Browse content similar to Episode 16. Check below for episodes and series from the same categories and more!
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Tonight, the star of Saving Private Ryan, | 0:00:02 | 0:00:04 | |
where they tried to find Private Ryan. | 0:00:04 | 0:00:06 | |
I wonder if I can find him in my audience. | 0:00:06 | 0:00:08 | |
No, no, er... | 0:00:08 | 0:00:10 | |
LAUGHTER | 0:00:10 | 0:00:12 | |
No, I can't see him anywhere. Hey, let's start the show! | 0:00:12 | 0:00:15 | |
CHEERING AND APPLAUSE | 0:00:15 | 0:00:17 | |
-CHEERING AND APPLAUSE -Hey! Oh! Oh! | 0:00:31 | 0:00:35 | |
How very lovely of you! How very kind! | 0:00:35 | 0:00:39 | |
Hello, hi, hi, hi! | 0:00:39 | 0:00:41 | |
Oh! Ladies and gentlemen, | 0:00:41 | 0:00:44 | |
oh, you are in for a treat. | 0:00:44 | 0:00:46 | |
What a star-studded line-up we have for you tonight. | 0:00:46 | 0:00:48 | |
Hollywood superstar, Private Ryan himself, Matt Damon is on the show! | 0:00:48 | 0:00:53 | |
-CHEERING AND APPLAUSE -I know! | 0:00:53 | 0:00:55 | |
The Earl of Grantham, | 0:00:55 | 0:00:57 | |
Hugh Bonneville is here, ladies and gentlemen. | 0:00:57 | 0:00:59 | |
CHEERING AND APPLAUSE | 0:00:59 | 0:01:01 | |
The absolutely brilliant Bill Murray is on our show tonight! | 0:01:01 | 0:01:07 | |
-CHEERING AND APPLAUSE -Yeah! I know! | 0:01:07 | 0:01:10 | |
Plus we've got music from the marvellous Paloma Faith, everybody. | 0:01:11 | 0:01:16 | |
-CHEERING AND APPLAUSE -Not bad. | 0:01:16 | 0:01:18 | |
Not bad, eh, eh? | 0:01:18 | 0:01:20 | |
Right, delighted to welcome Matt Damon to the show. | 0:01:20 | 0:01:24 | |
Of course his most famous series of films is the Bourne Trilogy. | 0:01:24 | 0:01:27 | |
We all know them. There was Bourne Identity, Bourne Supremacy, | 0:01:27 | 0:01:31 | |
and then, I think, Bourne Stupid. | 0:01:31 | 0:01:33 | |
LAUGHTER | 0:01:33 | 0:01:35 | |
That's just silly. | 0:01:38 | 0:01:39 | |
Matt recently starred with Scarlett Johansson | 0:01:39 | 0:01:42 | |
in the drama We Bought A Zoo. | 0:01:42 | 0:01:43 | |
Now, I was less keen on the Danish remake, | 0:01:43 | 0:01:46 | |
We Bought A Zoo And Shot The Giraffe. | 0:01:46 | 0:01:48 | |
LAUGHTER | 0:01:48 | 0:01:51 | |
What were they thinking?! | 0:01:51 | 0:01:53 | |
A zoo in Denmark has killed a giraffe they didn't want. | 0:01:53 | 0:01:56 | |
Do you think the giraffe knew it was going to be shot? Do you? | 0:01:56 | 0:01:59 | |
LAUGHTER | 0:02:00 | 0:02:03 | |
"Nothing! Nothing! | 0:02:03 | 0:02:05 | |
"Keep walking, nothing to see here." | 0:02:05 | 0:02:07 | |
And then it gets worse. | 0:02:08 | 0:02:10 | |
You know what they did? They fed it to the lions. | 0:02:10 | 0:02:12 | |
Hands up, is there anyone who thinks that's a good idea? | 0:02:12 | 0:02:15 | |
LAUGHTER | 0:02:15 | 0:02:18 | |
"I do!" | 0:02:18 | 0:02:19 | |
Hey, a very warm welcome to the show | 0:02:19 | 0:02:21 | |
to the brilliant Bill Murray, everyone! Oh! Bill Murray. | 0:02:21 | 0:02:24 | |
It's so exciting, so exciting to have him here. | 0:02:24 | 0:02:28 | |
I loved Bill in Groundhog Day, | 0:02:28 | 0:02:31 | |
all about a man who lives the same day over and over again. | 0:02:31 | 0:02:35 | |
What would that be like? | 0:02:35 | 0:02:36 | |
LAUGHTER | 0:02:36 | 0:02:38 | |
"And today, scum. | 0:02:40 | 0:02:42 | |
"Fat scum in shell suits. | 0:02:44 | 0:02:47 | |
"After the break, more scum." | 0:02:47 | 0:02:49 | |
Hey! Hugh Bonneville is here, | 0:02:52 | 0:02:53 | |
star of the international smash hit drama Downton Abbey. Oh, we love it. | 0:02:53 | 0:02:58 | |
Just look at him there, so dapper and smart. | 0:02:58 | 0:03:01 | |
Mind you, here he is before going into make-up... | 0:03:01 | 0:03:04 | |
LAUGHTER | 0:03:04 | 0:03:06 | |
No, that's Hugh as Mr Stink. | 0:03:06 | 0:03:08 | |
He also - that's a thing - he also starred in the brilliant comedy | 0:03:08 | 0:03:13 | |
all about the London Olympics, Twenty Twelve. | 0:03:13 | 0:03:16 | |
He played bungling organiser Ian Fletcher. | 0:03:16 | 0:03:18 | |
He made so many mistakes and he got away with it. | 0:03:18 | 0:03:21 | |
Now, if someone at the Winter Olympics makes a mistake, | 0:03:21 | 0:03:24 | |
I think they're less likely to get away with it. | 0:03:24 | 0:03:26 | |
LAUGHTER | 0:03:26 | 0:03:29 | |
-RUSSIAN ACCENT: -"Fifth snowflake did not turn into ring. | 0:03:29 | 0:03:31 | |
"You're going to die. | 0:03:31 | 0:03:33 | |
"I feed you to lion." | 0:03:33 | 0:03:36 | |
Let's get some guests on! | 0:03:36 | 0:03:37 | |
Later we'll be chatting and having music from Paloma Faith! | 0:03:39 | 0:03:41 | |
CHEERING AND APPLAUSE | 0:03:41 | 0:03:43 | |
But first, Good Lord, it's Hugh Bonneville! | 0:03:43 | 0:03:46 | |
CHEERING AND APPLAUSE | 0:03:46 | 0:03:49 | |
Hello, sir. So nice to have you here. Come in, come in, sit down. | 0:03:49 | 0:03:53 | |
Thank you. | 0:03:53 | 0:03:55 | |
You want a star guest, who are you going to call? It's Bill Murray! | 0:03:55 | 0:04:00 | |
Wow! Hello, sir, | 0:04:00 | 0:04:02 | |
so nice to see you, come in, come in. | 0:04:02 | 0:04:05 | |
And I'm saving Private Ryan till last. It's Matt Damon, everybody! | 0:04:05 | 0:04:10 | |
Wow! | 0:04:10 | 0:04:11 | |
-Hello, sir. -How are you? -I'm really well. Sit down, sit down. | 0:04:11 | 0:04:16 | |
CHEERING AND APPLAUSE | 0:04:16 | 0:04:18 | |
I know, it's good, right? It's a good one. | 0:04:22 | 0:04:24 | |
They might just clap for 45 minutes. It's good. | 0:04:24 | 0:04:26 | |
You're very, very welcome and you've all just come from | 0:04:26 | 0:04:29 | |
-the premiere of your film, Monuments Men. -Yes. -Yeah. | 0:04:29 | 0:04:32 | |
-That's why we're drinking champagne. -To celebrate. Yes. | 0:04:32 | 0:04:35 | |
In fact, now, | 0:04:35 | 0:04:38 | |
why is yours not in a champagne glass, Hugh? | 0:04:38 | 0:04:40 | |
Do you want people to think, "Oh, I'm just a man of the people. | 0:04:40 | 0:04:44 | |
"Simple white wine for me?" | 0:04:44 | 0:04:45 | |
-No, I just like drinking more than anyone else at one time. -Oh, right. | 0:04:45 | 0:04:49 | |
Let's get started. If we... | 0:04:49 | 0:04:51 | |
Hey, hey, hey! Thank you. | 0:04:51 | 0:04:52 | |
Ready? Cheers. | 0:04:53 | 0:04:55 | |
Cheers. One, two, three. | 0:04:55 | 0:04:59 | |
CHEERING AND APPLAUSE | 0:04:59 | 0:05:01 | |
Oh, he did? Wow. | 0:05:05 | 0:05:06 | |
Oh, oh! | 0:05:09 | 0:05:11 | |
CHEERING AND APPLAUSE | 0:05:11 | 0:05:13 | |
-Wow. -Don't do this at home. Don't do this at home. -Oh, God! | 0:05:14 | 0:05:17 | |
Oh, that ginger ale is crazy. | 0:05:19 | 0:05:21 | |
Now you should just ask us really personal questions. | 0:05:22 | 0:05:26 | |
And, actually, now, cos there was a big crowd on Leicester Square, | 0:05:27 | 0:05:30 | |
and I just want to ask Matt, it's so odd but people confuse you. | 0:05:30 | 0:05:33 | |
They don't always know that you're Matt Damon. | 0:05:33 | 0:05:35 | |
That's, yeah, no, I get confused with Mark Wahlberg all the time. | 0:05:35 | 0:05:39 | |
LAUGHTER | 0:05:39 | 0:05:41 | |
It literally happened, it happened last week. | 0:05:43 | 0:05:46 | |
I was in New York and I was taking my kids to the park, and, uh, | 0:05:46 | 0:05:50 | |
and this guy at the subway, I walked by him and he goes, | 0:05:50 | 0:05:54 | |
