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On the show tonight, Chris Hemsworth is here. | 0:00:02 | 0:00:04 | |
Yeah, he's the star of the new whaling movie, | 0:00:04 | 0:00:07 | |
In The Heart Of The Sea. | 0:00:07 | 0:00:09 | |
Wait a minute! | 0:00:09 | 0:00:11 | |
There she blows. Argh! | 0:00:11 | 0:00:13 | |
Let's start the show. | 0:00:15 | 0:00:19 | |
This programme contains some strong language. | 0:00:21 | 0:00:28 | |
Oh, oh. | 0:00:34 | 0:00:35 | |
Yes. Yes. | 0:00:37 | 0:00:41 | |
Oh, welcome. | 0:00:41 | 0:00:43 | |
Welcome, all. | 0:00:43 | 0:00:45 | |
Great show tonight. As well as Chris, | 0:00:45 | 0:00:47 | |
it's the first-time appearances from comic Kevin Bridges, director | 0:00:47 | 0:00:53 | |
Ron Howard and the comedy legend that is Lily Tomlin, so excited, yes. | 0:00:53 | 0:00:59 | |
And we'll be getting in the Christmas mood with music from Blake | 0:00:59 | 0:01:03 | |
and Dame Shirley Bassey. Yes. | 0:01:03 | 0:01:06 | |
Your actual Dame Shirley will be over there and there. | 0:01:08 | 0:01:12 | |
She will! No, seriously. It's Christmassy. | 0:01:12 | 0:01:14 | |
Now, of course, Chris and Ron are here with the new | 0:01:14 | 0:01:16 | |
film In The Heart Of The Sea where Chris plays a fearless whale hunter. | 0:01:16 | 0:01:21 | |
The story takes place on a ship called the Essex | 0:01:22 | 0:01:25 | |
and was the original inspiration for the novel Moby Dick. | 0:01:25 | 0:01:28 | |
Funnily enough, if you Google the words Essex and Dick, | 0:01:30 | 0:01:34 | |
this is what you get. | 0:01:34 | 0:01:35 | |
APPLAUSE | 0:01:35 | 0:01:38 | |
Try it, try it. That is what happens. | 0:01:38 | 0:01:40 | |
It is a very exciting story, though. No, it really is an exciting story. | 0:01:42 | 0:01:45 | |
The whale sinks the ship and leaves the crew marooned in a lifeboat. | 0:01:45 | 0:01:50 | |
Yes. To survive, they resort to cannibalism. Awful. | 0:01:50 | 0:01:54 | |
Here's that lifeboat three weeks later. | 0:01:54 | 0:01:57 | |
LAUGHTER | 0:01:57 | 0:01:59 | |
Couldn't eat another sailor! | 0:01:59 | 0:02:01 | |
Let's get the guests on. | 0:02:01 | 0:02:03 | |
First up, at the age of only 29, | 0:02:03 | 0:02:06 | |
this Glaswegian comedian has had a remarkable rise to success | 0:02:06 | 0:02:09 | |
and last year sold more tickets than any other comic in the UK. | 0:02:09 | 0:02:13 | |
Please welcome Kevin Bridges. | 0:02:13 | 0:02:16 | |
Here he is. | 0:02:16 | 0:02:17 | |
How are you, sir? | 0:02:18 | 0:02:21 | |
You're very welcome. Very nice to see you. | 0:02:21 | 0:02:23 | |
He went from child star to become one of the world's most successful | 0:02:25 | 0:02:28 | |
directors, making Splash, Parenthood, Apollo 13, | 0:02:28 | 0:02:30 | |
The Grinch and A Beautiful Mind. | 0:02:30 | 0:02:32 | |
Now he brings us In The Heart Of The Sea. | 0:02:32 | 0:02:34 | |
It's the Oscar-winning Ron Howard. | 0:02:34 | 0:02:37 | |
That's Ron Howard. Hello. | 0:02:37 | 0:02:41 | |
Lovely to see you. | 0:02:41 | 0:02:42 | |
Grab a seat. | 0:02:42 | 0:02:43 | |
And this heart-throb exploded onto the big screen as Thor | 0:02:45 | 0:02:49 | |
and has gone on to incredible success with The Avengers, | 0:02:49 | 0:02:51 | |
The Huntsman and the James Hunt biopic Rush. | 0:02:51 | 0:02:54 | |
It is the fabulous Chris Hemsworth, everybody. | 0:02:54 | 0:02:58 | |
APPLAUSE | 0:02:58 | 0:02:59 | |
Hello. Lovely to see you. I'm really well. | 0:02:59 | 0:03:01 | |
Have a seat there. | 0:03:01 | 0:03:03 | |
And... | 0:03:05 | 0:03:06 | |
..this lady is one of America's greatest comedy talents. | 0:03:08 | 0:03:11 | |
She is the star of Nashville, 9 To 5, All Of Me. | 0:03:11 | 0:03:15 | |
Seven Emmys, two Tonys and a Grammy to her name, | 0:03:15 | 0:03:17 | |
she is now Oscar-tipped for her new movie, Grandma. | 0:03:17 | 0:03:21 | |
It is a huge pleasure to welcome the one and only Lily Tomlin, everybody. | 0:03:21 | 0:03:26 | |
APPLAUSE | 0:03:26 | 0:03:30 | |
So, did you all meet backstage? | 0:03:40 | 0:03:42 | |
Was there kind of showbiz mingling behind the curtain? | 0:03:42 | 0:03:45 | |
-Quick, a quick mingle. -OK. -A little bit, yeah. -We got a lot done. | 0:03:45 | 0:03:49 | |
Lovely. | 0:03:50 | 0:03:52 | |
No, because Ron and you, | 0:03:52 | 0:03:55 | |
-you've never worked together, Ron and Lily? -Never worked together. | 0:03:55 | 0:03:58 | |
I met one time because I went to see a one-woman show that Lily did many years ago. | 0:03:58 | 0:04:02 | |
I don't remember the name of the show, but in it was... You took | 0:04:02 | 0:04:05 | |
this picture and you were playing this character that went "Soup, art - art, soup." | 0:04:05 | 0:04:10 | |
-Yeah. -What was the name of the show? | 0:04:10 | 0:04:11 | |
The Search For Signs Of Intelligent Life. | 0:04:11 | 0:04:14 | |
LAUGHTER | 0:04:14 | 0:04:17 | |
You should really get in one of his films... | 0:04:17 | 0:04:19 | |
-I hope I'm going to be in his next one. -They do well. | 0:04:19 | 0:04:21 | |
Ron Howard, do you know off the top of your head, | 0:04:21 | 0:04:24 | |
-how much money your films have made? -Well, I actually don't. | 0:04:24 | 0:04:27 | |
Well, I can tell you. | 0:04:27 | 0:04:30 | |
Ron Howard, this is incredible. | 0:04:30 | 0:04:32 | |
Ron Howard's films have made, so far, | 0:04:32 | 0:04:35 | |
3.5 billion. | 0:04:35 | 0:04:39 | |
BILLION dollars. | 0:04:40 | 0:04:42 | |
APPLAUSE | 0:04:42 | 0:04:46 | |
Sounds like I need a conversation with my lawyer and... | 0:04:46 | 0:04:49 | |
You should start your own country or something. That's a lot of money. | 0:04:49 | 0:04:53 | |
And Kevin, I was saying in the introduction, | 0:04:53 | 0:04:55 | |
your success is extraordinary. | 0:04:55 | 0:04:57 | |
I'm sitting beside the guy that's pulled in 3.5 billion dollars. | 0:04:57 | 0:05:00 | |
My success has been all right. | 0:05:02 | 0:05:04 | |
Sorry to bring you down. You walk out here high as a kite. | 0:05:05 | 0:05:08 | |
And now, it's like... | 0:05:08 | 0:05:09 | |
But no, you must get stopped in the street and stuff like that now. | 0:05:10 | 0:05:14 | |
Aye, usually by people collecting for charity. | 0:05:14 | 0:05:17 | |
I got asked to sign 25 copies, | 0:05:19 | 0:05:22 | |
25 pirate copies, of my own DVD. | 0:05:22 | 0:05:27 | |
LAUGHTER | 0:05:27 | 0:05:29 | |
That takes balls, man. | 0:05:29 | 0:05:31 | |
-Of course, I signed them. -Of course you did. | 0:05:31 | 0:05:34 | |
-Now, Lily, can you understand anything Kevin said? -Not much. -No. | 0:05:34 | 0:05:38 | |
I got something about balls at the end. Is that what he said? | 0:05:38 | 0:05:42 | |
Yeah, he said balls. Yeah, he did say balls. | 0:05:42 | 0:05:44 | |
-Can you seriously not understand? -Not very much. | 0:05:44 | 0:05:47 | |
