Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
On the show tonight, I'll be talking to an Oscar-winning French actress, | 0:00:02 | 0:00:04 | |
the genius behind The Office and a comedy legend. | 0:00:04 | 0:00:07 | |
-Isn't that right, Ronnie? -Yes, it is, Graham. | 0:00:07 | 0:00:10 | |
And I'll be talking to the weatherman | 0:00:10 | 0:00:12 | |
who said the fog will be choking in Woking, | 0:00:12 | 0:00:14 | |
it'll be dry in Rye, cool in Goole, | 0:00:14 | 0:00:17 | |
but if you live in Lissingdown, | 0:00:17 | 0:00:19 | |
take an umbrella. LAUGHTER | 0:00:19 | 0:00:22 | |
-Let's start the show! -Wahey! | 0:00:22 | 0:00:24 | |
This programme contains some strong language | 0:00:28 | 0:00:36 | |
Oh! | 0:00:40 | 0:00:41 | |
-Oh! Oh! -CHEERING AND APPLAUSE | 0:00:41 | 0:00:44 | |
Hello, everybody. | 0:00:46 | 0:00:48 | |
Hello, hello! | 0:00:48 | 0:00:51 | |
You're very welcome. We have got... | 0:00:51 | 0:00:55 | |
We have got a truly international line-up for you tonight. | 0:00:55 | 0:00:58 | |
From France, Oscar-winning star of The English Patient and Chocolat, | 0:00:58 | 0:01:01 | |
Juliette Binoche is on the show, ladies and gentlemen. | 0:01:01 | 0:01:04 | |
-CHEERING AND APPLAUSE -Yes! | 0:01:04 | 0:01:07 | |
From Reading, England, | 0:01:07 | 0:01:08 | |
creator and star of The Office and Extras Ricky Gervais is here. | 0:01:08 | 0:01:12 | |
CHEERING AND APPLAUSE | 0:01:12 | 0:01:14 | |
From Bonnie Scotland, comedy giant Ronnie Corbett is on our show. | 0:01:14 | 0:01:18 | |
CHEERING AND APPLAUSE | 0:01:19 | 0:01:21 | |
And from the Emerald Isle, the brilliant Imelda May is here. | 0:01:21 | 0:01:25 | |
CHEERING AND APPLAUSE | 0:01:25 | 0:01:28 | |
Oh. I tell you, ladies and gentlemen, | 0:01:29 | 0:01:31 | |
I am so glad we've managed to prise Ronnie away from the golf course. | 0:01:31 | 0:01:35 | |
I mean, he's always out playing a few holes. He really is. | 0:01:35 | 0:01:38 | |
I don't know. | 0:01:42 | 0:01:44 | |
I'll be talking to Ronnie about his film career. | 0:01:44 | 0:01:46 | |
Yeah, as well as being a comedy legend, | 0:01:46 | 0:01:48 | |
he's appeared in lots of films, including the 1962 classic | 0:01:48 | 0:01:53 | |
Operation Snatch. | 0:01:53 | 0:01:54 | |
I'm not making it up! And, of course, | 0:01:58 | 0:02:01 | |
Operation Snatch didn't have a double meaning in those days. | 0:02:01 | 0:02:04 | |
Nor did Ronnie's previous film... | 0:02:04 | 0:02:06 | |
Fun At St Fanny's. | 0:02:06 | 0:02:07 | |
Of course, I'll be chatting to Ricky Gervais about his new series of Derek, | 0:02:12 | 0:02:16 | |
set in a care home for the elderly. | 0:02:16 | 0:02:18 | |
Now, Ricky actually sent us this picture from the new series. | 0:02:18 | 0:02:22 | |
I believe that's what you call "looking up old friends". | 0:02:28 | 0:02:31 | |
I'll also be chatting to Ricky about his early days in a band. | 0:02:34 | 0:02:38 | |
Yeah, he was in a band. Shall we have a sneak preview of what he looked like back then? | 0:02:38 | 0:02:41 | |
AUDIENCE: Yes! | 0:02:41 | 0:02:42 | |
LAUGHTER | 0:02:44 | 0:02:46 | |
I know! I couldn't believe it! That is, that is Ricky Gervais. | 0:02:46 | 0:02:50 | |
Mind you, he's hardly changed at all. Has he? | 0:02:50 | 0:02:52 | |
That's all coming up, plus more of your stories in the big red chair. | 0:02:55 | 0:02:58 | |
So let's get some guests on! | 0:02:58 | 0:03:00 | |
Later we'll be having music from Imelda May! | 0:03:00 | 0:03:03 | |
But first, he's an extra-special guest. It's Ricky Gervais! | 0:03:05 | 0:03:08 | |
-CHEERING AND APPLAUSE -Yay! | 0:03:08 | 0:03:12 | |
-Hello. Hello, hello, hello. -Hello. -Lovely to see you. -This way? | 0:03:12 | 0:03:15 | |
Sit down. | 0:03:15 | 0:03:17 | |
It's hello from him. It's Ronnie Corbett! | 0:03:19 | 0:03:22 | |
-CHEERING AND APPLAUSE -Oh! Hello, sir. | 0:03:22 | 0:03:25 | |
How are you? Lovely to see you. | 0:03:25 | 0:03:28 | |
Ronnie Corbett, everybody. | 0:03:28 | 0:03:30 | |
And she's the French star of The English Patient. | 0:03:32 | 0:03:34 | |
It's Juliette Binoche! | 0:03:34 | 0:03:36 | |
CHEERING AND APPLAUSE | 0:03:36 | 0:03:39 | |
Nice to see you. Hello. Welcome back. Welcome back. | 0:03:39 | 0:03:42 | |
Have a sit down. Do! | 0:03:42 | 0:03:44 | |
-Hey! A very warm welcome to the three of you. Hello. -Hello. -Hello. | 0:03:46 | 0:03:51 | |
Now, Ricky, those bath pics... You're still doing the bath pics! | 0:03:51 | 0:03:54 | |
-It's a hobby. -Have you guys seen... | 0:03:56 | 0:03:58 | |
-Have you seen these bath pics before, either of you? -No. | 0:03:58 | 0:04:01 | |
-Well, the idea is to look as awful and stupid and ugly as you can. -Yes. | 0:04:01 | 0:04:06 | |
So the bath is perfect cos not only have you got the thing | 0:04:06 | 0:04:09 | |
-that squashes your neck, cos the thing's at the back. -Yes. | 0:04:09 | 0:04:12 | |
But you've got the water that distorts your face as well. | 0:04:12 | 0:04:14 | |
So it's a double whammy. I discovered this late in life. | 0:04:14 | 0:04:18 | |
I'd have been doing these all my life but... Yeah. | 0:04:18 | 0:04:21 | |
So these are some examples we've taken from your Twitter feed. | 0:04:21 | 0:04:25 | |
-You take those? -That's him. | 0:04:25 | 0:04:27 | |
How do you black out your teeth? | 0:04:27 | 0:04:29 | |
Whatever's around. | 0:04:29 | 0:04:31 | |
Maybe a soap thing or, you know, the shampoo. | 0:04:31 | 0:04:35 | |
A bit of carton from something. Just anything, really. | 0:04:35 | 0:04:38 | |
There's more, there's more. | 0:04:38 | 0:04:39 | |
Let's look at another one. That one's terrifying. | 0:04:43 | 0:04:45 | |
Have you ever been tempted to do this, Juliette? | 0:04:48 | 0:04:50 | |
I didn't think you could do it, actually! My, well done! | 0:04:52 | 0:04:55 | |
Now, particularly nice to see Ronnie because Ronnie has a habit - | 0:04:57 | 0:05:00 | |
and this is a very peculiar habit | 0:05:00 | 0:05:02 | |
and I don't know whether it says more about Ronnie or about the state of the nation - | 0:05:02 | 0:05:06 | |
-but you get trapped in toilets a lot. -I do. That's right. | 0:05:06 | 0:05:10 | |
-No, seriously, he gets trapped in toilets. -Yes, that's right. | 0:05:10 | 0:05:12 | |
-But posh toilets. -Posh toilets. | 0:05:12 | 0:05:15 | |
One is the bathroom and the other one is the toilet - is that... The bath. | 0:05:15 | 0:05:20 | |
-You're stuck in the bath! -Yeah, exactly. | 0:05:20 | 0:05:22 | |
-And he's stuck in the toilet! -But happily, he doesn't take pictures. | 0:05:22 | 0:05:27 | |
No, no. Toilets - that's right. Toilets at Windsor Castle. | 0:05:27 | 0:05:31 | |
-Windsor Castle! -Buckingham Palace. -Buckingham Palace! | 0:05:31 | 0:05:35 | |
-I was trapped there. -You're not getting in through the window | 0:05:35 | 0:05:37 | |
and that's why you're trapped in the toilet? Why are you getting trapped in the toilet? | 0:05:37 | 0:05:41 | |
