
LAUGHTER AND APPLAUSE | 0:09:44 | 0:09:47 | |
Wow. | 0:09:47 | 0:09:49 | |
I've never been in to see her again. | 0:09:49 | 0:09:51 | |
Wondered what I was doing. | 0:09:51 | 0:09:53 | |
That's the best story I've ever heard. | 0:09:53 | 0:09:56 | |
I didn't get the job. | 0:09:56 | 0:09:58 | |
Idris, the weird thing is I haven't seen you do many sex scenes, | 0:09:58 | 0:10:01 | |
and I have looked. | 0:10:01 | 0:10:03 | |
They're not out there. | 0:10:05 | 0:10:06 | |
I did one. | 0:10:07 | 0:10:09 | |
I did a sex scene with Beyonce. | 0:10:09 | 0:10:11 | |
-Did you?! -I didn't see that. -What was that? | 0:10:11 | 0:10:13 | |
-In a film called Obsessed. -I didn't see that. | 0:10:13 | 0:10:16 | |
So going to buy that now. | 0:10:16 | 0:10:18 | |
-I'll be out there googling. -It wasn't a sex scene, we just... | 0:10:18 | 0:10:20 | |
Netflix are going to see a surge this evening. | 0:10:20 | 0:10:23 | |
-We just had a kiss, we played husband and wife. -Oh, yeah. | 0:10:23 | 0:10:25 | |
I tend not to do sex scenes that often. | 0:10:25 | 0:10:27 | |
I don't get the romantic lead very often. | 0:10:27 | 0:10:29 | |
I hear you've got a sexy look, you've perfected it. | 0:10:29 | 0:10:31 | |
-For when the call comes. -Oh, yeah, man. | 0:10:31 | 0:10:33 | |
-You've got your sexy look. -Oh, yeah. | 0:10:33 | 0:10:36 | |
OK, do the sexy look down there. | 0:10:36 | 0:10:38 | |
LAUGHTER | 0:10:38 | 0:10:40 | |
-How's that? -Olivia? -What, have I got to do a look? | 0:10:42 | 0:10:46 | |
No, I just thought you might be peeing. | 0:10:46 | 0:10:49 | |
Oh! | 0:10:49 | 0:10:50 | |
-It works. -It would work. | 0:10:53 | 0:10:54 | |
It renders them speechless. | 0:10:54 | 0:10:56 | |
Listen, Idris, huge congratulations to you. | 0:10:56 | 0:11:00 | |
Mandela, Long Walk To Freedom. | 0:11:00 | 0:11:02 | |
It's a career-defining performance. | 0:11:02 | 0:11:04 | |
-Thank you, man. -It puts you on a different level. | 0:11:04 | 0:11:06 | |
-Thank you very much. -It's just phenomenal. | 0:11:06 | 0:11:08 | |
If you haven't seen it yet, it's still out, | 0:11:08 | 0:11:10 | |
-it's still playing everywhere. -Yes. | 0:11:10 | 0:11:12 | |
-Ladies, have you seen it? -Yes, I have. | 0:11:12 | 0:11:14 | |
I have too, it's beautiful. | 0:11:14 | 0:11:15 | |
-Thank you very much. -Beautiful. | 0:11:15 | 0:11:17 | |
Look at them! | 0:11:17 | 0:11:19 | |
I've been rendered slightly mute. | 0:11:19 | 0:11:22 | |
We're both, like... "Yes, I have." | 0:11:22 | 0:11:24 | |
No, I really have. | 0:11:24 | 0:11:26 | |
What's extraordinary about this film is the timing. | 0:11:26 | 0:11:29 | |
It's gone from being a biopic | 0:11:29 | 0:11:30 | |
into being this amazing celebration of a life and of his achievements. | 0:11:30 | 0:11:35 | |
-Yeah. -That night - nothing could have prepared you for that night, | 0:11:35 | 0:11:39 | |
-because it was the night of the premiere. -I know. | 0:11:39 | 0:11:41 | |
It was crazy, because it was this moment - | 0:11:41 | 0:11:44 | |
being back home in England, with a film like this, | 0:11:44 | 0:11:46 | |
and a character like that, it was the biggest moment of my life. | 0:11:46 | 0:11:49 | |
I had 30 members of my family there. | 0:11:49 | 0:11:51 | |
You know, came out to Leicester Square | 0:11:51 | 0:11:54 | |
and there I was on a poster, and London had come out. | 0:11:54 | 0:11:56 | |
It was just a wicked moment. | 0:11:56 | 0:11:58 | |
And then of course the Royal family were there, and that was great. | 0:11:58 | 0:12:01 | |
Then, of course, the night ended with this moment of... | 0:12:01 | 0:12:04 | |
you know, announcing to the audience that Mr Mandela had passed. | 0:12:04 | 0:12:07 | |
And that... You can't write that stuff. | 0:12:07 | 0:12:09 | |
It was so... It was just weird. | 0:12:09 | 0:12:10 | |
-You had to announce to the audience? -Yeah. -I just got chills. -Mm. | 0:12:10 | 0:12:13 | |
-Yeah. -I went onstage with the producer to announce it, | 0:12:13 | 0:12:16 | |
you know, I was literally in tears, | 0:12:16 | 0:12:18 | |
and so was Anant Singh, the producer. | 0:12:18 | 0:12:20 | |
The audience were stunned into silence. | 0:12:20 | 0:12:22 | |
-I mean, it was just so weird. -Wow. | 0:12:22 | 0:12:25 | |
And the film, it's brought you to the White House? | 0:12:25 | 0:12:28 | |
-There was a screening at the White House? -Yeah. | 0:12:28 | 0:12:30 | |
Wow, that's... Like, I'm sure you've been to amazing places | 0:12:30 | 0:12:33 | |
-but that must still be quite a cool thing. -It was, yeah... | 0:12:33 | 0:12:36 | |
-IMITATES OBAMA: -I went to see President Obama... | 0:12:36 | 0:12:39 | |
..who said, "Idris is a very cool guy." | 0:12:40 | 0:12:44 | |
-That's amazing. -Thank you. | 0:12:44 | 0:12:46 | |
That's another role I'm preparing for. | 0:12:47 | 0:12:49 | |
Do it, do it. | 0:12:52 | 0:12:54 | |
Black president, it'll be a series. | 0:12:55 | 0:12:57 | |
And the crazy thing is, it brought you all this success, | 0:13:00 | 0:13:02 | |
but you did turn it down. You weren't going to do this. | 0:13:02 | 0:13:05 | |
Yeah, I was nervous about it. | 0:13:05 | 0:13:07 | |
I thought it was a joke - I thought Roger, my agent, | 0:13:07 | 0:13:09 | |
was taking the piss. | 0:13:09 | 0:13:11 | |
-It would've been like, "Do you want to play God?" -Exactly. | 0:13:11 | 0:13:14 | |
I was like, "God? No, I'm all right." | 0:13:14 | 0:13:17 | |
But no, really, I thought he was taking the piss, | 0:13:17 | 0:13:19 | |
and I was like, "Come on, Roger, seriously, | 0:13:19 | 0:13:21 | |