I was going to kind of question him as he was going along, but... | 0:05:47 | 0:05:52 | |
I actually tried my show in America. I've done one gig. | 0:05:52 | 0:05:55 | |
A guy complimented me, approached me after the set and he goes, | 0:05:55 | 0:05:59 | |
"Man, are you ACTUALLY Scottish?" | 0:05:59 | 0:06:01 | |
And I said, "Yes". | 0:06:03 | 0:06:04 | |
And he goes, "Fuck, man. Your English is pretty good." | 0:06:04 | 0:06:07 | |
LAUGHTER | 0:06:07 | 0:06:09 | |
Because talking of Scottish, cos Chris Hemsworth, | 0:06:13 | 0:06:15 | |
you did Scottish in The Huntsman? | 0:06:15 | 0:06:18 | |
Yeah, it was a Celtic vibe(!) | 0:06:18 | 0:06:20 | |
I had a great review that told me it was the worst Glaswegian accent | 0:06:22 | 0:06:26 | |
since The Fat Bastard. | 0:06:26 | 0:06:28 | |
I wasn't doing Glaswegian, though. | 0:06:28 | 0:06:30 | |
-That was in my defence. -It was your Celtic vibe. | 0:06:30 | 0:06:33 | |
It was a Celtic fantasy, | 0:06:33 | 0:06:35 | |
Snow White world, Scottish influenced kind of accent, | 0:06:35 | 0:06:37 | |
so that gives you a whole broad range to do whatever the hell you want. | 0:06:37 | 0:06:41 | |
But I hear little bits in there. I understood little bits. | 0:06:41 | 0:06:45 | |
It was pretty... Yeah. | 0:06:45 | 0:06:47 | |
"I understood little bits!" | 0:06:47 | 0:06:50 | |
The compliments are flying in! | 0:06:50 | 0:06:52 | |
I just need to laugh. I was... | 0:06:53 | 0:06:55 | |
I think that's why we die so young in Scotland. | 0:06:55 | 0:06:59 | |
Cos it's just exhausting. | 0:06:59 | 0:07:00 | |
It's so much more effort. | 0:07:02 | 0:07:03 | |
You need to translate in your head and then... | 0:07:03 | 0:07:05 | |
-Have you performed in Australia, though? -Yes. Yes, I've done... | 0:07:05 | 0:07:08 | |
We love you. I swear to God, I love you. | 0:07:08 | 0:07:12 | |
Yeah, I've played Australia. | 0:07:13 | 0:07:15 | |
I've not played Scotland, but I've played Australia | 0:07:15 | 0:07:17 | |
and by the reaction, I'm amazed that I went over at all. | 0:07:17 | 0:07:21 | |
What do you mean? | 0:07:21 | 0:07:22 | |
I'm just saying, they seem to understand Kevin very well. | 0:07:22 | 0:07:26 | |
LAUGHTER | 0:07:26 | 0:07:28 | |
-But we're not in Australia now. -No! No, I understand that. I'm just... | 0:07:28 | 0:07:33 | |
And I'm even having trouble with Chris a little bit. | 0:07:33 | 0:07:36 | |
Do you understand me? | 0:07:38 | 0:07:39 | |
-I can understand you. -Well, that's the main thing. -Yeah. -We'll talk! | 0:07:39 | 0:07:45 | |
I find there's references as well, | 0:07:45 | 0:07:47 | |
you need to change certain references when you perform. | 0:07:47 | 0:07:50 | |
Are you talking to me? | 0:07:50 | 0:07:51 | |
LAUGHTER | 0:07:51 | 0:07:56 | |
Lily Tomlin, you bring us such a sweet, lovely, funny film. Grandma. | 0:08:00 | 0:08:07 | |
It opens next Friday, the 11th. Is Grandma quite close to you? | 0:08:07 | 0:08:12 | |
Well, she could be many things. I drove my own car. | 0:08:12 | 0:08:17 | |
-Never late for work! -No, right. | 0:08:20 | 0:08:23 | |
No, it's a very funny, interesting kind of important movie. | 0:08:23 | 0:08:29 | |
So, in broad strokes, what is the story of Grandma? | 0:08:29 | 0:08:33 | |
Well, the story is, Grandma is a lesbian poet. | 0:08:33 | 0:08:36 | |
Feminist lesbian poet, who's been... | 0:08:36 | 0:08:39 | |
This is not a film that will become a blockbuster, right, in your terms? | 0:08:39 | 0:08:42 | |
I'm not talking to you. | 0:08:42 | 0:08:44 | |
LAUGHTER | 0:08:44 | 0:08:47 | |
-OK. -And there's a lot of stuff that's gone on. | 0:08:47 | 0:08:52 | |
She's been in a relationship for 38 years | 0:08:52 | 0:08:54 | |
and her partner has died like a year or so before, a couple of years, | 0:08:54 | 0:08:59 | |
and her granddaughter shows up on her doorstep and has become pregnant | 0:08:59 | 0:09:03 | |
and needs an abortion and so then the story is kind of a road trip. | 0:09:03 | 0:09:07 | |
I mean, the grandmother's kind of very cantankerous and ornery | 0:09:07 | 0:09:11 | |
and rails against injustice and... | 0:09:11 | 0:09:15 | |
All that stuff. | 0:09:15 | 0:09:16 | |
I think the idea of having a funny, sweet abortion road movie is | 0:09:18 | 0:09:21 | |
so unlikely. And yes, it is. It's a new genre. | 0:09:21 | 0:09:26 | |
It's kind of a new genre. | 0:09:26 | 0:09:28 | |
It is. Never to be repeated. | 0:09:28 | 0:09:31 | |
I love the film. It's very wonderful. | 0:09:31 | 0:09:34 | |
It really is. You are terrific in it. | 0:09:34 | 0:09:36 | |
This is a little clip and this is the start of the road trip | 0:09:36 | 0:09:39 | |
when there's a problem with the car. | 0:09:39 | 0:09:42 | |
Oh, God, I didn't wake you up again, did I? | 0:09:42 | 0:09:46 | |
-No. -Oh, good. So glad. | 0:09:46 | 0:09:48 | |
-She's already pregnant. -Grandma! -Just saying. | 0:09:52 | 0:09:54 | |
I see the hormones popping. | 0:09:54 | 0:09:57 | |
No ideas. We're good! Here, give it a try. | 0:09:57 | 0:09:59 | |
Oh, it's working. | 0:10:01 | 0:10:02 | |
RAP MUSIC | 0:10:02 | 0:10:05 | |
Nice tunes! | 0:10:05 | 0:10:06 | |
-Listen, thanks. -Any time. | 0:10:06 | 0:10:08 | |
-Take it to the shop and get it checked out. -It runs good. | 0:10:08 | 0:10:11 | |
Hey, congratulations. | 0:10:11 | 0:10:13 | |
AUDIENCE APPLAUDS | 0:10:14 | 0:10:17 | |
Isn't that good! | 0:10:17 | 0:10:19 | |
Now, I don't want to jinx it, it's a terrible thing, you must hate this, | 0:10:21 | 0:10:25 | |
-but with Grandma... -Yes? | 0:10:25 | 0:10:27 | |
..there is that terrible phrase, "Oscar buzz" about it, | 0:10:27 | 0:10:31 | |
which you must be aware of. | 0:10:31 | 0:10:33 | |
-Yes, I am. -Yeah. -I mean, I've certainly been exposed to it. | 0:10:33 | 0:10:36 | |
Yes. So how do you manage your expectations? | 0:10:36 | 0:10:40 | |
Well, I don't have any expectations, truly. | 0:10:40 | 0:10:43 | |
What I would like to do, if I did get nominated and I did win, | 0:10:43 | 0:10:49 | |
assuming I'll be there, I would like to have, you know, a... | 0:10:49 | 0:10:54 | |
-I would be very humble, of course. -Of course. | 0:10:54 | 0:10:56 | |
And I'd have a box built with... You know, they'd wheel the box out | 0:10:56 | 0:11:01 | |
and I would open it up and there'd be everything else in there. | 0:11:01 | 0:11:05 | |
Emmys and Tonys and... | 0:11:05 | 0:11:07 | |
AUDIENCE LAUGHS | 0:11:07 | 0:11:09 | |
-And what's the other thing that's in there? -Grammys? | 0:11:09 | 0:11:12 | |
A Grammy. Only one Grammy. | 0:11:12 | 0:11:14 | |
And so then I would open it | 0:11:14 | 0:11:15 | |
and there would be a niche prepared in there. | 0:11:15 | 0:11:18 | |
And I could take the Oscar and put it in there. | 0:11:18 | 0:11:21 | |
But I don't think it's going to happen. | 0:11:23 | 0:11:25 | |
AUDIENCE APPLAUDS | 0:11:25 | 0:11:28 | |
