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Tonight, we'll be talking about the new Quentin Tarantino film. | 0:00:02 | 0:00:04 | |
How to make the show more Tarantino? We need a cool soundtrack. | 0:00:04 | 0:00:07 | |
MUSIC: Misirlou by Dick Dale Loving it. | 0:00:07 | 0:00:09 | |
We need some really offensive language. | 0:00:09 | 0:00:11 | |
-Shit! -Steady on! LAUGHTER | 0:00:11 | 0:00:13 | |
And we need a random act of sudden violence. | 0:00:13 | 0:00:16 | |
Let's start the show! | 0:00:18 | 0:00:20 | |
CHEERING AND APPLAUSE | 0:00:20 | 0:00:23 | |
CHEERING AND APPLAUSE | 0:00:36 | 0:00:39 | |
Oh! | 0:00:39 | 0:00:40 | |
Thank you! | 0:00:41 | 0:00:43 | |
Thank you very much. Thank you, thank you, thank you! | 0:00:43 | 0:00:47 | |
Good evening! CHEERING | 0:00:47 | 0:00:49 | |
Yes, yes, thank you very much. | 0:00:49 | 0:00:51 | |
Great line-up tonight, including the star of the new Tarantino film, | 0:00:51 | 0:00:54 | |
The Hateful Eight, | 0:00:54 | 0:00:55 | |
where all the characters are trapped together during a snowstorm. | 0:00:55 | 0:01:00 | |
You can tell it's a Tarantino movie because of the snowman outside. | 0:01:00 | 0:01:03 | |
I have to say, though, my favourite Tarantino film | 0:01:06 | 0:01:08 | |
has to be Inglourious Basterds. | 0:01:08 | 0:01:10 | |
WHOOPING Yeah, I know. | 0:01:10 | 0:01:13 | |
Look, the word "Basterds" has been spelt wrongly. | 0:01:13 | 0:01:16 | |
Mind you, that can happen with swear words. | 0:01:16 | 0:01:18 | |
Look how they've spelt the word "twat" here. | 0:01:18 | 0:01:20 | |
LAUGHTER | 0:01:20 | 0:01:23 | |
APPLAUSE | 0:01:23 | 0:01:25 | |
Let's get some guests on! | 0:01:25 | 0:01:27 | |
Later, we'll have music and chat from sensational singer-songwriter Sia! | 0:01:28 | 0:01:33 | |
CHEERING | 0:01:33 | 0:01:34 | |
But first, he's one of Britain's biggest new comedy stars, | 0:01:34 | 0:01:37 | |
and is winning a legion of new fans with his BBC sitcom Josh, | 0:01:37 | 0:01:40 | |
please welcome Josh Widdicombe! | 0:01:40 | 0:01:42 | |
CHEERING | 0:01:42 | 0:01:44 | |
Hello. | 0:01:44 | 0:01:45 | |
-Hello, sir, nice to see you, have a seat. -Very good. | 0:01:47 | 0:01:51 | |
She is the star of Saturday Night Live, 30 Rock, Mean Girls, | 0:01:51 | 0:01:54 | |
Baby Mama, Date Night. | 0:01:54 | 0:01:56 | |
Now, she's starring in the hilarious new film Sisters. | 0:01:56 | 0:01:59 | |
Please welcome the first lady of American comedy, it's Tina Fey! | 0:01:59 | 0:02:03 | |
CHEERING | 0:02:03 | 0:02:04 | |
Yes, oh, I'm so excited to meet you. | 0:02:04 | 0:02:07 | |
-Hello. How are you? -Fine, thank you. | 0:02:07 | 0:02:09 | |
-Sit down. That's Josh. -Nice to meet you. | 0:02:09 | 0:02:11 | |
And this Hollywood great began his career at the age of ten. | 0:02:11 | 0:02:16 | |
And, over five decades, he's starred in classic hits like Overboard, | 0:02:16 | 0:02:20 | |
Big Trouble In Little China, Tombstone, and Escape From New York. | 0:02:20 | 0:02:23 | |
Now, he's starring in Tarantino's newest epic, The Hateful Eight. | 0:02:23 | 0:02:25 | |
Please welcome the mighty Kurt Russell! | 0:02:25 | 0:02:29 | |
CHEERING | 0:02:29 | 0:02:30 | |
