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On the show tonight, star of the new RoboCop film. | 0:00:02 | 0:00:04 | |
Wouldn't it be great to be half human, half machine? | 0:00:04 | 0:00:06 | |
Anyway, let's start... | 0:00:06 | 0:00:08 | |
Let's start the... Let's start the... | 0:00:08 | 0:00:12 | |
Let's start the show! | 0:00:12 | 0:00:14 | |
Hello! Hello! Hello! | 0:00:34 | 0:00:37 | |
Oh, you're too kind. Too kind. Oh, you're very kind. | 0:00:37 | 0:00:41 | |
Thank you very much. | 0:00:41 | 0:00:43 | |
Hello. | 0:00:43 | 0:00:44 | |
Yes, thank you very much. | 0:00:44 | 0:00:47 | |
Hello and welcome. | 0:00:47 | 0:00:50 | |
We have an amazing array of guests on tonight's show. | 0:00:50 | 0:00:52 | |
RoboCop star Gary Oldman is here. | 0:00:52 | 0:00:55 | |
Yeah. | 0:00:55 | 0:00:57 | |
Star of hit TV show Hostages Toni Collette is on the show. | 0:00:57 | 0:01:01 | |
Yes, she is. | 0:01:01 | 0:01:03 | |
Top comedy actor Nick Frost is here! Yes! | 0:01:03 | 0:01:07 | |
Plus, we've got music from the lovely London Grammar, everybody! | 0:01:08 | 0:01:12 | |
Yeah! | 0:01:12 | 0:01:14 | |
Love them. They're so cool. They are so cool. | 0:01:14 | 0:01:17 | |
Hey, Toni is currently starring in Channel 4's Hostages. | 0:01:17 | 0:01:21 | |
Don't know if you've seen it. | 0:01:21 | 0:01:22 | |
You do look at it and think, | 0:01:22 | 0:01:24 | |
"That's a terrible way to treat people." | 0:01:24 | 0:01:25 | |
I mean, does anyone really deserve to be gagged like that? Do they? | 0:01:25 | 0:01:28 | |
They're lovely girls and they're getting better all the time. | 0:01:32 | 0:01:35 | |
Looking forward to chatting to Gary Oldman. Such a great actor. | 0:01:37 | 0:01:40 | |
He won critical acclaim for his portrayal of Beethoven. | 0:01:40 | 0:01:43 | |
No! Not that Beethoven. Mind you, that was a good film. | 0:01:47 | 0:01:50 | |
Did you see it? It was very good. | 0:01:50 | 0:01:52 | |
I loved the bit where he chased squirrels in the West Country. | 0:01:52 | 0:01:56 | |
Oh, poor them. Laughing with you. | 0:01:58 | 0:02:00 | |
Now, Gary starred as Commissioner Gordon | 0:02:00 | 0:02:03 | |
in Batman Returns, The Dark Knight | 0:02:03 | 0:02:04 | |
and, of course, The Dark Knight Rises. | 0:02:04 | 0:02:06 | |
I don't think there are going to be any more Batman films. | 0:02:06 | 0:02:09 | |
Gary's up for it, but Batman let himself go a little. | 0:02:09 | 0:02:12 | |
Gary will shortly be starring in Dawn Of The Planet Of The Apes. | 0:02:17 | 0:02:21 | |
It's the sequel to Rise Of The Planet Of The Apes, | 0:02:21 | 0:02:24 | |
a very thought-provoking film, ladies and gentlemen, | 0:02:24 | 0:02:27 | |
that portrayed the apes in a very sympathetic light. | 0:02:27 | 0:02:30 | |
Here's the writer. | 0:02:30 | 0:02:32 | |
99 friends, nearly finished. | 0:02:34 | 0:02:36 | |
Gary is to be seen in the hit new film RoboCop, | 0:02:37 | 0:02:41 | |
where he plays the man who creates the RoboCop. | 0:02:41 | 0:02:44 | |
Very impressive robot. | 0:02:44 | 0:02:45 | |
Better than his first effort. | 0:02:45 | 0:02:47 | |
The plot centres around RoboCop | 0:02:49 | 0:02:51 | |
yearning to have a normal relationship with his wife. | 0:02:51 | 0:02:54 | |
You do think, "How can a robot ever be intimate with a woman?" | 0:02:54 | 0:02:58 | |
RHYTHMIC SQUEAKING | 0:02:58 | 0:03:00 | |
Let's get some guests on! | 0:03:00 | 0:03:01 | |
Later, we'll be having music from London Grammar! | 0:03:02 | 0:03:05 | |
But first, he's the lord of the dance, it's Nick Frost, everybody! | 0:03:06 | 0:03:09 | |
There he is! Hello, sir. | 0:03:11 | 0:03:13 | |
-Sit down, sit down. -Hello, everyone. -Nick Frost! | 0:03:16 | 0:03:19 | |
I've got a sixth sense that she's going to be great. | 0:03:19 | 0:03:22 | |
It's Toni Collette! | 0:03:22 | 0:03:24 | |
Wow! | 0:03:24 | 0:03:25 | |
-Like an angel, a vision! Hello, darling. -Hello! | 0:03:26 | 0:03:29 | |
Sit down! Toni Collette! | 0:03:30 | 0:03:32 | |
And it's Gary Oldman! | 0:03:32 | 0:03:35 | |
Oh! Hello! | 0:03:36 | 0:03:38 | |
So nice to see you! Hello, hello! | 0:03:38 | 0:03:41 | |
Sitty down! Sitty down! | 0:03:43 | 0:03:46 | |
Oh! Lovely to see you. | 0:03:46 | 0:03:48 | |
You look like you've been at three very different events. | 0:03:48 | 0:03:52 | |
No-one phoned ahead, did they? | 0:03:53 | 0:03:55 | |
Now, I'm looking at them and I'm trying to guess | 0:03:55 | 0:03:59 | |
from Nick and Gary whether Toni Collette | 0:03:59 | 0:04:02 | |
greeted them in your normal manner. | 0:04:02 | 0:04:04 | |
-Did you? -Normal? What's normal? | 0:04:04 | 0:04:06 | |
Don't you like a bit of smack action? | 0:04:06 | 0:04:09 | |
Was that you? | 0:04:11 | 0:04:12 | |
That was you! | 0:04:14 | 0:04:16 | |
You hoped it was him. | 0:04:16 | 0:04:18 | |
Um, I've been known to do a bit of that. | 0:04:18 | 0:04:20 | |
I don't know why it happens. | 0:04:20 | 0:04:21 | |
It's just in the moment, I just slap people on the bum. | 0:04:21 | 0:04:24 | |
-But you do it to people you've never met before. -That's right, yes. | 0:04:24 | 0:04:27 | |
Famous people you've never met before. | 0:04:27 | 0:04:30 | |
Um, well, one person I didn't know was Jeremy Piven. | 0:04:30 | 0:04:33 | |
-I was at the Emmys... -NICK LAUGHS | 0:04:33 | 0:04:35 | |
I know! And I was seated on the aisle, then there was my husband, | 0:04:35 | 0:04:39 | |
and then Jeremy Piven, and some entourage folk. | 0:04:39 | 0:04:41 | |
He got up to get past like this and I was like, "Hello", | 0:04:41 | 0:04:44 | |
and I just did it. | 0:04:44 | 0:04:46 | |
He liked it very much. | 0:04:46 | 0:04:48 | |
Oh! | 0:04:48 | 0:04:49 | |
Presumably, people would be too scared to do that to Gary Oldman... | 0:04:50 | 0:04:54 | |
-Well, you've played... -Give me half an hour. | 0:04:54 | 0:04:56 | |
Presumably, people coming up to you have changed over the years, because | 0:04:57 | 0:05:01 | |
you must have had culty people and now do you have lots of children? | 0:05:01 | 0:05:04 | |
Yes, my fan base after Harry Potter | 0:05:04 | 0:05:09 | |
went from sort of 40 to 4. | 0:05:09 | 0:05:12 | |
That's lovely. | 0:05:14 | 0:05:15 | |
They're so genuine. | 0:05:15 | 0:05:19 | |
They come up and they want their picture taken and their autograph. | 0:05:19 | 0:05:23 | |