And Jane, your partner, you've written together for years? | 0:11:28 | 0:11:31 | |
Well, Jane is really the writer. I'm not much of a writer. | 0:11:31 | 0:11:35 | |
Is she a bit miffed that you've now wandered off | 0:11:35 | 0:11:37 | |
-and made a film with somebody else? -No, she's quite pleased... | 0:11:37 | 0:11:40 | |
She's quite pleased because it's pretty successful. | 0:11:40 | 0:11:43 | |
But working with people you're close to... Like, Chris, you and Liam, | 0:11:43 | 0:11:46 | |
are you finally going to be in a film together? | 0:11:46 | 0:11:48 | |
-Your brother, Liam, obviously. -Er... I don't know, we're looking. | 0:11:48 | 0:11:51 | |
-It'd be nice if the right thing came along, sure. -Oh, I'd read that | 0:11:51 | 0:11:54 | |
you'd found something. You haven't found something? | 0:11:54 | 0:11:57 | |
-HESITANTLY: -No... No! What! What have we found?! | 0:11:57 | 0:12:00 | |
Ron? | 0:12:00 | 0:12:02 | |
It's an abortion road movie... | 0:12:03 | 0:12:05 | |
Two brothers... | 0:12:07 | 0:12:09 | |
Who's the father? | 0:12:09 | 0:12:11 | |
-Now, was he also up for Thor? -He was, yeah. | 0:12:13 | 0:12:17 | |
I auditioned and then didn't get the part and then they auditioned him | 0:12:17 | 0:12:21 | |
and he basically got down to the last, like, four people | 0:12:21 | 0:12:24 | |
and then didn't get it and then I came back in and... | 0:12:24 | 0:12:27 | |
And how was that at home? Cool? | 0:12:27 | 0:12:29 | |
That's like real sibling rivalry! That's like, yeah... | 0:12:32 | 0:12:36 | |
Was it all right? It must have been a bit weird. A bit awks. | 0:12:36 | 0:12:39 | |
We still don't talk that much. | 0:12:39 | 0:12:41 | |
But we never did! No, it was fine. | 0:12:42 | 0:12:43 | |
I don't know whether he's bitter or not, | 0:12:43 | 0:12:46 | |
but he did post this picture of his... This is real! | 0:12:46 | 0:12:48 | |
This is his dog with a chew toy which looks familiar. | 0:12:48 | 0:12:51 | |
-One of the arms is chewed off, look at that! -Yeah. | 0:12:55 | 0:12:58 | |
-That hammer was delicious! -It was. | 0:12:58 | 0:13:00 | |
Cos, Ron Howard, you work with your family, like, all the time. | 0:13:01 | 0:13:06 | |
Whenever I can. My brother Clint's an actor. My father Rance | 0:13:06 | 0:13:10 | |
is still acting in his eighties and working all the time. | 0:13:10 | 0:13:13 | |
I love to work with them. | 0:13:13 | 0:13:15 | |
Your mom sadly is no longer with us, but she did get a part in... | 0:13:15 | 0:13:19 | |
Was it Apollo 13? | 0:13:19 | 0:13:21 | |
Apollo 13, she had a really nice role, which almost didn't happen | 0:13:21 | 0:13:25 | |
because I got this call from my dad and he said, | 0:13:25 | 0:13:30 | |
"You know, I just read the rewrite on Apollo 13." | 0:13:30 | 0:13:32 | |
And I said, "Yeah?" And he said, "There's a new part in there." | 0:13:32 | 0:13:35 | |
I said, "Yes, there is. Jim Lovell's mother." I said, "Yeah, | 0:13:35 | 0:13:38 | |
"she's got a nice scene." I said, "Yeah." | 0:13:38 | 0:13:40 | |
"Do you know who would be really good for that?" | 0:13:40 | 0:13:42 | |
"Who do you think, Dad?" "Your mom." | 0:13:42 | 0:13:44 | |
And I... "Boy, I don't know. I'd have to audition her." | 0:13:44 | 0:13:48 | |
And he said, "Well, fine." And so... | 0:13:50 | 0:13:54 | |
And my mom was all for that. And she said, "I don't want to do it | 0:13:54 | 0:13:57 | |
"if Ronny doesn't think I can do it." | 0:13:57 | 0:14:00 | |
So I went over to their house and we worked through the scene | 0:14:00 | 0:14:02 | |
and she was great and we did it in a couple of takes. | 0:14:02 | 0:14:05 | |
And she was... I'd never been prouder. | 0:14:05 | 0:14:08 | |
She even got written up in the New York Times review. | 0:14:08 | 0:14:10 | |
And it wound up being a great moment. | 0:14:10 | 0:14:12 | |
She played Jim Lovell's mother. | 0:14:12 | 0:14:14 | |
It would have been worse if you HADN'T given her the part | 0:14:14 | 0:14:16 | |
after the audition. "Yeah, this isn't going to work out." | 0:14:16 | 0:14:19 | |
I'll tell you what's really bad. | 0:14:19 | 0:14:20 | |
My dad's an actor, I cast him whenever it's appropriate, you know. | 0:14:20 | 0:14:23 | |
And here's the call I've had to make to him. | 0:14:23 | 0:14:25 | |
"Hey, Dad, you know, you did great, | 0:14:25 | 0:14:27 | |
"er, but, you know, the movie was a little long..." | 0:14:27 | 0:14:31 | |
AUDIENCE LAUGHS | 0:14:31 | 0:14:34 | |
And next would be... "Am I in it at all?" | 0:14:34 | 0:14:37 | |
"Maybe in the extended DVD cut." | 0:14:39 | 0:14:41 | |
So that's a tough call. | 0:14:43 | 0:14:44 | |
But he's an old warhorse, he understands. | 0:14:44 | 0:14:47 | |
And, Kevin, your dad, cos you started so young, | 0:14:47 | 0:14:49 | |
your dad was really kind of important in your career? | 0:14:49 | 0:14:51 | |
My dad used to drive me to the gigs | 0:14:51 | 0:14:53 | |
cos I was too young to perform in the clubs. | 0:14:53 | 0:14:56 | |
So they'd make... As long as I brought along a parent, | 0:14:56 | 0:14:59 | |
which was pretty uncool... | 0:14:59 | 0:15:01 | |
Having to bring a note in saying you're all right to go on stage | 0:15:01 | 0:15:04 | |
in these comedy clubs. And he used to drive me, aye, | 0:15:04 | 0:15:06 | |
everywhere, all over Scotland. | 0:15:06 | 0:15:08 | |
But you've rewarded them handsomely. You gave your parents a lovely trip - | 0:15:08 | 0:15:11 | |
was it the Orient Express you sent them on? | 0:15:11 | 0:15:13 | |
Aye, my dad's always had a thing for trains. He's always wanted to go on | 0:15:13 | 0:15:16 | |
the Orient Express. So for their anniversary a couple of years ago, | 0:15:16 | 0:15:19 | |
I got them the trip. And my dad is the only guy | 0:15:19 | 0:15:22 | |
who's ever missed the train. | 0:15:22 | 0:15:24 | |
He got off at Innsbruck Station to send me a text. | 0:15:28 | 0:15:30 | |
And he's used to, like, talking to me on the phone | 0:15:30 | 0:15:32 | |
when I've been on trains and going, | 0:15:32 | 0:15:34 | |
"Dad, I'm on the train, the signal's pretty bad." | 0:15:34 | 0:15:36 | |
So he presumes that you cannot send a text from a train. | 0:15:36 | 0:15:39 | |
What I mean is, I'm driving through, like, cross-country. | 0:15:41 | 0:15:43 | |
So he gets off before the train's due to depart and starts sending me | 0:15:43 | 0:15:47 | |
this big, long text, just going, "Son, we've been wined and dined, | 0:15:47 | 0:15:51 | |
"I'm gazing at the Tyrolean Mountains." | 0:15:51 | 0:15:53 | |
And he's done the spell-check on Tyrolean. | 0:15:53 | 0:15:55 | |
And I'm reading this text and I'm kind of filling up, just going, | 0:15:55 | 0:15:58 | |
"Aw, he's really had a good time." And it just goes, "Shite." | 0:15:58 | 0:16:01 | |
AUDIENCE LAUGHS | 0:16:01 | 0:16:04 | |