"Morgan Freeman must be available." | 0:13:21 | 0:13:23 | |
Why are you calling me with this? | 0:13:24 | 0:13:26 | |
And then I was really nervous about taking the role. | 0:13:26 | 0:13:29 | |
You know that kind of feeling, like, "If I mess this up, | 0:13:29 | 0:13:31 | |
"then good night, it's curtains for Idris." You know? | 0:13:31 | 0:13:34 | |
I did turn it down. But... | 0:13:34 | 0:13:36 | |
-Not so much turned it down, but took my time to answer. -Yeah. | 0:13:36 | 0:13:40 | |
And then I said, "Of course I will. Yes, please." | 0:13:40 | 0:13:43 | |
And, you know, the performance is great. | 0:13:43 | 0:13:44 | |
We knew you were really good - the American accent, | 0:13:44 | 0:13:47 | |
because Stringer Bell in the Wire is flawless. | 0:13:47 | 0:13:49 | |
But this is more than an accent. It's such a recognisable voice. | 0:13:49 | 0:13:52 | |
-Yeah, yeah. -So was it just you locked in a room | 0:13:52 | 0:13:55 | |
-with newsreels and footage? -I mean, I listened to his voice a lot. | 0:13:55 | 0:13:59 | |
You know, I say this all the time, but my late dad had a voice | 0:13:59 | 0:14:03 | |
that was similar, in my head, anyway, | 0:14:03 | 0:14:05 | |
to what I think Mr Mandela's sounded like in real life - | 0:14:05 | 0:14:08 | |
I hadn't met him. | 0:14:08 | 0:14:10 | |
And I had two voice coaches with me, | 0:14:10 | 0:14:12 | |
someone that helped me with Xhosa, which is the language he speaks, | 0:14:12 | 0:14:15 | |
and then English and the technical stuff. | 0:14:15 | 0:14:17 | |
So I kind of learned what his voice was doing | 0:14:17 | 0:14:19 | |
and trying to figure out a way to make my voice sound like his. | 0:14:19 | 0:14:22 | |
I also learned his cadence. | 0:14:22 | 0:14:25 | |
You know, it's an interpretation of his voice. | 0:14:25 | 0:14:27 | |
I don't think it's exactly perfect. But I certainly wanted to... | 0:14:27 | 0:14:30 | |
Because I look like Mr Mandela so much... | 0:14:30 | 0:14:33 | |
LAUGHTER | 0:14:33 | 0:14:34 | |
It's uncanny. | 0:14:34 | 0:14:36 | |
No, but because I don't, | 0:14:36 | 0:14:38 | |
I really wanted to give the audience something they could hold on to, | 0:14:38 | 0:14:41 | |
and the voice was it, I think. | 0:14:41 | 0:14:42 | |
All right, well, let's have a look at your performance. | 0:14:42 | 0:14:45 | |
This is you at the end of the trial before you're sent to Robben Island. | 0:14:45 | 0:14:49 | |
Yeah. | 0:14:49 | 0:14:50 | |
A just share in the whole of South Africa. | 0:14:50 | 0:14:53 | |
We want equal political rights. | 0:14:53 | 0:14:57 | |
One man, one vote. | 0:14:57 | 0:14:59 | |
I have dedicated myself to this struggle of the African people. | 0:14:59 | 0:15:03 | |
I have fought against White domination. | 0:15:03 | 0:15:07 | |
I have fought against Black domination. | 0:15:07 | 0:15:11 | |
I have cherished the ideal of a free, democratic society, | 0:15:11 | 0:15:16 | |
where all persons live together in harmony with equal opportunities. | 0:15:16 | 0:15:21 | |
It is an ideal which I hope to live for and achieve, | 0:15:21 | 0:15:27 | |
but if needs be, | 0:15:27 | 0:15:30 | |
it is an ideal for which I am prepared to die. | 0:15:30 | 0:15:36 | |
-APPLAUSE -Wow. | 0:15:36 | 0:15:39 | |
If that had played for one more second, I would have sobbed. | 0:15:41 | 0:15:45 | |
-Beautiful. -I know. Great voi... and such an extraordinary story. | 0:15:50 | 0:15:54 | |
I suppose, what struck me is that because - some of those scenes, | 0:15:54 | 0:15:58 | |
you are performing in front of hundreds, | 0:15:58 | 0:16:00 | |
I'm sure sometimes thousands, | 0:16:00 | 0:16:01 | |
of South African extras, so, like, you're getting instant feedback. | 0:16:01 | 0:16:06 | |
-You know, you know whether you've nailed this or not. -Oh, yeah. | 0:16:06 | 0:16:09 | |
So you must have got properly nervous. | 0:16:09 | 0:16:12 | |
Mate, you know, South African crews, they won't let you lie. | 0:16:12 | 0:16:17 | |
There's no lying, you know? | 0:16:17 | 0:16:19 | |
You either be Mr Mandela or you walk out of here. | 0:16:19 | 0:16:21 | |
I remember walking out and there was like 600 extras | 0:16:21 | 0:16:24 | |
and this one guy came round and he goes... | 0:16:24 | 0:16:26 | |
And I started to speak and I forgot my line, | 0:16:26 | 0:16:30 | |
and all I heard was, "Come on, Stringer Bell." | 0:16:30 | 0:16:33 | |
I was like, "Agh..." | 0:16:36 | 0:16:38 | |
So, you know, I had to really put my foot into that part | 0:16:38 | 0:16:42 | |
because this is about a very famous man | 0:16:42 | 0:16:46 | |
that's very important to South Africans. | 0:16:46 | 0:16:48 | |
-So they wouldn't let me just mess around with it. -Yeah. | 0:16:48 | 0:16:53 | |
The Robben Island scenes, were they filmed on Robben Island? | 0:16:53 | 0:16:56 | |
Some of them, yeah. Some of them. | 0:16:56 | 0:16:58 | |
We re-created a prison and made a replica of his cell in a studio. | 0:16:58 | 0:17:02 | |
-And you spent the night on Robben Island? -Yeah. | 0:17:02 | 0:17:05 | |
-I won't do that again. -No! | 0:17:05 | 0:17:08 | |
-That sounds like a good actor idea, but terrible human idea. -Stupid. | 0:17:08 | 0:17:12 | |
It was terrifying. The place is haunted, it's awful. | 0:17:12 | 0:17:15 | |
I mean - the security guard... | 0:17:15 | 0:17:16 | |
they said, "Look, you have to take this phone." | 0:17:16 | 0:17:18 | |
I was like, "I don't need the phone." | 0:17:18 | 0:17:20 | |
They was like, "No, you have to take it, | 0:17:20 | 0:17:21 | |