It's very sweet. | 0:05:23 | 0:05:24 | |
And when they grow up and see your other films, | 0:05:24 | 0:05:26 | |
-they're going to get the fright of their life. -"What a weirdo." | 0:05:26 | 0:05:30 | |
LAUGHTER | 0:05:30 | 0:05:32 | |
In terms of people coming up to people... The last time you were | 0:05:32 | 0:05:37 | |
on the show, Nick, you were on with Sandra Bullock and Samuel L Jackson. | 0:05:37 | 0:05:41 | |
Yeah. | 0:05:41 | 0:05:43 | |
-Now, is that story true? -Yeah, I was on the show with... | 0:05:43 | 0:05:46 | |
No, no. | 0:05:48 | 0:05:49 | |
But Samuel L Jackson... | 0:05:49 | 0:05:52 | |
Is it true, the thing that he thought about you? | 0:05:52 | 0:05:54 | |
He thought I was a part of the security team. | 0:05:54 | 0:05:56 | |
Yes. | 0:05:56 | 0:05:57 | |
No, I don't think... I've heard that. | 0:05:57 | 0:05:59 | |
I heard that the other day and it really made me laugh, | 0:05:59 | 0:06:02 | |
cos it could be true. | 0:06:02 | 0:06:03 | |
But the first time I ever met Jeremy Clarkson, I was introduced | 0:06:03 | 0:06:06 | |
to him and he thought I worked at the venue we were at. | 0:06:06 | 0:06:10 | |
And he said, "Will you go off and get me a cordless mic, please?" | 0:06:10 | 0:06:14 | |
And I said, "Yeah, give me a second." | 0:06:14 | 0:06:16 | |
And I just went off and I didn't come back. | 0:06:16 | 0:06:19 | |
Listen, tonight, ladies and gentlemen, we've got | 0:06:21 | 0:06:23 | |
three really good but different films to talk about. | 0:06:23 | 0:06:26 | |
There's a dark Nick Hornby comedy drama, | 0:06:26 | 0:06:27 | |
we've got a salsa romcom, FINALLY... | 0:06:27 | 0:06:30 | |
and the return of RoboCop. | 0:06:30 | 0:06:33 | |
-RoboCop. -Well, it's not really a return. It's a brand-new RoboCop. | 0:06:33 | 0:06:36 | |
It's what they're calling a reboot. This is the new word now. | 0:06:36 | 0:06:39 | |
-We're rebooting it. -What do you play? | 0:06:39 | 0:06:42 | |
-I play the doctor, the man who sort of... -The doctor, the man. | 0:06:42 | 0:06:46 | |
-That puts him together. -You make him? -I make him. | 0:06:46 | 0:06:49 | |
Now, the extraordinary thing is... | 0:06:49 | 0:06:51 | |
-Cos how long ago is it since the first one? -'87. | 0:06:51 | 0:06:55 | |
Back then, it was very much science fiction, | 0:06:55 | 0:06:58 | |
but now we're a hair's breadth of this being reality. | 0:06:58 | 0:07:01 | |
Yeah, it's science fact. | 0:07:01 | 0:07:03 | |
Of all the remakes they can remake, I thought this made sense to me. | 0:07:03 | 0:07:08 | |
-It could do with a reboot. -We've caught up with ourselves. | 0:07:08 | 0:07:11 | |
Yeah, we've caught up with ourselves. | 0:07:11 | 0:07:13 | |
-Technologically, we've caught up with it. -We're in the future. | 0:07:13 | 0:07:17 | |
We've got a clip. | 0:07:17 | 0:07:19 | |
This is you and Michael Keaton debating the pros and cons | 0:07:19 | 0:07:24 | |
of creating a man and machine RoboCop. | 0:07:24 | 0:07:27 | |
Here we go. | 0:07:27 | 0:07:28 | |
-What's wrong with it? -No, nothing, nothing. | 0:07:28 | 0:07:31 | |
The software sends the information to the brain, | 0:07:31 | 0:07:33 | |
-then the brain relates this to the AI module... -Yeah, a year later. | 0:07:33 | 0:07:38 | |
Computers finish the job. | 0:07:38 | 0:07:39 | |
Raymond, you wanted a man inside a machine, | 0:07:39 | 0:07:43 | |
and that's what you've got, but the human element will always be present. | 0:07:43 | 0:07:46 | |
Fear, instinct, bias, compassion. | 0:07:46 | 0:07:49 | |
-They will always interfere with the system. -OK. | 0:07:49 | 0:07:52 | |
But, Dennett, I've got to give the American people something | 0:07:52 | 0:07:54 | |
they can root for, something aspirational, right? | 0:07:54 | 0:07:57 | |
They have to believe in this thing. Pretty good? That's not... | 0:07:57 | 0:08:00 | |
I don't know how to sell "OK". | 0:08:00 | 0:08:01 | |
So, I don't care how you to do it, I'm asking you. | 0:08:01 | 0:08:03 | |
Come on, can you help me? Just get him to do that. | 0:08:03 | 0:08:07 | |
-Get him to do that. -He's a machine. | 0:08:07 | 0:08:09 | |
-I know, but it's a man inside a machine. -NO! | 0:08:09 | 0:08:11 | |
That's a man inside a machine! Right there! | 0:08:11 | 0:08:13 | |
And his life depends on it, and the future of OmniCorp depends on it, | 0:08:13 | 0:08:16 | |
so get your ass back to China and get it fixed. | 0:08:16 | 0:08:19 | |
I don't care how you do it, just go do it! | 0:08:19 | 0:08:21 | |
Yeah. | 0:08:24 | 0:08:25 | |
Listen, we were talking about technology and how advanced | 0:08:27 | 0:08:30 | |
it is, so we looked online, and we discovered there is this robot. | 0:08:30 | 0:08:35 | |
You kinda think, how lame will that be? That's just going to be rubbish. | 0:08:35 | 0:08:40 | |
It's by... I think it's called a Nao robot | 0:08:40 | 0:08:44 | |
and it's from a company called Active Robots. | 0:08:44 | 0:08:47 | |
I think this one's from France. | 0:08:47 | 0:08:49 | |
Now, before I show it to you, and if there are any kids watching... | 0:08:49 | 0:08:52 | |
-Oh, no. -No, no, it's not rude. -Oh, right. | 0:08:52 | 0:08:55 | |
If kids are watching, before you fall in love with this thing, | 0:08:57 | 0:09:00 | |
I'm afraid I must tell Mummy and Daddy, it costs £12,000. | 0:09:00 | 0:09:05 | |
So...they may have to sell the car. | 0:09:05 | 0:09:08 | |
If you don't mind walking to school, it's fine. | 0:09:08 | 0:09:11 | |
I think it is quite cool. | 0:09:11 | 0:09:13 | |
-It's in here. -Oh, you actually have it? -We've got it. | 0:09:13 | 0:09:16 | |
-Is this a loan or did you pay £12,000? -Oh, we borrowed it. | 0:09:16 | 0:09:20 | |
So don't let anybody spill anything on it. | 0:09:20 | 0:09:22 | |
I hate its overly casual starting position. | 0:09:22 | 0:09:26 | |
ROBOT: Do you want something? | 0:09:31 | 0:09:34 | |
-Follow me. -No. | 0:09:34 | 0:09:36 | |
Wow. | 0:09:41 | 0:09:42 | |
I will try it one more time... | 0:09:44 | 0:09:46 | |
ROBOT: Do you want something? | 0:09:47 | 0:09:49 | |
Follow me. | 0:09:49 | 0:09:51 | |
Follow me. | 0:09:51 | 0:09:52 | |
HE GASPS | 0:09:52 | 0:09:54 | |
You have to move so it follows you. | 0:09:56 | 0:09:58 | |
It is not very good on carpet. | 0:09:58 | 0:10:00 | |
If you have spent all the money, you don't have carpet. | 0:10:00 | 0:10:04 | |