And it's went, "The train has just left, can you call me?" | 0:16:04 | 0:16:08 | |
I'm thinking it's a wind-up, so I've ignored it. | 0:16:08 | 0:16:10 | |
And then another text comes in going, "Call me, son." | 0:16:10 | 0:16:13 | |
So I phoned him, it does the international ringtone. | 0:16:13 | 0:16:16 | |
And he's going, "Oh, I just got off to send that text. | 0:16:16 | 0:16:19 | |
"Your mum's on there, she's got the passports... | 0:16:19 | 0:16:22 | |
"I'm in Innsbruck Station." | 0:16:22 | 0:16:23 | |
I was going, "You need to go to Information | 0:16:23 | 0:16:25 | |
"and try and explain to someone." | 0:16:25 | 0:16:27 | |
And he goes, "But they don't know what I'm saying. | 0:16:27 | 0:16:29 | |
"I don't speak any German." And I went, "Or English!" | 0:16:29 | 0:16:32 | |
So they just think it's just an excited Scottish guy | 0:16:34 | 0:16:37 | |
that's seen the Orient Express. | 0:16:37 | 0:16:39 | |
And eventually he's explained what's happened. And they got him a taxi | 0:16:39 | 0:16:44 | |
and he had to... They contacted somebody on the train to pull in | 0:16:44 | 0:16:47 | |
at this kind of regional stop. | 0:16:47 | 0:16:49 | |
And my dad, it was a high-speed sort of chase. | 0:16:49 | 0:16:52 | |
He managed to catch the train and he got on | 0:16:52 | 0:16:54 | |
and he got a standing ovation. | 0:16:54 | 0:16:56 | |
Aw, that's cute! | 0:16:56 | 0:16:58 | |
Now, Chris and Ron, your movie, I was saying to you back there, | 0:17:03 | 0:17:06 | |
it is such an epic tale, a real beast of a film. | 0:17:06 | 0:17:10 | |
In the Heart of the Sea, it opens here on Boxing Day. | 0:17:10 | 0:17:13 | |
The day after Christmas, that's what that is. | 0:17:13 | 0:17:16 | |
And obviously, it's a Ron Howard film. | 0:17:16 | 0:17:17 | |
But this was your baby, Chris, you had this script. | 0:17:17 | 0:17:20 | |
So how did this happen? | 0:17:20 | 0:17:21 | |
We had just done Rush and I had In the Heart of the Sea with... | 0:17:21 | 0:17:26 | |
Paula Weinstein brought it to myself and my manager, Will Ward. | 0:17:26 | 0:17:29 | |
And we basically were looking for a director. | 0:17:29 | 0:17:32 | |
And I think we were in the ADR booth and you said, | 0:17:32 | 0:17:35 | |
"If you have anything else you want to do, let me know." | 0:17:35 | 0:17:38 | |
And I said, "Actually, yes, I do." | 0:17:38 | 0:17:40 | |
Handed him the script and said, "Yeah, if you're not sick of me, | 0:17:40 | 0:17:43 | |
"let's go again." And we did. | 0:17:43 | 0:17:45 | |
But I was saying... I don't have a great work ethic, | 0:17:45 | 0:17:47 | |
I think I would have read this script and thought, "It's very good, | 0:17:47 | 0:17:50 | |
"but it sounds really hard to make. | 0:17:50 | 0:17:51 | |
"I really cannot be arsed." | 0:17:53 | 0:17:55 | |
-I actually... -AUDIENCE LAUGHS | 0:17:55 | 0:17:58 | |
You know, there is an ambitious streak that I have | 0:17:58 | 0:18:02 | |
and that I follow. Look, this was kind of a life experience, | 0:18:02 | 0:18:08 | |
making this kind of movie. It's a sort of personal adventure. | 0:18:08 | 0:18:12 | |
I'm not a very naturally adventurous person, | 0:18:12 | 0:18:14 | |
but the movies take me into these places. | 0:18:14 | 0:18:17 | |
I learn a lot that I wouldn't otherwise. | 0:18:17 | 0:18:20 | |
And I actually, when I first read it, I sort of thought, | 0:18:20 | 0:18:23 | |
"Well, they're just trying to find a way to kind of re-boot Moby-Dick." | 0:18:23 | 0:18:27 | |
And it is very hard and very challenging. And I didn't realise | 0:18:27 | 0:18:30 | |
it was based on real events. | 0:18:30 | 0:18:31 | |
So when I did and I started thinking about it and I said, | 0:18:31 | 0:18:35 | |
"Well, it's not a monster movie." | 0:18:35 | 0:18:36 | |
This whale is not like the shark in Jaws. It's not a predator. | 0:18:36 | 0:18:41 | |
This is more like King Kong. This is like a force of nature awakened | 0:18:41 | 0:18:45 | |
by man, man's greed. | 0:18:45 | 0:18:48 | |
And I felt like there were a lot of themes that were contemporary | 0:18:48 | 0:18:51 | |
and very relatable, surprisingly relatable. And yet, also, | 0:18:51 | 0:18:55 | |
the big epic adventure story. | 0:18:55 | 0:18:58 | |
Well, listen, the clip really captures the scale of the film. | 0:18:58 | 0:19:02 | |
This is Chris Hemsworth taking on the whale. | 0:19:02 | 0:19:05 | |
Never seen a whale do that. | 0:19:12 | 0:19:14 | |
Take the wheel. | 0:19:14 | 0:19:16 | |
-Secure the other end of the line to the foremast. -Aye, sir! | 0:19:16 | 0:19:19 | |
As I live and breathe, he's mine. | 0:19:19 | 0:19:22 | |
HE GRUNTS WITH EFFORT | 0:19:42 | 0:19:44 | |
MEN SCREAM | 0:19:49 | 0:19:50 | |
-Cut the line! -Look out! | 0:20:04 | 0:20:06 | |
AUDIENCE APPLAUDS | 0:20:10 | 0:20:13 | |
I feel like I've seen the whole film. Other stuff happens as well! | 0:20:16 | 0:20:19 | |
That would be enough. | 0:20:19 | 0:20:21 | |
You'd go home, "Thank you very much, that was very good." | 0:20:21 | 0:20:24 | |
-That's just a turning point. -Extraordinary, extraordinary. | 0:20:24 | 0:20:27 | |
-Was that a real whale? -No, no. CGI whale. | 0:20:27 | 0:20:30 | |
No whales were injured or pestered in the making of the movie. | 0:20:30 | 0:20:34 | |
So that was a model that was made? | 0:20:34 | 0:20:37 | |
It was a complete CGI whale. You know, technology was such a factor | 0:20:37 | 0:20:41 | |
in this movie. A lot of things we shot in the way that movies | 0:20:41 | 0:20:44 | |
have been made for 100 years. But I wouldn't have tackled this movie | 0:20:44 | 0:20:48 | |
if you had to use a giant puppet or something like that, | 0:20:48 | 0:20:51 | |
where the audience has to kind of suspend their disbelief. | 0:20:51 | 0:20:54 | |
-Yeah. -After seeing Life of Pi, I realised that this technology | 0:20:54 | 0:20:58 | |
was there and that we could make a movie that was totally immersive, | 0:20:58 | 0:21:02 | |
and let this character have its due. | 0:21:02 | 0:21:04 | |
Let it be a living, breathing force. | 0:21:04 | 0:21:06 | |
And for Chris, it must be odd, you hear about all the CGI. | 0:21:06 | 0:21:08 | |
You're thinking, "CGI, my arse, I did all this!" | 0:21:08 | 0:21:11 | |
You really had to do it. | 0:21:11 | 0:21:12 | |
You had to jump and fall and swim... | 0:21:12 | 0:21:15 | |
Yeah, it was one of the, I think, | 0:21:15 | 0:21:17 | |
the most physically challenging things I've ever done. | 0:21:17 | 0:21:20 | |
We had to do, as you say, all kinds of action and so on. | 0:21:20 | 0:21:24 | |
And navigating the ship and learning to row the whale boats and so on | 0:21:24 | 0:21:29 | |
and throw harpoons. Then there was the weight loss sort of thing | 0:21:29 | 0:21:33 | |
-we were all going through. -Oh, yeah, this picture's been everywhere, | 0:21:33 | 0:21:36 | |