"Mark Wahlberg!" | 0:05:54 | 0:05:55 | |
And I kept walking, you know. | 0:05:55 | 0:05:57 | |
We were... I was going to Washington Square Park, I'm on Broadway, | 0:05:57 | 0:06:01 | |
and, uh, he's like, "I see you, Mark Wahlberg!" | 0:06:01 | 0:06:04 | |
And he might have been a little drunk, uh, yeah... | 0:06:05 | 0:06:09 | |
But it was one of those things where he wasn't going to let it go, | 0:06:09 | 0:06:12 | |
and I'm holding two of my kids' hands, it's, you know... | 0:06:12 | 0:06:16 | |
And he's just, you know, "Turn around, Mark, we all know it's you!" | 0:06:16 | 0:06:20 | |
And I don't turn around cos I'm not Mark Wahlberg. | 0:06:20 | 0:06:23 | |
But now everybody's looking, | 0:06:24 | 0:06:26 | |
and so I turn the corner with the kids to get around the corner, | 0:06:26 | 0:06:29 | |
and he comes running around the corner and he comes up to me | 0:06:29 | 0:06:32 | |
and he goes, "Come on, turn around, you gotta turn around!" | 0:06:32 | 0:06:34 | |
I turn around, and the kids are totally confused, | 0:06:34 | 0:06:37 | |
and I go, "How are ya?" And he goes, "I'm good, man." | 0:06:37 | 0:06:40 | |
And that's it, that's all he wanted. | 0:06:40 | 0:06:42 | |
He wanted me to just acknowledge that I was Mark Wahlberg. | 0:06:42 | 0:06:45 | |
And another woman comes running up and says, | 0:06:45 | 0:06:47 | |
"I love your work and I love your brother's work as well." | 0:06:47 | 0:06:51 | |
So I said, "I will be sure to tell Donnie Wahlberg." | 0:06:51 | 0:06:53 | |
And that was the extent of my interaction. | 0:06:55 | 0:06:57 | |
But it happens to him too, cos somebody posted this. | 0:06:57 | 0:06:59 | |
"I screamed Matt Damon. He didn't correct us at all." | 0:06:59 | 0:07:02 | |
LAUGHTER | 0:07:02 | 0:07:04 | |
Mark and I talked about it years ago, cos it was happening to us | 0:07:04 | 0:07:09 | |
all the time, and so we have a deal and the deal is just, | 0:07:09 | 0:07:12 | |
if you're mistaken for the other guy, you have to be extremely polite. | 0:07:12 | 0:07:16 | |
I can't ruin his name, so when I'm Mark Wahlberg, | 0:07:16 | 0:07:18 | |
I have to be on my best behaviour. | 0:07:18 | 0:07:19 | |
-Well, I promise not to confuse you with Mark Wahlberg tonight. -OK. | 0:07:19 | 0:07:23 | |
Unless you sit in my lap and play with my nipples. | 0:07:23 | 0:07:25 | |
LAUGHTER AND APPLAUSE | 0:07:25 | 0:07:27 | |
And I'm smiling. | 0:07:31 | 0:07:32 | |
And he'd had one of these at the beginning of the show as well? | 0:07:32 | 0:07:35 | |
I'm not sure what happened before the beginning of the show. | 0:07:35 | 0:07:39 | |
Actually, in terms of meeting fans, Hugh, you get confused as well, | 0:07:39 | 0:07:43 | |
not with Mark Wahlberg, who do you get confused with? | 0:07:43 | 0:07:46 | |
Well, in the old days when I had cheekbones it was Colin Firth. | 0:07:46 | 0:07:50 | |
And then, er... There we are, you see. | 0:07:50 | 0:07:53 | |
Then, latterly, Paul Burrell, the former butler. | 0:07:53 | 0:07:57 | |
LAUGHTER AND APPLAUSE | 0:07:57 | 0:07:59 | |
I don't even know who that is and it's funny. Tell us who that is. | 0:08:01 | 0:08:04 | |
It's funny, we don't know who the hell that is. | 0:08:04 | 0:08:07 | |
-You're lucky. -Who is he? | 0:08:07 | 0:08:09 | |
He was, he was, what was he, Diana's butler or something? | 0:08:09 | 0:08:11 | |
-He was the butler to... -Oh, the butler? Yeah, right, of course. | 0:08:11 | 0:08:14 | |
And I was chased across Sloane Square once by a paparazzo | 0:08:14 | 0:08:17 | |
who refused to believe that I wasn't him. "Come on, Paul! | 0:08:17 | 0:08:20 | |
"Come on, just one!" Oh, you know, "You're my favourite butler!" | 0:08:20 | 0:08:24 | |
LAUGHTER | 0:08:24 | 0:08:26 | |
Now, Bill Murray, delightful to have you on, | 0:08:26 | 0:08:28 | |
and am I, maybe this is wrong, | 0:08:28 | 0:08:30 | |
I'm told you've never done a British talk show before. | 0:08:30 | 0:08:33 | |
Well, I think I did one but the guy was actually Irish. | 0:08:33 | 0:08:38 | |
Oh... | 0:08:38 | 0:08:39 | |
LAUGHTER | 0:08:39 | 0:08:41 | |
So, so technically... I mean, there was people running after me | 0:08:41 | 0:08:45 | |
the next day going, "Hey, Mark Wahlberg! | 0:08:45 | 0:08:48 | |
"That guy you were on with was Irish!" | 0:08:48 | 0:08:51 | |
But you said to me his name was, | 0:08:51 | 0:08:53 | |
-AMERICAN ACCENT: -"Do you know a guy called Terry Wo-GAN?" | 0:08:53 | 0:08:56 | |
-Mr Wo-GAN. -Yes, was there...? There's a man named Wogan. | 0:08:56 | 0:09:00 | |
He's still going. | 0:09:00 | 0:09:01 | |
-COCKNEY ACCENT: -OK, well, I was on the Wogan show. | 0:09:01 | 0:09:03 | |
For like a week, people were like, | 0:09:03 | 0:09:06 | |
-COCKNEY ACCENT: -"I saw you on the Wogan show." | 0:09:06 | 0:09:08 | |
LAUGHTER | 0:09:08 | 0:09:10 | |
-I did, but he was a nice fella. That's the guy that's Irish? -Yeah. | 0:09:10 | 0:09:15 | |
THE guy! | 0:09:15 | 0:09:17 | |
I should probably point out I'm Irish too. | 0:09:17 | 0:09:19 | |
-What? -I'm Irish as well. -You are? -Yeah. | 0:09:19 | 0:09:23 | |
CHEERING DROWNS SPEECH | 0:09:24 | 0:09:26 | |
I know you are, I think you play golf there all the time, yeah. | 0:09:26 | 0:09:29 | |
You know, it's people like us that are turning this country around. | 0:09:31 | 0:09:34 | |
LAUGHTER | 0:09:34 | 0:09:36 | |
Now, gentlemen, we're here to celebrate your movie, | 0:09:36 | 0:09:38 | |
The Monuments Men. | 0:09:38 | 0:09:39 | |
It opens tonight, which, as you know, is Valentine's Night. | 0:09:39 | 0:09:43 | |
-WHOOPS FROM AUDIENCE -I know. | 0:09:43 | 0:09:45 | |
You do sort of think, if you're at home watching this show live, sorry. | 0:09:45 | 0:09:50 | |
That didn't really work out the way you'd hoped, did it? | 0:09:50 | 0:09:54 | |
I mean, it's a great show but you'd hoped for more, didn't you? | 0:09:54 | 0:09:56 | |
You'd hoped for more. But now, the story of Monuments Men, | 0:09:56 | 0:09:59 | |
it's inspired by a true story from the Second World War, | 0:09:59 | 0:10:02 | |
and it's - I mean, not only is it an extraordinary story | 0:10:02 | 0:10:05 | |
but it's sort of amazing that no-one has told this story before. | 0:10:05 | 0:10:09 | |
I mean, it was amazing. | 0:10:09 | 0:10:10 | |
I'd never heard it and I had never heard about these guys and | 0:10:10 | 0:10:14 | |
I was shocked that this... It's such an incredible story that | 0:10:14 | 0:10:17 | |
I was surprised that I hadn't heard it, | 0:10:17 | 0:10:19 | |
and it's these guys who were, you know, our age, | 0:10:19 | 0:10:23 | |
middle-aged guys who, erm, during the Second World War dropped everything. | 0:10:23 | 0:10:27 | |
LAUGHTER | 0:10:27 | 0:10:29 | |
-Roughly. -He's still chasing that Colin Firth dream. | 0:10:32 | 0:10:34 | |
LAUGHTER | 0:10:34 | 0:10:37 | |
Listen, the number of times I came up to him on set and told him | 0:10:37 | 0:10:39 | |
how much I loved The King's Speech. | 0:10:39 | 0:10:41 | |
LAUGHTER | 0:10:41 | 0:10:43 | |
It's true. | 0:10:43 | 0:10:44 | |
But, so there were these guys who had established careers, | 0:10:44 | 0:10:47 | |
they were curators, they were professors and art experts. | 0:10:47 | 0:10:51 | |
And they were well past their soldiering prime, | 0:10:51 | 0:10:54 | |
and they dropped everything and went to, er... | 0:10:54 | 0:10:57 | |