Well, I just think I'm unlucky with the latch. | 0:05:41 | 0:05:44 | |
And Victor Spinetti, dear - his memorial service | 0:05:44 | 0:05:47 | |
at St Paul's, Covent Garden, I really was in trouble. | 0:05:47 | 0:05:51 | |
I could not get out. And eventually, I had to scream and shout and somebody came and threw | 0:05:51 | 0:05:55 | |
a screwdriver over the top of the door so I could take the lock off. | 0:05:55 | 0:05:59 | |
-Weren't you supposed to be doing a reading at his funeral? -Yes, I was. | 0:05:59 | 0:06:04 | |
I was out in time for the reading. | 0:06:04 | 0:06:05 | |
Oh, you were out in time for the reading, yes. Cos that's bad. | 0:06:05 | 0:06:08 | |
Slightly stressed but I was out. | 0:06:08 | 0:06:10 | |
Er, now, we are, of course, | 0:06:11 | 0:06:13 | |
very happy to have an Oscar winner on the sofa - Juliette Binoche. | 0:06:13 | 0:06:17 | |
Because we knew you were coming, Juliette, | 0:06:17 | 0:06:19 | |
-the audience have been learning some French. -Oh, wow! | 0:06:19 | 0:06:22 | |
And they have a special greeting for you. | 0:06:22 | 0:06:25 | |
If you let me down... | 0:06:25 | 0:06:26 | |
LAUGHTER | 0:06:26 | 0:06:28 | |
We've worked at this! | 0:06:28 | 0:06:30 | |
OK, on the count of three. One, two, three... | 0:06:30 | 0:06:34 | |
AUDIENCE: Bonsoir, Madame Binoche. | 0:06:34 | 0:06:38 | |
Nous vous souhaitons une bonne soiree. | 0:06:38 | 0:06:44 | |
Hey! Well done! | 0:06:44 | 0:06:46 | |
-APPLAUSE Thank you. Thank you. -Yeah! | 0:06:46 | 0:06:49 | |
And I'd like to thank a lady in the audience who taught us that. | 0:06:52 | 0:06:55 | |
She's got a made-up French name. I can't remember it. | 0:06:55 | 0:06:58 | |
Oh, no, it'll annoy me. What was it again? | 0:07:00 | 0:07:03 | |
-Annaita. -Anna-ida? -Ita. -Ita. | 0:07:03 | 0:07:06 | |
-Annaita? -Annaita. -Is that a real name? | 0:07:06 | 0:07:08 | |
-Is it a real name(?) -I've never heard of it before. -You see? Hello! | 0:07:08 | 0:07:12 | |
Lady from France, never heard of it before. | 0:07:12 | 0:07:14 | |
She made it up! She's on the run. | 0:07:17 | 0:07:20 | |
And what's the weird story about you wanting to become a spy? | 0:07:21 | 0:07:25 | |
Well, I had to make a film where I was a spy | 0:07:25 | 0:07:28 | |
and I was looking for a secret agent to talk to and understand... | 0:07:28 | 0:07:32 | |
They're hard to find, typically. | 0:07:32 | 0:07:35 | |
But I had an intuition, actually, | 0:07:36 | 0:07:38 | |
because I heard a story from a neighbour that was a bit weird | 0:07:38 | 0:07:41 | |
but then I thought, "Maybe I should go and knock at his door and see, ask some questions." | 0:07:41 | 0:07:46 | |
Because his wife also was kind of | 0:07:46 | 0:07:48 | |
an investigator in journalism or something and she was very talkative. | 0:07:48 | 0:07:52 | |
He was not. | 0:07:52 | 0:07:54 | |
But I knocked at the door and they invited me in and we talked | 0:07:54 | 0:07:58 | |
a little bit and we saw each other again and again, like, three times. | 0:07:58 | 0:08:02 | |
And after a while, I got quite a lot of information. | 0:08:02 | 0:08:05 | |
But I would put it to you that your neighbour was a very bad spy | 0:08:05 | 0:08:08 | |
-if he just told you everything... -He was retiring! | 0:08:08 | 0:08:10 | |
..after you popped round for coffee. | 0:08:10 | 0:08:12 | |
No torture, no nothing - just some biscuits. | 0:08:12 | 0:08:15 | |
That's an easy one, isn't it? | 0:08:15 | 0:08:16 | |
Although if I was a spy, I'd tell everyone. | 0:08:16 | 0:08:19 | |
"You'll never guess what - I'm a spy. | 0:08:19 | 0:08:21 | |
-"I've got a gun, I've got everything." -He was retiring! He was retiring. | 0:08:21 | 0:08:25 | |
But you're kind of known for... You do learn how to do things. | 0:08:25 | 0:08:29 | |
-Like, you did learn how to make chocolate for Chocolat. -Right. | 0:08:29 | 0:08:33 | |
But those things - do you still know or is it like you know in the moment | 0:08:33 | 0:08:37 | |
-and then just...? -Well, you have memory. | 0:08:37 | 0:08:40 | |
I mean, it fades away a lot of things. | 0:08:40 | 0:08:43 | |
Or we do! | 0:08:43 | 0:08:44 | |
But, er, yeah, I still know some stuff about chocolate. | 0:08:44 | 0:08:50 | |
You know, don't heat it up too much and you can mix it with, you know... | 0:08:50 | 0:08:54 | |
butter, milk and sugar. Whatever! | 0:08:54 | 0:08:58 | |
Well, now, Ricky... Cos Ricky acts. You do a lot of acting. | 0:08:59 | 0:09:03 | |
Now, would you describe yourself in the same way? | 0:09:03 | 0:09:05 | |
Are you very immersive? Are you a method actor? | 0:09:05 | 0:09:07 | |
No. No. | 0:09:07 | 0:09:09 | |
No, I... | 0:09:09 | 0:09:11 | |
No. It's too much work. | 0:09:11 | 0:09:13 | |
-No. -Too much work? | 0:09:14 | 0:09:16 | |
It's too much. All that... Oh, no. I just... | 0:09:16 | 0:09:18 | |
What's the character? | 0:09:18 | 0:09:20 | |
It's me. Same hair, so I'm not in make-up very long. | 0:09:20 | 0:09:23 | |
You get this hair, you get this accent. | 0:09:23 | 0:09:25 | |
I'm from Reading - I'll write that in, I'm from Reading. | 0:09:25 | 0:09:28 | |
One of the first things I liked was... | 0:09:28 | 0:09:29 | |
There was a scene and it was me sitting down | 0:09:29 | 0:09:32 | |
and the door had to go and I had to get up and answer it, OK? | 0:09:32 | 0:09:36 | |
And I realised that that takes all day. You're up and down all day. | 0:09:36 | 0:09:41 | |
So now if it's like, "You answer the door," | 0:09:41 | 0:09:43 | |
-I just change the line to, "Come in." -LAUGHTER | 0:09:43 | 0:09:46 | |
So... Cos I know about directing now, I go, | 0:09:47 | 0:09:50 | |
"That'll take ages. "Am I doing that? That needs a wig. | 0:09:50 | 0:09:53 | |
"I'm not wearing the beard." So that's how I choose my roles. | 0:09:53 | 0:09:58 | |
My ideal role would be, I think, a spaceman, | 0:09:58 | 0:10:02 | |
cos you're just floating around in the same thing. No make-up. | 0:10:02 | 0:10:06 | |
You can just have a wee where you are. | 0:10:06 | 0:10:09 | |
You don't need to go to the toilet. That would be my ideal role. | 0:10:09 | 0:10:12 | |
How different, then... How different the acting style of Ronnie Corbett. | 0:10:12 | 0:10:17 | |
Because how many weeks of a fish-only diet did you go through | 0:10:17 | 0:10:20 | |
before taking on the role of a sea lion in Fierce Creatures? | 0:10:20 | 0:10:24 | |
This is unbelievable. | 0:10:24 | 0:10:26 | |
-Er... -I mean, it's like watching a documentary, isn't it, Juliette? | 0:10:28 | 0:10:32 | |
-It's... -I love the flippers! | 0:10:32 | 0:10:34 | |
I love the glasses! | 0:10:34 | 0:10:37 | |
There's no concession at all. | 0:10:37 | 0:10:39 | |
I just accepted that! | 0:10:40 | 0:10:42 | |
Well, some seals wear glasses. | 0:10:44 | 0:10:46 | |
In Operation Snatch, that you've maybe heard... | 0:10:47 | 0:10:51 | |