"just in case you really want to leave." | 0:17:21 | 0:17:23 | |
You know? So, "Take the phone, all right? And call us." You know? | 0:17:23 | 0:17:26 | |
The security guard was about a mile away | 0:17:26 | 0:17:28 | |
from where I was being stationed inside the prison. | 0:17:28 | 0:17:31 | |
Anyway, so I've gone, "Oh, take the phone. | 0:17:31 | 0:17:33 | |
"I don't need the phone." | 0:17:33 | 0:17:34 | |
Sat in the prison cell and, like, picked up the phone. | 0:17:34 | 0:17:37 | |
And then, there was no service, of course. | 0:17:37 | 0:17:40 | |
And I was like, "Wow, I'm really going to stay here the night." | 0:17:42 | 0:17:44 | |
We're so lucky that you made this movie, thank you. | 0:17:44 | 0:17:47 | |
-Thank you very much, I appreciate that. -It's gorgeous. | 0:17:47 | 0:17:49 | |
And of course, Olivia Colman, | 0:17:49 | 0:17:50 | |
you were in the last big political biopic. The Iron Lady. | 0:17:50 | 0:17:53 | |
-No, that is true! -Sorry, didn't mean the giggle. | 0:17:53 | 0:17:55 | |
No, but you were in it! I'm not making this up! | 0:17:55 | 0:17:57 | |
It feels a bit silly compared to that. | 0:17:57 | 0:17:59 | |
It's a little hard to move on from that clip | 0:17:59 | 0:18:02 | |
and say anything funny, I have to say. | 0:18:02 | 0:18:04 | |
-You play Carol Thatcher. -SHE CHUCKLES | 0:18:04 | 0:18:07 | |
So, how much preparation goes into... | 0:18:07 | 0:18:09 | |
-Well, obviously you put a nose on. -I did have a nose. | 0:18:09 | 0:18:12 | |
But what else goes on, preparing for Carol Thatcher? | 0:18:12 | 0:18:16 | |
I should make up some shit, but um... | 0:18:16 | 0:18:19 | |
Er...I watched I'm A Celebrity Get Me Out Of Here. | 0:18:22 | 0:18:26 | |
LAUGHTER AND APPLAUSE | 0:18:26 | 0:18:28 | |
Guys, can we make a promise here and now | 0:18:35 | 0:18:37 | |
that neither of you will ever go on that show. | 0:18:37 | 0:18:39 | |
Or any reboot of I'm A Celebrity Get Me Out Of Here? | 0:18:39 | 0:18:41 | |
-I promise, faithfully. -No. I want to do Big Brother. | 0:18:41 | 0:18:44 | |
-OK. -Do you? -No. | 0:18:44 | 0:18:47 | |
LAUGHTER | 0:18:47 | 0:18:50 | |
God forbid. | 0:18:50 | 0:18:52 | |
But when you're playing something like a detective, do you do...? | 0:18:52 | 0:18:55 | |
Like for Broadchurch, did you do preparation? | 0:18:55 | 0:18:57 | |
No. | 0:18:57 | 0:19:00 | |
Sorry. | 0:19:00 | 0:19:01 | |
David did. And I could ask him questions. | 0:19:01 | 0:19:05 | |
It seems silly doubling up. | 0:19:06 | 0:19:08 | |
I-I... To defend my actions, | 0:19:08 | 0:19:11 | |
I don't think my character spoke in the same rhythms as detectives, | 0:19:11 | 0:19:16 | |
so I thought it would be better if I didn't have that influence. | 0:19:16 | 0:19:21 | |
Good answer. | 0:19:21 | 0:19:23 | |
Now I feel really stupid for staying the night in prison. | 0:19:23 | 0:19:26 | |
-APPLAUSE -You won't do it again. | 0:19:27 | 0:19:29 | |
But talking about real people... | 0:19:32 | 0:19:34 | |
Are you playing yourself in Girls? | 0:19:34 | 0:19:37 | |
A version of myself. Not my exact self. | 0:19:37 | 0:19:40 | |
I definitely - you have two very accomplished people | 0:19:40 | 0:19:42 | |
who've played historical figures, | 0:19:42 | 0:19:44 | |
and I just play a kind-of-like-myself person, | 0:19:44 | 0:19:46 | |
who gives hand jobs. | 0:19:46 | 0:19:48 | |
So...I probably shouldn't be here. | 0:19:48 | 0:19:52 | |
I feel ashamed. | 0:19:52 | 0:19:54 | |
Aww. Listen, this show, Girls, | 0:19:54 | 0:19:56 | |
if you haven't seen this show, Girls, | 0:19:56 | 0:19:59 | |
it is just a huge hit in the States, it's on HBO. | 0:19:59 | 0:20:03 | |
Here it's on Sky Atlantic. | 0:20:03 | 0:20:04 | |
Series three starts next Monday at 10pm. | 0:20:04 | 0:20:07 | |
But series one and two are available as box sets, | 0:20:07 | 0:20:09 | |
-or you can also get them on demand. -Thank you, Graham. | 0:20:09 | 0:20:12 | |
Yeah - I want people to see Girls. I love it. It's a great show. | 0:20:12 | 0:20:16 | |
That's so nice of you to say. | 0:20:16 | 0:20:17 | |
And if people aren't familiar with the show - tell us about it. | 0:20:17 | 0:20:21 | |
It's about four girlfriends in New York City | 0:20:21 | 0:20:24 | |
trying to figure it out. | 0:20:24 | 0:20:25 | |
I don't know if that sounds familiar to anybody. | 0:20:25 | 0:20:28 | |
-COUGHS: -Sex And The City. | 0:20:28 | 0:20:29 | |
It's so funny, because we've done three years | 0:20:31 | 0:20:33 | |
and at this point people have realised the differences | 0:20:33 | 0:20:36 | |
with Sex And The City. It's just unavoidable - | 0:20:36 | 0:20:38 | |
they are and always will be the four-girls-in-New-York-City show, | 0:20:38 | 0:20:41 | |
and we bow down to them. | 0:20:41 | 0:20:43 | |
But, yeah, it's about four friends | 0:20:43 | 0:20:45 | |
who think they are better people than they actually are | 0:20:45 | 0:20:49 | |
and the challenges and collisions of being young | 0:20:49 | 0:20:52 | |
and trying to make your life work. | 0:20:52 | 0:20:54 | |
-It's just brilliantly observed. -Thank you. -It's really funny, | 0:20:54 | 0:20:57 | |
and it's the social awkwardness... | 0:20:57 | 0:20:59 | |
We've got a flavour of what it's like. | 0:20:59 | 0:21:01 | |
-This is a clip from the first episode of season three. -Yes. | 0:21:01 | 0:21:05 | |
So, one of your friends has broken up. Your boyfriend... | 0:21:05 | 0:21:10 | |
One of my friends has been brutally dumped | 0:21:10 | 0:21:13 | |