-ROBOT: I want to come with you. -OK, baby. | 0:10:09 | 0:10:11 | |
AUDIENCE: Aww! | 0:10:11 | 0:10:13 | |
So, this is for lonely people. | 0:10:13 | 0:10:16 | |
Isn't that amazing? It's adorable. | 0:10:16 | 0:10:19 | |
I am going to make him stop. Put your arm down like that. | 0:10:22 | 0:10:25 | |
Oh, give me a break! | 0:10:28 | 0:10:31 | |
Sit down. | 0:10:35 | 0:10:37 | |
ROBOT: Sit down. | 0:10:37 | 0:10:38 | |
AUDIENCE: Aw! | 0:10:42 | 0:10:44 | |
Look at his weary old bones! | 0:10:46 | 0:10:48 | |
Now, this bit... That's that. | 0:10:50 | 0:10:52 | |
I literally cannot believe what I am seeing. | 0:10:52 | 0:10:55 | |
-So, where does the monkey go in? -Oops! | 0:10:55 | 0:10:57 | |
Sorry. | 0:10:58 | 0:11:00 | |
It's feeling very vulnerable right now. | 0:11:01 | 0:11:03 | |
I think it's reaching for a banana. | 0:11:11 | 0:11:13 | |
Hang on... | 0:11:15 | 0:11:16 | |
ROBOT: Do you want something? | 0:11:16 | 0:11:19 | |
Stand up. | 0:11:20 | 0:11:21 | |
ROBOT: Stand up. | 0:11:21 | 0:11:23 | |
Shall I move my water? | 0:11:23 | 0:11:25 | |
I think for 12 grand, you could get it to say please and thank you. | 0:11:25 | 0:11:28 | |
You should go to Toys R Us. | 0:11:28 | 0:11:30 | |
Careful, love. | 0:11:32 | 0:11:33 | |
ROBOT: Please help me. | 0:11:36 | 0:11:37 | |
Did you hear that? He said "please help me". | 0:11:37 | 0:11:40 | |
It's so vulnerable. | 0:11:40 | 0:11:42 | |
I kind of feel sorry for it. | 0:11:44 | 0:11:46 | |
-Wait. -Can't we release it? | 0:11:46 | 0:11:47 | |
-I'll just centre it. -GARY: Would you like another whiskey? | 0:11:47 | 0:11:50 | |
-ROBOT: What do you want me to do? -Gangnam Style. | 0:11:55 | 0:11:59 | |
ROBOT: Gangnam Style. | 0:11:59 | 0:12:01 | |
-GASPING: -Shut up! | 0:12:01 | 0:12:02 | |
I'm not joking. | 0:12:04 | 0:12:06 | |
What?! | 0:12:06 | 0:12:08 | |
MUSIC: "Gangnam Style" by Psy | 0:12:08 | 0:12:11 | |
How cool is that?! | 0:12:16 | 0:12:18 | |
Wait till you see. It gets better. | 0:12:20 | 0:12:22 | |
Wait till it gets to the break in the song! | 0:12:34 | 0:12:37 | |
Ladies and gentlemen, our robot! | 0:12:45 | 0:12:47 | |
Very good. That's good, right? | 0:12:47 | 0:12:50 | |
I am just going to take it away, cos it'll make noise. It beeps. | 0:12:50 | 0:12:53 | |
-Oh! -AUDIENCE GASP | 0:12:56 | 0:12:58 | |
I didn't drop it! That is on you! | 0:12:58 | 0:13:01 | |
-Siri is going to get very jealous. -That was amazing. | 0:13:02 | 0:13:05 | |
It is kind of amazing. | 0:13:05 | 0:13:07 | |
But what does it actually do? How does it help you in your life? | 0:13:07 | 0:13:10 | |
Did you not just see it perform Gangnam Style? | 0:13:10 | 0:13:12 | |
Other than that. | 0:13:12 | 0:13:14 | |
APPLAUSE | 0:13:14 | 0:13:16 | |
Anyway, so, RoboCop... | 0:13:17 | 0:13:20 | |
Because, frankly, you could do it at home... | 0:13:20 | 0:13:23 | |
But they're hoping it is going to be a franchise? | 0:13:23 | 0:13:26 | |
I think they're hoping, yeah. Of course. | 0:13:26 | 0:13:29 | |
Cos you're good at franchises. | 0:13:29 | 0:13:30 | |
-Batman... -I have been very lucky with them. | 0:13:30 | 0:13:34 | |
And, of course, Harry Potter. | 0:13:34 | 0:13:37 | |
Harry Potter... | 0:13:37 | 0:13:39 | |
and RoboCop, and I have just done Dawn Of The Planet Of The Apes. | 0:13:39 | 0:13:43 | |
-Of course, yes. -Believe it or not, | 0:13:43 | 0:13:45 | |
I am the highest grossing actor in cinema history. | 0:13:45 | 0:13:50 | |
Wow! Gary Oldman! | 0:13:50 | 0:13:52 | |
APPLAUSE | 0:13:52 | 0:13:55 | |
And Tinker Tailor Soldier Spy... Another one of those in the works? | 0:14:03 | 0:14:08 | |
I have no idea. | 0:14:08 | 0:14:09 | |
I hope. It'd be nice to revisit Smiley's people. | 0:14:09 | 0:14:12 | |
I hope they are not making it without you. | 0:14:12 | 0:14:15 | |
You never know. | 0:14:15 | 0:14:17 | |
Awkward! | 0:14:17 | 0:14:19 | |
I was reading about that... There's a weird thing... | 0:14:23 | 0:14:25 | |
Obviously, you are English, | 0:14:25 | 0:14:27 | |
-but you had a dialect coach for the English accent. -I did. | 0:14:27 | 0:14:30 | |
Cos I have lived in America for so long... | 0:14:30 | 0:14:33 | |
-Where did you live? -I live in California. | 0:14:33 | 0:14:36 | |
My kids are American and that is what I hear around me all day. | 0:14:38 | 0:14:43 | |
I have little things I do not notice that slip in. | 0:14:43 | 0:14:48 | |
I had a voice coach. | 0:14:48 | 0:14:50 | |
I had to brush up my English. | 0:14:50 | 0:14:52 | |
-Wow. -Well, you'll be Smiley, and then suddenly you would hit | 0:14:52 | 0:14:56 | |
a hard R, or a weird sound would come out. | 0:14:56 | 0:15:01 | |
So I needed to have English lessons. | 0:15:01 | 0:15:05 | |
Cos Abbie Cornish, who's in RoboCop... | 0:15:05 | 0:15:07 | |
-She said you do a very good Australian accent. -Do you? | 0:15:07 | 0:15:13 | |
Give it a crack, mate! | 0:15:14 | 0:15:16 | |
LIGHT AUSSIE ACCENT: Now I'm on the spot with someone. | 0:15:16 | 0:15:20 | |
I don't know... There's that sort of | 0:15:20 | 0:15:23 | |
slight, subtle kind of accent | 0:15:23 | 0:15:28 | |
that just sort of touches the words. | 0:15:28 | 0:15:31 | |
-That's quite good, isn't it? -Very good. | 0:15:31 | 0:15:34 | |
STRONG AUSSIE ACCENT: Then there is the full-on. | 0:15:34 | 0:15:37 | |
OWN VOICE: Passable? | 0:15:40 | 0:15:41 | |
Absolutely! | 0:15:41 | 0:15:42 | |
And you are talking to the master. | 0:15:44 | 0:15:45 | |
-Toni Collette, you are good at accents. -Sometimes. | 0:15:45 | 0:15:48 | |
-Oh, no, you are though. -Very nice of you. Thanks. | 0:15:48 | 0:15:51 | |
Have you ever had to do accents? | 0:15:51 | 0:15:53 | |
I played a guy called Danny Butterman | 0:15:53 | 0:15:55 | |
who was from the West Country... | 0:15:55 | 0:15:57 | |
-WEST COUNTRY ACCENT: -..so I had to kinda do a Bristol accent | 0:15:57 | 0:16:00 | |
for a lot of the time. | 0:16:00 | 0:16:02 | |
-Beautiful! -That's very good. | 0:16:02 | 0:16:03 | |
A lot of people thought I was from Bristol but I am not. | 0:16:03 | 0:16:07 | |
In terms of voices... | 0:16:09 | 0:16:10 | |
I didn't know this till you were coming on the show. | 0:16:10 | 0:16:12 | |
-Gary Oldman, you are the voice in Call Of Duty. -Yes, one of them. | 0:16:12 | 0:16:17 | |
I am General Reznov. | 0:16:17 | 0:16:19 | |