-I haven't seen it. -No, no, well... | 0:10:51 | 0:10:53 | |
-Ever! -Ever! | 0:10:53 | 0:10:55 | |
APPLAUSE | 0:10:58 | 0:11:00 | |
Not been told about it? | 0:11:02 | 0:11:04 | |
-It was a war film? -No, it was a... | 0:11:07 | 0:11:10 | |
-It wasn't a war film? -Yes, it was. | 0:11:10 | 0:11:13 | |
-It was a war film. -That's what I said! -Yes! | 0:11:13 | 0:11:15 | |
-About Gibraltar. -Yes. | 0:11:17 | 0:11:18 | |
Because I was driving down Baker Street one day and a car overtook me | 0:11:18 | 0:11:23 | |
and Terry Thomas flagged my car down and said, | 0:11:23 | 0:11:26 | |
"I've just had a wonderful idea, | 0:11:26 | 0:11:28 | |
"cos I'm doing a film about Gibraltar and the Barbary apes. | 0:11:28 | 0:11:31 | |
-"And, er... Would you..." -LAUGHTER | 0:11:31 | 0:11:33 | |
Somebody's guessed already! | 0:11:33 | 0:11:37 | |
Barbary apes! | 0:11:37 | 0:11:39 | |
"Would you ring up the director Robert Day and go and see him?" | 0:11:39 | 0:11:42 | |
You see? And the theory was that in Gibraltar, | 0:11:42 | 0:11:46 | |
if there was a sudden drop in the population of Barbary apes, | 0:11:46 | 0:11:50 | |
the UK would lose control of Gibraltar. | 0:11:50 | 0:11:53 | |
So they had soldiers playing Barbary apes. | 0:11:53 | 0:11:57 | |
-Is that real? -That is real. | 0:11:57 | 0:11:59 | |
-Yeah. -Why? | 0:11:59 | 0:12:02 | |
-Do you know the story? -No. -The theory was that the Barbary ape population... | 0:12:02 | 0:12:06 | |
-Yeah, but not the film. -No, not the film, but this thing... | 0:12:06 | 0:12:08 | |
-This is real? -Yes. -They had soldiers dressing up as Barbary apes? | 0:12:08 | 0:12:11 | |
Yes, diminutive soldiers. | 0:12:11 | 0:12:14 | |
Slightly diminutive soldiers. Absolutely. | 0:12:14 | 0:12:17 | |
-Hello! -And, er...so I did that. | 0:12:17 | 0:12:20 | |
-That was my first... -Hold on, wait a minute. | 0:12:20 | 0:12:24 | |
-So during the war... -Yes. | 0:12:24 | 0:12:26 | |
..Gibraltar found soldiers to dress up as apes | 0:12:26 | 0:12:29 | |
-if there weren't enough apes? -That's right. | 0:12:29 | 0:12:31 | |
Why did we need there to look like there was lots of apes? | 0:12:31 | 0:12:33 | |
Because there was a spiritual theory that existed | 0:12:33 | 0:12:38 | |
that if Gibraltar wasn't peopled by enough Barbary apes... | 0:12:38 | 0:12:42 | |
-I won't take long! -And so someone had to go along with it? | 0:12:42 | 0:12:47 | |
-This was a wind-up! This was such a wind-up! -What I like is that thing. | 0:12:47 | 0:12:50 | |
You know, that classic scene. "Dad, what did you do during the war?" | 0:12:50 | 0:12:54 | |
-"I was a..." -"I don't want to talk about it, son. | 0:12:56 | 0:12:58 | |
"I don't want to talk about it." That's amazing! | 0:12:58 | 0:13:01 | |
-So you played a Barbary ape in that? -Yes. And a soldier, of course. | 0:13:01 | 0:13:04 | |
And a soldier, of course. | 0:13:04 | 0:13:06 | |
But there is an urban myth that you are one of these apes | 0:13:06 | 0:13:10 | |
-in Stanley Kubrick's 2001... -No. | 0:13:10 | 0:13:13 | |
Funnily enough, he did ask to see me after I'd... | 0:13:13 | 0:13:17 | |
LAUGHTER | 0:13:17 | 0:13:19 | |
He saw you in Gibraltar and thought... That's amazing! | 0:13:19 | 0:13:22 | |
-He saw me in Gibraltar... -"Who's that ape?" "That's not an ape - that's Mr Corbett." | 0:13:22 | 0:13:26 | |
-"That's not an ape? That's Mr Corbett, is it?" -Yes! | 0:13:26 | 0:13:31 | |
"I like the cut of his jib!" | 0:13:31 | 0:13:34 | |
So that isn't... You were not one of those? | 0:13:34 | 0:13:36 | |
-No, I wasn't. No. I wasn't. -Did you turn it down? | 0:13:36 | 0:13:40 | |
I turned it down, yes. It got too technical. | 0:13:40 | 0:13:42 | |
LAUGHTER | 0:13:42 | 0:13:44 | |
In some acting studio, he could have done it. | 0:13:46 | 0:13:49 | |
Is this all true, what just happened? | 0:13:49 | 0:13:51 | |
You had to pretend to be... | 0:13:51 | 0:13:53 | |
-There were people who pretended to be apes in the war... -Yes. | 0:13:53 | 0:13:56 | |
-..you did one of those in a film. -Yes. | 0:13:56 | 0:13:58 | |
Stanley Kubrick saw you and wanted you to be an ape in 200... | 0:13:58 | 0:14:02 | |
No, actually, he saw me | 0:14:02 | 0:14:04 | |
doing a little spot on Sunday Night At The Palladium and he said... | 0:14:04 | 0:14:08 | |
"He would be ideal for one of my apes." | 0:14:10 | 0:14:12 | |
Oh, he's good! He's still got it! He's still got it! | 0:14:17 | 0:14:20 | |
-It just comes to me like that. -Look at that! Look at that! Oh, my God. | 0:14:20 | 0:14:24 | |
Throw a banana at him! That's amazing. | 0:14:24 | 0:14:26 | |
Now, Juliette Binoche, | 0:14:29 | 0:14:31 | |
the movie you're here to tell us about is brilliant. | 0:14:31 | 0:14:34 | |
It's called A Thousand Times Good Night. | 0:14:34 | 0:14:36 | |
It opens on the 2nd of May and seriously, it's fantastic. | 0:14:36 | 0:14:41 | |
So tell us the premise. You play a photographer but not just a photographer. | 0:14:41 | 0:14:45 | |
I play a war photographer. | 0:14:45 | 0:14:48 | |
And the story is, you know, the dichotomy between the family | 0:14:48 | 0:14:53 | |
and her passion of being a war photographer. | 0:14:53 | 0:14:56 | |
It's almost like an obsession. | 0:14:56 | 0:14:59 | |
And when she comes back home, of course, | 0:14:59 | 0:15:01 | |
there are a lot of conflicts because it's to dangerous places | 0:15:01 | 0:15:04 | |
and she's going to have a journey with her daughter, | 0:15:04 | 0:15:07 | |
who is 15 years old, and they're going to... | 0:15:07 | 0:15:11 | |
She's going to learn about what she does. | 0:15:11 | 0:15:14 | |
I mean, it brings, you know, big themes in life. | 0:15:14 | 0:15:20 | |
And being a passionate mother is not an easy thing to do. | 0:15:20 | 0:15:24 | |
Especially when you're going to war zones and very difficult, | 0:15:24 | 0:15:28 | |
dangerous places. So the film is really developing this subject. | 0:15:28 | 0:15:32 | |
We've got a bit... | 0:15:32 | 0:15:34 | |
So just to put it into context, we discover that you... | 0:15:34 | 0:15:38 | |
-You've infiltrated a group with a suicide bomber? -Right. | 0:15:38 | 0:15:43 | |
And this is you as a cryptographer | 0:15:43 | 0:15:46 | |
-and you're in the van with the suicide bomber. -Right. | 0:15:46 | 0:15:50 | |
-And it's almost dialogue-free. That whole thing. -Yes. | 0:15:50 | 0:15:53 | |
And seriously, it's one of the most nerve-racking... | 0:15:53 | 0:15:56 | |
When you see this part of the movie, it's nerve-racking. Here we go. | 0:15:56 | 0:15:59 | |
HUBBUB OF CONVERSATION | 0:15:59 | 0:16:02 | |
ID. | 0:16:06 | 0:16:08 | |
SHE BREATHES HEAVILY | 0:16:45 | 0:16:47 | |
Ooh! | 0:16:49 | 0:16:51 | |
APPLAUSE | 0:16:51 | 0:16:52 | |
That is so good. | 0:16:52 | 0:16:54 | |
And what's the link to Ireland? | 0:16:55 | 0:16:57 | |
Is it just because that's the biggest contrast between | 0:16:57 | 0:17:00 | |