this of you. | 0:21:36 | 0:21:38 | |
Eurgh! | 0:21:38 | 0:21:40 | |
Who's that?! | 0:21:41 | 0:21:43 | |
-That's Liam. -AUDIENCE LAUGHS | 0:21:43 | 0:21:45 | |
He likes to drink! | 0:21:48 | 0:21:51 | |
But to get down to that weight, so what are you... | 0:21:51 | 0:21:53 | |
You know, I read somewhere that it was 500 calories or something. | 0:21:53 | 0:21:56 | |
Well, we started one diet and slowly each week dwindled down | 0:21:56 | 0:22:01 | |
-to about 500, 600 calories. -And what is that? Like, physically, | 0:22:01 | 0:22:05 | |
-what are you eating that is 500 calories a day? -Like, a piece of fish | 0:22:05 | 0:22:09 | |
and some lettuce. Or if you have, like... It's funny, you do all these | 0:22:09 | 0:22:12 | |
sort of trade-offs. Like, "If I have this piece of chocolate, | 0:22:12 | 0:22:15 | |
"then I won't be able to have the fish, but then I can have this..." | 0:22:15 | 0:22:18 | |
And it's all this crazy kind of insanity which happened. | 0:22:18 | 0:22:20 | |
And, of course, Kevin, you can relate to this film | 0:22:20 | 0:22:22 | |
because you actually own a boat, don't you? | 0:22:22 | 0:22:25 | |
AUDIENCE LAUGHS | 0:22:25 | 0:22:27 | |
-You own a boat! -Yes. I thought you were going to say because | 0:22:27 | 0:22:30 | |
I've seen Free Willy! | 0:22:30 | 0:22:32 | |
I do have a boat. I'm fully aware of the dangers of the sea, man. | 0:22:33 | 0:22:36 | |
I had to make a distress call this summer... | 0:22:36 | 0:22:39 | |
in Loch Lomond cos we got a... | 0:22:39 | 0:22:41 | |
AUDIENCE LAUGHS | 0:22:41 | 0:22:43 | |
We got a bag of cans wrapped round the propeller on the boat. | 0:22:43 | 0:22:47 | |
We were having a few beers. It was a maiden voyage. | 0:22:48 | 0:22:51 | |
And my mate complained that his beers were room temperature, | 0:22:51 | 0:22:56 | |
which is potentially fatal on a boating trip. | 0:22:56 | 0:22:59 | |
And my other buddy suggested that we tie the bag of beers | 0:22:59 | 0:23:04 | |
onto one of the ropes and throw it off the boat, into the water. | 0:23:04 | 0:23:07 | |
Great idea. | 0:23:07 | 0:23:08 | |
And then we forgot about the beers. | 0:23:08 | 0:23:10 | |
We were driving off and the engine failed. We never knew why. | 0:23:10 | 0:23:13 | |
Had to phone up the SOS dude. | 0:23:13 | 0:23:15 | |
He came out. He dives under, comes back up, going, | 0:23:15 | 0:23:19 | |
"There's a box of Magners in an Oddbins bag wrapped round..." | 0:23:19 | 0:23:23 | |
LAUGHTER AND APPLAUSE DROWNS SPEECH | 0:23:23 | 0:23:26 | |
Kevin Bridges, ladies and gentlemen, he has a DVD out now. | 0:23:29 | 0:23:32 | |
-It's out now. -Yes. -It's called A Whole Different Story. | 0:23:32 | 0:23:35 | |
-There it is. -Is this the tour that you're just finishing? | 0:23:35 | 0:23:38 | |
-Yes, just finishing up. -So there's 11 more dates. -11 more dates to go. | 0:23:38 | 0:23:42 | |
So don't buy it before you go to see one of those 11 dates. | 0:23:42 | 0:23:45 | |
You're not supposed to say that, Graham! | 0:23:45 | 0:23:47 | |
But, aye, don't buy it before you go. | 0:23:47 | 0:23:50 | |
That's why I had to lose weight, to fit into the I! | 0:23:50 | 0:23:53 | |
You'd have been Kev-on! | 0:23:55 | 0:23:57 | |
AUDIENCE APPLAUDS | 0:24:00 | 0:24:03 | |
-It was recorded in Glasgow two months ago. -Oh, right. | 0:24:03 | 0:24:06 | |
-And it's very much the story of how your life has changed... -Yes. | 0:24:06 | 0:24:09 | |
..with success. Because you live in quite a ritzy area now. | 0:24:09 | 0:24:14 | |
Yes. Well, yes. | 0:24:14 | 0:24:16 | |
-Not quite LA or anything. -No. | 0:24:16 | 0:24:18 | |
I live in Glasgow, but I live in a nicer bit of Glasgow! | 0:24:18 | 0:24:23 | |
Listen, we've got a very quick clip. | 0:24:23 | 0:24:25 | |
This is you talking about some of the people you meet | 0:24:25 | 0:24:27 | |
in your new neighbourhood. | 0:24:27 | 0:24:29 | |
They call me Mr Bridges, the kids in my street. | 0:24:29 | 0:24:32 | |
I don't feel intimidated physically. | 0:24:32 | 0:24:34 | |
I feel intellectually intimidated by the gangs of youths in my street. | 0:24:34 | 0:24:39 | |
-POSH ACCENT: -"Mr Bridges... | 0:24:39 | 0:24:41 | |
"Mr Bridges, how are we? How are we, Mr Bridges? | 0:24:41 | 0:24:44 | |
"The family and I sat down to one of your performances on the television | 0:24:44 | 0:24:47 | |
"over the festive period, Mr Bridges. | 0:24:47 | 0:24:50 | |
"A tad coarse in places. | 0:24:50 | 0:24:52 | |
"However, I would be lying if I said | 0:24:55 | 0:24:57 | |
"I didn't allow myself a chuckle, Mr Bridges." | 0:24:57 | 0:25:00 | |
AUDIENCE APPLAUDS | 0:25:00 | 0:25:03 | |
I never knew you were going to show a clip, | 0:25:06 | 0:25:08 | |
or I'd have worn a different suit, man! | 0:25:08 | 0:25:10 | |
Now, a lot of people have tough gigs, | 0:25:13 | 0:25:15 | |
lots of stand-up comics talk about tough gigs, | 0:25:15 | 0:25:17 | |
but you've played prisons, haven't you? Or, at least, a prison. | 0:25:17 | 0:25:20 | |
Yes. At the start, very tough. These days, you're playing to, like, | 0:25:20 | 0:25:23 | |
what's that, 10,000 people. So somebody's going to laugh. | 0:25:23 | 0:25:27 | |
But at the start... A prison, that's right, I had a guy who stood up. | 0:25:28 | 0:25:32 | |
It was a gig for inmates in this prison in Scotland | 0:25:32 | 0:25:35 | |
and a guy stood up about ten minutes into the show | 0:25:35 | 0:25:38 | |
and just went back to his cell. | 0:25:38 | 0:25:39 | |
So that's like... | 0:25:39 | 0:25:41 | |
AUDIENCE LAUGHS AND APPLAUDS | 0:25:41 | 0:25:44 | |
"Oh, this guy's shite, I'm away to finish my life sentence!" | 0:25:49 | 0:25:52 | |
That's right, a gig in a prison. | 0:25:55 | 0:25:57 | |
Because, Lily Tomlin, you've also done a gig in a prison. | 0:25:57 | 0:26:00 | |
-I have, many times. -It's the place to be, Graham. | 0:26:00 | 0:26:02 | |
-You should host a chat show in a prison. -No! | 0:26:02 | 0:26:05 | |
No, cos you had a scary time in prison. | 0:26:05 | 0:26:08 | |
Well, they could be construed as scary. I mean, what happened is, | 0:26:08 | 0:26:13 | |
one time, I was playing at a women's prison in California. | 0:26:13 | 0:26:19 | |
They wore regular clothing, so you didn't know who was an inmate | 0:26:19 | 0:26:22 | |
or who wasn't, you know? | 0:26:22 | 0:26:25 | |
And Jane was with me, my partner, | 0:26:25 | 0:26:27 | |
and she's very chatty and gets to talking to everybody and she was | 0:26:27 | 0:26:31 | |
having a long conversation with a woman who'd killed her boyfriend | 0:26:31 | 0:26:35 | |
over a peanut butter sandwich. | 0:26:35 | 0:26:36 | |
She found that out towards the end of the conversation. | 0:26:38 | 0:26:40 | |
And I had to play for the newcomers who had been in, like, 15 days | 0:26:40 | 0:26:45 | |
or less and they're just, like, civilians. | 0:26:45 | 0:26:47 | |