I'm more famous for that than anything else. | 0:16:19 | 0:16:24 | |
That's a big deal. | 0:16:24 | 0:16:26 | |
What's Call Of Duty? What is that? | 0:16:26 | 0:16:29 | |
It's not THAT big a deal. | 0:16:29 | 0:16:33 | |
I'm not down... | 0:16:33 | 0:16:35 | |
It's a World War II game. | 0:16:35 | 0:16:37 | |
It's what they call a first person shooter. | 0:16:37 | 0:16:38 | |
Where you take control of a warrior. | 0:16:38 | 0:16:41 | |
You take control of a warrior... | 0:16:45 | 0:16:46 | |
You take control of a brave warrior and guide him | 0:16:46 | 0:16:49 | |
through battles of the Second World War. | 0:16:49 | 0:16:52 | |
-You do play it? -I have done. | 0:16:54 | 0:16:57 | |
I have a baby now and I cannot really break away from fatherhood | 0:16:57 | 0:17:01 | |
to say, "I want to go upstairs for five hours and shoot people." | 0:17:01 | 0:17:06 | |
That doesn't cut any mustard, so I have given up, really. | 0:17:06 | 0:17:10 | |
-How much do you say in it? -Tonnes. | 0:17:10 | 0:17:12 | |
It is four days in a studio and you scream your head off. | 0:17:12 | 0:17:18 | |
I've never shouted so much. You have to do it in four minutes bursts. | 0:17:18 | 0:17:23 | |
There are the variables, the directives, that the player can go. | 0:17:23 | 0:17:30 | |
You have to give them all the options. | 0:17:30 | 0:17:34 | |
And they have this thing, which is battle cry. | 0:17:34 | 0:17:37 | |
It is your voice but it is over music and battle sounds. | 0:17:37 | 0:17:43 | |
So, it literally is a scream fest for about four days. | 0:17:43 | 0:17:50 | |
I was in one with Kiefer Sutherland. It was funny. | 0:17:50 | 0:17:53 | |
He came out and said, "Hey, man, I have not screamed so much | 0:17:53 | 0:17:56 | |
"since I was married." | 0:17:56 | 0:17:58 | |
-How loud do you get? -I could do it for you. -Do it. | 0:18:02 | 0:18:06 | |
It's sort of like... | 0:18:06 | 0:18:08 | |
SHOUTING: Here! On the ledge! | 0:18:08 | 0:18:11 | |
Shoot him! | 0:18:11 | 0:18:14 | |
Attack! | 0:18:14 | 0:18:16 | |
For four days? | 0:18:18 | 0:18:20 | |
Toni, talking of accents, in your new movie, | 0:18:22 | 0:18:25 | |
you do an English one. | 0:18:25 | 0:18:27 | |
It's A Long Way Down. Opens up March 21st. | 0:18:27 | 0:18:30 | |
You were in About A Boy. | 0:18:30 | 0:18:32 | |
This is your second Nick Hornby novel adaptation. | 0:18:32 | 0:18:36 | |
It's true, yeah. | 0:18:36 | 0:18:37 | |
They call it a dark comedy, which always makes you slightly worried. | 0:18:37 | 0:18:40 | |
-But I think it's more comedy than dark. -It is really funny. | 0:18:40 | 0:18:43 | |
It is also heartbreaking, but it's really bloody funny. | 0:18:43 | 0:18:47 | |
Maybe it's wrong, but I find the premise funny. | 0:18:47 | 0:18:50 | |
I found it funny. | 0:18:50 | 0:18:52 | |
It's about four different people who don't want to live any more. | 0:18:52 | 0:18:55 | |
They meet at the point of where they are about to not live any more. | 0:18:55 | 0:19:01 | |
They end up becoming, inadvertently becoming, | 0:19:01 | 0:19:05 | |
friends and, in a way, saving each other. | 0:19:05 | 0:19:08 | |
Yep. It is the most unlikely group of people. | 0:19:08 | 0:19:13 | |
I can't believe this. | 0:19:13 | 0:19:15 | |
Is it true you hadn't noticed that, also in About A Boy, | 0:19:15 | 0:19:19 | |
your other Nick Hornby film, you also played a suicidal person? | 0:19:19 | 0:19:23 | |
Clearly, it is my specialty. | 0:19:23 | 0:19:25 | |
-Did you just...? -I didn't think about it. | 0:19:26 | 0:19:29 | |
A suicidal person isn't just suicidal. | 0:19:29 | 0:19:32 | |
There's a whole other life... | 0:19:32 | 0:19:34 | |
There is a big life. That is perhaps part of their life. | 0:19:34 | 0:19:38 | |
It is two very different characters | 0:19:38 | 0:19:40 | |
who perhaps might have wanted to do that. | 0:19:40 | 0:19:43 | |
The scene we have is from the beginning of the movie. | 0:19:43 | 0:19:45 | |
-Did we mention it was really funny? -We did. | 0:19:45 | 0:19:48 | |
The four people - it's you, Pierce Brosnan... | 0:19:48 | 0:19:51 | |
Aaron Paul and Imogen Poots. | 0:19:51 | 0:19:54 | |
This is you meeting Pierce Brosnan on top of... | 0:19:54 | 0:19:56 | |
It's called Toppers Tower, | 0:19:56 | 0:19:58 | |
-because it is where people go to top themselves. -Yeah. | 0:19:58 | 0:20:01 | |
This is the two of you meeting on Toppers Tower. | 0:20:01 | 0:20:03 | |
Excuse me? Excuse me? | 0:20:06 | 0:20:10 | |
Hi. Um... | 0:20:12 | 0:20:14 | |
I am not entirely sure how to phrase this but, are you going to be long? | 0:20:14 | 0:20:19 | |
-What? -I wasn't sure whether to wait my turn. | 0:20:20 | 0:20:23 | |
I haven't considered the wire. | 0:20:23 | 0:20:26 | |
I would really like to borrow your ladder. | 0:20:26 | 0:20:28 | |
Maybe I should just wait. | 0:20:28 | 0:20:30 | |
-I'll wait. -Are you just going to stand there and watch? | 0:20:30 | 0:20:33 | |
No, of course... | 0:20:33 | 0:20:34 | |
You'll be wanting to do it on your own, I imagine. | 0:20:34 | 0:20:37 | |
You imagine right. | 0:20:37 | 0:20:38 | |
-I'll...go there. -All right. | 0:20:38 | 0:20:41 | |
I'll give you a shout on the way down. | 0:20:45 | 0:20:49 | |
Looks good, right? | 0:20:51 | 0:20:52 | |
Looks really good. | 0:20:52 | 0:20:54 | |
It was so good to make. | 0:20:54 | 0:20:58 | |
Pierce Brosnan went on to work with Nick after that. | 0:20:58 | 0:21:00 | |
Isn't he beautiful? | 0:21:00 | 0:21:02 | |
He is. He smells of wealth. | 0:21:02 | 0:21:05 | |
-You know what I mean? -He's so well put together. But he's saucy! | 0:21:05 | 0:21:08 | |
I know that thing. I once was behind Bruce Willis. | 0:21:08 | 0:21:14 | |
-And... -You didn't smack him on the bum? | 0:21:14 | 0:21:18 | |
Even the back of his neck looked rich. | 0:21:18 | 0:21:20 | |
The other place we can see you at the moment is on Channel 4 | 0:21:21 | 0:21:24 | |
-in Hostages. -AUDIENCE MEMBER: Woo! | 0:21:24 | 0:21:27 | |
-Some hostages. -There they are. | 0:21:27 | 0:21:29 | |
It sounds like the plot of a movie, rather than a television series. | 0:21:29 | 0:21:35 | |
It's a 15-part movie. | 0:21:35 | 0:21:37 | |
It's a TV series. 15 episodes. | 0:21:37 | 0:21:39 | |
I play a doctor, you just saw the coat. | 0:21:39 | 0:21:42 | |
Playing a doctor... Do you... | 0:21:42 | 0:21:46 | |