and my boyfriend has run into the guy who brutally dumped her | 0:21:13 | 0:21:16 | |
and has promised to keep it a secret from her. | 0:21:16 | 0:21:19 | |
Here we go. | 0:21:19 | 0:21:20 | |
-You saw Charlie? -Yeah. | 0:21:20 | 0:21:22 | |
Why didn't you tell me? | 0:21:22 | 0:21:24 | |
You know, it wasn't... | 0:21:24 | 0:21:26 | |
We're not really friends. | 0:21:26 | 0:21:28 | |
Did you know? | 0:21:28 | 0:21:29 | |
No, he did not tell me that he ran into Charlie on Bedford Avenue. | 0:21:29 | 0:21:33 | |
-Did he ask about me? -Of course not. | 0:21:33 | 0:21:35 | |
Yeah, actually. He said, "How's Marnie?" | 0:21:35 | 0:21:38 | |
-What did you say? -I said, "She's good. She's good. | 0:21:38 | 0:21:41 | |
"She seems very clean." | 0:21:41 | 0:21:43 | |
He said you had a new job, he said you had a new boyfriend from Spain. | 0:21:43 | 0:21:47 | |
Did he seem like he had a girlfriend? | 0:21:47 | 0:21:49 | |
You all look very gorgeous this evening. | 0:21:50 | 0:21:52 | |
Thank you. Why don't we have some chips? | 0:21:52 | 0:21:55 | |
I didn't buy these chips for my health. You know what I'm saying? | 0:21:55 | 0:21:58 | |
-Cheers to your...book, Hannah, really. -Thank you so much, | 0:22:01 | 0:22:03 | |
but Marnie, we're not going to talk about my book right now. | 0:22:03 | 0:22:06 | |
This isn't the appropriate time | 0:22:06 | 0:22:07 | |
to discuss my incredibly exciting professional endeavour. | 0:22:07 | 0:22:10 | |
No, it is the time, it's totally the time. | 0:22:10 | 0:22:12 | |
We should also talk about how...good this taco is, huh? | 0:22:12 | 0:22:15 | |
Am I right? | 0:22:15 | 0:22:16 | |
I'm sorry... | 0:22:18 | 0:22:19 | |
APPLAUSE | 0:22:21 | 0:22:23 | |
Thank you! | 0:22:24 | 0:22:25 | |
I think we can all admit that looks like a real sack of crap | 0:22:25 | 0:22:27 | |
after the Mandela thing. | 0:22:27 | 0:22:29 | |
-No, no, that's looks great. -Thank you. | 0:22:29 | 0:22:31 | |
My favourite thing. | 0:22:31 | 0:22:32 | |
-We need different shows, we need different things. -Yeah. | 0:22:32 | 0:22:35 | |
But what's weird is, it's probably not FOR me, | 0:22:35 | 0:22:38 | |
but I really enjoy it. I love it. | 0:22:38 | 0:22:40 | |
I'm so glad. I hope it's for everyone, | 0:22:40 | 0:22:42 | |
because no matter what your age or sex, | 0:22:42 | 0:22:45 | |
-you can always relate to being a douche bag. -Yeah. | 0:22:45 | 0:22:48 | |
Also you can relate - I do remember what being that age was, just about. | 0:22:48 | 0:22:53 | |
But I've heard you talking - | 0:22:53 | 0:22:55 | |
you know, you're an award-winning writer, | 0:22:55 | 0:22:57 | |
and yet I've heard you say that you still find it hard composing texts. | 0:22:57 | 0:23:01 | |
Yeah, it's the most stress... I mean, now... | 0:23:01 | 0:23:04 | |
In my single days, | 0:23:04 | 0:23:06 | |
I was extraordinarily bad at composing texts. | 0:23:06 | 0:23:08 | |
And I'm lucky that I'm with someone who thinks it's OK | 0:23:08 | 0:23:11 | |
when I write them the worst three-paragraph texts | 0:23:11 | 0:23:15 | |
about my emotions consistently throughout the day. | 0:23:15 | 0:23:17 | |
But that doesn't work as well when you're in the single flirting phase. | 0:23:17 | 0:23:21 | |
In college once, I hooked up with a guy, | 0:23:21 | 0:23:25 | |
didn't hear from him for a couple of months, | 0:23:25 | 0:23:27 | |
which was not unusual for me. | 0:23:27 | 0:23:29 | |
And then he sent me a text that said, "Happy new year." | 0:23:29 | 0:23:31 | |
And I said, "Happy new year. I'm pregnant." | 0:23:31 | 0:23:33 | |
I thought it was the funniest thing that had ever happened. | 0:23:35 | 0:23:39 | |
He did not. | 0:23:39 | 0:23:41 | |
I remember after a one-night stand once, | 0:23:41 | 0:23:43 | |
in the morning, you know, there was a kind of text... | 0:23:43 | 0:23:45 | |
I texted back, "I love you." Because I thought it was hilarious. | 0:23:45 | 0:23:48 | |
-It is hilarious. -Nothing. | 0:23:48 | 0:23:50 | |
It's so funny. | 0:23:50 | 0:23:53 | |
That's the kind of joke where if someone gets it... | 0:23:53 | 0:23:55 | |
Then you might fall in love with them. | 0:23:55 | 0:23:57 | |
Yeah, because they'd be so cool and chillin' with it. | 0:23:57 | 0:24:00 | |
My husband - we text each other "I love you" and things, | 0:24:00 | 0:24:03 | |
and every now and again he'll write back, "Who is this?" | 0:24:03 | 0:24:06 | |
That's so funny! | 0:24:07 | 0:24:09 | |
I bet Idris is good at texting. | 0:24:09 | 0:24:11 | |
-Mm...no. -No? | 0:24:11 | 0:24:14 | |
I would say... | 0:24:14 | 0:24:15 | |
I don't know what time of night, there comes a time of night | 0:24:15 | 0:24:18 | |
when someone should just take Idris' phone away. | 0:24:18 | 0:24:20 | |
Yes. | 0:24:20 | 0:24:21 | |
Because did you mean to send this to the world? | 0:24:21 | 0:24:24 | |
Oh, no, don't do it! | 0:24:24 | 0:24:25 | |
Agh. | 0:24:25 | 0:24:26 | |
-No... -Did you tweet that? | 0:24:29 | 0:24:31 | |
I did, man. I had this phone... | 0:24:31 | 0:24:34 | |
-I'm so glad you said that. -I was sending it to this chick. | 0:24:34 | 0:24:38 | |
I was like, "It's late," you know what I'm saying, | 0:24:38 | 0:24:40 | |
"Come over, this is me." | 0:24:40 | 0:24:43 | |
Was it meant to be a text? | 0:24:43 | 0:24:44 | |
And, then, you know, I was scrolling down, | 0:24:44 | 0:24:46 | |
I looked away for a second, looked back | 0:24:46 | 0:24:49 | |
-and it has gone Twitter - send. -Oh! | 0:24:49 | 0:24:51 | |
And you now that bar that goes, "Doo-doo - sending." | 0:24:51 | 0:24:53 | |