-where you are working and where you live? -Right. | 0:17:00 | 0:17:04 | |
-So, yeah, we shot in Ireland... -Can I just say, that's a lovely house? | 0:17:04 | 0:17:09 | |
Where is that? | 0:17:09 | 0:17:10 | |
-It's outside of Dublin. -It's lovely. -Yeah, it's beautiful. | 0:17:10 | 0:17:13 | |
Is it for sale? | 0:17:13 | 0:17:15 | |
No, seriously, the film is worth seeing for the house. It's gorgeous! | 0:17:15 | 0:17:19 | |
It's a lovely location. If you are selling, do, you know, tweet me. | 0:17:19 | 0:17:22 | |
-No, where do you live? -Where do I live? | 0:17:24 | 0:17:27 | |
In Switzerland or France? | 0:17:27 | 0:17:28 | |
-No, in Paris. -In Paris? Oh, right. -In France, yeah. | 0:17:28 | 0:17:31 | |
Oh, I know where Paris is. | 0:17:31 | 0:17:33 | |
It's at the other end of the Eurostar! | 0:17:35 | 0:17:37 | |
In France. Ah, yes, I know. | 0:17:38 | 0:17:41 | |
Don't give too much away - he could be a spy. | 0:17:45 | 0:17:48 | |
You know that monkey you were talking to out there...? | 0:17:49 | 0:17:52 | |
-Oh, dear! -It's interesting. People talk about, you know, humour travelling... | 0:17:54 | 0:17:57 | |
The Office... People made versions of it or... | 0:17:57 | 0:18:00 | |
Yeah, there was actually a French version. | 0:18:00 | 0:18:03 | |
And a French-Canadian version, as well. | 0:18:03 | 0:18:05 | |
And is there anywhere they didn't find it funny? | 0:18:05 | 0:18:08 | |
I don't know, cos it went in its... | 0:18:08 | 0:18:11 | |
The original format in about 90 to 100 countries, I think it is now, | 0:18:11 | 0:18:15 | |
which may be subtitled or dubbed. | 0:18:15 | 0:18:17 | |
And there were, I think, eight remakes - | 0:18:17 | 0:18:21 | |
the American, Israeli, French, German... | 0:18:21 | 0:18:24 | |
So I don't know. I think they're trying to make one in China. | 0:18:24 | 0:18:28 | |
The ratings have got to be good with that one! | 0:18:28 | 0:18:32 | |
I mean, ratings - one billion. One billion last night. | 0:18:32 | 0:18:34 | |
Well, listen, we were thinking about how jokes travel, OK? | 0:18:36 | 0:18:39 | |
-We've a very international audience. As we know, we've got... -HE MUTTERS: -..Annanita. | 0:18:39 | 0:18:43 | |
So, we've asked our non-British friends | 0:18:45 | 0:18:48 | |
if they will share a favourite joke with us, OK? | 0:18:48 | 0:18:51 | |
So first off is Emi. | 0:18:51 | 0:18:53 | |
Is it Emi? Hello. Do stand up. | 0:18:53 | 0:18:57 | |
-Stand up, Emi. Hi. -Hi. | 0:18:57 | 0:18:59 | |
-Where are you from? -France. -Another French person! | 0:18:59 | 0:19:03 | |
OK, so if you do your joke in French, sort of, line by line... | 0:19:03 | 0:19:06 | |
-Juliette, could you translate the joke? -I'll try! | 0:19:06 | 0:19:09 | |
If you translate the joke, then we'll see if we find it funny. | 0:19:09 | 0:19:13 | |
No pressure! We're a friendly crowd. OK, off you go. | 0:19:15 | 0:19:19 | |
First line of your joke. | 0:19:19 | 0:19:21 | |
-Donc, c'est un singe qui rend dans un bar... -So... | 0:19:21 | 0:19:25 | |
It's a monkey who enters into a bar... | 0:19:25 | 0:19:28 | |
Ronnie again! | 0:19:28 | 0:19:29 | |
It's all about Ronnie. | 0:19:31 | 0:19:33 | |
So a monkey goes into a bar... | 0:19:33 | 0:19:35 | |
..et il demande au barman... | 0:19:35 | 0:19:37 | |
And he's asking the-the-the barman... | 0:19:37 | 0:19:39 | |
"Est-ce que vouz avez des bananes?" | 0:19:39 | 0:19:41 | |
"Do you have bananas?" | 0:19:41 | 0:19:42 | |
-I knew that one. -I knew that! | 0:19:42 | 0:19:44 | |
"Non, on n'a pas de bananes" | 0:19:46 | 0:19:48 | |
"No, we don't have any banana." | 0:19:48 | 0:19:50 | |
Le singe continue, "Est-ce que vous avez des bananes?" | 0:19:50 | 0:19:53 | |
Th-The monkey continues to say, "Do you have banana?" | 0:19:53 | 0:19:56 | |
-"Non, on n'a pas de bananes!" -"No, we don't have any bananas!" | 0:19:56 | 0:19:58 | |
-"Est-ce que vous avez des bananes?" -"Come on! Do you have banana?" | 0:19:58 | 0:20:01 | |
La, il s'enerve et il fait, | 0:20:01 | 0:20:03 | |
"Ecoutez, si vous continuez a me demander si j'ai des bananes, | 0:20:03 | 0:20:06 | |
"je vous cloue la langue contre le mur." | 0:20:06 | 0:20:09 | |
Oh, my God! | 0:20:09 | 0:20:11 | |
-"Listen, if you still keep saying..." -"If you keep saying..." | 0:20:11 | 0:20:14 | |
"Asking for banana, I hammer your tongue | 0:20:14 | 0:20:19 | |
"on the wall with a... | 0:20:19 | 0:20:21 | |
"I hammer a nail on your tongue..." | 0:20:21 | 0:20:24 | |
SHE GIGGLES | 0:20:24 | 0:20:27 | |
-Is that the punch line? -No, no! | 0:20:27 | 0:20:29 | |
OK! Juliette found it very funny. | 0:20:29 | 0:20:32 | |
I know, I'm very bad at telling stories | 0:20:32 | 0:20:34 | |
because I always laugh before it ends. So... | 0:20:34 | 0:20:38 | |
Et le singe demande, "Est-ce que vous avez des clous?" | 0:20:38 | 0:20:40 | |
The monkey asks, "Do you have nails?" | 0:20:40 | 0:20:43 | |
-"Non." -"No." | 0:20:43 | 0:20:46 | |
-"Est-ce que vous avez des bananes?" -"Do you have bananas?" | 0:20:46 | 0:20:49 | |
Is THAT the end of the joke? | 0:20:49 | 0:20:51 | |
Merci, Emi. | 0:20:57 | 0:20:59 | |
Well done. Very good. | 0:20:59 | 0:21:01 | |
OK, one more. | 0:21:01 | 0:21:03 | |
A lady from Colombia? Where's the lady from Colombia? | 0:21:06 | 0:21:08 | |
-Oh, there you are. Stand up, too. Hi. What's your name? -Patricia. | 0:21:08 | 0:21:13 | |
Oh, Patricia. OK. So, er... Do you want... Shall we hear it... | 0:21:13 | 0:21:18 | |
-What language? -Spanish, yes. -Well, who can translate that? | 0:21:18 | 0:21:22 | |
-Is it quick? -I can make it quick. | 0:21:22 | 0:21:25 | |
Well, tell it quickly in Spanish, then tell it again in English. | 0:21:25 | 0:21:28 | |
She speaks English! Who's going to...? | 0:21:28 | 0:21:32 | |
-All right, just tell it in English, then. -No! You've ruined it! OK. | 0:21:32 | 0:21:36 | |
Oh, sorry. Tell it in Spanish. Tell it in Spanish. | 0:21:36 | 0:21:38 | |
-Yeah, Ricky, you've ruined it! -Tell it in Spanish. -Tell it in Spanish. | 0:21:38 | 0:21:42 | |
Dos amigos se encuentran despues de mucho tiempo de no verse | 0:21:42 | 0:21:44 | |
-y empiezan a hablar... -Two mo... Am I...? -..del pasado y de los amigos y etcetera... | 0:21:44 | 0:21:49 | |
Y uno le dice al otro, "Has visto a alguien del pasado?" | 0:21:49 | 0:21:52 | |
Dice, "No. Ah, vi a Maria!" "A Maria?! Quien es Maria?" "No, Maria..." | 0:21:52 | 0:21:55 | |
LAUGHTER | 0:21:55 | 0:21:57 | |
-"Te acuerdas de Maria?" -Quite good in Spanish, isn't it? | 0:21:57 | 0:22:00 | |
"Te acuerdas de Maria? "Una chica muy, muy delgada, plana, no tenia tetas, gorda..." | 0:22:00 | 0:22:04 | |
LAUGHTER | 0:22:04 | 0:22:06 | |
"Ah, si, si me acuerdo." "Pues la vi la semana pasada." | 0:22:06 | 0:22:09 | |
-"Y que?" "Esta...asi!" -LAUGHTER | 0:22:09 | 0:22:12 | |
"No! Se hizo cirugia cosmetica en las tetas?" | 0:22:12 | 0:22:16 | |