You've picked up the glass. LAUGHTER | 0:10:57 | 0:11:00 | |
-He's only having a sip. -Lord Grantham has... | 0:11:00 | 0:11:02 | |
It's a great story, keep talking. | 0:11:03 | 0:11:05 | |
LAUGHTER | 0:11:05 | 0:11:07 | |
This is the only way I'm going to get out of here sober. | 0:11:08 | 0:11:11 | |
-I'm going to answer every question. -Answer every question. | 0:11:11 | 0:11:15 | |
Er, but so these guys, erm, at great risk to themselves, | 0:11:15 | 0:11:19 | |
they basically believed, you know, all of them believed that, er, | 0:11:19 | 0:11:24 | |
the artwork that, you know... | 0:11:24 | 0:11:26 | |
The bombarding that the Allies were doing | 0:11:26 | 0:11:28 | |
and the things that might get destroyed were worth protecting, | 0:11:28 | 0:11:31 | |
and that the art that the Nazis had stolen was worth, you know, | 0:11:31 | 0:11:36 | |
their own lives to try to go and retrieve. | 0:11:36 | 0:11:39 | |
And they, some of them died doing this, | 0:11:39 | 0:11:40 | |
trying to protect the artwork because they felt that it had | 0:11:40 | 0:11:44 | |
-that much value to our culture and to our civilisation. -And to the world. | 0:11:44 | 0:11:47 | |
Well, we've got a little clip. | 0:11:47 | 0:11:49 | |
-It's George Clooney, who plays the head Monument Man. -Of course. | 0:11:49 | 0:11:53 | |
And he's... Of course he's the head one. | 0:11:53 | 0:11:56 | |
Well, he wrote it and directed it, what's he going to do(?) | 0:11:56 | 0:11:58 | |
LAUGHTER He wasn't going to play my part! | 0:11:58 | 0:12:01 | |
That stupid part, yeah. | 0:12:02 | 0:12:05 | |
This is the clip where he's recruiting you | 0:12:05 | 0:12:08 | |
to be one of the Monuments Men. | 0:12:08 | 0:12:09 | |
How's the ticker? | 0:12:09 | 0:12:11 | |
Still ticking. | 0:12:11 | 0:12:13 | |
Want to get in the War? | 0:12:13 | 0:12:14 | |
-Monuments Men? -Signed by Roosevelt. -Oh, I see that. | 0:12:18 | 0:12:21 | |
I'm to put a team together and try to protect what's left | 0:12:21 | 0:12:24 | |
and find what's missing. | 0:12:24 | 0:12:26 | |
-Aren't you a little old for that? -Yes. | 0:12:26 | 0:12:28 | |
You want to go into a war zone and tell our boys what they can | 0:12:30 | 0:12:33 | |
-and cannot blow up? -That's the idea. -OK, how many men? -For now, six. | 0:12:33 | 0:12:38 | |
-Jesus. -With you, that's seven. -That's much better(!) | 0:12:38 | 0:12:42 | |
-We're to go through basic in England and then we wait for orders. -Basic? | 0:12:42 | 0:12:46 | |
-Mm-hm. -Basic training? Us? | 0:12:46 | 0:12:49 | |
HE CHUCKLES | 0:12:49 | 0:12:52 | |
Oh, boy. | 0:12:52 | 0:12:53 | |
APPLAUSE | 0:12:53 | 0:12:55 | |
Beautiful, and, er, | 0:12:55 | 0:12:57 | |
is that you at the end, in the hat with the wine? | 0:12:57 | 0:13:00 | |
-Was that you? -What, the waiter? | 0:13:00 | 0:13:01 | |
-No, were you in the bar with the red wine? Was that you? -No, no, no. | 0:13:01 | 0:13:04 | |
-No, no, I drop in later, I think. -OK. And you are in it, I've seen it. | 0:13:04 | 0:13:08 | |
-I think so, yes. -You're very good in it. -Thank you so much. | 0:13:08 | 0:13:11 | |
Not quite as good as he was in The King's Speech. | 0:13:11 | 0:13:14 | |
LAUGHTER | 0:13:14 | 0:13:15 | |
Now, it is... It's a great film, huge Hollywood cast, | 0:13:15 | 0:13:18 | |
and, Bill, lovely to see you in a film, but how does it happen? | 0:13:18 | 0:13:22 | |
Cos is it true you don't have an agent or a manager or anything? | 0:13:22 | 0:13:25 | |
I don't have a magent or an agent... | 0:13:25 | 0:13:28 | |
LAUGHTER | 0:13:28 | 0:13:30 | |
APPLAUSE | 0:13:30 | 0:13:32 | |
-Oh, man. -I have neither. | 0:13:38 | 0:13:40 | |
LAUGHTER | 0:13:40 | 0:13:41 | |
Whoa! | 0:13:41 | 0:13:42 | |
-You're competitive, Matt Damon. -It's a problem. | 0:13:45 | 0:13:47 | |
I hear Mark Wahlberg has that too. | 0:13:49 | 0:13:51 | |
Don't play catch-up. So, Bill, how do people contact you? | 0:13:52 | 0:13:55 | |
Well, actually, George, uh, George, to, | 0:13:55 | 0:13:58 | |
-George, to reach me... -LAUGHTER | 0:13:58 | 0:14:01 | |
George reached me through a mutual friend of ours | 0:14:01 | 0:14:03 | |
who basically said, wanted to know, "Are you busy?" | 0:14:03 | 0:14:06 | |
But George had told me the story of the movie about a year before, | 0:14:06 | 0:14:09 | |
eating lunch, and I thought, | 0:14:09 | 0:14:11 | |
"Yeah, go on, tell me, yeah, go ahead." | 0:14:11 | 0:14:13 | |
"Now you just say you want to do it." | 0:14:13 | 0:14:15 | |
And he didn't say anything, | 0:14:15 | 0:14:17 | |
and then about nine months later I get this message through | 0:14:17 | 0:14:19 | |
my friend saying, "Uh, George wants to know if you're busy." | 0:14:19 | 0:14:22 | |
And that was the job. It's a great story, | 0:14:23 | 0:14:25 | |
it's an amazing story and I just said, "OK." | 0:14:25 | 0:14:28 | |
And you'd met George Clooney originally in Venice, was it? | 0:14:28 | 0:14:32 | |
-Yes. -OK. -Yes. | 0:14:32 | 0:14:34 | |
LAUGHTER | 0:14:34 | 0:14:36 | |
We met in Venice. It was, uh... He had a movie in Venice, | 0:14:36 | 0:14:40 | |
I don't even remember, but... | 0:14:40 | 0:14:42 | |
I don't remember much. | 0:14:44 | 0:14:45 | |
LAUGHTER | 0:14:45 | 0:14:47 | |
But it was the night we had Lost In Translation open in Venice | 0:14:47 | 0:14:50 | |
and it was a big deal. | 0:14:50 | 0:14:52 | |
So there's one night, and all the Hollywood guys, | 0:14:52 | 0:14:54 | |
they're all really stiffs, most of 'em. | 0:14:54 | 0:14:56 | |
But one night of the year, they end up on this one island in Venice, | 0:14:56 | 0:15:00 | |
they end up in Venice... | 0:15:00 | 0:15:01 | |
And they all drink a whole lot, for some apparent reason. | 0:15:01 | 0:15:04 | |
Not George, but these other show business guys. | 0:15:04 | 0:15:06 | |
-So a whole kind of... -Not George? | 0:15:06 | 0:15:08 | |
No, George drinks all the time, that's what I mean. | 0:15:08 | 0:15:12 | |
George drinks regularly and consistently, but, erm... | 0:15:12 | 0:15:15 | |
So, I don't know, I met George that night and we kind of hit it off. | 0:15:15 | 0:15:18 | |
And then I went back to America and my son said to me, | 0:15:18 | 0:15:21 | |
"What's this about you and George Clooney | 0:15:21 | 0:15:23 | |
"pushing people around in wheelchairs in Venice?" | 0:15:23 | 0:15:26 | |
And I said, "You know, you're my son. | 0:15:26 | 0:15:28 | |
"I would have expected more from you. | 0:15:28 | 0:15:31 | |
"You know, to believe that kind of a story. | 0:15:31 | 0:15:33 | |
"You know, I mean, why would you ever think | 0:15:33 | 0:15:36 | |
"that something like that actually happened?" | 0:15:36 | 0:15:39 | |
And he said, "Because there are pictures." | 0:15:39 | 0:15:41 | |
LAUGHTER | 0:15:41 | 0:15:44 | |
You know, this is the age we live in, so... | 0:15:47 | 0:15:50 | |
But, erm... So it turned out that George and I were, like, | 0:15:50 | 0:15:52 | |
taking women around in wheelchairs, | 0:15:52 | 0:15:54 | |
and trying to dump them into the swimming pool. | 0:15:54 | 0:15:57 | |
LAUGHTER AND GASPS | 0:15:57 | 0:15:58 | |
No, no, they... No-one died, no-one died. | 0:15:58 | 0:16:01 | |
It was a joke, it was a joke, they just got a rinse. | 0:16:03 | 0:16:06 | |
LAUGHTER | 0:16:06 | 0:16:08 | |
Tonight, at the premiere, | 0:16:11 | 0:16:14 | |