Obviously, you cannot become a doctor... | 0:21:46 | 0:21:49 | |
Do you do research and prep for it? | 0:21:49 | 0:21:52 | |
A little. It's not about being a doctor. | 0:21:52 | 0:21:55 | |
It's about a family who are taken hostage in their own home, | 0:21:55 | 0:21:58 | |
and I am a doctor and they're trying to persuade me to kill the President. | 0:21:58 | 0:22:01 | |
I did have to perform surgery a few times. | 0:22:01 | 0:22:03 | |
They were extras, it was fine! | 0:22:03 | 0:22:06 | |
I think this is so sweet of you, Gary Oldman, | 0:22:09 | 0:22:11 | |
when you played Dracula... | 0:22:11 | 0:22:13 | |
You kind of think you can't prepare for that. | 0:22:13 | 0:22:15 | |
But you did attempt to prepare for that. | 0:22:15 | 0:22:17 | |
Well, when I was pissed. | 0:22:17 | 0:22:19 | |
Someone had sent me... | 0:22:21 | 0:22:23 | |
It was Francis Ford Coppola who'd sent me a coffin to the house. | 0:22:23 | 0:22:29 | |
-Sweet dreams! -He said to me to just try it out, kind of thing. | 0:22:29 | 0:22:34 | |
I do remember, one night, going out for dinner | 0:22:34 | 0:22:38 | |
and everybody sort of ended up at my place. | 0:22:38 | 0:22:43 | |
And at some point, I wanted them to leave. | 0:22:43 | 0:22:47 | |
I had a little button on the side of the door, as you walked out, | 0:22:47 | 0:22:53 | |
as you would go out to this sort of driveway. | 0:22:53 | 0:22:56 | |
I would press it and the garage door would open. | 0:22:56 | 0:22:58 | |
The light would come on. Instead of a Porsche underneath this light, | 0:22:58 | 0:23:04 | |
it was a coffin. | 0:23:04 | 0:23:06 | |
I remember these two girls, I never saw them again! | 0:23:06 | 0:23:10 | |
It got rid of them. | 0:23:10 | 0:23:13 | |
I am very impressed with you, Nick. | 0:23:13 | 0:23:16 | |
Spaced, you wouldn't have thought it was that sort of project. | 0:23:16 | 0:23:20 | |
You played a weapons expert and you did prepare. | 0:23:20 | 0:23:24 | |
You went for it. | 0:23:24 | 0:23:26 | |
In the second series, I had to strip an MP5 submachine gun blindfolded. | 0:23:26 | 0:23:31 | |
They gave me one to take home. | 0:23:31 | 0:23:34 | |
It couldn't fire anything, but it was amazing for a young man | 0:23:34 | 0:23:38 | |
to have that in my house. | 0:23:38 | 0:23:41 | |
It was hot. | 0:23:41 | 0:23:42 | |
I lived downstairs. | 0:23:42 | 0:23:45 | |
I opened the back door to my house. | 0:23:45 | 0:23:47 | |
-I walked around the house, thinking I was Bruce Willis. -Rambo! | 0:23:47 | 0:23:52 | |
I thought, let me have a go at this. | 0:23:52 | 0:23:56 | |
I did it a couple of times and put the blindfold on. | 0:23:56 | 0:23:58 | |
I did it three or four times. | 0:23:58 | 0:24:01 | |
The last time I did it, | 0:24:01 | 0:24:03 | |
I took the blindfold off and I felt a presence in the room. | 0:24:03 | 0:24:07 | |
I looked to the left where the door was | 0:24:07 | 0:24:10 | |
and there were six armed police pointing rifles and handguns at me. | 0:24:10 | 0:24:15 | |
As soon as they saw me look at them, | 0:24:15 | 0:24:18 | |
they literally streamed in like blue terror, screaming at me. | 0:24:18 | 0:24:23 | |
"Don't f... move!" | 0:24:23 | 0:24:27 | |
I literally took my hands off and just sat back. | 0:24:27 | 0:24:30 | |
They tied me... | 0:24:30 | 0:24:33 | |
They did the lot on me. | 0:24:33 | 0:24:35 | |
A woman had seen the barrel of a gun sticking out of my bag | 0:24:35 | 0:24:40 | |
when I got out of the car. | 0:24:40 | 0:24:42 | |
She phoned the police. They blocked the road. | 0:24:42 | 0:24:45 | |
They had a sniper looking to see who was in. | 0:24:45 | 0:24:50 | |
As soon as they realised it was not what it seemed, | 0:24:50 | 0:24:53 | |
everyone started to relax a bit. | 0:24:53 | 0:24:55 | |
Actors get away with anything. That is amazing. | 0:24:55 | 0:24:58 | |
My voice went so high. | 0:24:58 | 0:25:00 | |
-I said... -HIGH PITCHED: -"I'm an actor." | 0:25:00 | 0:25:03 | |
They were quite casual at the end. | 0:25:03 | 0:25:05 | |
Their parting shot was, | 0:25:05 | 0:25:07 | |
"Well done, mate, a lot of people piss themselves." | 0:25:07 | 0:25:10 | |
And they were off. | 0:25:11 | 0:25:13 | |
It was amazing. | 0:25:13 | 0:25:15 | |
APPLAUSE | 0:25:15 | 0:25:19 | |
Toni, are your kids still young enough they can come with you on set? | 0:25:19 | 0:25:23 | |
Mostly. | 0:25:23 | 0:25:24 | |
My son is now beyond the point of yelling out "Mummy" | 0:25:24 | 0:25:27 | |
every time he sees me on the monitor. | 0:25:27 | 0:25:30 | |
But certainly on Hostages, no way, cos everyone has guns and balaclavas. A "no go" zone. | 0:25:30 | 0:25:34 | |
Your kids, they are at this age where they are starting to ask | 0:25:34 | 0:25:39 | |
more difficult questions? | 0:25:39 | 0:25:41 | |
-Birth, death, stuff like that. -Really? | 0:25:41 | 0:25:43 | |
How did I come to be? What happens when you die? | 0:25:43 | 0:25:46 | |
Tell me all the ways you can die. | 0:25:46 | 0:25:48 | |
It is a big responsibility to answer those questions. | 0:25:48 | 0:25:52 | |
Gary, proper parenting... | 0:25:52 | 0:25:53 | |
Do you have a rule where you could not swear in front of your kids? | 0:25:53 | 0:25:57 | |
Yeah... | 0:25:57 | 0:25:59 | |
They're older now but I did have a swear jar. | 0:25:59 | 0:26:03 | |
How much? Per word? | 0:26:03 | 0:26:07 | |
It was a dollar. | 0:26:07 | 0:26:11 | |
-How old is your child? -He is two and a half. | 0:26:11 | 0:26:15 | |
Can you still swear in front of a two-and-a-half-year-old? | 0:26:15 | 0:26:17 | |
Yeah, of course I can. | 0:26:17 | 0:26:19 | |
He's not going to tell my mum, is he? | 0:26:20 | 0:26:24 | |
No, we don't. It slips out sometimes. | 0:26:24 | 0:26:26 | |
He's funny, because, | 0:26:26 | 0:26:28 | |
if we're sitting at the table in the kitchen... | 0:26:28 | 0:26:31 | |
We have an island and then the fridge beyond that, | 0:26:31 | 0:26:33 | |
and sometimes he wanders off to get his own yoghurt. | 0:26:33 | 0:26:36 | |
You see the fridge door opening and some fumbling going on. | 0:26:36 | 0:26:39 | |
Then you hear the yoghurts drop and just hear, "Oh, shit." | 0:26:39 | 0:26:43 | |
So, you know... He's got that off his mum, I think. | 0:26:43 | 0:26:46 | |
She's terrible for it. | 0:26:48 | 0:26:50 | |
Obviously, you bring up kids, you all want to be cool parents. | 0:26:50 | 0:26:54 | |