"No, artritis! Una artritis horrible!" | 0:22:16 | 0:22:19 | |
-APPLAUSE -Shall we hear it in English? | 0:22:22 | 0:22:24 | |
I think I got the gist of it but I don't know if I'm going to do it justice. | 0:22:26 | 0:22:30 | |
A monkey with huge boobs goes... | 0:22:32 | 0:22:34 | |
LAUGHTER | 0:22:34 | 0:22:36 | |
-OK, tell us in English. -OK, two old friends meet after a long time. | 0:22:37 | 0:22:40 | |
They're old school friends and they talk about the past and, | 0:22:40 | 0:22:43 | |
"Have you seen this? Have you seen someone?" He said, "Oh, yes, I saw Maria. | 0:22:43 | 0:22:46 | |
"Funnily enough, I saw Maria last week." | 0:22:46 | 0:22:49 | |
"Who is Maria?" "You remember Maria. | 0:22:49 | 0:22:50 | |
"She was very slim, very flat-chested. You remember? | 0:22:50 | 0:22:54 | |
"Not very pretty." "Oh, yes. I remember her, yes." | 0:22:54 | 0:22:57 | |
"Well, I saw her and she is looking...like this." | 0:22:57 | 0:23:01 | |
"Wow! She had breast enlargement?" | 0:23:01 | 0:23:04 | |
-"No, she's got terrible arthritis." -LAUGHTER | 0:23:04 | 0:23:07 | |
It's quite a good joke! We laughed at all the jokes. Very good. OK. | 0:23:07 | 0:23:12 | |
..because they thought she was saying, "She's like this," | 0:23:12 | 0:23:15 | |
i.e. she's got huge breasts, | 0:23:15 | 0:23:17 | |
but they go, "No, she's got terrible arthritis." | 0:23:17 | 0:23:20 | |
I'll translate the English! | 0:23:22 | 0:23:25 | |
Hey, Ricky Gervais, series two of Derek starts on Channel 4 | 0:23:27 | 0:23:30 | |
on 23 April and then Netflix gets the whole thing on 30 May. | 0:23:30 | 0:23:33 | |
-Is that right? -That's right, yeah, round the world. | 0:23:33 | 0:23:36 | |
Now, you seem to get a genuine buzz out of making Derek | 0:23:36 | 0:23:40 | |
and the reaction you get. I guess it's a very different reaction | 0:23:40 | 0:23:44 | |
-that you've never got for anything before. -No, with Derek, it's just... | 0:23:44 | 0:23:47 | |
It's like genuine love, you know what I mean? | 0:23:47 | 0:23:50 | |
It's really sweet, sincere people saying what it means to them. | 0:23:50 | 0:23:53 | |
So it's... You know, it's... | 0:23:53 | 0:23:55 | |
It was quite shocking at first, for everyone to be so lovely. | 0:23:55 | 0:23:58 | |
And in terms of being well observed - | 0:23:58 | 0:24:00 | |
cos it does seem very well observed - | 0:24:00 | 0:24:02 | |
apparently an awful lot of women in your family either do or have worked in care homes. | 0:24:02 | 0:24:06 | |
Yeah, my mum, my sister, my sister-in-law, her kids. | 0:24:06 | 0:24:10 | |
You know, I think about six or seven - all the womenfolk. | 0:24:10 | 0:24:13 | |
The men, not so much. | 0:24:13 | 0:24:16 | |
But all the womenfolk... | 0:24:16 | 0:24:18 | |
I've got, like, 35 years of anecdotes from either care homes | 0:24:18 | 0:24:22 | |
or just, you know, old people, or Alzheimer's homes. | 0:24:22 | 0:24:25 | |
So I like to write about what I know. | 0:24:25 | 0:24:28 | |
-And obviously, there's loads of old people in it. -Yeah. | 0:24:28 | 0:24:31 | |
So what's the balance of, kind of, actors and just regular old people? | 0:24:31 | 0:24:35 | |
Well, there's... Well, er... | 0:24:35 | 0:24:38 | |
-You and I. -You can be an actor and an old person. | 0:24:38 | 0:24:40 | |
LAUGHTER | 0:24:40 | 0:24:42 | |
-You can be both! -You can be both. | 0:24:42 | 0:24:44 | |
I hope to be one day. | 0:24:46 | 0:24:47 | |
I hope to be old and an actor. | 0:24:47 | 0:24:50 | |
No, no, some of them really are in care homes, yes. | 0:24:50 | 0:24:52 | |
Some of them are in retirement homes. There's one in an actors' retirement home. | 0:24:52 | 0:24:56 | |
-Yes, Brinsworth, of course. -Yeah, she's in one in... | 0:24:56 | 0:24:59 | |
-Denville Hall. -Oh, you know 'em all. -I know them all. | 0:24:59 | 0:25:02 | |
We've got one along the road from us that has just been refurbished. | 0:25:02 | 0:25:06 | |
-You do? -And Anne and I went along a fortnight ago to say a few words | 0:25:06 | 0:25:11 | |
-and start the digging of the new area, you know... -What, the graves? | 0:25:11 | 0:25:15 | |
-Not already! -No, not the graves! | 0:25:15 | 0:25:17 | |
-A new building going up. -Oh, I see! | 0:25:19 | 0:25:21 | |
-Oh, give me a hug. -"Not long! Not long for you! You're first." | 0:25:23 | 0:25:26 | |
And the manager... | 0:25:29 | 0:25:31 | |
The manager of the home said to the lady, | 0:25:31 | 0:25:33 | |
"Oh, we've got little Ronnie coming with his wife." | 0:25:33 | 0:25:37 | |
She said, "Oh, I don't like him, I like the other one." | 0:25:37 | 0:25:40 | |
So he sent her to Brighton for the day! | 0:25:40 | 0:25:42 | |
-Oh, God! -And when you're writing the scripts, do you ever kind of go, | 0:25:46 | 0:25:51 | |
"Actually, I cannot ask a very old lady to say that"? | 0:25:51 | 0:25:55 | |
Sometimes in the writers' room, you're brave. You're very brave when you're writing. | 0:25:55 | 0:25:59 | |
Then you think, "I've got to ask them to say that line now." | 0:25:59 | 0:26:02 | |
But I usually pluck up courage and they're great. They're wicked. They're brilliant. | 0:26:02 | 0:26:06 | |
But that picture you showed us - did that actress know that Kevin was looking up her... | 0:26:06 | 0:26:10 | |
Of course. Of course. It's a scene that he's a pervert so he says... | 0:26:10 | 0:26:16 | |
They start the aerobics and he slides off his chair | 0:26:16 | 0:26:19 | |
and he goes, "I fucking love Wednesdays." | 0:26:19 | 0:26:21 | |
And he kept laughing because the actor, who's lovely - David - | 0:26:24 | 0:26:27 | |
knows how absurd it is so, you know, he's in character but then | 0:26:27 | 0:26:30 | |
he goes, "This is ridiculous." And they all start laughing. | 0:26:30 | 0:26:33 | |
But they're... Honestly, there's not one of them that says, | 0:26:33 | 0:26:35 | |
"Oh, I can't say that." They just know it's a joke and they... | 0:26:35 | 0:26:39 | |
-They're brilliant. -Let's have a look at a clip from Derek. This is a... | 0:26:39 | 0:26:43 | |
It's you as Derek on a quest to find love. | 0:26:43 | 0:26:47 | |
-Yes, we get Derek internet dating in this series. -Oh, right. | 0:26:47 | 0:26:51 | |
-You all right? -I'm stressed. My dad's taking Tom's nan out on a date. | 0:26:51 | 0:26:57 | |
-Have you not ever tried dating before? -No. | 0:26:57 | 0:26:59 | |
Get an internet dating profile, put your picture up. | 0:26:59 | 0:27:01 | |
Sweetheartsonline.com. | 0:27:01 | 0:27:03 | |
"Sorry, your inbox is empty." It's always going to be empty. | 0:27:03 | 0:27:06 | |
No-one wants to go out with me. | 0:27:06 | 0:27:07 | |
You'll be all right, mate. Believe it or not, | 0:27:07 | 0:27:09 | |
I used to think I'd never make anything of my life. | 0:27:09 | 0:27:12 | |
-You've got a date. -What, off the website? | 0:27:12 | 0:27:14 | |