there were some relatives of the old Monuments Men's family, | 0:16:14 | 0:16:19 | |
and a lady in a wheelchair came for a photograph with everyone. | 0:16:19 | 0:16:22 | |
And she was there, probably in her 90s, | 0:16:22 | 0:16:24 | |
and you sat on her knee. | 0:16:24 | 0:16:26 | |
LAUGHTER | 0:16:26 | 0:16:28 | |
She was 97. | 0:16:28 | 0:16:29 | |
-She was 97. -I only... | 0:16:29 | 0:16:31 | |
-She was 97. -What do you expect? | 0:16:31 | 0:16:34 | |
I asked Mark to do it first and he wouldn't do it. | 0:16:34 | 0:16:37 | |
He wouldn't do it, and I went and I sat on her lap. | 0:16:38 | 0:16:40 | |
No, it's - I find, if you look at someone like that, you see | 0:16:40 | 0:16:43 | |
the wheelchair, when you see someone on their lap, you see a party girl. | 0:16:43 | 0:16:48 | |
LAUGHTER | 0:16:48 | 0:16:50 | |
BOTH: A 97-year-old party girl. | 0:16:51 | 0:16:54 | |
And she loved every second. | 0:16:54 | 0:16:56 | |
CHEERING AND APPLAUSE | 0:16:56 | 0:16:58 | |
But, wait a minute, I'll give you a story from a few days ago. | 0:16:59 | 0:17:03 | |
We're in Berlin, we land in Berlin for the film festival, | 0:17:03 | 0:17:06 | |
and the film festival's going to be the next day. | 0:17:06 | 0:17:08 | |
We have press all day, starting in the morning. | 0:17:08 | 0:17:11 | |
And it's five o'clock and my wife and I are getting | 0:17:11 | 0:17:14 | |
a bite to eat in our hotel, you know, in the restaurant. | 0:17:14 | 0:17:18 | |
And Bill walks up, and we're getting a snack, cos we're all meeting for | 0:17:18 | 0:17:21 | |
dinner at eight, the whole cast is meeting for dinner. | 0:17:21 | 0:17:23 | |
And Bill walks up and he goes, "Hey." | 0:17:23 | 0:17:26 | |
And I go, "Hey." And he goes, | 0:17:26 | 0:17:28 | |
"I might miss dinner tonight." | 0:17:28 | 0:17:30 | |
And I go, "Oh, really, why? "Are you not feeling well, are you jetlagged? | 0:17:30 | 0:17:33 | |
"Like, what is it?" And he goes, | 0:17:33 | 0:17:35 | |
"Nah, I'm going to go to Prague." | 0:17:35 | 0:17:37 | |
LAUGHTER | 0:17:37 | 0:17:40 | |
"You're going to go to Prague?" And he goes, | 0:17:40 | 0:17:43 | |
"Yeah, I'm going to take the train." I'm like, "The train? | 0:17:43 | 0:17:47 | |
"We're in Berlin. Like, how far is that? | 0:17:47 | 0:17:49 | |
"I lived in Prague for a while, I've never done that." | 0:17:49 | 0:17:52 | |
And he goes, "It's, like, five hours." | 0:17:52 | 0:17:55 | |
I'm like, "It's five o'clock now." | 0:17:55 | 0:17:57 | |
And he goes, "Yeah, train leaves in an hour." | 0:17:57 | 0:17:59 | |
Bearing in mind we had press at, like, 9:00am the next morning. | 0:17:59 | 0:18:02 | |
9:00am the next morning. "So you're going to take a train to Prague, | 0:18:02 | 0:18:05 | |
"you're going to get there around 11:00 or around midnight?" | 0:18:05 | 0:18:08 | |
And he goes, "Yeah, but I've never been there." | 0:18:08 | 0:18:10 | |
It's pretty, it's a really pretty town. | 0:18:11 | 0:18:14 | |
-Did you go? -Oh, of course. | 0:18:14 | 0:18:15 | |
You did it? | 0:18:15 | 0:18:16 | |
APPLAUSE | 0:18:16 | 0:18:19 | |
And he was bang on time for press the next morning. | 0:18:24 | 0:18:27 | |
The best is I get a walking tour of Prague, and they have this | 0:18:27 | 0:18:31 | |
extraordinary astronomical clock there that's a mechanical clock | 0:18:31 | 0:18:35 | |
that has roosters that crow and a skeleton that rings the bell. | 0:18:35 | 0:18:39 | |
And, you know, I go through a whole process with a lady from the embassy | 0:18:39 | 0:18:42 | |
who couldn't have been nicer, to walk me around town, | 0:18:42 | 0:18:45 | |
and the clock rings but it only rings once. | 0:18:45 | 0:18:49 | |
It's one o'clock in the morning, you know. | 0:18:49 | 0:18:51 | |
"Bang!" | 0:18:51 | 0:18:53 | |
LAUGHTER | 0:18:53 | 0:18:55 | |
"OK, let's get a taxi." | 0:18:57 | 0:18:59 | |
LAUGHTER AND APPLAUSE | 0:18:59 | 0:19:01 | |
Now, Hugh Bon... You don't mind me calling you Hugh Bon? | 0:19:07 | 0:19:10 | |
-It's catching on now. -Hugh Bon? -Hugh Bon. | 0:19:10 | 0:19:13 | |
You're like the J-Lo of England. | 0:19:13 | 0:19:15 | |
-There's like R-Patz and then there's Hugh Bon. -What about H-Bon? | 0:19:16 | 0:19:20 | |
But, now, did you know George Clooney before this? | 0:19:22 | 0:19:25 | |
Oh, we go back years! No. | 0:19:25 | 0:19:26 | |
No, he talks about having a long lunch and not getting the job offer | 0:19:26 | 0:19:30 | |
at the end of it - you know, there was a five-second phone call | 0:19:30 | 0:19:32 | |
from my agent saying, "George Clooney wants..." | 0:19:32 | 0:19:34 | |
And I said yes. | 0:19:34 | 0:19:35 | |
So, yeah. And then, erm... In fact, | 0:19:37 | 0:19:40 | |
I haven't actually fessed up that the offer, these things come through | 0:19:40 | 0:19:43 | |
from your agent saying - very dry letters saying - | 0:19:43 | 0:19:47 | |
"Dear Hugh, for your attention, this project, produced by so-and-so..." | 0:19:47 | 0:19:51 | |
28 million names of who are the producers and then starring, | 0:19:51 | 0:19:54 | |
and, you know, Bill and Matt and everyone else. | 0:19:54 | 0:19:58 | |
And then at the bottom, another name, for my part, | 0:19:58 | 0:20:02 | |
which they'd failed to wipe out, so, you know... | 0:20:02 | 0:20:04 | |
LAUGHTER | 0:20:04 | 0:20:06 | |
These things happen. And, er, I was thrilled. | 0:20:06 | 0:20:10 | |
-Who was it? -I'm not going to tell you. | 0:20:10 | 0:20:13 | |
Oh, give us a clue. | 0:20:13 | 0:20:14 | |
-Oh, erm... -Was it an English person? -It was, actually, yeah. | 0:20:14 | 0:20:18 | |
-It's Victoria Beckham. -Exactly. | 0:20:18 | 0:20:20 | |
You told him! You said you wouldn't...! Shh! | 0:20:21 | 0:20:24 | |
She would have been brilliant. | 0:20:24 | 0:20:26 | |
LAUGHTER | 0:20:26 | 0:20:28 | |
But is it all kind of down to the Downton thing? | 0:20:29 | 0:20:32 | |
Was George a fan of Downton? | 0:20:32 | 0:20:33 | |
-Completely. -Because, in 220 territories... | 0:20:33 | 0:20:35 | |
I didn't know there were 220 territories. | 0:20:35 | 0:20:37 | |
No, what does that mean? Territories is different to nations, obviously. | 0:20:37 | 0:20:40 | |
Yes, they must be. I don't think there are 220 countries. | 0:20:40 | 0:20:42 | |
-But territories. -How many countries are there? -Somebody Google it. | 0:20:42 | 0:20:45 | |
Now, did you guys watch Downton? Did you know what Downton was? | 0:20:45 | 0:20:48 | |
I'm starting to think Texas is its own territory, they're like, | 0:20:48 | 0:20:51 | |
TEXAN DRAWL: "We're a territory. | 0:20:51 | 0:20:53 | |
"We're gon' shoot you if you come down here." | 0:20:53 | 0:20:56 | |
-Sorry. -Did you watch Downton before? | 0:20:56 | 0:20:58 | |
No, my wife is an addict, | 0:20:58 | 0:21:01 | |
and by addict I mean like a crack addict. | 0:21:01 | 0:21:03 | |
And it's like a problem. | 0:21:04 | 0:21:07 | |
We were supposed to start the show together, | 0:21:07 | 0:21:09 | |
and I came to bed one night and she said, | 0:21:09 | 0:21:12 | |
"I've just watched six of them." | 0:21:12 | 0:21:13 | |
LAUGHTER | 0:21:13 | 0:21:15 | |
And she was like, "I'll tell you..." BILL GIGGLES | 0:21:15 | 0:21:18 | |
"I'll tell you what happened." | 0:21:18 | 0:21:21 | |
Because she wanted to see the seventh | 0:21:21 | 0:21:24 | |
and she didn't want to go back to the first. | 0:21:24 | 0:21:27 | |