Sadly, that title has been ripped from you, | 0:26:54 | 0:26:57 | |
because some parents have been officially called | 0:26:57 | 0:27:00 | |
the coolest parents in the world. | 0:27:00 | 0:27:01 | |
They're taking over the internet. | 0:27:01 | 0:27:03 | |
They're from New Zealand. They moved to Australia. | 0:27:03 | 0:27:05 | |
Here's the bad thing. They were a little bored when they moved to Australia. | 0:27:05 | 0:27:09 | |
They were in Sydney and they just had a baby... | 0:27:09 | 0:27:12 | |
and a lot of packing cases. | 0:27:12 | 0:27:15 | |
A lot of cardboard left over from the move. | 0:27:15 | 0:27:20 | |
They came up with this idea... | 0:27:20 | 0:27:21 | |
How much time and effort went into this?! | 0:27:21 | 0:27:23 | |
They came up with this idea of Cardboard Box Office. | 0:27:23 | 0:27:27 | |
So, they used, basically, the leftover packing cases | 0:27:27 | 0:27:31 | |
and their baby to recreate iconic scenes from films. | 0:27:31 | 0:27:36 | |
OK? It has become a thing. Here is the website. There we go. | 0:27:36 | 0:27:41 | |
Leon is the man, Lily is the woman, and the baby is Orson. | 0:27:41 | 0:27:46 | |
With popcorn on his head. | 0:27:46 | 0:27:48 | |
They really are just using this baby as a prop. | 0:27:48 | 0:27:51 | |
Frankly, I'm surprised they named it. | 0:27:51 | 0:27:55 | |
This first film, what film is that? | 0:27:55 | 0:27:58 | |
It's Alien. | 0:27:58 | 0:28:00 | |
Yes. | 0:28:00 | 0:28:02 | |
I love that baby. | 0:28:02 | 0:28:03 | |
Look at the attention to detail! | 0:28:06 | 0:28:08 | |
The cardboard, the wool blood. Very good. | 0:28:08 | 0:28:10 | |
I've never seen Alien. | 0:28:10 | 0:28:12 | |
What is up next? | 0:28:12 | 0:28:13 | |
What movie is that? Do you recognise that? | 0:28:13 | 0:28:16 | |
We've talked about that man. | 0:28:16 | 0:28:18 | |
-It's Die Hard. -Oh, yes! | 0:28:18 | 0:28:19 | |
That's Bruce Willis on the top. | 0:28:19 | 0:28:22 | |
There's Bruce. | 0:28:22 | 0:28:25 | |
That's Alan Rickman. | 0:28:25 | 0:28:27 | |
Yes, Alan Rickman underneath. | 0:28:27 | 0:28:30 | |
Then they have done some classics. | 0:28:30 | 0:28:32 | |
They have given us their Star Wars. | 0:28:32 | 0:28:35 | |
My favourite is the Chewbacca. | 0:28:35 | 0:28:37 | |
Look at the little Chewbacca. | 0:28:37 | 0:28:40 | |
Oh! | 0:28:40 | 0:28:42 | |
And, one of your films. | 0:28:42 | 0:28:44 | |
Little Orson is giving us The Dark Knight. | 0:28:44 | 0:28:49 | |
That doesn't look safe to put a baby up there. | 0:28:51 | 0:28:55 | |
We rang them and said, | 0:28:55 | 0:28:57 | |
"Is it OK if we show the pictures on the show?" | 0:28:57 | 0:29:01 | |
This is so sweet. They were very excited. | 0:29:01 | 0:29:03 | |
For the first time, | 0:29:03 | 0:29:05 | |
Cardboard Box Office has done a homage to a television show | 0:29:05 | 0:29:09 | |
and they have actually done tonight's show. | 0:29:09 | 0:29:12 | |
We told them who was on and they've done tonight's show | 0:29:12 | 0:29:14 | |
and sent it to us. Feast your eyes on this! | 0:29:14 | 0:29:17 | |
This is so impressive. Look at that. | 0:29:17 | 0:29:19 | |
I look a bit confused. | 0:29:21 | 0:29:23 | |
Let me talk you through it. | 0:29:25 | 0:29:27 | |
I'm the baby... | 0:29:27 | 0:29:29 | |
I've got a glass of milk. | 0:29:29 | 0:29:32 | |
The set is amazing. | 0:29:32 | 0:29:33 | |
The set is so good. They've even got the coffee table. | 0:29:33 | 0:29:36 | |
-The coffee table is the same. -That is amazing. | 0:29:36 | 0:29:38 | |
Am I portrayed as a big dog? | 0:29:38 | 0:29:40 | |
-No, no... There's... -What is it? | 0:29:40 | 0:29:43 | |
-Is it a bear? -I think it's a bear. | 0:29:45 | 0:29:47 | |
It's adorable. | 0:29:47 | 0:29:49 | |
Anyway, well done, the coolest parents in the world. Very good. | 0:29:49 | 0:29:53 | |
Now, Nick Frost... | 0:29:57 | 0:29:59 | |
You have to talk now. He's feeling all weird. | 0:29:59 | 0:30:01 | |
I just feel like I'm not ever going to get over | 0:30:01 | 0:30:04 | |
what's happening right now. The robot and that... | 0:30:04 | 0:30:07 | |
He's like, "I feel like I'm tripping." | 0:30:07 | 0:30:11 | |
Now we're about to talk about your film, so you're on. | 0:30:11 | 0:30:14 | |
This is your passion, I think we call it a passion project, don't we? | 0:30:14 | 0:30:17 | |
-Yeah. -Well, it was your idea. -Yeah! | 0:30:17 | 0:30:21 | |
Did you write it? | 0:30:21 | 0:30:23 | |
No, I had the idea, and I wrote a Bible of the characters, | 0:30:23 | 0:30:26 | |
and the idea, and we found a beautiful writer called | 0:30:26 | 0:30:29 | |
John Brown and we handed it over. | 0:30:29 | 0:30:31 | |
I believe I am correct that it is the first | 0:30:31 | 0:30:34 | |
and best British salsa comedy. | 0:30:34 | 0:30:37 | |
-It's really specific, isn't it? -It really is. It's niche. | 0:30:37 | 0:30:40 | |
Cuban Fury. | 0:30:40 | 0:30:42 | |
I've read reports, some say you have always loved dancing, | 0:30:42 | 0:30:45 | |
some say you hated dancing. | 0:30:45 | 0:30:48 | |
But you have danced in the past? | 0:30:48 | 0:30:50 | |
Yeah... The truth is I really like to dance, | 0:30:50 | 0:30:55 | |
but I do not like people watching me dance. | 0:30:55 | 0:30:59 | |
That is the issue I have. And also an expectation that you would dance. | 0:30:59 | 0:31:04 | |
If somebody wants me to dance... | 0:31:04 | 0:31:07 | |
I would never dance, I would rather be dead than dance. | 0:31:07 | 0:31:11 | |
So was this film a big ask, then? | 0:31:11 | 0:31:13 | |
Yes, because essentially, I ruined my wedding by not wanting to dance | 0:31:13 | 0:31:19 | |
with my wife when we did our first dance. | 0:31:19 | 0:31:21 | |
Everybody gathered round and I bumbled out | 0:31:21 | 0:31:24 | |
and put my hands on her shoulders, and we did this a bit... | 0:31:24 | 0:31:28 | |
And then stopped, found some lint in my pocket and flicked it away. | 0:31:28 | 0:31:33 | |
People then joined around us, and it was fine. | 0:31:33 | 0:31:38 | |
The thing about a big lump dancing and enjoying it, | 0:31:38 | 0:31:42 | |
and doing it well is, | 0:31:42 | 0:31:43 | |
you get a really odd look off thinner people, | 0:31:43 | 0:31:46 | |
and it is a look that you might give a child who has battled | 0:31:46 | 0:31:51 | |