Yeah, shall I book a restaurant? Yeah? | 0:27:14 | 0:27:17 | |
-Cuisses de grenouille. -Yeah. | 0:27:17 | 0:27:18 | |
-It's a starter. It's, er... Frogs' legs. -Legs of a... | 0:27:18 | 0:27:23 | |
-What, a real frog? -Sure. | 0:27:23 | 0:27:24 | |
What about the frogs whose legs you took off? Are they disabled now? | 0:27:24 | 0:27:27 | |
-The frog is dead. -I licked a toad once. | 0:27:27 | 0:27:31 | |
It was horrible. | 0:27:31 | 0:27:32 | |
LAUGHTER | 0:27:34 | 0:27:36 | |
And in terms of getting older, I read an interview where you said | 0:27:40 | 0:27:43 | |
-you now quite look forward to being older. -Yeah! I mean... | 0:27:43 | 0:27:47 | |
As I said, I'm getting old now. | 0:27:47 | 0:27:50 | |
My knees are gone, my back aches and I get up and I... | 0:27:50 | 0:27:53 | |
I wake in the morning now and I go, "Oh, I didn't die." | 0:27:53 | 0:27:56 | |
You know? You know what I mean? And then you've got to do it all again. | 0:27:56 | 0:27:59 | |
But I mean... | 0:27:59 | 0:28:01 | |
Is there a thing... I don't know if it's the same in France. | 0:28:02 | 0:28:05 | |
-Is it easier in France? -What? -The whole ageing thing. | 0:28:05 | 0:28:08 | |
Are the people more relaxed about it? | 0:28:08 | 0:28:10 | |
Cos people do panic about it here. | 0:28:10 | 0:28:12 | |
No, I think it's the same everywhere on the planet. | 0:28:12 | 0:28:15 | |
We're going through the same thing. All the stages and all. | 0:28:15 | 0:28:19 | |
And is there a weird thing for an actor... | 0:28:19 | 0:28:21 | |
I suppose for any actor, that thing when you're reading a script | 0:28:21 | 0:28:23 | |
and they go, "Oh, no, no, you're not that part. You're THIS part." | 0:28:23 | 0:28:27 | |
Well, you actually guess it while you're reading it. | 0:28:27 | 0:28:31 | |
You don't need to ask. | 0:28:31 | 0:28:32 | |
-Now, one of the things I loved Ronnie in was Sorry! -Oh, yes. | 0:28:34 | 0:28:39 | |
Because in that, you still lived at home. | 0:28:39 | 0:28:42 | |
What is the age difference between you and Barbara Lott? | 0:28:42 | 0:28:46 | |
Well, Barbara, I suppose, was maybe... | 0:28:46 | 0:28:50 | |
-I don't know how old -I -was then. Was I about 50 then? | 0:28:50 | 0:28:53 | |
Or 47? I don't know. | 0:28:53 | 0:28:55 | |
-Barbara was perhaps 72, but... -No, I think she was about... | 0:28:55 | 0:28:58 | |
-She was only ten years older than you. -Was she? | 0:28:58 | 0:29:01 | |
Will you tell me what to say? | 0:29:03 | 0:29:04 | |
APPLAUSE | 0:29:07 | 0:29:10 | |
That was funny! That was like a barrister trying to catch you out. | 0:29:10 | 0:29:14 | |
"I put it to you, Mr Corbett, that she was only ten years older." | 0:29:14 | 0:29:18 | |
Although nowadays... | 0:29:20 | 0:29:22 | |
that's pretty accurate, isn't it? In some areas. | 0:29:22 | 0:29:26 | |
Yeah, in some areas. Yeah, yeah. Sorry! | 0:29:26 | 0:29:28 | |
Now, whenever Ricky's here, | 0:29:30 | 0:29:31 | |
we do like to check what else he's been putting on Twitter, cos he tweets a lot. Now, you guys... | 0:29:31 | 0:29:36 | |
You don't tweet, do you? You don't tweet? | 0:29:36 | 0:29:38 | |
-I don't what? -Tweet. -Tweet? | 0:29:38 | 0:29:40 | |
-No, I don't tweet at all. -No. -I love the internet. I mean, going on... | 0:29:40 | 0:29:45 | |
LAUGHTER | 0:29:45 | 0:29:47 | |
-Yeah, exactly, yeah. -I'm sure you do, Ronnie. | 0:29:47 | 0:29:49 | |
"Men who like to be monkeys." | 0:29:54 | 0:29:56 | |
LAUGHTER | 0:29:56 | 0:29:58 | |
.com. | 0:29:58 | 0:29:59 | |
There'll be one. There will be one. | 0:30:01 | 0:30:03 | |
If you put that in, you'd find something horrendous. | 0:30:03 | 0:30:05 | |
With a picture of Ronnie. | 0:30:07 | 0:30:09 | |
So...one of the things that Ricky's put up recently | 0:30:11 | 0:30:15 | |
is that thing... They call it "ad fail" but it's basically when | 0:30:15 | 0:30:21 | |
the layout in a newspaper is unfortunate. | 0:30:21 | 0:30:24 | |
You know, where they put one article beside another article and, | 0:30:24 | 0:30:27 | |
obviously, nobody looked at the two articles together. | 0:30:27 | 0:30:31 | |
So this is one you tweeted... I think it's a Canadian paper. | 0:30:31 | 0:30:34 | |
-Yeah, yeah. -This one. | 0:30:34 | 0:30:36 | |
And then... Was it yesterday...? | 0:30:47 | 0:30:49 | |
Yesterday I saw this sign and I just couldn't believe my luck. | 0:30:49 | 0:30:53 | |
Check this out. | 0:30:53 | 0:30:55 | |
LAUGHTER | 0:30:56 | 0:30:59 | |
They were a little bit squashed... | 0:30:59 | 0:31:01 | |
A little bit squashed on the spacing. | 0:31:01 | 0:31:02 | |
-I think I said, "Spacing is everything." -I just love that. | 0:31:02 | 0:31:06 | |
"Yeah, we can fit the 'is' in. It's fine." | 0:31:06 | 0:31:09 | |
It's a pub called the Wig & Pen. | 0:31:09 | 0:31:11 | |
-It's, "The Wig & Pen is open for business." -Oh, right! | 0:31:11 | 0:31:14 | |
I'd have put the "is" on a different line. | 0:31:17 | 0:31:20 | |
Well, we found some more of these. | 0:31:21 | 0:31:24 | |
-So you know in magazines, the fold in the magazine... -Yes. | 0:31:24 | 0:31:28 | |
That can go wrong. Here's one. | 0:31:28 | 0:31:30 | |
I don't think anyone's going to want to drink that milkshake. | 0:31:30 | 0:31:33 | |
-It looks like she's... doing something in the... -Oh, right! | 0:31:43 | 0:31:47 | |
It's like... Ricky Gervais is like the red button. | 0:31:51 | 0:31:54 | |
Then on billboards, it can go wrong on billboards. | 0:31:55 | 0:31:58 | |
So you're driving down the highway in America, | 0:31:58 | 0:32:01 | |
and there's a nice big billboard saying, "Where's Daddy?" | 0:32:01 | 0:32:04 | |
And as you drive on, you discover... | 0:32:04 | 0:32:06 | |
And finally, finally, this is just like... | 0:32:12 | 0:32:15 | |
I love that someone took this picture. | 0:32:15 | 0:32:16 | |
They obviously knew what they were doing when they took the picture. | 0:32:16 | 0:32:19 | |
They thought, "That'll be funny." You know what? It is. Here's an ad for Coca-Cola. | 0:32:19 | 0:32:23 | |
Well done, all the ad fails. OK. | 0:32:31 | 0:32:33 | |
Ladies and gentlemen, it's music time. | 0:32:35 | 0:32:38 | |
I adore this lady. Adore her. | 0:32:38 | 0:32:42 | |
She's a huge star in her native Ireland | 0:32:42 | 0:32:44 | |
and now making big inroads here and in the States. | 0:32:44 | 0:32:47 | |
Singing her new single It's Good To Be Alive, please welcome Imelda May. | 0:32:47 | 0:32:52 | |
CHEERING AND APPLAUSE | 0:32:52 | 0:32:54 | |