You know. And so she's done the whole thing and I'm on my own, so... | 0:21:27 | 0:21:31 | |
I will watch Downton Abbey because I love Hugh, but I'm going to | 0:21:31 | 0:21:34 | |
have to find the time somehow to do that raising four kids. | 0:21:34 | 0:21:38 | |
Have you ever seen it, Bill? | 0:21:38 | 0:21:40 | |
-Downton Abbey? -No. -OK. | 0:21:40 | 0:21:43 | |
I never have, but I'm just slow. | 0:21:43 | 0:21:44 | |
I have a lot of, like... I'm really slow cleaning up my room | 0:21:44 | 0:21:47 | |
and getting dressed and everything. So I miss these shows. | 0:21:47 | 0:21:50 | |
But I really look forward to getting, | 0:21:50 | 0:21:52 | |
like, a serious flu or something like that. | 0:21:52 | 0:21:55 | |
I'll get the entire set and watch the whole thing | 0:21:55 | 0:21:58 | |
because he seems like the greatest guy. | 0:21:58 | 0:22:02 | |
-He seems like a great guy. -It's a very good show. | 0:22:02 | 0:22:05 | |
It's one of those weird things, it's too convincing. | 0:22:05 | 0:22:07 | |
Like, I'm sort of on the fringes of this industry, | 0:22:07 | 0:22:10 | |
I meet actors on the show. | 0:22:10 | 0:22:11 | |
But when I see the Downton cast on a red carpet, | 0:22:11 | 0:22:15 | |
and it's the servants, I always think, "Oh, isn't that lovely!" | 0:22:15 | 0:22:18 | |
Look at that! Look, it's Mrs Patmore! She borrowed a dress! | 0:22:22 | 0:22:26 | |
Did they give them the morning off? | 0:22:27 | 0:22:30 | |
Or is he there going, "Where's my kedgeree?!" | 0:22:30 | 0:22:32 | |
You have a love/hate thing, don't you, with it? | 0:22:33 | 0:22:35 | |
No, I love it in that I watch it all the time, | 0:22:35 | 0:22:38 | |
but a bit like a relationship with crack, I hate it too. | 0:22:38 | 0:22:40 | |
Well, you know it's killing you. So... | 0:22:40 | 0:22:44 | |
May I ask you, is he, like, the grand master? | 0:22:44 | 0:22:47 | |
He's the Lord of the Lord. | 0:22:47 | 0:22:48 | |
But what you need to know, Bill, is Lord Grantham, | 0:22:48 | 0:22:51 | |
and I think this is fair, is always wrong. | 0:22:51 | 0:22:54 | |
-Well, there you go. There you go right there. -Yeah. -That's... | 0:22:56 | 0:23:01 | |
He is, though, isn't he? You must get annoyed. | 0:23:01 | 0:23:03 | |
Put it this way. When your name | 0:23:03 | 0:23:04 | |
comes out of a dog's arse in the titles, you know... | 0:23:04 | 0:23:07 | |
You know you're in for a bad ride. | 0:23:08 | 0:23:11 | |
No, because Lady Sybil... You killed her. Blood on your hands. | 0:23:11 | 0:23:15 | |
-No, people say that! -You killed someone in the show? -No, I didn't! | 0:23:15 | 0:23:18 | |
-Yes, he did. -Time out, time out. -Murderer! | 0:23:18 | 0:23:22 | |
Dr Clarkson, OK? Up to then, who we... | 0:23:24 | 0:23:27 | |
Don't tell me, I haven't seen the show! | 0:23:27 | 0:23:29 | |
-Up to that point... -He killed somebody but I don't want to know! | 0:23:35 | 0:23:38 | |
I don't want to know! | 0:23:38 | 0:23:40 | |
Up to that point, we called him Dr Death on set | 0:23:40 | 0:23:42 | |
because every decision he makes was terrible. | 0:23:42 | 0:23:44 | |
So there is some sense in my character calling in | 0:23:44 | 0:23:47 | |
some outside advice. | 0:23:47 | 0:23:48 | |
It happens to be possibly the wrong one, | 0:23:48 | 0:23:51 | |
and, you know, she wants out of her contract, so she dies. | 0:23:51 | 0:23:54 | |
Wow. | 0:23:55 | 0:23:56 | |
If you're watching in one of the 220 territories | 0:23:56 | 0:23:59 | |
that hasn't got to that point in the story yet... | 0:23:59 | 0:24:02 | |
hey, maybe she gets better. | 0:24:02 | 0:24:03 | |
I wouldn't join the Matthew Crawley fan club either. | 0:24:05 | 0:24:08 | |
I wouldn't invest in that. | 0:24:10 | 0:24:12 | |
I'm going for a pee, excuse me. | 0:24:12 | 0:24:14 | |
-Are you really going for a pee? -I am. Close-ups on them. | 0:24:16 | 0:24:18 | |
-Tiny bladder. -They just say that over here. | 0:24:23 | 0:24:26 | |
Bladder...bladder like a pea. Yeah. | 0:24:26 | 0:24:30 | |
You know, with all respect, we have commercials in America, | 0:24:30 | 0:24:33 | |
you can go and do this in the middle. | 0:24:33 | 0:24:35 | |
We just keep going. BBC, bladders of steel. | 0:24:35 | 0:24:38 | |
Quickly, I just want to ask you, Lost In Translation, | 0:24:40 | 0:24:43 | |
when you were making that film, | 0:24:43 | 0:24:45 | |
I read that you had a particular phrasebook in Japan. Is this true? | 0:24:45 | 0:24:48 | |
-That's true. -Where did you even get that phrasebook? | 0:24:48 | 0:24:51 | |
I don't know where I found it. | 0:24:51 | 0:24:52 | |
I sort of went hunting, looking for something | 0:24:52 | 0:24:55 | |
and it's something that I'd purchased years before, | 0:24:55 | 0:24:58 | |
before I made the film, | 0:24:58 | 0:24:59 | |
and it's a book called Making Out In Japanese. | 0:24:59 | 0:25:02 | |
-So, what are some of the phrases in the book? -Well, it's pretty great. | 0:25:04 | 0:25:07 | |
I used to take this book with me to dinner. | 0:25:07 | 0:25:11 | |
I used to take this to the sushi bar | 0:25:11 | 0:25:13 | |
and sit down in front of the sushi chef and say... | 0:25:13 | 0:25:15 | |
"Can we get into the back seat?" | 0:25:16 | 0:25:18 | |
"Do you have a curfew?" | 0:25:22 | 0:25:24 | |
"Do you mind if I use protection?" | 0:25:27 | 0:25:30 | |
These guys all had big knives, big, big knives. Sharp knives. | 0:25:33 | 0:25:37 | |
And they all liked it very much. | 0:25:37 | 0:25:39 | |
I had a lot of fun with that book, | 0:25:39 | 0:25:41 | |
and I... It would just... It made my life so much fun. | 0:25:41 | 0:25:45 | |
I still have the book, it's a treasure to me. | 0:25:45 | 0:25:48 | |
It's in my, you know, first editions. | 0:25:48 | 0:25:51 | |
Yes, it's under glass! | 0:25:51 | 0:25:53 | |
I learned some great expressions. | 0:25:53 | 0:25:55 | |
I learned one expression which turns out to be the final thing you say | 0:25:55 | 0:25:59 | |
before you kill or fight in Japan, which is... | 0:25:59 | 0:26:02 | |
"Who do you think you're talking to?" | 0:26:03 | 0:26:06 | |
Which is like a real status kind of thing you do. | 0:26:06 | 0:26:09 | |
And you say... "Dare ni mukatte mono ittenda yo?" | 0:26:09 | 0:26:14 | |
And you say it like that, and it's totally terrifying. | 0:26:14 | 0:26:18 | |
And we used to get dressed up... | 0:26:18 | 0:26:20 | |
On Sofia's movie, we'd move around and you'd have a make-up... | 0:26:20 | 0:26:23 | |
We'd rent, like, a small hotel room and that would be the make-up | 0:26:23 | 0:26:26 | |
and hairdressing and all the stuff. And the wardrobe and everything. | 0:26:26 | 0:26:30 | |
One morning, I got my first iPod... | 0:26:30 | 0:26:32 | |
-This is a long story, you got a lot of time. -Yeah! | 0:26:32 | 0:26:35 | |
I got my first iPod, and I was singing, like, the Beatles. | 0:26:35 | 0:26:38 | |
I was singing something, like, | 0:26:38 | 0:26:39 | |
"Let it be!" Something like that, really loud, full volume, | 0:26:39 | 0:26:43 | |
but it's 5:30 in the morning. | 0:26:43 | 0:26:44 | |
And some guy steps out of his hotel room in his robe | 0:26:44 | 0:26:47 | |
and he comes down and he starts shouting at me. | 0:26:47 | 0:26:50 | |
And I had the headphones on, and I just looked at him | 0:26:50 | 0:26:52 | |
and I said, "Dare ni mukatte mono ittenda yo?" | 0:26:52 | 0:26:56 | |