And I was like, "Argh!" | 0:24:53 | 0:24:55 | |
-Can I just say, that could have been much worse. -Oh, yeah. | 0:24:55 | 0:24:58 | |
It could've been a picture of my nuts or something. | 0:24:58 | 0:25:01 | |
-You know what I mean? -Yes. | 0:25:01 | 0:25:02 | |
It could've been awful. "I'm coming round later." | 0:25:02 | 0:25:05 | |
LAUGHTER | 0:25:05 | 0:25:09 | |
I'm so glad that everyone got to see that. | 0:25:09 | 0:25:13 | |
I'm not. | 0:25:13 | 0:25:15 | |
Listen, we wonder, anybody in the audience have a good flirty text? | 0:25:15 | 0:25:21 | |
Anyone at all? Oh, look, people are putting - oh, look. | 0:25:21 | 0:25:24 | |
-Wow! -Very proud of themselves. | 0:25:24 | 0:25:26 | |
Anyone else? | 0:25:26 | 0:25:27 | |
-Are you in a relationship? -I am. | 0:25:27 | 0:25:29 | |
-Are you in a relationship? -Yes. | 0:25:29 | 0:25:31 | |
Do you have any in yours? | 0:25:31 | 0:25:32 | |
Well, I'm in a relationship, so I should say no. | 0:25:32 | 0:25:35 | |
Wow. Anyone else? | 0:25:37 | 0:25:39 | |
Here's a lady. Hello. Hi, what's your name? | 0:25:39 | 0:25:41 | |
-Thea. Thea. -Hello... -Hello. | 0:25:41 | 0:25:45 | |
-Where are you from, Thea? -I'm from Norway. | 0:25:49 | 0:25:51 | |
-Do you live here now? -Yes, live here now. | 0:25:51 | 0:25:54 | |
OK. The text you're going to show me, is it in English? | 0:25:54 | 0:25:57 | |
Yes, it's in English. | 0:25:57 | 0:25:58 | |
Good. Otherwise it'll be quite dull. | 0:25:58 | 0:26:01 | |
Hilarious for our Scandinavian viewers, but... | 0:26:01 | 0:26:04 | |
-So, who is this now? -It's an English guy that I met. | 0:26:04 | 0:26:08 | |
-Oh, yes. -Yes. -Is it nice? Is it sweet? | 0:26:08 | 0:26:10 | |
-It's nice, yeah. -Oh... | 0:26:10 | 0:26:13 | |
OK. Oh, hang on. It's gone a bit dark. | 0:26:13 | 0:26:16 | |
Who is saying, "What are you up to?" Is that him? | 0:26:16 | 0:26:19 | |
-Yes. -OK. "What you up to? | 0:26:19 | 0:26:22 | |
"Hey stranger, sorry I've been so absent." | 0:26:22 | 0:26:25 | |
This is useless, isn't it? | 0:26:25 | 0:26:27 | |
When somebody says "I've been so absent." | 0:26:27 | 0:26:30 | |
Is he studying psychology or something? | 0:26:30 | 0:26:33 | |
That would be a worrying sign, but no, he's not. | 0:26:33 | 0:26:35 | |
OK, OK. | 0:26:35 | 0:26:37 | |
"Sorry I've been so absent, | 0:26:37 | 0:26:38 | |
"something came up and then I ran away to Scotland for Christmas..." | 0:26:38 | 0:26:41 | |
Oh, what a loser. | 0:26:41 | 0:26:42 | |
"If you're out and about, you should come home via Pimlico and see me." | 0:26:44 | 0:26:49 | |
OK, can I just say, | 0:26:50 | 0:26:52 | |
that is not sweet. | 0:26:52 | 0:26:53 | |
I just realised that's a bit sad, if that's the best text I got. | 0:26:55 | 0:26:58 | |
Have you replied to this yet? | 0:27:00 | 0:27:01 | |
-No. -We could reply to it. | 0:27:01 | 0:27:04 | |
APPLAUSE | 0:27:04 | 0:27:06 | |
Do you know - what's his name? | 0:27:06 | 0:27:08 | |
It's James. | 0:27:08 | 0:27:09 | |
I love the friend, "JAMES!" | 0:27:09 | 0:27:11 | |
Can I borrow your phone? | 0:27:13 | 0:27:14 | |
I'll take it back to experts, and we'll reply. | 0:27:14 | 0:27:18 | |
Wow! | 0:27:20 | 0:27:21 | |
What are we going to say? | 0:27:21 | 0:27:23 | |
Let's do it. | 0:27:23 | 0:27:24 | |
Do you want me to come over to you? | 0:27:24 | 0:27:26 | |
No, no. I can type. | 0:27:26 | 0:27:27 | |
Here's what I'd write. "I'm slightly unimpressed by your manoeuvres." | 0:27:27 | 0:27:31 | |
Slow down. | 0:27:31 | 0:27:33 | |
This is going to be good for you, I promise. | 0:27:35 | 0:27:39 | |
You're adorable and you can do better. | 0:27:39 | 0:27:41 | |
-Manoeuvres may be spelt wrong. But anyway... -That's OK. | 0:27:42 | 0:27:46 | |
-She's not from here. -Yeah! | 0:27:46 | 0:27:48 | |
"I'm slightly unimpressed by your manoeuvres. Try again." | 0:27:48 | 0:27:52 | |
Oh, I like that! "Try again." | 0:27:52 | 0:27:55 | |
-Can I add a bit? -Yeah, go. -Pass the phone. -No, I'll do it. | 0:27:55 | 0:27:58 | |
-Going to do a photo? -Unless you're going to take a picture. | 0:27:58 | 0:28:00 | |
Yeah. "Here's a picture of my boyfriend." | 0:28:00 | 0:28:02 | |
Oh, let's do it! | 0:28:02 | 0:28:05 | |
Let's do it! | 0:28:05 | 0:28:06 | |
That's really good! | 0:28:09 | 0:28:11 | |
APPLAUSE | 0:28:11 | 0:28:13 | |
All right. | 0:28:14 | 0:28:16 | |
I'll... I'll hang on to your phone. | 0:28:17 | 0:28:22 | |
If James replies... | 0:28:22 | 0:28:24 | |
She's in a private hell right now. | 0:28:24 | 0:28:28 | |
Thank you very much, Thea. | 0:28:28 | 0:28:30 | |
Now, in terms of romance, February 14th, Valentine's Day, | 0:28:30 | 0:28:34 | |
Olivia Colman, what will you be doing on Valentine's Day? | 0:28:34 | 0:28:37 | |
Oh... | 0:28:37 | 0:28:38 | |
Er... | 0:28:38 | 0:28:40 | |
LAUGHTER | 0:28:40 | 0:28:41 | |
-WHISPERS: Is this about the film? -Yes. | 0:28:41 | 0:28:45 | |
I'll be watching a film. | 0:28:45 | 0:28:47 | |
LAUGHTER | 0:28:47 | 0:28:49 | |
-Your film comes out on February 14th. -OK... | 0:28:49 | 0:28:53 | |
-No, I know... -Oh, my God, it's like pulling teeth. | 0:28:53 | 0:28:58 | |
Wait - cos I thought you meant... The premiere's before that, | 0:28:58 | 0:29:01 | |
so I won't actually be watching it on that day. | 0:29:01 | 0:29:03 | |
I thought you meant what would I be doing? | 0:29:03 | 0:29:05 | |
I was thinking, I don't know if I want to tell you what I'd be doing. | 0:29:05 | 0:29:08 | |
Only as a...bit of whimsy, | 0:29:08 | 0:29:10 | |