And then you play for the hard-timers at the end of the night, | 0:26:47 | 0:26:51 | |
that's brutal. And then you play for the psychiatric | 0:26:51 | 0:26:54 | |
in the middle of the day, like, in a sunroom. | 0:26:54 | 0:26:57 | |
I'd stand on the table almost, you know, | 0:26:57 | 0:27:00 | |
because there was no stage or anything. | 0:27:00 | 0:27:02 | |
And there was a woman sitting there, she was smoking and then, all of | 0:27:02 | 0:27:06 | |
a sudden, she'd be watching me and listening to me and she'd go... | 0:27:06 | 0:27:10 | |
SHE BLOWS A RASPBERRY | 0:27:10 | 0:27:13 | |
And she'd get up and run. There were two doors. It was like a farce. | 0:27:13 | 0:27:16 | |
She'd run out that door and next, she'd come back in this door | 0:27:16 | 0:27:19 | |
and sit on that side of the house | 0:27:19 | 0:27:21 | |
and do the same thing in a few minutes. | 0:27:21 | 0:27:22 | |
So anyway, that was mild compared to the hard-timers. | 0:27:22 | 0:27:26 | |
But there was a young girl with a pleated skirt and brown hair, long, | 0:27:26 | 0:27:29 | |
heavy, rich, you know, rich girl's hair, like I feel that people have. | 0:27:29 | 0:27:36 | |
And she says, "Lily, I'm going to review you for the prison paper." | 0:27:36 | 0:27:43 | |
And I said, "Oh, my gosh. Well, OK." | 0:27:46 | 0:27:50 | |
And she says, "Don't worry, I'll be kind." | 0:27:50 | 0:27:53 | |
And she turned out to be one of the Manson women. | 0:27:53 | 0:27:55 | |
EVERYONE GASPS That's extraordinary. | 0:27:55 | 0:27:58 | |
And I have her review still in my files. | 0:27:58 | 0:28:00 | |
-Oh, and was it kind? -No. | 0:28:00 | 0:28:02 | |
Not in my book. | 0:28:04 | 0:28:06 | |
-Not kind enough! -No, not kind enough. | 0:28:06 | 0:28:08 | |
Why were you in prison, Chris Hemsworth? | 0:28:08 | 0:28:12 | |
Isn't that the question that you start the show with? | 0:28:12 | 0:28:16 | |
No, it was research. I did a movie about a guy... | 0:28:16 | 0:28:19 | |
It was research. | 0:28:19 | 0:28:21 | |
"I'm in for research!" | 0:28:21 | 0:28:24 | |
-Armed research! -Armed research, robbery, yeah. | 0:28:24 | 0:28:27 | |
-Do you have a story to tell? -No, you go on. -Because I'm so taken... | 0:28:27 | 0:28:31 | |
I'm trying to listen to Kevin. | 0:28:31 | 0:28:33 | |
A couple of stories back, it was the story about... | 0:28:35 | 0:28:38 | |
I don't even know what the story was about. | 0:28:38 | 0:28:41 | |
You were saying, you kept saying, "Beels, beels." | 0:28:41 | 0:28:44 | |
-What is that? -Beels? Bills? | 0:28:44 | 0:28:48 | |
-Beers! -Beers?! | 0:28:48 | 0:28:50 | |
Beers. Beers. Beers. All right, so that was about beers? OK. | 0:28:52 | 0:28:55 | |
That's a "beel". | 0:28:55 | 0:28:57 | |
-Beer. -And then just now when you were talking about | 0:28:58 | 0:29:01 | |
playing a prison, you said... | 0:29:01 | 0:29:04 | |
-I can't imitate it. -Go for it. -No, I can't. I'm going to try, | 0:29:04 | 0:29:07 | |
but it's going to be terrible. | 0:29:07 | 0:29:09 | |
You can go for it, Chris, and you can try your...Celtic. | 0:29:09 | 0:29:12 | |
Listen. | 0:29:14 | 0:29:15 | |
-BAD SCOTTISH ACCENT: -"This gay... This gay stands..." | 0:29:15 | 0:29:18 | |
And I'm thinking, "Well, he must be saying a gay person stood up." | 0:29:18 | 0:29:20 | |
-Oh, no, no. It wasn't that... -I finally got that it was a guy. | 0:29:20 | 0:29:23 | |
A guy. Yes. One vowel away. | 0:29:23 | 0:29:25 | |
Maybe he was prison gay. | 0:29:27 | 0:29:30 | |
It's actually quite a good gig in the prison. I had quite a good show, | 0:29:30 | 0:29:33 | |
cos I just did a routine about... | 0:29:33 | 0:29:35 | |
You're looking at me the way the dog looks at me! | 0:29:37 | 0:29:40 | |
-Sorry! -"Is he saying out? Is he saying treat?" | 0:29:40 | 0:29:44 | |
I done this joke about how, attempted murder, | 0:29:47 | 0:29:49 | |
you get a lesser sentence than you get for murder, | 0:29:49 | 0:29:52 | |
but you still tried it. | 0:29:52 | 0:29:55 | |
Just because you weren't very good at it... | 0:29:55 | 0:29:58 | |
In my opinion, you should get double the sentence | 0:29:58 | 0:30:01 | |
for making an arse of it, right? | 0:30:01 | 0:30:02 | |
So I done this joke and there's these murderers pointing over | 0:30:02 | 0:30:05 | |
at attempted murderers going, "Ah, that's you, mate, that's you!" | 0:30:05 | 0:30:08 | |
AUDIENCE LAUGHS | 0:30:08 | 0:30:10 | |
It was strange. | 0:30:10 | 0:30:12 | |
So what did I just say there, Chris? If you just want to... | 0:30:12 | 0:30:14 | |
-Murderers. -Murders. Did you get that? -Murders. | 0:30:17 | 0:30:20 | |
No, I didn't get that. | 0:30:20 | 0:30:21 | |
You said murders? It was like mudders? | 0:30:23 | 0:30:26 | |
-Murrrder. -Murrrder. -M-U-R. | 0:30:26 | 0:30:28 | |
-Mur-der. -D-U-R. -Oh, my gosh. | 0:30:28 | 0:30:30 | |
SHOUTING: Why were you in prison, Chris? | 0:30:30 | 0:30:33 | |
AUDIENCE LAUGHS | 0:30:33 | 0:30:35 | |
-SCOTTISH ACCENT: -Murder. | 0:30:35 | 0:30:37 | |
AUDIENCE APPLAUDS | 0:30:37 | 0:30:38 | |
Murders. | 0:30:38 | 0:30:40 | |
Why did I go to prison? I was researching a film and we had to | 0:30:40 | 0:30:44 | |
go in and basically see what the inside of a prison looked like | 0:30:44 | 0:30:48 | |
and speak with prisoners who were willing to talk to us. | 0:30:48 | 0:30:52 | |
And I walked in and I remember thinking... | 0:30:52 | 0:30:55 | |
I had my ponytail, long, blonde hair and I had a hat on. | 0:30:55 | 0:30:58 | |
-LILY LAUGHS ALONE -And the wardens... | 0:30:58 | 0:31:01 | |
EVERYONE LAUGHS | 0:31:01 | 0:31:03 | |
I think Lily knows where this is going! | 0:31:03 | 0:31:07 | |
So I spent the night...! | 0:31:07 | 0:31:08 | |
And the warden said, "You can't wear a hat" and so on, | 0:31:08 | 0:31:11 | |
and I said, "OK, no worries." I thought, "Oh, shit, | 0:31:11 | 0:31:13 | |
"they're going to know who I am." But I thought, "No, they don't get | 0:31:13 | 0:31:16 | |
"Thor in here, they're not going to watch movies and..." | 0:31:16 | 0:31:19 | |
I don't know, I'd never been to prison. | 0:31:19 | 0:31:20 | |
So I assumed that and the moment I started walking through the cells, | 0:31:20 | 0:31:24 | |
and it's like H Block of this thing, it's all just kind of, you know, | 0:31:24 | 0:31:28 | |
cell upon cell and so on and... | 0:31:28 | 0:31:31 | |
I just start getting heckled. | 0:31:31 | 0:31:33 | |
And it's like, "Yo, yo, Thor is here, man! Yo, Thor! | 0:31:33 | 0:31:35 | |
"Yo, Thor's here! Thor, Thor! | 0:31:35 | 0:31:37 | |
"Where's your hammer, man?" | 0:31:37 | 0:31:40 | |
And I'm, like, trying to blend in and research | 0:31:40 | 0:31:43 | |
and just getting heckled left and right. | 0:31:43 | 0:31:45 | |
"Yo, come and spend some time in my cell, baby!" | 0:31:45 | 0:31:48 | |