and defeated a childhood illness to go on and complete a half marathon. | 0:31:51 | 0:31:55 | |
This is the look they give you... | 0:31:57 | 0:31:59 | |
And I think, "No, no, no." | 0:32:00 | 0:32:02 | |
It doesn't matter what you look like, if you are good | 0:32:02 | 0:32:04 | |
and you feel it inside your heart | 0:32:04 | 0:32:07 | |
then it does not matter what you look like. And it came from that. | 0:32:07 | 0:32:11 | |
And in the movie, it is really you dancing, | 0:32:11 | 0:32:13 | |
and you are a championship salsa dancer. | 0:32:13 | 0:32:16 | |
Yes, I trained for seven hours a day | 0:32:16 | 0:32:18 | |
for seven months before we shot any film at all. | 0:32:18 | 0:32:22 | |
Whole point was that I wanted to dance | 0:32:22 | 0:32:26 | |
and I wanted to be able to dance, and not just do the choreography, | 0:32:26 | 0:32:29 | |
but to know how to dance and know what Latin culture was. | 0:32:29 | 0:32:34 | |
They got some amazing people in from all over the world to teach me. | 0:32:34 | 0:32:37 | |
Being a big Englishman, it's very difficult to open yourself up | 0:32:37 | 0:32:43 | |
to Latin culture. And a lesson would be like, for example, a kid came | 0:32:43 | 0:32:49 | |
in once, a 22-year-old from Havana, beautiful, | 0:32:49 | 0:32:53 | |
weighed the same as one of my legs, came in... | 0:32:53 | 0:32:59 | |
Richard, my choreographer, said, "He is going to be with you for | 0:32:59 | 0:33:03 | |
"the next 45 minutes, enjoy yourself, he's a great dancer." | 0:33:03 | 0:33:08 | |
He put some music on, he came over and stood in front of me, | 0:33:08 | 0:33:12 | |
really close to me, and as an Englishman, it is... | 0:33:12 | 0:33:15 | |
You don't know what's happening. | 0:33:19 | 0:33:21 | |
He just stood in front of me | 0:33:21 | 0:33:23 | |
and he took his fist and gently pounded my chest, and he did this... | 0:33:23 | 0:33:27 | |
Boom-boom, chakka-da, boom, boom, doom, da cha! | 0:33:27 | 0:33:31 | |
He did it for 40 minutes, then he put his vest on and he said, | 0:33:31 | 0:33:35 | |
"If you don't feel this, don't bother." | 0:33:35 | 0:33:38 | |
And he left. That was a lesson. | 0:33:38 | 0:33:41 | |
So, they essentially smashed me to bits and build me back up. | 0:33:41 | 0:33:46 | |
We are going to see you dancing, but I should warn people, | 0:33:46 | 0:33:48 | |
this is a bit of the story, actually, | 0:33:48 | 0:33:51 | |
we have not really told the story. So, you were a boy champion... | 0:33:51 | 0:33:55 | |
-Yeah, let me do it. -Please do. | 0:33:55 | 0:33:57 | |
A young man who was a champion salsa dancer, and at the age of 15 | 0:33:57 | 0:34:02 | |
he made the national finals, | 0:34:02 | 0:34:04 | |
and on the eve of the finals, something terrible happened to him | 0:34:04 | 0:34:06 | |
and he turned his back on the world of salsa. | 0:34:06 | 0:34:09 | |
We then jump forward 25 years, | 0:34:09 | 0:34:11 | |
and that young man with fire in his eyes has become a lump | 0:34:11 | 0:34:16 | |
who can't be bothered, he hasn't got a girlfriend, | 0:34:16 | 0:34:19 | |
he doesn't like his job. | 0:34:19 | 0:34:21 | |
And then he meets this woman and she sparks something in him, | 0:34:21 | 0:34:26 | |
and he decides to take it up and he decides to woo her using dance. | 0:34:26 | 0:34:32 | |
-Let's have a look at the clip. -Yeah. | 0:34:32 | 0:34:35 | |
SALSA MUSIC PLAYS | 0:34:35 | 0:34:37 | |
Welcome back. | 0:35:15 | 0:35:16 | |
-APPLAUSE -Thank you very much. -Very good. | 0:35:16 | 0:35:18 | |
Opening on Valentine's Day as well, perfect. It's a date movie. | 0:35:21 | 0:35:24 | |
Now, it is time for some music. I love this band, I really do. | 0:35:24 | 0:35:28 | |
Performing Strong from their platinum selling debut album, | 0:35:28 | 0:35:31 | |
it is London Grammar! | 0:35:31 | 0:35:33 | |
# Excuse me for a while | 0:35:49 | 0:35:52 | |
# While I'm wide-eyed | 0:35:52 | 0:35:54 | |
# And I'm so down caught in the middle | 0:35:54 | 0:35:56 | |
# I've excused you for a while | 0:36:01 | 0:36:04 | |
# While I'm wide-eyed | 0:36:04 | 0:36:06 | |
# And I'm so down caught in the middle | 0:36:06 | 0:36:09 | |
# And if a lion, a lion, roars would you not listen? | 0:36:14 | 0:36:24 | |
# If a child, a child, cries would you not forgive them? | 0:36:26 | 0:36:36 | |
# Yeah, I might seem so strong | 0:36:38 | 0:36:41 | |
# Yeah, I might speak so long | 0:36:41 | 0:36:44 | |
# I've never been so wrong | 0:36:44 | 0:36:48 | |
# And I might seem so strong | 0:36:50 | 0:36:53 | |
# Yeah, I might speak so long | 0:36:53 | 0:36:57 | |
# I've never been so wrong | 0:36:57 | 0:37:00 | |
# Excuse me for a while | 0:37:03 | 0:37:06 | |
# While I'm wide-eyed | 0:37:06 | 0:37:07 | |
# And I'm so down caught in the middle | 0:37:07 | 0:37:10 | |
# Have you wondered for a while | 0:37:14 | 0:37:18 | |
# I have a feeling deep down? | 0:37:18 | 0:37:21 | |
# You're caught in the middle | 0:37:21 | 0:37:24 | |
# And if a lion, a lion, roars would you not listen? | 0:37:27 | 0:37:37 | |
# If a child, a child, cries would you not forgive them? | 0:37:39 | 0:37:50 | |
# Yeah, I might seem so strong | 0:37:51 | 0:37:55 | |
# Yeah, I might speak so long | 0:37:55 | 0:37:58 | |
# I've never been so wrong | 0:37:58 | 0:38:02 | |
# Yeah, I might seem so strong | 0:38:04 | 0:38:07 | |
# Yeah, I might speak so long | 0:38:07 | 0:38:10 | |
# I've never been so wrong | 0:38:10 | 0:38:14 | |
# Ooh. # | 0:38:17 | 0:38:21 | |
APPLAUSE AND CHEERING | 0:38:51 | 0:38:54 | |
Beautiful. London Grammar, everybody! | 0:38:55 | 0:38:58 | |
Absolutely gorgeous. Come and join me. | 0:38:58 | 0:39:00 | |
Hello, nice lady. | 0:39:00 | 0:39:02 | |
Hello, come and sit down. Hello, come and sit down. | 0:39:02 | 0:39:05 | |
There they go. | 0:39:05 | 0:39:07 | |
Meet everybody! Shove up. | 0:39:07 | 0:39:10 | |
There you go. Make room. | 0:39:13 | 0:39:15 | |
There they are, London Grammar, and they are Hannah, Dot and Dan. | 0:39:15 | 0:39:19 | |
-Am I right? -Yes. | 0:39:19 | 0:39:21 | |
That song is off the album If You Wait which is out now. | 0:39:21 | 0:39:25 | |
It's just beautiful. | 0:39:25 | 0:39:27 | |
In my old head, it seems like you've arrived like that. | 0:39:27 | 0:39:31 | |
I heard you on the radio, and then it was the EP, then the album. | 0:39:31 | 0:39:34 | |