saying, "Well, I'll be sitting with millions of others in a cinema | 0:29:10 | 0:29:12 | |
"watching my new film Cuban Fury." | 0:29:12 | 0:29:15 | |
So sorry. I see what you did, now. | 0:29:15 | 0:29:16 | |
-Yeah. -Thank you. | 0:29:16 | 0:29:18 | |
This is Cuban Fury, a new British comedy, | 0:29:18 | 0:29:21 | |
-with yourself and Nick Frost... -Yeah, I'm not on the poster. | 0:29:21 | 0:29:26 | |
..and Chris O'Dowd. Isn't that...? | 0:29:26 | 0:29:27 | |
Oh, no, but it could be you, with the leg in the air. | 0:29:27 | 0:29:29 | |
Yeah. Now, I can safely say, ladies and gentleman, | 0:29:29 | 0:29:32 | |
without fear of contradiction, | 0:29:32 | 0:29:33 | |
it is the best British-based, salsa rom-com I have ever seen. | 0:29:33 | 0:29:39 | |
-Thank you. -That can go on the poster. | 0:29:39 | 0:29:41 | |
Yeah. For sure. | 0:29:41 | 0:29:43 | |
No, it's a really funny, sweet film. | 0:29:43 | 0:29:45 | |
-It is a lovely film. -Now, who are you? | 0:29:45 | 0:29:48 | |
Um, I can't actually remember the name of my character, but I... | 0:29:48 | 0:29:51 | |
LAUGHTER | 0:29:51 | 0:29:52 | |
It was a while ago. | 0:29:54 | 0:29:56 | |
Do you dance a lot, though? | 0:30:01 | 0:30:03 | |
Yes, thank you for saving me. I do. | 0:30:03 | 0:30:06 | |
In that... Um... | 0:30:06 | 0:30:08 | |
Well, Nick Frost is the lead guy. | 0:30:08 | 0:30:10 | |
And he...as a child... | 0:30:10 | 0:30:12 | |
Oh, I'm his sister, that's it! I'm his sister | 0:30:12 | 0:30:14 | |
-And... -Well remembered. -Thank you. | 0:30:14 | 0:30:17 | |
And as children he was salsa champion, | 0:30:17 | 0:30:21 | |
endless cups and awards and things. | 0:30:21 | 0:30:23 | |
And we used to go off and do competitions, | 0:30:23 | 0:30:26 | |
and I was his dance partner. | 0:30:26 | 0:30:27 | |
And then something happened and his life changed | 0:30:27 | 0:30:30 | |
and salsa wasn't for him after that moment. | 0:30:30 | 0:30:33 | |
And then cut to Nick Frost, present day, | 0:30:33 | 0:30:36 | |
or whatever his character's called... And, um... Bruce! He's called Bruce! | 0:30:36 | 0:30:42 | |
APPLAUSE And... | 0:30:42 | 0:30:45 | |
I can't believe people are applauding you | 0:30:45 | 0:30:49 | |
for remembering the names of people in your own film. | 0:30:49 | 0:30:54 | |
It was ages ago. | 0:30:54 | 0:30:56 | |
You know this feeling, you film something, two years ago... | 0:30:56 | 0:30:59 | |
Nelson Mandela. | 0:30:59 | 0:31:00 | |
"I play this bloke, um..." | 0:31:02 | 0:31:05 | |
OK, so you play - he's a dancer. | 0:31:06 | 0:31:08 | |
So he's... Yeah, and for the film.... | 0:31:08 | 0:31:11 | |
So, he falls in love with Rashida Jones. | 0:31:11 | 0:31:14 | |
Got the name! | 0:31:14 | 0:31:16 | |
-That's Quincy Jones' daughter, right? -Yes! | 0:31:16 | 0:31:19 | |
-She's beautiful. -She IS beautiful. -She's LOVELY. | 0:31:19 | 0:31:22 | |
And, um...he discovers that... Am I giving away the plot? | 0:31:22 | 0:31:26 | |
-Yes. -I can't tell anything... | 0:31:26 | 0:31:27 | |
I think maybe you've told us enough now. | 0:31:27 | 0:31:29 | |
-OK. -I'm going to stop you now. | 0:31:29 | 0:31:30 | |
-He dances again... -Yes. -..and he's amazing. | 0:31:30 | 0:31:32 | |
-But so do you, so do you. -Yes. | 0:31:32 | 0:31:35 | |
We know you're big into preparation, | 0:31:35 | 0:31:37 | |
-but you must have had some dance lessons. -We had to, I was forced to. | 0:31:37 | 0:31:40 | |
Because I had to dance onscreen, so I had to practise. | 0:31:40 | 0:31:43 | |
You look good, though. | 0:31:43 | 0:31:45 | |
Well, there is... As you know, they have people who actually can dance, | 0:31:45 | 0:31:49 | |
who... Because I can only spin three times before I vomit. So... | 0:31:49 | 0:31:54 | |
We do have a picture of you in rehearsals, | 0:31:54 | 0:31:56 | |
where it doesn't look like it's going that well. | 0:31:56 | 0:31:58 | |
That's the best thing I've ever seen. | 0:32:02 | 0:32:05 | |
I also love that you're wearing like a full sweat suit and heels. | 0:32:05 | 0:32:09 | |
They're Christian Louboutins, as well. Wow! | 0:32:09 | 0:32:12 | |
No, I think that's the glow of a heater or something on the sole. | 0:32:12 | 0:32:16 | |
-No... -Did you get good? -Well, um... | 0:32:16 | 0:32:19 | |
I don't know. | 0:32:20 | 0:32:22 | |
The choreographer would probably be laughing. | 0:32:22 | 0:32:25 | |
I got much better. | 0:32:25 | 0:32:26 | |
-Show us a move, go on. One move. -No, don't make me do that. | 0:32:26 | 0:32:29 | |
-Dance, dance, dance! -No! | 0:32:29 | 0:32:30 | |
You can't do that! | 0:32:30 | 0:32:33 | |
-Get naked, naked, naked, naked! -You can't make me do that! | 0:32:33 | 0:32:36 | |
-I can't do it! -Go on, just one move! -Look. | 0:32:36 | 0:32:38 | |
Ahh. | 0:32:38 | 0:32:40 | |
I tell you what, we'll have a compromise. | 0:32:40 | 0:32:43 | |
Can I just say, Olivia - you owe me. | 0:32:43 | 0:32:46 | |
-We'll watch a clip where you dance. -I'm so excited. | 0:32:46 | 0:32:49 | |
That was very convincing. | 0:32:49 | 0:32:52 | |
-We'll watch a clip where you dance. -Thank you. | 0:32:52 | 0:32:54 | |
OK. Here you go. | 0:32:54 | 0:32:56 | |
-You're wasting your life. -What do you know? | 0:32:56 | 0:32:58 | |
You are 35 years old and you are working as a hula girl. | 0:32:58 | 0:33:01 | |
Oh, sorry, no hula woman. Ooh! Ugh! | 0:33:01 | 0:33:04 | |
-Good shot. -Thanks. | 0:33:09 | 0:33:12 | |
Musica, maestro. | 0:33:12 | 0:33:14 | |
What about these guys? | 0:33:15 | 0:33:17 | |
What about these guys? | 0:33:17 | 0:33:19 | |