# My thoughts are dark and empty | 0:33:00 | 0:33:03 | |
# I'm not crying out loud | 0:33:03 | 0:33:06 | |
# Don't know, what am I asking for | 0:33:06 | 0:33:09 | |
# If an answer can be found | 0:33:09 | 0:33:11 | |
# The loneliness is killing, though there's someone in my bed | 0:33:11 | 0:33:17 | |
# There's only so much living and I fear I could be dead | 0:33:17 | 0:33:22 | |
# But then standing at my window when the night seems like it's won | 0:33:22 | 0:33:27 | |
# And everything seems brighter with the sighting of the sun | 0:33:27 | 0:33:33 | |
# And I said, Oh, my God, it's good to be alive | 0:33:34 | 0:33:38 | |
# Oh, my God, it's good to be alive | 0:33:38 | 0:33:40 | |
# I know one thing for sure is that I'll love today | 0:33:40 | 0:33:43 | |
# Yeah, it's good to be alive, yeah | 0:33:43 | 0:33:46 | |
# Lying in my bedroom | 0:33:51 | 0:33:54 | |
# My eyes are wide awake | 0:33:54 | 0:33:57 | |
# My body's tired and giving up | 0:33:57 | 0:33:59 | |
# Oh, for heaven's sake | 0:33:59 | 0:34:02 | |
# Won't you please send me a little sleep to ease my worried mind? | 0:34:02 | 0:34:08 | |
# I'm losing rationality that I won't know how to find | 0:34:08 | 0:34:12 | |
# But then standing at my window when the night seems like it's won | 0:34:12 | 0:34:18 | |
# And everything seems brighter with the sighting of the sun | 0:34:18 | 0:34:24 | |
# And I said, Oh, my God, it's good to be alive | 0:34:25 | 0:34:28 | |
# Oh, my God, it's good to be alive | 0:34:28 | 0:34:31 | |
# I know one thing for sure is that I'll love today | 0:34:31 | 0:34:34 | |
# Yeah, it's good to be alive, yeah | 0:34:34 | 0:34:36 | |
# Do-do-do do-do do-do | 0:34:52 | 0:34:55 | |
# Do-do-do do-do do-do | 0:34:55 | 0:34:58 | |
# Things are looking up for me | 0:34:58 | 0:35:00 | |
# When the clock keeps ticking on | 0:35:00 | 0:35:03 | |
# Holding on to time gone by | 0:35:03 | 0:35:06 | |
# Clinging to a song | 0:35:06 | 0:35:09 | |
# To pull me through with every word | 0:35:09 | 0:35:11 | |
# And rock me with a tune | 0:35:11 | 0:35:14 | |
# And hold my hand when the sandman is hiding in my room | 0:35:14 | 0:35:19 | |
# But then standing at my window when the night seems like it's won | 0:35:19 | 0:35:25 | |
# And everything seems brighter with the sighting of the sun | 0:35:25 | 0:35:30 | |
# And I said, Oh, my God, it's good to be alive | 0:35:32 | 0:35:35 | |
# Oh, my God, it's good to be alive | 0:35:35 | 0:35:38 | |
# I know one thing for sure is that I'll love today | 0:35:38 | 0:35:41 | |
# Yeah, it's good to be alive | 0:35:41 | 0:35:43 | |
# Oh, my God, it's good to be alive | 0:35:43 | 0:35:46 | |
# Oh, my God, it's good to be alive | 0:35:46 | 0:35:49 | |
# I know one thing for sure is that I'll love today | 0:35:49 | 0:35:52 | |
# Yeah, it's good to be alive, yeah | 0:35:52 | 0:35:54 | |
# Do-do-do | 0:35:54 | 0:35:55 | |
# It's good to be alive | 0:35:55 | 0:35:57 | |
# Do-do-do | 0:35:57 | 0:35:58 | |
# It's good to be alive | 0:35:58 | 0:36:00 | |
# Yeah, yeah | 0:36:00 | 0:36:02 | |
# Yeah, yeah, yeah, yeah. # | 0:36:02 | 0:36:05 | |
CHEERING AND APPLAUSE | 0:36:05 | 0:36:08 | |
Thank you. | 0:36:09 | 0:36:11 | |
Imelda May, everybody! Come on over and join us, do. | 0:36:13 | 0:36:18 | |
Oh, good job! | 0:36:20 | 0:36:21 | |
Imelda May! Beautiful! | 0:36:21 | 0:36:24 | |
Mwah! Come and sit down. | 0:36:24 | 0:36:27 | |
There's Ricky and Ronnie and Juliette. | 0:36:27 | 0:36:31 | |
Lovely to meet you. Hello. | 0:36:31 | 0:36:34 | |
Isn't that just a happy thing? I love that. | 0:36:34 | 0:36:37 | |
-Oh, good! -It's fantastic. -Good, good, good. | 0:36:37 | 0:36:39 | |
That's the single but it's from the album Tribal. | 0:36:39 | 0:36:42 | |
Yeah, new album, just out. | 0:36:42 | 0:36:44 | |
What I like about you - your stuff is all up. It's all very happy. | 0:36:44 | 0:36:48 | |
Good. Well, I have my moments. I'm not, like, neurotically happy! | 0:36:48 | 0:36:51 | |
Ha-ha-ha-ha-ha! | 0:36:52 | 0:36:54 | |
There's unhappy moments and then... | 0:36:56 | 0:36:58 | |
Yes, but mostly I like writing happy songs cos it's great at the gigs | 0:36:58 | 0:37:01 | |
when you're gigging it and you've to gig it for a few years. | 0:37:01 | 0:37:04 | |
-You can have fun with it. -So you wrote that one? | 0:37:04 | 0:37:07 | |
-Oh, yeah, I write my own songs, yeah. -Oh, gosh! Lovely! -Yeah. | 0:37:07 | 0:37:10 | |
The whole thing. But tell me about this now. | 0:37:10 | 0:37:12 | |
So the last time you were here, you didn't have a baby. | 0:37:12 | 0:37:15 | |
-Now you have a baby. -Yes, I do. -How old... -That's how it works. | 0:37:15 | 0:37:18 | |
At some point you don't have a baby... | 0:37:20 | 0:37:22 | |
But you can still not have a baby. | 0:37:22 | 0:37:23 | |
I probably wouldn't be talking about it. | 0:37:23 | 0:37:25 | |
Yeah, you can, but if you have a baby, there was a point where you didn't have one. | 0:37:25 | 0:37:29 | |
It was when she was last here. She didn't have it. | 0:37:29 | 0:37:32 | |
-But, Imelda, how old is... It's a girl you have, isn't it? -Violet. | 0:37:32 | 0:37:36 | |
-Violet Kathleen. She's a year and a half. -A year... | 0:37:36 | 0:37:39 | |
-But she is talking now? -Oh, yap, yap... Well, she takes after her ma. | 0:37:39 | 0:37:43 | |
-She talks a lot. -There are some language issues. | 0:37:43 | 0:37:46 | |
Oh, A language issue. Er... | 0:37:46 | 0:37:49 | |
I said something ONCE in front of her. | 0:37:49 | 0:37:52 | |
Just once and I thought, "Oh, she didn't notice that." | 0:37:54 | 0:37:57 | |
And then we were walking along a hotel corridor | 0:37:57 | 0:38:01 | |
and I had her on my hip and she's so pretty and gorgeous and sweet | 0:38:01 | 0:38:05 | |
and a guy was walking along with me... Came along beside me and said, | 0:38:05 | 0:38:08 | |
"Hi." And I said, "Hello." | 0:38:08 | 0:38:11 | |
And he went, "Hmm, liking the hair." | 0:38:11 | 0:38:14 | |
And I went, "Oh, thank you." | 0:38:14 | 0:38:16 | |
"Hmm, liking the outfit." | 0:38:16 | 0:38:18 | |
"Yeah, thanks." And then he said, er... | 0:38:18 | 0:38:20 | |
"You're doing an Imelda May thing there." | 0:38:20 | 0:38:22 | |
And I said, "Yeah, I get that." And just as we got to the lift | 0:38:22 | 0:38:26 | |
he said, "Are you getting on?" And I said, "Oh, no, no. | 0:38:26 | 0:38:30 | |
"I'm waiting on... No." | 0:38:30 | 0:38:32 | |
And I just... JUST before the doors closed, | 0:38:32 | 0:38:35 | |
he was going, "Cute baby!" | 0:38:35 | 0:38:37 | |
He just got into the lift, he's stood there smiling at us | 0:38:37 | 0:38:40 | |
and just before the lift closed she just looked at him like that | 0:38:40 | 0:38:44 | |
and looked at me and just went, "Asshole!" | 0:38:44 | 0:38:47 | |
LAUGHTER | 0:38:47 | 0:38:50 | |
I was mortified but quite proud! Is that wrong? | 0:38:56 | 0:38:59 | |
She knew how to say it and she recognised one! It was good, yeah. | 0:38:59 | 0:39:03 | |
-And, Imelda, you're gigging all the time, aren't you? -Yeah, like mad. | 0:39:03 | 0:39:07 | |
It's non-stop. It's great. | 0:39:07 | 0:39:08 | |
-Well, good luck with all the gigs and just... -Thank you. -..continued success to you. | 0:39:08 | 0:39:12 | |
You deserve it all. | 0:39:12 | 0:39:14 | |