-I've got my long hair and... -"You'll do!" | 0:31:51 | 0:31:54 | |
Anyway, so that wasn't a whole lot of research, more just kind of... | 0:31:56 | 0:32:01 | |
-You survived it! -Yeah, yeah. | 0:32:01 | 0:32:02 | |
Listen, very, very quickly, we're running out of time. | 0:32:02 | 0:32:05 | |
Ron, we must...we MUST mention where we found you first. | 0:32:05 | 0:32:08 | |
-Happy Days. -Ah. | 0:32:08 | 0:32:10 | |
AUDIENCE CHEERS | 0:32:10 | 0:32:12 | |
You weren't in it for the whole time. It ran for years, but you... | 0:32:15 | 0:32:19 | |
Well, I stayed with it through my contract, | 0:32:19 | 0:32:21 | |
but by then I knew I wanted to be a director. | 0:32:21 | 0:32:23 | |
So I left to pursue that full time at the end of my contract, | 0:32:23 | 0:32:27 | |
which was 7.5 seasons. Oh, God! | 0:32:27 | 0:32:29 | |
-But it ran for, what, nine years? -It went on for another four after that. | 0:32:31 | 0:32:35 | |
Wow. And what's odd now is that one of the things | 0:32:35 | 0:32:37 | |
that it's really remembered for is coming up with that phrase, | 0:32:37 | 0:32:40 | |
-"jumping the shark." -Yes. -So, if people don't know, | 0:32:40 | 0:32:43 | |
can you explain the jumping the shark episode? | 0:32:43 | 0:32:46 | |
Well, the show had gone and become really a number one hit, | 0:32:46 | 0:32:52 | |
very successful. | 0:32:52 | 0:32:54 | |
And along with it, there's sort of a culture around it | 0:32:54 | 0:32:58 | |
and sort of the mythology of the Fonzie character that started off | 0:32:58 | 0:33:03 | |
as a kind of normal guy and he kept getting more and more powerful. | 0:33:03 | 0:33:06 | |
Tapping on jukeboxes, snapping his fingers, girls would run, | 0:33:06 | 0:33:09 | |
everything would happen. | 0:33:09 | 0:33:11 | |
But audiences loved it and it was really working. | 0:33:11 | 0:33:15 | |
So finally they decided that they would start off season... | 0:33:15 | 0:33:18 | |
I think it was probably season five or six. | 0:33:18 | 0:33:21 | |
..with the biggest thing ever - | 0:33:21 | 0:33:23 | |
Fonzie was going to water ski | 0:33:23 | 0:33:25 | |
and jump over a white shark. | 0:33:25 | 0:33:29 | |
And so they had Henry out in this jacket. | 0:33:29 | 0:33:33 | |
I loved it because I was driving the boat. | 0:33:33 | 0:33:35 | |
I thought driving the boat was fun. | 0:33:35 | 0:33:37 | |
Henry happened to be a very good skier and loved skiing. | 0:33:37 | 0:33:41 | |
We did it. But people tended | 0:33:41 | 0:33:44 | |
to think, years later, | 0:33:44 | 0:33:46 | |
that that was the point where the show | 0:33:46 | 0:33:49 | |
had kind of gone beyond the pale. | 0:33:49 | 0:33:50 | |
And suddenly they started saying, you know, | 0:33:50 | 0:33:53 | |
that that was the Happy Days'... | 0:33:53 | 0:33:55 | |
Jumping the shark was the moment when it sort of reached its high | 0:33:55 | 0:33:58 | |
and sort of came down. | 0:33:58 | 0:34:01 | |
The reality is it remained a number one show for a long time. | 0:34:01 | 0:34:04 | |
And after I left the show, it was a top-ratings getter. | 0:34:04 | 0:34:06 | |
So I don't know how accurate that is, but - jump the shark. | 0:34:06 | 0:34:09 | |
No, it is awful where a TV show just drags on for series after series | 0:34:09 | 0:34:13 | |
until everyone gets bored to death. | 0:34:13 | 0:34:16 | |
Time for music! | 0:34:17 | 0:34:19 | |
And we're going all Christmassy now. | 0:34:19 | 0:34:21 | |
This is the first little bit of Christmas on the show. | 0:34:21 | 0:34:23 | |
This year, best-selling classical boyband Blake | 0:34:23 | 0:34:26 | |
have done something really special. | 0:34:26 | 0:34:28 | |
To perform a beautiful new version of Christmas Song, they've teamed up | 0:34:28 | 0:34:32 | |
with a musical legend. | 0:34:32 | 0:34:34 | |
Ladies and gentlemen, please welcome Blake and Dame Shirley Bassey! | 0:34:34 | 0:34:39 | |
# Chestnuts roasting on an open fire | 0:34:50 | 0:34:57 | |
# Jack Frost nipping at your nose | 0:34:59 | 0:35:02 | |
# Yuletide carols being sung by a choir | 0:35:06 | 0:35:11 | |
# And folks dressed up like Eskimos | 0:35:13 | 0:35:18 | |
# Everybody knows a turkey and some mistletoe | 0:35:20 | 0:35:26 | |
# And some mistletoe | 0:35:26 | 0:35:29 | |
# Helps to make the season bright | 0:35:29 | 0:35:34 | |
# Tiny tots with their eyes all aglow | 0:35:37 | 0:35:42 | |
# Will find it hard to sleep tonight | 0:35:44 | 0:35:49 | |
# They know that Santa's on his way | 0:35:50 | 0:35:55 | |
# He's on his way | 0:35:55 | 0:35:58 | |
# He's loaded lots of toys and goodies on his sleigh | 0:35:58 | 0:36:02 | |
# Oh, that's right | 0:36:02 | 0:36:05 | |
# And every mother's child is gonna spy | 0:36:05 | 0:36:10 | |
# To see if reindeer really know how to fly | 0:36:12 | 0:36:18 | |
# And so I'm offering this simple phrase | 0:36:21 | 0:36:26 | |
# To kids from one to ninety-two | 0:36:28 | 0:36:33 | |
# Although it's been said many times, many ways | 0:36:35 | 0:36:43 | |
# Merry Christmas to you | 0:36:44 | 0:36:49 | |
# They know that Santa's on his way | 0:36:51 | 0:36:56 | |
# He's loaded lots of toys and goodies on his sleigh | 0:36:57 | 0:37:05 | |
# And every mother's child is gonna spy | 0:37:05 | 0:37:10 | |
# Is gonna spy | 0:37:10 | 0:37:11 | |
# To see if reindeer really know how to fly | 0:37:11 | 0:37:17 | |
# And so I'm offering this simple phrase | 0:37:19 | 0:37:25 | |
# To kids from one to ninety-two | 0:37:26 | 0:37:31 | |
# Although it's been said many times, many ways | 0:37:33 | 0:37:41 | |
# Merry Christmas | 0:37:41 | 0:37:44 | |
-# Merry Christmas -Merry Christmas | 0:37:44 | 0:37:46 | |
-# Merry Christmas -Merry Christmas | 0:37:46 | 0:37:52 | |
# To you. # | 0:37:52 | 0:38:00 | |
APPLAUSE AND CHEERING | 0:38:00 | 0:38:03 | |
Oh, how special! | 0:38:06 | 0:38:08 | |
Blake and Dame Shirley Bassey, everybody! | 0:38:08 | 0:38:11 | |
Come and join me! | 0:38:11 | 0:38:13 | |
Come on over! Hello, sir. Very nice to see you! | 0:38:13 | 0:38:17 | |
Hello, very nice to see you! | 0:38:17 | 0:38:20 | |
Steps! Steps! | 0:38:20 | 0:38:22 | |
-Hello, my darling. -Hello! Mwah! | 0:38:22 | 0:38:27 | |
Dame Shirley Bassey, everybody! | 0:38:27 | 0:38:29 | |
-Sit here beside Kevin. -OK. -Go round, go round. | 0:38:31 | 0:38:35 | |
You'll blend in with the couch. | 0:38:35 | 0:38:36 | |
-Sit there with the boys. -Hello, hi! | 0:38:36 | 0:38:38 | |
Thank you very much. | 0:38:38 | 0:38:40 | |
That's Dame Shirley Bassey who will now greet you all. | 0:38:40 | 0:38:42 | |
Lovely to meet you. | 0:38:42 | 0:38:44 | |
OVERLAPPING GREETINGS | 0:38:44 | 0:38:47 | |
And Lily! | 0:38:47 | 0:38:49 | |
Shirley, marvellous! | 0:38:49 | 0:38:51 | |
OK, now... Yes, there you go, perfect! | 0:38:51 | 0:38:53 | |
Perfect, perfect! | 0:38:53 | 0:38:55 | |