And this giant man just went completely white. | 0:26:57 | 0:27:00 | |
Because it's a Yakuza thing which means, "Now you're going to die." | 0:27:02 | 0:27:05 | |
And the guy ran down the hall, slammed the door, | 0:27:05 | 0:27:08 | |
and locked the door. | 0:27:08 | 0:27:09 | |
So, you know. | 0:27:12 | 0:27:14 | |
APPLAUSE DROWNS SPEECH | 0:27:14 | 0:27:15 | |
I know, I know. | 0:27:18 | 0:27:19 | |
I know, but I said only I was allowed to wear sort of deep red. | 0:27:19 | 0:27:23 | |
I know, well... Well, you're sacked, I'm sorry. I'm back now. | 0:27:24 | 0:27:29 | |
Beautifully done. Nicely done. Seamless, no-one will notice. | 0:27:29 | 0:27:32 | |
Incidentally, thanks for sending the memo to everybody but me. | 0:27:32 | 0:27:35 | |
-Well, yeah, that is odd, isn't it? -Yeah, it's weird. | 0:27:35 | 0:27:38 | |
I've never seen this colour and now I see it on three men at once. | 0:27:38 | 0:27:42 | |
It's just have a go at Matt night. That's fantastic, thanks. | 0:27:45 | 0:27:49 | |
From the sublime to the ridiculous, because Hugh Bonneville... | 0:27:49 | 0:27:53 | |
-That would be Hugh Bonneville! -No, no! Hugh Bonneville is a lovely man! | 0:27:53 | 0:27:57 | |
Hugh Bonneville's a lovely man. | 0:27:57 | 0:27:58 | |
But I just want to refer back to a television appearance | 0:27:58 | 0:28:01 | |
that Hugh Bonneville made a couple of weeks ago. | 0:28:01 | 0:28:03 | |
-He was on a programme called Top Gear. -Oh, I love that show. | 0:28:03 | 0:28:06 | |
-You were on Top Gear? -Driving. -That's the greatest show. | 0:28:06 | 0:28:10 | |
-Do you have a clip from Top Gear? -We don't have a clip, | 0:28:10 | 0:28:12 | |
but we do have a bizarre... | 0:28:12 | 0:28:14 | |
His appearance caused quite the reaction. | 0:28:14 | 0:28:16 | |
Here he is on Top Gear. | 0:28:16 | 0:28:18 | |
Now, a lot of people were focused on the jumper. | 0:28:18 | 0:28:20 | |
A lot of people were focused on the jumper, | 0:28:23 | 0:28:25 | |
but even more people were concerned with, why...? | 0:28:25 | 0:28:28 | |
Why were you wearing lipstick on Top Gear?! | 0:28:29 | 0:28:31 | |
-Oh, my word! -We haven't doctored, we haven't doctored the picture. | 0:28:39 | 0:28:43 | |
-That... -I haven't got my glasses on, I can't see it. | 0:28:43 | 0:28:45 | |
Trust me, you're wearing lipstick. There we go. | 0:28:45 | 0:28:49 | |
I am not wearing lipstick! I've never worn lipstick in my life! | 0:28:49 | 0:28:52 | |
-It looks, it does look like lipstick. -That was a very cold day. | 0:28:52 | 0:28:57 | |
Well, I'm intrigued. I'm here to say that I was not wearing lipstick. | 0:28:59 | 0:29:03 | |
It was flipping cold, because on Top Gear, | 0:29:03 | 0:29:05 | |
they say bring two sets of clothes. | 0:29:05 | 0:29:06 | |
You're going to be boiling hot in the car, | 0:29:06 | 0:29:08 | |
and you're going to be freezing cold in the studio. | 0:29:08 | 0:29:11 | |
I thought, boiling hot in the car? It's a cold day in wherever we are, | 0:29:11 | 0:29:14 | |
February, it's not going to be like that at all. | 0:29:14 | 0:29:16 | |
I was roasting, because you're exerting so much adrenaline | 0:29:16 | 0:29:19 | |
and sweat, because you're in a, well... | 0:29:19 | 0:29:21 | |
Just right now, your lips are turning a different colour! | 0:29:21 | 0:29:25 | |
That's because of you, Bill! That's because of you! | 0:29:25 | 0:29:28 | |
And then you're in the studio, | 0:29:28 | 0:29:29 | |
this aircraft hangar where apparently last summer, | 0:29:29 | 0:29:32 | |
it's either incredibly hot or it's freezing this time of year. | 0:29:32 | 0:29:35 | |
And last year, when Patrick Stewart was on... | 0:29:35 | 0:29:37 | |
My lips are going red, aren't they? | 0:29:37 | 0:29:39 | |
They do! They just go red on TV! That's really weird! | 0:29:43 | 0:29:46 | |
When Patrick Stewart... | 0:29:47 | 0:29:49 | |
I am this table! | 0:29:51 | 0:29:52 | |
It's an odd look for a man but you carry it off. | 0:29:53 | 0:29:56 | |
Yeah! So, last year... | 0:29:56 | 0:29:58 | |
I'm like whatshername's pout the other week. | 0:30:00 | 0:30:03 | |
So last year, apparently about four or five people - | 0:30:03 | 0:30:07 | |
stop giggling - four or five people fainted | 0:30:07 | 0:30:09 | |
while Patrick Stewart was doing his thing because it was so hot. | 0:30:09 | 0:30:12 | |
And I thought it would be chilly so I'd have my favourite woolly jumper. | 0:30:12 | 0:30:16 | |
But not my red lippy, which I left at home. | 0:30:16 | 0:30:18 | |
He just said, my lips, my favourite woolly jumper! Come on! | 0:30:20 | 0:30:24 | |
How many women here are going to faint just hearing him say, | 0:30:24 | 0:30:27 | |
"My favourite woolly jumper?" | 0:30:27 | 0:30:29 | |
All right, how many men are going to faint? | 0:30:31 | 0:30:33 | |
-No! -My favourite woolly jumper and my lippy. What the hell, lippy?! | 0:30:33 | 0:30:37 | |
-Lippy. What does that mean in America? -I don't know! | 0:30:37 | 0:30:41 | |
Oh, dear! | 0:30:52 | 0:30:54 | |
Ladies and gentlemen, | 0:30:57 | 0:30:58 | |
we must also wish Matt Damon all the best for Sunday. | 0:30:58 | 0:31:02 | |
-Bafta, you're nominated. -Oh, yes. Thank you. | 0:31:02 | 0:31:04 | |
So good, it's for Behind The Candelabra, the Liberace film. | 0:31:06 | 0:31:10 | |
Which got a cinema release here which is why you're nominated. | 0:31:10 | 0:31:14 | |
-It's so, so good, that film. -Thank you. -It's just brilliant. | 0:31:14 | 0:31:18 | |
I think the key to my performance was I borrowed Hugh's lippy. | 0:31:18 | 0:31:21 | |
It gets around. | 0:31:25 | 0:31:27 | |
But the... Because that movie is so out there. | 0:31:29 | 0:31:32 | |
Did you and Michael Douglas say yes thinking, "It'll never get made? | 0:31:32 | 0:31:35 | |
-"We'll never really have to do this." -No, no. We... | 0:31:35 | 0:31:41 | |
Actually, we felt a big, uh... | 0:31:41 | 0:31:44 | |
..uh, sense of responsibility. | 0:31:45 | 0:31:47 | |
Keep talking! Don't pause there! | 0:31:47 | 0:31:50 | |
There was that night when you were going over the script | 0:31:50 | 0:31:54 | |
in your woolly jumper. | 0:31:54 | 0:31:56 | |
It's my favourite woolly jumper! | 0:32:02 | 0:32:03 | |
What am I meant to say, sweater? | 0:32:06 | 0:32:07 | |
I actually asked to wear a woolly jumper in every scene! | 0:32:09 | 0:32:13 | |
"Is this the scene where I take off my woolly jumper?" | 0:32:16 | 0:32:19 | |
"So, in this scene in the hot tub, am I going to be in my woolly jumper?" | 0:32:20 | 0:32:24 | |
Have many guests walked off this show? | 0:32:26 | 0:32:28 | |
-You already did, to go to the bathroom! -Yeah. | 0:32:30 | 0:32:33 | |
They're going to keep that in, you know. | 0:32:33 | 0:32:35 | |
-Well, listen, good luck on Sunday. -Mark Wahlberg, ladies and gentlemen. | 0:32:35 | 0:32:39 | |
Thank you! Yeah! | 0:32:39 | 0:32:40 | |
Hey, um... Matt, Bill, Hugh, lovely to talk to, thank you so much | 0:32:42 | 0:32:45 | |
for being here tonight. Good luck with The Monuments Men. | 0:32:45 | 0:32:48 | |
I loved it, and it opens tonight. | 0:32:48 | 0:32:50 | |
We've just got another taste, | 0:32:50 | 0:32:52 | |
and this is all of you getting into training. | 0:32:52 | 0:32:54 | |
We have your architect from Chicago, Sergeant Richard Campbell. | 0:32:54 | 0:32:58 | |
And we have a Frenchman, Lieutenant Jean Claude Clermont. | 0:32:58 | 0:33:01 | |