Right, before we go tonight, just time for a story or two in the red chair. Who's there? | 0:39:14 | 0:39:18 | |
-Hello. -Hi. | 0:39:18 | 0:39:19 | |
Oh, my God, we've never seen glamour like it on the red chair. | 0:39:19 | 0:39:23 | |
-What's your name? -Julie. -Julie? Where are you from, Julie? | 0:39:23 | 0:39:27 | |
-I'm originally from South Korea. -Do you live in London now? -Yes. | 0:39:27 | 0:39:30 | |
-Oh, right. And what do you do here? -I'm a law student. -A law student? | 0:39:30 | 0:39:34 | |
OK, off you go with your story. | 0:39:34 | 0:39:36 | |
So, last summer, | 0:39:36 | 0:39:38 | |
me and five of my girlfriends went on a girls' holiday to Alicante. | 0:39:38 | 0:39:42 | |
And I got really... | 0:39:42 | 0:39:43 | |
HE MOUTHS | 0:39:43 | 0:39:44 | |
SHE SQUEALS | 0:39:44 | 0:39:46 | |
Is it wrong? | 0:39:49 | 0:39:51 | |
-Yeah, no. -Is it wrong? | 0:39:51 | 0:39:52 | |
No, we were all thinking it. | 0:39:52 | 0:39:54 | |
The idea, Juliette, is that they tell their best story. | 0:39:54 | 0:39:57 | |
It's like either their most interesting or their funniest story of their whole lives. And... | 0:39:57 | 0:40:03 | |
You didn't want to hear the rest of it? | 0:40:03 | 0:40:05 | |
There was something about her and her girlfriends in Alicante - I found it irritating. | 0:40:05 | 0:40:09 | |
"Five of my girlfriends," like she's got hundreds. | 0:40:09 | 0:40:12 | |
I haven't got five FRIENDS, you know what I mean? | 0:40:12 | 0:40:15 | |
-So she had to go. -There was some... I don't know what it was. | 0:40:15 | 0:40:18 | |
I used to have a problem with this cos I just felt so sorry for them | 0:40:18 | 0:40:21 | |
-I couldn't stand it. -Yes. -But now I quite like it. -Oh, yes, right. | 0:40:21 | 0:40:24 | |
-Cos I think they sort of want it, as well, don't they, really? -Yes. | 0:40:24 | 0:40:27 | |
-It's a disappointment if you don't get flipped back on the chair, isn't it? -Yeah, that's what he says! | 0:40:27 | 0:40:31 | |
-They'd be upset if I didn't. -Where do they go, Graham, after...? | 0:40:36 | 0:40:39 | |
-Where do they go?! -Where do they go after... -Just... I don't know. | 0:40:39 | 0:40:43 | |
-No, but where... -To heaven, Ronnie. | 0:40:43 | 0:40:45 | |
Are they in another place? | 0:40:45 | 0:40:48 | |
LAUGHTER | 0:40:48 | 0:40:50 | |
-They're not there any more. -Oh, I know, but... -There are... | 0:40:51 | 0:40:55 | |
-They just... -There's a spike... | 0:40:55 | 0:40:57 | |
I want to give them a cuddle. | 0:40:57 | 0:41:00 | |
-Well, you can. -Have you got somebody else in the chair? -Oh, yes. Oh, yes. | 0:41:00 | 0:41:05 | |
Now we all understand the game, let's do it again. | 0:41:05 | 0:41:08 | |
Now we're all on board... | 0:41:08 | 0:41:10 | |
-Whoo! -And, Juliette, do feel free. Feel free! | 0:41:10 | 0:41:13 | |
I'm not doing this. | 0:41:13 | 0:41:14 | |
If you're feeling a little ennui, just, er, knock them off. Hello. Hi! | 0:41:14 | 0:41:19 | |
-Hi. -Don't tip him! I love him. -How are you? -Great. We're very well. | 0:41:19 | 0:41:23 | |
-All the better for seeing you. What's your name? -James. | 0:41:23 | 0:41:26 | |
-James, and where do you live, James? -I live in... I live in Surrey. | 0:41:26 | 0:41:30 | |
-In Surrey. And what do you do for a living? -I'm a civil engineer. | 0:41:30 | 0:41:33 | |
Brilliant, he's a civil engineer. He does something useful and he lives in Surrey. | 0:41:33 | 0:41:37 | |
Off you go with your story. | 0:41:37 | 0:41:38 | |
-This story involves getting locked in a toilet. -Ronnie! | 0:41:38 | 0:41:41 | |
-Were you dressed as a monkey? -Er, no. | 0:41:41 | 0:41:44 | |
-I was dressed without any clothes, so... -What? What?! | 0:41:45 | 0:41:48 | |
-I wasn't dressed when it happened, so... -You were naked in the toilet? | 0:41:50 | 0:41:53 | |
-I was naked in the toilet, yeah. -Why? Why? -I was, er... | 0:41:53 | 0:41:55 | |
I had a very important meeting at half past eight in the morning. | 0:41:55 | 0:41:59 | |
I went into the bathroom, closed the door, went to the toilet | 0:41:59 | 0:42:02 | |
and then when I got up to go to get out of the toilet, the door broke. | 0:42:02 | 0:42:05 | |
So I was stuck in the bathroom. | 0:42:05 | 0:42:07 | |
I had a very important meeting in a couple of hours. | 0:42:07 | 0:42:10 | |
I wasn't sure what I was going to do | 0:42:10 | 0:42:12 | |
so I sat there for a couple of seconds thinking what to do | 0:42:12 | 0:42:14 | |
and thought, "The best thing to do is to call the fire brigade." | 0:42:14 | 0:42:18 | |
So my... My wife... | 0:42:18 | 0:42:19 | |
-Maybe you should have thought for longer! -Perhaps. | 0:42:19 | 0:42:23 | |
I was in a bit of a... I had a very important meeting to go to. | 0:42:23 | 0:42:27 | |
We get it, very important meeting! VERY important meeting! | 0:42:27 | 0:42:33 | |
So I... | 0:42:33 | 0:42:34 | |
My wife called the ambulance... Sorry, the fire brigade. | 0:42:34 | 0:42:37 | |
-The ambulance? -LAUGHTER | 0:42:37 | 0:42:40 | |
..called the fire brigade and told them what it was about - | 0:42:40 | 0:42:43 | |
I was basically stuck in the bathroom and there was nothing | 0:42:43 | 0:42:46 | |
-medically wrong with me, just that I was stuck in there. -Well... | 0:42:46 | 0:42:50 | |
And they turned up to the front door at half past six in the morning... | 0:42:50 | 0:42:54 | |
-No, don't you pull this! This is... -No, I'm not. | 0:42:54 | 0:42:57 | |
-..with the blue lights on and... -He's still going - he doesn't care. | 0:42:57 | 0:42:59 | |
The blue lights on and they did the "whoop, whoop" outside the front door | 0:42:59 | 0:43:03 | |
and then, er, four big, burly firemen... | 0:43:03 | 0:43:07 | |
-Here we go, it's a fetish. -..broke the door and got me out of the bathroom | 0:43:07 | 0:43:10 | |
and I walked out with a face cloth over my privates. | 0:43:10 | 0:43:14 | |
LAUGHTER AND APPLAUSE | 0:43:15 | 0:43:18 | |
And I... And I still made the meeting at half past eight. | 0:43:18 | 0:43:21 | |
A very important meeting! | 0:43:21 | 0:43:23 | |
-Oh, my God! I can't believe we sat through that whole thing. -I know! | 0:43:23 | 0:43:26 | |
Well done, everybody. If you'd like to join us on the show | 0:43:27 | 0:43:30 | |
and have a go in the big red chair, you can. Contact our website... | 0:43:30 | 0:43:34 | |
Thank you to my lovely guests tonight. | 0:43:34 | 0:43:36 | |
-Imelda May, everybody. -CHEERING AND APPLAUSE | 0:43:36 | 0:43:39 | |
-Ricky Gervais. -CHEERING AND APPLAUSE | 0:43:39 | 0:43:42 | |
-Ronnie Corbett. -Thank you. -CHEERING AND APPLAUSE | 0:43:42 | 0:43:45 | |
-And Juliette Binoche. -CHEERING AND APPLAUSE | 0:43:45 | 0:43:47 | |
Join me next week with comic actor Seth Rogen, | 0:43:47 | 0:43:51 | |
Episodes star Matt LeBlanc | 0:43:51 | 0:43:53 | |
and Hollywood heart-throb Zac Efron. | 0:43:53 | 0:43:55 | |
I'll see you then. Good night, everybody, bye-bye. | 0:43:55 | 0:43:57 |