Does it feel kind of overnight, | 0:39:34 | 0:39:37 | |
suddenly people know who you are? | 0:39:37 | 0:39:39 | |
Not a lot of people know who we are, | 0:39:39 | 0:39:41 | |
we can walk down the street and no-one knows who we are. | 0:39:41 | 0:39:44 | |
Actually, this is a rather sad story, ladies and gentlemen, | 0:39:44 | 0:39:48 | |
but even after gigs people come up to Hannah and Dot, | 0:39:48 | 0:39:54 | |
but poor Dan... | 0:39:54 | 0:39:56 | |
..even after seeing you play, they don't recognise you? | 0:39:57 | 0:40:00 | |
I'm not that recognisable. | 0:40:00 | 0:40:02 | |
I don't have the hair, and I'm pretty short, as well. | 0:40:02 | 0:40:06 | |
-Prince is short. -Yeah, well, I'm not Prince! | 0:40:06 | 0:40:09 | |
LAUGHTER | 0:40:09 | 0:40:10 | |
Could we have a close-up of Dan? | 0:40:10 | 0:40:12 | |
-Study that face. -APPLAUSE AND CHEERING | 0:40:14 | 0:40:17 | |
remember me. | 0:40:17 | 0:40:19 | |
If you see him tomorrow... | 0:40:19 | 0:40:20 | |
If you see him tomorrow out and about, about his business, | 0:40:20 | 0:40:23 | |
say hello, he'll love it. | 0:40:23 | 0:40:25 | |
Before we go tonight, just time for a story in the red chair, | 0:40:27 | 0:40:30 | |
so who's there? | 0:40:30 | 0:40:31 | |
-Hello! -Hello? -Hi! | 0:40:31 | 0:40:33 | |
LAUGHTER | 0:40:33 | 0:40:35 | |
It's not God, it's Graham Norton, hosting the show. | 0:40:35 | 0:40:37 | |
LAUGHTER | 0:40:37 | 0:40:39 | |
-What's your name, Sir? -My name is Darshan. | 0:40:39 | 0:40:42 | |
-And where do you live, Darshan? -In Harrow. -Harrow! | 0:40:42 | 0:40:46 | |
And what do you do in Harrow, Darshan? | 0:40:46 | 0:40:47 | |
I'm a director of a cleaning company. | 0:40:47 | 0:40:49 | |
He's a director of a cleaning company! Well done you, Darshan. | 0:40:49 | 0:40:53 | |
Off you go with your story, Darshan. | 0:40:53 | 0:40:56 | |
So this is when I was at my old workplace, | 0:40:56 | 0:40:58 | |
I used to work in a bank before, and everyone's about to go home | 0:40:58 | 0:41:02 | |
and I really needed to go for a wee. | 0:41:02 | 0:41:04 | |
So I quickly ran up to the men's toilet, go in, | 0:41:04 | 0:41:08 | |
did my business... | 0:41:08 | 0:41:10 | |
And then washed my hands, I'm going to the door and the door's locked. | 0:41:10 | 0:41:13 | |
Then I started panicking, cos my phone and everything was downstairs. | 0:41:13 | 0:41:17 | |
Oh, no. | 0:41:17 | 0:41:19 | |
I looked at my watch and it's obviously now time to go, | 0:41:19 | 0:41:21 | |
so I'm assuming everyone's gone now. | 0:41:21 | 0:41:23 | |
I'm locked in the toilet. | 0:41:23 | 0:41:25 | |
(He's locked in the toilet!) | 0:41:25 | 0:41:28 | |
Obviously I was stuck there, I was going to be there all night... | 0:41:28 | 0:41:31 | |
We've established that, Darshan! | 0:41:31 | 0:41:33 | |
LAUGHTER | 0:41:33 | 0:41:35 | |
The next morning my manager comes in, obviously | 0:41:35 | 0:41:38 | |
I've spent the whole night in the toilet sleeping, on a toilet roll. | 0:41:38 | 0:41:41 | |
LAUGHTER | 0:41:41 | 0:41:43 | |
That's not the worst part. | 0:41:43 | 0:41:45 | |
He sent me home to go have a shower and then come back to work again. | 0:41:45 | 0:41:48 | |
LAUGHTER | 0:41:48 | 0:41:49 | |
Aw! I am going to do that, though. | 0:41:49 | 0:41:52 | |
LAUGHTER AND APPLAUSE | 0:41:52 | 0:41:54 | |
Cos I thought something else was going to happen. | 0:41:54 | 0:41:57 | |
But it turned out that, no, | 0:41:57 | 0:41:58 | |
you were just locked in a toilet all night. | 0:41:58 | 0:42:01 | |
-I mean, terrible thing to happen. -Yeah, it is. | 0:42:01 | 0:42:03 | |
I can see why he left banking. | 0:42:03 | 0:42:05 | |
It didn't treat him well, did it? Shall we have somebody else? | 0:42:05 | 0:42:09 | |
-Hello, what's your name? -My name's Sarah. | 0:42:09 | 0:42:11 | |
Sarah, very good, and where do you live, Sarah? | 0:42:11 | 0:42:14 | |
I live in Godstone in Surrey. | 0:42:14 | 0:42:15 | |
-AUDIENCE MEMBER: -Hurray! | 0:42:15 | 0:42:18 | |
-No. And what do you do? -I'm a teacher. | 0:42:18 | 0:42:21 | |
-And what subjects do you teach? -I teach little ones, primary school. | 0:42:21 | 0:42:25 | |
-So you do all the subjects? -Yes. | 0:42:25 | 0:42:27 | |
She is wise! | 0:42:27 | 0:42:28 | |
Very wise. OK, off you go with your story. | 0:42:30 | 0:42:32 | |
Well, I was on my way home from a very busy day at work, | 0:42:32 | 0:42:36 | |
I was on the bus, and my bus stop was just coming, | 0:42:36 | 0:42:39 | |
so I stood up, sidled past the ladies in front of me, | 0:42:39 | 0:42:44 | |
got to the aisle and I realised there was something | 0:42:44 | 0:42:47 | |
heavy on the front of my cardigan. | 0:42:47 | 0:42:49 | |
My bus stop was coming up and to my horror I looked down | 0:42:49 | 0:42:52 | |
and I saw a lady's wig hanging from my cardigan. | 0:42:52 | 0:42:55 | |
Good story! | 0:42:55 | 0:42:57 | |
It was brown and it had a lovely purple bow on it, | 0:42:57 | 0:43:01 | |
and I was yanking at it to get it off, my stop was coming, | 0:43:01 | 0:43:04 | |
I couldn't get it off, she was screaming, | 0:43:04 | 0:43:06 | |
the bust conductor was talking about scalping people in public, | 0:43:06 | 0:43:10 | |
luckily I yanked it off, I threw it at her, | 0:43:10 | 0:43:12 | |
said sorry and I made my stop. | 0:43:12 | 0:43:16 | |
She can walk, that's a good story. | 0:43:16 | 0:43:19 | |
-APPLAUSE -That's a good story, well done! | 0:43:19 | 0:43:21 | |
If you'd like to join us on the show | 0:43:21 | 0:43:23 | |
and have a go in the red chair, you can. | 0:43:23 | 0:43:25 | |
Contact us via our website at this lovely address. | 0:43:25 | 0:43:27 | |
Thank you to all my guests tonight, | 0:43:27 | 0:43:29 | |
-London Grammar, ladies and gentlemen. -APPLAUSE AND CHEERING | 0:43:29 | 0:43:32 | |
-Mr Nick Frost! -APPLAUSE AND CHEERING | 0:43:32 | 0:43:35 | |
-Toni Collette! -APPLAUSE AND CHEERING | 0:43:35 | 0:43:38 | |
-And Gary Oldman! -APPLAUSE AND CHEERING | 0:43:38 | 0:43:41 | |
Join me next week with music from Paloma Faith | 0:43:41 | 0:43:44 | |
and the stars of the new movie The Monuments Men, | 0:43:44 | 0:43:47 | |
Hugh Bonneville, Jean Dujardin and Matt Damon. | 0:43:47 | 0:43:49 | |
I'll see you then, good night, everyone, goodbye! | 0:43:49 | 0:43:52 | |
APPLAUSE AND CHEERING | 0:43:52 | 0:43:55 |