Director of Design at the Chalet School of Fine Arts before the war. | 0:33:01 | 0:33:04 | |
Is Preston here? | 0:33:06 | 0:33:07 | |
Private Preston Savitz. | 0:33:07 | 0:33:09 | |
-Private? That's not going to sit very well with him. -It doesn't. | 0:33:09 | 0:33:12 | |
And finally, we have your sculptor, Sergeant Walter Garfield. | 0:33:13 | 0:33:17 | |
He's a good egg - | 0:33:17 | 0:33:18 | |
I worked with him on the World War I memorial in St Louis. | 0:33:18 | 0:33:20 | |
A-ha. St Louis. | 0:33:20 | 0:33:21 | |
Hey, Stokes! | 0:33:21 | 0:33:22 | |
How are you, old boy? | 0:33:25 | 0:33:26 | |
Hey, Walter - how they treating you? | 0:33:26 | 0:33:29 | |
They're taking it pretty easy on us. | 0:33:29 | 0:33:31 | |
I think they feel sorry for us old guys. | 0:33:31 | 0:33:33 | |
I don't much fancy an obstacle course. | 0:33:33 | 0:33:35 | |
It's not so bad. | 0:33:35 | 0:33:36 | |
By the end, you're just crawling on your belly | 0:33:36 | 0:33:38 | |
while teenagers shoot blanks over your head. | 0:33:38 | 0:33:40 | |
-Well, yes and no. -How's that? | 0:33:40 | 0:33:43 | |
Yes, they are teenagers. | 0:33:43 | 0:33:44 | |
And no? | 0:33:44 | 0:33:45 | |
They're not blanks. | 0:33:45 | 0:33:46 | |
LAUGHTER AND APPLAUSE | 0:33:46 | 0:33:50 | |
Right! It's time for music. | 0:33:51 | 0:33:54 | |
This lady is not just one of my favourite pop stars, | 0:33:54 | 0:33:56 | |
she's also one of my favourite people. | 0:33:56 | 0:33:58 | |
Singing her new single, Can't Rely On You, | 0:33:58 | 0:34:00 | |
please welcome the unique Paloma Faith, everybody! | 0:34:00 | 0:34:03 | |
CHEERING AND APPLAUSE | 0:34:03 | 0:34:06 | |
Hey! | 0:34:09 | 0:34:11 | |
Whoo! | 0:34:12 | 0:34:13 | |
Come on, get it! | 0:34:14 | 0:34:15 | |
Let me tell you a little something | 0:34:17 | 0:34:18 | |
about how my man ain't behaving myself recently. | 0:34:18 | 0:34:22 | |
Whoo! | 0:34:22 | 0:34:24 | |
# Help me | 0:34:24 | 0:34:25 | |
# How are you gon' do love this way? | 0:34:25 | 0:34:27 | |
# I work so hard for you every day | 0:34:29 | 0:34:33 | |
# While you're out | 0:34:33 | 0:34:35 | |
# Late night, doing what you do | 0:34:35 | 0:34:37 | |
# Chillin' with who? | 0:34:37 | 0:34:39 | |
# While I'm sitting at home | 0:34:39 | 0:34:40 | |
# Come on, get it... # | 0:34:40 | 0:34:42 | |
I don't know what this world is coming to! | 0:34:46 | 0:34:48 | |
Whoa! | 0:34:48 | 0:34:49 | |
# I just can't rely on you | 0:34:49 | 0:34:51 | |
# Just can't rely on you | 0:34:51 | 0:34:53 | |
# Just can't rely on you | 0:34:53 | 0:34:55 | |
# Just can't rely on you | 0:34:55 | 0:34:57 | |
# Yeah, you got that good stuff | 0:34:57 | 0:34:59 | |
# But that don't last | 0:34:59 | 0:35:01 | |
# So I just can't rely on you | 0:35:01 | 0:35:03 | |
# Just can't rely on you | 0:35:03 | 0:35:05 | |
# Oh, Lord | 0:35:05 | 0:35:07 | |
# How am I ever to explain | 0:35:07 | 0:35:10 | |
# How my melting pot went right down the drain? | 0:35:10 | 0:35:14 | |
-# Cos if you don't want me -Release | 0:35:14 | 0:35:16 | |
-# Beep, beep -Beep, beep | 0:35:16 | 0:35:17 | |
-# Want some? -Want some? | 0:35:17 | 0:35:18 | |
# Take me | 0:35:18 | 0:35:20 | |
# He will take me right out your way... # | 0:35:20 | 0:35:22 | |
Come on with it! | 0:35:22 | 0:35:24 | |
I don't know what this world is coming to! | 0:35:27 | 0:35:30 | |
Whoa! | 0:35:30 | 0:35:31 | |
# I just can't rely on you | 0:35:31 | 0:35:32 | |
# Just can't rely on you | 0:35:32 | 0:35:35 | |
# Just can't rely on you | 0:35:35 | 0:35:37 | |
# Just can't rely on you | 0:35:37 | 0:35:39 | |
# Yeah, you got that good stuff but that don't last | 0:35:39 | 0:35:42 | |
# Don't last | 0:35:42 | 0:35:43 | |
# So I just can't rely on you | 0:35:43 | 0:35:45 | |
# I just can't rely on you | 0:35:45 | 0:35:47 | |
-# I want to go -I've heard that before | 0:35:48 | 0:35:50 | |
-# Really? -Really | 0:35:50 | 0:35:52 | |
# You can say what you want | 0:35:52 | 0:35:55 | |
# But I'm out that door | 0:35:56 | 0:35:58 | |
# Can't stop me | 0:35:58 | 0:36:00 | |
# Whoo-ooh-ee | 0:36:00 | 0:36:02 | |
# Oh, my man | 0:36:02 | 0:36:04 | |
# Oh, Lord... # | 0:36:04 | 0:36:05 | |
I don't know what this world is coming to! | 0:36:09 | 0:36:11 | |
Whoa! | 0:36:11 | 0:36:12 | |
# I just can't rely on you | 0:36:12 | 0:36:14 | |
# I just can't rely on you | 0:36:14 | 0:36:16 | |
# Just can't rely on you | 0:36:16 | 0:36:18 | |
# Just can't rely on you | 0:36:18 | 0:36:20 | |
# Yeah, you got that good stuff but that don't last | 0:36:20 | 0:36:24 | |
# No way | 0:36:24 | 0:36:25 | |
# So I just can't rely on you | 0:36:25 | 0:36:27 | |
# I just can't rely on you | 0:36:27 | 0:36:29 | |
# Mm-mm | 0:36:29 | 0:36:30 | |
# Just telling it like it is | 0:36:31 | 0:36:33 | |
# Wait a minute | 0:36:33 | 0:36:34 | |
# Wait a minute | 0:36:38 | 0:36:40 | |
# Change your ways | 0:36:40 | 0:36:42 | |
# Don't I deserve it, babe? | 0:36:42 | 0:36:45 | |
# Look here | 0:36:45 | 0:36:46 | |
# Boy, you drive me out of my mind | 0:36:46 | 0:36:50 | |
# Whoo, yeah, yeah, yeah, yeah-eah | 0:36:50 | 0:36:55 | |
# Whoa-oh | 0:36:55 | 0:36:56 | |
# I just can't rely on you | 0:36:56 | 0:36:58 | |
# Just can't rely on you | 0:36:58 | 0:37:00 | |
# Just can't rely on you | 0:37:00 | 0:37:02 | |
# Yeah, you got that good stuff but that don't last | 0:37:02 | 0:37:06 | |
# No way | 0:37:06 | 0:37:07 | |
# Ain't good enough for me, baby | 0:37:07 | 0:37:09 | |
# Just can't rely on you | 0:37:09 | 0:37:10 | |
# Whoo-ooh. # | 0:37:10 | 0:37:12 | |
CHEERING AND APPLAUSE | 0:37:13 | 0:37:15 | |
Wow! | 0:37:15 | 0:37:16 | |
Wow! | 0:37:17 | 0:37:19 | |
-Thank you. -It's a hit! | 0:37:19 | 0:37:21 | |
Paloma Faith! Wow! | 0:37:21 | 0:37:24 | |
Come on over, do. | 0:37:24 | 0:37:26 | |
-Beautiful. That's a bit, a hit. -Thank you. | 0:37:26 | 0:37:28 | |
Hello. Mwah! Gorgeous. Come and sit down, do. | 0:37:28 | 0:37:32 | |
Look, it's Hugh Bon. | 0:37:32 | 0:37:33 | |
-Hello. -Hello. | 0:37:33 | 0:37:34 | |
Mr Bill Murray. | 0:37:34 | 0:37:36 | |
An honour. | 0:37:36 | 0:37:38 | |
Mr Matt Damon. | 0:37:38 | 0:37:39 | |
Congratulations. | 0:37:39 | 0:37:41 | |
-Very good. -Gorgeous, you've done a great job. | 0:37:41 | 0:37:44 | |
-Sit down. -Oh, thank you. | 0:37:44 | 0:37:46 | |
LAUGHTER | 0:37:49 | 0:37:51 | |
If you don't mind... | 0:37:51 | 0:37:52 | |
-One, two, three... -Is this...? Ah! | 0:37:54 | 0:37:56 | |
Oh! No! Bill Murray! Stop that! | 0:37:56 | 0:38:00 | |
Stop that! Stop that! | 0:38:00 | 0:38:01 | |
Guys... | 0:38:05 | 0:38:06 | |
I'm known for the grace, I really am. | 0:38:08 | 0:38:11 | |
Well, you appeared to be done on the one side and we thought we'd... | 0:38:11 | 0:38:15 | |
LAUGHTER | 0:38:15 | 0:38:16 | |
I can only apologise, Paloma Faith. | 0:38:18 | 0:38:19 | |
I'm so sorry. | 0:38:19 | 0:38:21 | |
Ah, this is lovely, isn't it? Come over! | 0:38:21 | 0:38:24 | |
-Hi. -So, listen... | 0:38:24 | 0:38:25 | |
Are you eating her shoe?! | 0:38:28 | 0:38:30 | |
That's one hell of a shoe. | 0:38:30 | 0:38:32 | |
Give it to her with the lippy. | 0:38:32 | 0:38:34 | |
MATT: I just love that Lord Grantham's a freak! | 0:38:36 | 0:38:38 | |
LAUGHTER | 0:38:38 | 0:38:41 | |
Shoe fiend! | 0:38:41 | 0:38:42 | |
Paloma Faith, before you get eaten... | 0:38:42 | 0:38:45 | |