HE TRILLS | 0:33:19 | 0:33:21 | |
SALSA MUSIC PLAYS | 0:33:21 | 0:33:24 | |
Let's go! | 0:33:31 | 0:33:32 | |
Come on! | 0:33:36 | 0:33:38 | |
Hooray! | 0:33:42 | 0:33:43 | |
APPLAUSE | 0:33:43 | 0:33:45 | |
-Oh! -That makes me want to dance, now. | 0:33:47 | 0:33:49 | |
-Woo! -Woo! | 0:33:49 | 0:33:52 | |
CHEERING | 0:33:54 | 0:33:56 | |
OK... It's time for some music. | 0:33:56 | 0:33:59 | |
They are one of the most successful British bands in recent years, | 0:33:59 | 0:34:02 | |
and they've just released their greatest hits. | 0:34:02 | 0:34:04 | |
Performing Everybody's Changing, it is Keane! | 0:34:04 | 0:34:07 | |
MUSIC: "Everybody's Changing" by Keane | 0:34:12 | 0:34:14 | |
# You say you wander | 0:34:32 | 0:34:37 | |
# Your own land | 0:34:37 | 0:34:41 | |
# When I think about it I don't see how you can | 0:34:43 | 0:34:50 | |
# You're aching | 0:34:53 | 0:34:55 | |
# You're breaking | 0:34:55 | 0:34:58 | |
# And I can see the pain in your eyes | 0:34:58 | 0:35:03 | |
# Says everybody's changing and I don't know why | 0:35:03 | 0:35:08 | |
# So little time | 0:35:14 | 0:35:18 | |
# Try to understand | 0:35:18 | 0:35:21 | |
# That I'm trying to make a move just to stay in the game | 0:35:21 | 0:35:28 | |
# I try to stay awake and remember my name | 0:35:28 | 0:35:34 | |
# But everybody's changing and I don't feel the same | 0:35:34 | 0:35:40 | |
# You're gone from here | 0:35:54 | 0:35:57 | |
# Soon you will disappear | 0:35:57 | 0:35:59 | |
# Fading into beautiful light | 0:35:59 | 0:36:04 | |
# Cos everybody's changing and I don't feel right | 0:36:04 | 0:36:10 | |
# So little time | 0:36:15 | 0:36:20 | |
# Try to understand | 0:36:20 | 0:36:22 | |
# That I'm trying to make a move just to stay in the game | 0:36:22 | 0:36:30 | |
# I try to stay awake and remember my name | 0:36:30 | 0:36:35 | |
# But everybody's changing and I don't feel the same | 0:36:35 | 0:36:40 | |
# So little time | 0:37:00 | 0:37:04 | |
# Try to understand | 0:37:04 | 0:37:07 | |
# That I'm trying to make a move just to stay in the game | 0:37:07 | 0:37:15 | |
# I try to stay awake and remember my name | 0:37:15 | 0:37:21 | |
# But everybody's changing and I don't feel the same | 0:37:21 | 0:37:29 | |
# Oh, everybody's changing and I don't feel the same. # | 0:37:30 | 0:37:38 | |
APPLAUSE | 0:37:40 | 0:37:42 | |
Keane, everybody! | 0:37:46 | 0:37:47 | |
Come on over. Yes! | 0:37:47 | 0:37:50 | |
-Thank you. -Beautiful job, sir. | 0:37:50 | 0:37:53 | |
-Have a seat beside Olivia. Well done. -Hello! | 0:37:53 | 0:37:56 | |
-Hello. -All right? -Yeah, good. | 0:37:56 | 0:38:01 | |
Hi, it's a pleasure. | 0:38:01 | 0:38:02 | |
-Well done. -Beautiful. | 0:38:02 | 0:38:04 | |
Sit down - Tom, Tom and Tim representatives of Keane on Earth. | 0:38:04 | 0:38:09 | |
-You've all met and that's all very good. -Apart from the other two. | 0:38:09 | 0:38:11 | |
Well, they're stepping off to the bar and they're happy. | 0:38:11 | 0:38:14 | |
-No, they're hanging around. -They're waving. | 0:38:14 | 0:38:16 | |
Losers! | 0:38:16 | 0:38:17 | |
That's from the greatest hits album. | 0:38:19 | 0:38:21 | |
-Best selling greatest hits album last year. -I believe. | 0:38:21 | 0:38:24 | |
-Really? -Yeah, someone told me. | 0:38:24 | 0:38:25 | |
You should check that, but apparently that's true. | 0:38:25 | 0:38:28 | |
Now, the thing about a greatest hits album, | 0:38:28 | 0:38:31 | |
is you do think, "Ooh, that possibly means goodbye Keane. | 0:38:31 | 0:38:35 | |
"Keane not so keen." | 0:38:35 | 0:38:36 | |
-So is this the end of Keane? -Never heard that joke before. | 0:38:36 | 0:38:39 | |
I know. Well, you called the band Keane, come on. | 0:38:39 | 0:38:42 | |
What is happening? | 0:38:42 | 0:38:44 | |
Well, we're going to take a bit of a break. | 0:38:44 | 0:38:46 | |
-Ohh... -Yeah. | 0:38:46 | 0:38:49 | |
I like it, sympathy. | 0:38:49 | 0:38:50 | |
Maybe that's enough to keep carrying on. | 0:38:51 | 0:38:54 | |
-So it's over for a while. -Yeah. | 0:38:54 | 0:38:56 | |
Well, I've got a few things I'd like to do this year. | 0:38:56 | 0:39:00 | |
-What? -LAUGHTER | 0:39:00 | 0:39:02 | |
Go on a 12-month holiday? | 0:39:02 | 0:39:04 | |
Solo. | 0:39:04 | 0:39:06 | |
Yeah, maybe. Maybe that. Yeah, a few things, personal things. | 0:39:06 | 0:39:09 | |
Now, Christmas, of course, was all about another Keane hit, | 0:39:09 | 0:39:12 | |
because of course the John Lewis ad was a Keane song, | 0:39:12 | 0:39:16 | |
-Lily Allen's version... -I love that! -..of Somewhere Only We Know. | 0:39:16 | 0:39:19 | |
Now, I just assumed, "Oh, that's good for Keane." | 0:39:19 | 0:39:22 | |
But it was mostly good for Tim. | 0:39:22 | 0:39:24 | |
-Royalties-wise, you mean. -Yeah. | 0:39:27 | 0:39:29 | |
Er... Yeah, I don't know. | 0:39:29 | 0:39:32 | |
-Well, didn't you write that song? -I did, yes. Absolutely. | 0:39:32 | 0:39:35 | |
-So that was a really good Christmas for you. -Yeah. | 0:39:35 | 0:39:38 | |
Nice little bonus. | 0:39:38 | 0:39:40 | |
Especially after the greatest hits. Pretty good Christmas. | 0:39:40 | 0:39:43 | |
Forget Jingle Bells. That's like ker-ching. | 0:39:43 | 0:39:47 | |
-LENA: -Is that a big ad... I'm not from this country. | 0:39:47 | 0:39:50 | |
It was a big Christmas ad, but also Lily Allen was singing it, | 0:39:50 | 0:39:53 | |
it also became the Christmas number one... | 0:39:53 | 0:39:55 | |
No, it wasn't Christmas number one, | 0:39:55 | 0:39:56 | |