-Blake, I know there's a Humphrey and there's an Olly. -I'm Olly. | 0:38:55 | 0:38:58 | |
-Are you are? -Stephen. -Steve. | 0:38:58 | 0:39:01 | |
That's a bit dull after the Olly and the Humphrey! Steve! | 0:39:01 | 0:39:04 | |
And Shirley, that's me! | 0:39:04 | 0:39:06 | |
And Dame Shirley Bassey! | 0:39:06 | 0:39:07 | |
You're Dame Shirley Bassey, but this drink... Thank you very much. | 0:39:07 | 0:39:11 | |
Can I just say, I don't mean to slag off the other guests, | 0:39:11 | 0:39:13 | |
but nobody else brought drinks. | 0:39:13 | 0:39:16 | |
This is your cocktail, Dame Shirley? | 0:39:16 | 0:39:18 | |
It's a cocktail named after me. The Dame Shirley Bassey cocktail | 0:39:18 | 0:39:23 | |
with champagne, vodka and... strawberries...raspberries! | 0:39:23 | 0:39:29 | |
I thought you said rat poison! I was like... | 0:39:29 | 0:39:31 | |
"That's quite a cocktail!" | 0:39:31 | 0:39:33 | |
Mixed chaser... | 0:39:33 | 0:39:35 | |
And real gold. | 0:39:35 | 0:39:37 | |
Real... Of course, with your finger! | 0:39:37 | 0:39:39 | |
-Goldfinger. Real gold! -We thought we should have a drink, you know, | 0:39:39 | 0:39:42 | |
appropriate and they created this. | 0:39:42 | 0:39:45 | |
-Can we drink now? -Yes! | 0:39:45 | 0:39:48 | |
Dame Shirley, "Can we drink now?!" | 0:39:50 | 0:39:52 | |
-There you go. -Thank you! | 0:39:52 | 0:39:54 | |
-Sorry, audience, there was only... AUDIENCE: -Aww! | 0:39:54 | 0:39:58 | |
You can have a sip of mine, if you like. | 0:39:58 | 0:40:00 | |
GRAHAM: If you're quick. | 0:40:00 | 0:40:03 | |
AUDIENCE LAUGHS | 0:40:03 | 0:40:05 | |
That single is out on the 18th of December. | 0:40:10 | 0:40:13 | |
And this is special, because if God was good and it did become | 0:40:13 | 0:40:17 | |
a Christmas number one, it would be your very first Christmas number one. | 0:40:17 | 0:40:22 | |
Yes, I've never done a Christmas Carol ever. | 0:40:22 | 0:40:25 | |
-Have you never done a Christmas song before?! -No! It's my very first. | 0:40:25 | 0:40:28 | |
You've missed a trick there! | 0:40:28 | 0:40:30 | |
The record company, for some unknown reason, every time I said, | 0:40:31 | 0:40:35 | |
"Please, can I do a Christmas album?" Even when I had number one | 0:40:35 | 0:40:39 | |
and number two in the hit parade, they said no. | 0:40:39 | 0:40:43 | |
I think they were afraid because of the voice. | 0:40:43 | 0:40:46 | |
They couldn't imagine me singing Silent Night. | 0:40:46 | 0:40:49 | |
# Silent night...! # | 0:40:51 | 0:40:53 | |
Here's also what's special. You are both raising money | 0:40:55 | 0:40:59 | |
-for charity with this record. -We are. -Blake, who are you raising money for? | 0:40:59 | 0:41:02 | |
We're ambassadors for Variety, the children's charity, | 0:41:02 | 0:41:05 | |
which is an amazing charity. | 0:41:05 | 0:41:07 | |
And Dame Shirley's is Noah's Ark in Cardiff. | 0:41:07 | 0:41:10 | |
My charity is a children's hospital in Cardiff. | 0:41:10 | 0:41:13 | |
They have rooms for parents to stay overnight. | 0:41:13 | 0:41:17 | |
That's really special. Good luck with the single. I really hope... | 0:41:17 | 0:41:19 | |
AUDIENCE APPLAUDS | 0:41:19 | 0:41:21 | |
I really hope it's number one. It'd be terrific. | 0:41:21 | 0:41:25 | |
Hey, we probably have just enough time for a visit | 0:41:25 | 0:41:27 | |
to the big red chair. Who's there? | 0:41:27 | 0:41:28 | |
-Hello, sir! -Hi, there. -Hi, what's your name? -It's Ricardo. | 0:41:28 | 0:41:31 | |
OK, what do you do? | 0:41:31 | 0:41:32 | |
I am a facilitator in creative thinking and innovation. | 0:41:32 | 0:41:35 | |
HE YAWNS | 0:41:35 | 0:41:37 | |
Oh, I want a go in that chair! | 0:41:41 | 0:41:44 | |
Let's try another one. | 0:41:44 | 0:41:45 | |
Who's this, who's this? | 0:41:45 | 0:41:47 | |
-Oh, hello. -Hello! -Hi, what's your name? -Hi, I'm Jo Popham. | 0:41:47 | 0:41:51 | |
Jo Popham. OK... | 0:41:51 | 0:41:52 | |
-That is your first name and surname, right? -Yes. | 0:41:55 | 0:41:58 | |
OK, good, otherwise it's a really weird name. | 0:41:58 | 0:42:01 | |
Jo Popham Smith! | 0:42:01 | 0:42:03 | |
So, Jopopham... | 0:42:03 | 0:42:05 | |
AUDIENCE LAUGHS | 0:42:05 | 0:42:07 | |
Where are you from, Jopopham? | 0:42:07 | 0:42:10 | |
Bookham in Surrey. | 0:42:10 | 0:42:11 | |
Jopopham of Bookham! | 0:42:11 | 0:42:12 | |
-What do you do? -Well, primarily a mum of three teenage kids, but also | 0:42:14 | 0:42:20 | |
-cabin crew, or flight attendant for the Americans. -Uh-oh. | 0:42:20 | 0:42:23 | |
Does your story involve anyone on our couch? | 0:42:23 | 0:42:26 | |
Nope. | 0:42:26 | 0:42:27 | |
OK. Good, let's go. Off you go with the story. | 0:42:27 | 0:42:31 | |
So, quite a few years ago, back in the '90s, we were on a flight | 0:42:31 | 0:42:35 | |
and we were told we were expecting a VIP passenger. | 0:42:35 | 0:42:40 | |
And the VIP's manager came on board into the premier cabin, obviously, | 0:42:40 | 0:42:46 | |
to prepare the seat for his employer. | 0:42:46 | 0:42:49 | |
And with that, we were told it was Michael Jackson's manager. | 0:42:49 | 0:42:53 | |
So he brought on all his things, was getting everything ready for him. | 0:42:53 | 0:42:56 | |
And he had the red Thriller jacket and he hung it up in the first-class | 0:42:56 | 0:43:01 | |
wardrobe and we were told to make sure to look after it | 0:43:01 | 0:43:04 | |
and that nobody unauthorised came on board. | 0:43:04 | 0:43:07 | |
So when he went off, I was always a bit naughty | 0:43:07 | 0:43:10 | |
and I thought it would be really fun | 0:43:10 | 0:43:12 | |
to get the jacket out of the wardrobe. | 0:43:12 | 0:43:14 | |
As I was dancing around the cabin, doing the Thriller dance, | 0:43:14 | 0:43:19 | |
the manager and Michael Jackson came back on board earlier than expected | 0:43:19 | 0:43:24 | |
and caught me dancing around the cabin in the red Thriller jacket. | 0:43:24 | 0:43:28 | |
That's a good story! You can walk, you can walk. | 0:43:28 | 0:43:30 | |
AUDIENCE APPLAUDS | 0:43:30 | 0:43:32 | |
Well done, everyone. | 0:43:36 | 0:43:37 | |
If you'd like to join us on the show and have a go in the red chair, | 0:43:37 | 0:43:40 | |
you can contact us via our website at this address. | 0:43:40 | 0:43:43 | |
That's it for tonight. Please, a huge thank you to my guests, | 0:43:43 | 0:43:47 | |
Blake and Dame Shirley Bassey! | 0:43:47 | 0:43:50 | |
Kevin Bridges! | 0:43:52 | 0:43:55 | |
Ron Howard! | 0:43:56 | 0:43:57 | |
Chris Hemsworth! | 0:43:58 | 0:44:01 | |
And Lily Tomlin! | 0:44:01 | 0:44:03 | |
Join me next week with pop phenomenon Sia, | 0:44:03 | 0:44:07 | |
acting great Kurt Russell, | 0:44:07 | 0:44:09 | |
Oscar-winning director Quentin Tarantino | 0:44:09 | 0:44:11 | |
and comedy superstar Tina Fey. | 0:44:11 | 0:44:13 | |
I'll see you then. Goodnight, everybody, goodbye! | 0:44:13 | 0:44:16 |