LAUGHTER | 0:38:45 | 0:38:46 | |
-..that single is out February 23rd? -It is. Thank you. | 0:38:46 | 0:38:48 | |
New album is on the...? | 0:38:48 | 0:38:49 | |
It's March the 10th and it's called A Perfect Contradiction, | 0:38:49 | 0:38:52 | |
which I think these three gentlemen definitely fit into. | 0:38:52 | 0:38:56 | |
And it's kind of up-tempo-y stuff? It's dancey stuff? | 0:38:56 | 0:38:58 | |
It's kind of upbeat. | 0:38:58 | 0:39:00 | |
It's disco and fun and it's like, | 0:39:00 | 0:39:02 | |
if it's all gone to shit, then let's just have a dance. | 0:39:02 | 0:39:05 | |
-Yes! -APPLAUSE | 0:39:05 | 0:39:07 | |
-Yeah! -Can you say "gone to shit" over here? | 0:39:07 | 0:39:09 | |
-Yes. -Apparently, we can. | 0:39:09 | 0:39:11 | |
Well, then let's dance. | 0:39:11 | 0:39:13 | |
LAUGHTER AND APPLAUSE | 0:39:13 | 0:39:15 | |
And here's an odd thing - | 0:39:15 | 0:39:17 | |
you haven't met the guys on the couch before, have you? | 0:39:17 | 0:39:19 | |
-No. -But you've got to know them very quickly, I would say. | 0:39:19 | 0:39:21 | |
But you have met George Clooney? | 0:39:23 | 0:39:24 | |
I have met George Clooney. | 0:39:24 | 0:39:26 | |
I was at... I opened the BAFTAs last year, actually. It's great. | 0:39:26 | 0:39:30 | |
All right. Good. | 0:39:30 | 0:39:32 | |
And, um, he said that he'd noticed that I kept going to the toilet. | 0:39:32 | 0:39:36 | |
I was like, "Why haven't you been to the toilet?" | 0:39:36 | 0:39:39 | |
Like, all night, he hadn't been to the toilet | 0:39:39 | 0:39:42 | |
and he told me he had a colostomy bag. | 0:39:42 | 0:39:45 | |
LAUGHTER | 0:39:45 | 0:39:48 | |
I was just wondering whether, on set, he went to the toilet much. | 0:39:48 | 0:39:51 | |
Or if you'd noticed... | 0:39:51 | 0:39:52 | |
-He must have really trusted you. -Yeah! | 0:39:52 | 0:39:54 | |
LAUGHTER | 0:39:54 | 0:39:56 | |
You normally have to know him for like, a decade | 0:39:56 | 0:39:58 | |
before he lets you in on that. | 0:39:58 | 0:40:00 | |
Yeah, well... | 0:40:00 | 0:40:02 | |
Listen, we're going to go to the red chair before we go, | 0:40:02 | 0:40:05 | |
to see who's there. Er, who's up? Who's up? | 0:40:05 | 0:40:07 | |
-Hello. -Hi. -Hi. | 0:40:07 | 0:40:09 | |
For once, you're quite glad you're at a distance, aren't you? | 0:40:09 | 0:40:12 | |
-So what's your name? -Rebecca. | 0:40:12 | 0:40:14 | |
This is Rebecca. Where are you from, Rebecca? | 0:40:14 | 0:40:16 | |
-New Zealand. -Oh, you surprise me. | 0:40:16 | 0:40:19 | |
-Time out - can I just you a really quick question? -Yeah. | 0:40:19 | 0:40:21 | |
So this is a situation where we're allowed to...? | 0:40:21 | 0:40:24 | |
-If one of us pulls this lever, she flips? -Yeah. -OK. | 0:40:24 | 0:40:27 | |
PALOMA: As you just did... | 0:40:27 | 0:40:29 | |
LAUGHTER AND APPLAUSE | 0:40:29 | 0:40:31 | |
-This is literally like the Milgram experiment. -Yeah. | 0:40:33 | 0:40:37 | |
-Fantastic. -OK, that was her. I hope her story wasn't very good. | 0:40:37 | 0:40:40 | |
-I'm imagining it wasn't. -LAUGHTER | 0:40:40 | 0:40:42 | |
Wow. So if you don't like her story, you pull this lever... | 0:40:42 | 0:40:46 | |
That was really real? That was REALLY real? | 0:40:46 | 0:40:48 | |
I always thought it was rehearsed. | 0:40:48 | 0:40:50 | |
You know, or cut in in some way. That was real - you did that. | 0:40:50 | 0:40:53 | |
-That just happened. -And she went... That's incredible. | 0:40:53 | 0:40:55 | |
I didn't do it, he did it. I didn't do it. | 0:40:55 | 0:40:57 | |
LAUGHTER | 0:40:57 | 0:40:58 | |
Did you grow up in a forest or something? | 0:40:58 | 0:41:00 | |
LAUGHTER | 0:41:00 | 0:41:02 | |
That's vodka. That's vodka! | 0:41:04 | 0:41:06 | |
Down in one. Wow. | 0:41:07 | 0:41:09 | |
CHEERING AND APPLAUSE | 0:41:09 | 0:41:10 | |
Wow, it is. | 0:41:10 | 0:41:12 | |
Thank you. | 0:41:12 | 0:41:13 | |
-I just needed to catch up. -Is there another one? | 0:41:14 | 0:41:16 | |
Let's see what you got, Scottie. Let's see what you got. | 0:41:16 | 0:41:19 | |
Come on, you're such a rock'n'roll star. | 0:41:19 | 0:41:22 | |
-LAUGHTER AND APPLAUSE -One more. | 0:41:22 | 0:41:24 | |
-What a waste. -Ladies and gentlemen, her rehab is taking. | 0:41:27 | 0:41:31 | |
Quickly, let's try someone else in the red chair. | 0:41:31 | 0:41:34 | |
-Let's see if we can get a story. Hello, nice lady. -Hello. | 0:41:34 | 0:41:36 | |
-What's your name? -Jessica. | 0:41:36 | 0:41:37 | |
Jessica. Can you hear Jessica? | 0:41:37 | 0:41:39 | |
-Pardon? -No, I'm not talking... | 0:41:39 | 0:41:41 | |
LAUGHTER | 0:41:41 | 0:41:43 | |
-She's so sweet. And she's French. -She's adorable. | 0:41:43 | 0:41:46 | |
Er, I don't think she's French. | 0:41:46 | 0:41:47 | |
She said... Didn't she say, like... FRENCH ACCENT: "Pardon?" | 0:41:47 | 0:41:50 | |
She said, "Pardon?" She's posh. | 0:41:50 | 0:41:52 | |
LAUGHTER AND APPLAUSE | 0:41:54 | 0:41:57 | |
I love the chair! Put me in it! | 0:41:57 | 0:41:59 | |
Do you want a go? Do you want a go? | 0:41:59 | 0:42:01 | |
OK, can Hugh have a go in the chair? | 0:42:01 | 0:42:03 | |
-OK. Go, Hugh, go. -And do that again. | 0:42:03 | 0:42:05 | |
-OK. -Where's the chair? | 0:42:05 | 0:42:07 | |
It's... Follow that man there. Follow him. | 0:42:07 | 0:42:10 | |
OK. But... But hurry! We've got homes to go to. | 0:42:10 | 0:42:13 | |
By the way, this is the best time I've ever had on a talk show. | 0:42:15 | 0:42:18 | |
-Aw, bless you. -CHEERING AND APPLAUSE | 0:42:18 | 0:42:20 | |
Without a doubt. | 0:42:20 | 0:42:21 | |
-Thank you very much. -That's true. | 0:42:21 | 0:42:23 | |
Come and see us again. All right. | 0:42:23 | 0:42:26 | |
They've laced the champagne with crack. | 0:42:26 | 0:42:29 | |
Yeah, I think it's the champagne, not the host. | 0:42:29 | 0:42:31 | |
LAUGHTER | 0:42:31 | 0:42:32 | |
OK. Who's up next? | 0:42:32 | 0:42:34 | |
-Hi. -Hi. -Hi, I'm Hugh. I'm from West Sussex. | 0:42:34 | 0:42:37 | |
-Hi, Hugh! -Hi. | 0:42:37 | 0:42:39 | |
I'd just like to say that I think Matt Damon is really amazing | 0:42:39 | 0:42:43 | |
in the fourth Bourne movie... | 0:42:43 | 0:42:45 | |
Wahey! | 0:42:45 | 0:42:46 | |
CHEERING AND APPLAUSE | 0:42:46 | 0:42:47 | |
Well done, everyone! If you'd like to join us on the show | 0:42:47 | 0:42:50 | |
and have a go in the red chair, you can. Just go to the website. | 0:42:50 | 0:42:53 | |
Thank you to all my guests tonight - | 0:42:53 | 0:42:56 | |
Paloma Faith! | 0:42:56 | 0:42:58 | |
CHEERING AND APPLAUSE | 0:42:58 | 0:43:00 | |
He's running back - Hugh Bonneville, everybody! | 0:43:00 | 0:43:03 | |
-CHEERING AND APPLAUSE -Hugh Bonneville. | 0:43:03 | 0:43:06 | |
Bill Murray! | 0:43:07 | 0:43:09 | |
CHEERING AND APPLAUSE | 0:43:09 | 0:43:11 | |
And Matt Damon, everyone! | 0:43:11 | 0:43:13 | |
-CHEERING AND APPLAUSE -Whoa, whoa, whoa! | 0:43:13 | 0:43:15 | |
Join me next week, when my guests will include | 0:43:15 | 0:43:17 | |
British actor Dominic Cooper and singing star Lily Allen. | 0:43:17 | 0:43:20 | |
I'll see you then. Goodnight, everybody. Bye-bye! | 0:43:20 | 0:43:23 | |
-Quick, go! Go! -CHEERING AND APPLAUSE | 0:43:23 | 0:43:25 | |
CHEERING AND APPLAUSE | 0:43:52 | 0:43:55 | |
PALOMA: I'm honoured, I really am. | 0:43:55 | 0:43:57 | |
CHEERING AND APPLAUSE | 0:43:59 | 0:44:03 |