-it was number one leading up to Christmas for weeks. -Wow. | 0:39:56 | 0:39:59 | |
-Yeah, so, like... -Lily Allen is a singer. | 0:39:59 | 0:40:01 | |
I know who Lily Allen is! | 0:40:01 | 0:40:04 | |
Thank you. | 0:40:04 | 0:40:05 | |
But there was a lot of discussion about the ad. | 0:40:05 | 0:40:07 | |
Because it was about a bear and... was that a hare or rabbit? | 0:40:07 | 0:40:12 | |
-Hare, yeah. -That were friends. | 0:40:12 | 0:40:14 | |
And a lot of people pointed out that that was unlikely in nature. | 0:40:14 | 0:40:18 | |
There's so much about that advert that's unlikely. | 0:40:20 | 0:40:23 | |
Yeah! | 0:40:23 | 0:40:24 | |
They're not going to buy each other presents from John Lewis. | 0:40:24 | 0:40:28 | |
That's unlikely. | 0:40:28 | 0:40:29 | |
-That's true. -And bears like to use rabbits to wipe their arses | 0:40:29 | 0:40:32 | |
after they've taken a shit. | 0:40:32 | 0:40:34 | |
Something else to remember. | 0:40:35 | 0:40:36 | |
And an alarm clock is never an acceptable gift. | 0:40:36 | 0:40:39 | |
It's a terrible gift. | 0:40:39 | 0:40:40 | |
I don't know if you remember, | 0:40:40 | 0:40:41 | |
before Christmas Private Eye did a cover | 0:40:41 | 0:40:43 | |
which reflected a lot of people's worries about the ad. | 0:40:43 | 0:40:48 | |
Can we zoom in on there, and what the bear is saying? | 0:40:48 | 0:40:51 | |
LAUGHTER | 0:40:52 | 0:40:54 | |
Yeah, don't wake a bear. | 0:40:59 | 0:41:02 | |
Well, good luck with the greatest hits album, | 0:41:02 | 0:41:04 | |
and I hope it's not the end of Keane. | 0:41:04 | 0:41:05 | |
-I hope there's more Keane. -Yeah, more. -Yeah. -Yeah. -Yeah. | 0:41:05 | 0:41:08 | |
They're so like, "Yeah..." | 0:41:08 | 0:41:10 | |
The minute this show is over, I'm never going to see this man again. | 0:41:12 | 0:41:16 | |
Right, before we go tonight, just time for a story in the red chair. | 0:41:16 | 0:41:20 | |
So, who be there? Who be there? | 0:41:20 | 0:41:22 | |
-Hello. -Hi! -Hi! | 0:41:22 | 0:41:24 | |
-Are you very tall? -Yes, very. -How tall are you? | 0:41:24 | 0:41:27 | |
-Er, 5'11". -Oh, is that all? | 0:41:27 | 0:41:29 | |
You look like you're seven feet tall! | 0:41:29 | 0:41:32 | |
-Are you on a cushion or something? -No. Well, just the one on the chair. | 0:41:32 | 0:41:36 | |
Obviously, yes. | 0:41:36 | 0:41:38 | |
-Bizarre. What's your name, nice lady? -Rachel. | 0:41:39 | 0:41:42 | |
-And where are you from, Rachel? -I'm from Stoke-on-Trent. | 0:41:42 | 0:41:44 | |
Oh, lovely. What do you do up there? | 0:41:44 | 0:41:46 | |
-I'm a mobile hairdresser. -A mobile hairdresser! | 0:41:46 | 0:41:49 | |
So you come to them? | 0:41:49 | 0:41:51 | |
-Yes, I go to people's houses. -Oh, my God! | 0:41:51 | 0:41:53 | |
Do you have one of those hairdryers | 0:41:53 | 0:41:55 | |
that's like a spaceman's helmet on a stand? | 0:41:55 | 0:41:58 | |
No, I don't, actually, | 0:41:58 | 0:41:59 | |
but I do have a bird table that I have to use to put all my stuff on. | 0:41:59 | 0:42:03 | |
You bring a bird table? | 0:42:03 | 0:42:04 | |
LAUGHTER | 0:42:04 | 0:42:06 | |
Do you have a name on the side of your van? | 0:42:09 | 0:42:11 | |
On my van?! I don't drive a van! | 0:42:11 | 0:42:15 | |
How do you transport your bird table? | 0:42:15 | 0:42:17 | |
-I just stick it in the boot. -Oh, OK, fair enough. | 0:42:17 | 0:42:20 | |
She's very mobile. | 0:42:20 | 0:42:22 | |
OK, off you go with your story, Rachel. | 0:42:22 | 0:42:24 | |
Well, a couple of years ago, | 0:42:24 | 0:42:26 | |
I had a boyfriend who had long hair and a beard. | 0:42:26 | 0:42:29 | |
We were driving one day to work, and someone crashed in the back of us. | 0:42:29 | 0:42:33 | |
So we got out of car and it was actually a nun who got out car | 0:42:33 | 0:42:35 | |
that had crashed into the back of us. | 0:42:35 | 0:42:37 | |
She took one look at my boyfriend and started shouting, | 0:42:37 | 0:42:40 | |
"Oh, my God, the Lord's come for me." | 0:42:40 | 0:42:42 | |
Thought he was Jesus... | 0:42:42 | 0:42:44 | |
so, ran, jumped back in the car | 0:42:44 | 0:42:47 | |
and drove off and left us on this roundabout in shock. | 0:42:47 | 0:42:50 | |
So, we managed to get her licence plate | 0:42:50 | 0:42:53 | |
and we had to report it to the police. | 0:42:53 | 0:42:55 | |
So we had to ring work and tell them we were going to be late | 0:42:55 | 0:42:57 | |
cos this nun had crashed into us, | 0:42:57 | 0:42:59 | |
and the police had to go and track this nun down | 0:42:59 | 0:43:01 | |
and she got arrested for leaving the scene of the accident. | 0:43:01 | 0:43:04 | |
-Good story. -Good story! | 0:43:04 | 0:43:06 | |
You can walk. Well done. | 0:43:06 | 0:43:10 | |
APPLAUSE | 0:43:10 | 0:43:12 | |
Well, if you'd like to join us on the show | 0:43:12 | 0:43:14 | |
and have a go in the red chair, you can. | 0:43:14 | 0:43:16 | |
Just contact us via our website, at this very address. | 0:43:16 | 0:43:19 | |
Thank you to all my guests tonight - Keane, ladies and gentlemen. | 0:43:19 | 0:43:22 | |
Olivia Colman. | 0:43:23 | 0:43:26 | |
Lena Dunham... | 0:43:27 | 0:43:29 | |
..and Mr Idris Elba. | 0:43:30 | 0:43:33 | |
Join me next week with comedian Lee Mack, | 0:43:35 | 0:43:37 | |
musical guest Katy B, | 0:43:37 | 0:43:39 | |
-football star Thierry Henry... -AUDIENCE: Woo! -I know! | 0:43:39 | 0:43:42 | |
Oscar-nominated actress Keira Knightley | 0:43:42 | 0:43:44 | |
and actor-director Sir Kenneth Branagh. | 0:43:44 | 0:43:47 | |
I'll see you then. Good night, everybody, goodbye! | 0:43:47 | 0:43:49 |