Oh! Hello! How are you? | 0:02:30 | 0:02:33 | |
You're so fresh-faced. | 0:02:33 | 0:02:35 | |
APPLAUSE | 0:02:35 | 0:02:37 | |
Welcome all. | 0:02:41 | 0:02:43 | |
-Hello, everybody. GUESTS: -Hello. | 0:02:43 | 0:02:44 | |
Thanks for being here. Before I do another thing, I should apologise. | 0:02:44 | 0:02:48 | |
If you've tuned in to see Quentin Tarantino himself, he can't make it. | 0:02:48 | 0:02:52 | |
But, hey, we've got the star of the movie, | 0:02:52 | 0:02:55 | |
Kurt Russell, ladies and gentlemen! APPLAUSE | 0:02:55 | 0:02:57 | |
Better. Better. | 0:02:57 | 0:03:00 | |
-Why did he not come? -He's overextended! | 0:03:00 | 0:03:03 | |
You know what it is? I don't know if it's superstition or not, | 0:03:03 | 0:03:06 | |
but he's watching the premiere of the movie here. | 0:03:06 | 0:03:10 | |
And he said, "If I leave... I just can't do it." | 0:03:10 | 0:03:15 | |
-So he's not seen it? -I said, "Can I say that to Graham?" | 0:03:15 | 0:03:18 | |
He said, "Yeah, please do." | 0:03:18 | 0:03:20 | |
-OK, cool. -I was afraid I'd offended him, | 0:03:20 | 0:03:22 | |
-because we did a joke about him... -You did! -..at the Golden Globes | 0:03:22 | 0:03:25 | |
where I said he was the star of my sexual nightmares. | 0:03:25 | 0:03:27 | |
But I think he liked it! | 0:03:29 | 0:03:30 | |
That's very good, got a good sense of humour. | 0:03:30 | 0:03:32 | |
Josh, you don't care. You're just a huge Kurt Russell fan. | 0:03:32 | 0:03:35 | |
I'm a huge Kurt Russell fan. | 0:03:35 | 0:03:37 | |
This is very exciting. | 0:03:37 | 0:03:39 | |
My favourite film that you've done, Kurt, | 0:03:39 | 0:03:41 | |
I got recommended a film by my friend Nathaniel | 0:03:41 | 0:03:44 | |
called The Barefoot Executive. | 0:03:44 | 0:03:46 | |
A few millennia ago. | 0:03:46 | 0:03:49 | |
-It's the best. -It's so good. | 0:03:50 | 0:03:52 | |
It's the best premise for a film of all time. | 0:03:52 | 0:03:55 | |
It's funny you say that. It got to be known as that. | 0:03:55 | 0:03:58 | |
It didn't look like it at first. But it's a pretty funny idea. | 0:03:58 | 0:04:01 | |
If you haven't seen it, it's about Kurt, who's a TV executive, | 0:04:01 | 0:04:06 | |
and his friend who is a monkey. | 0:04:06 | 0:04:08 | |
LAUGHTER | 0:04:08 | 0:04:09 | |
And, get this, the monkey, if it watches a show, | 0:04:09 | 0:04:13 | |
it knows if it's going to be a hit or a miss. | 0:04:13 | 0:04:15 | |
-It's genius! -It's amazing. | 0:04:15 | 0:04:17 | |
There's a picture of you and the chimp. | 0:04:17 | 0:04:19 | |
There you are. | 0:04:19 | 0:04:22 | |
-Oh, wow! -It's such a good film. | 0:04:22 | 0:04:24 | |
I actually think it's better than The Godfather. | 0:04:24 | 0:04:27 | |
LAUGHTER | 0:04:27 | 0:04:29 | |
Tina, you are here promoting your movie, Sisters. | 0:04:31 | 0:04:33 | |
-Yep. -And you've been rolling out your British accent. | 0:04:33 | 0:04:36 | |
Yes, Amy and I did a little parody, a short called The Farce Awakens | 0:04:36 | 0:04:43 | |
where we are doing a fake behind-the-scenes | 0:04:43 | 0:04:45 | |
in the style of all these behind-the-scenes Star Wars things. | 0:04:45 | 0:04:48 | |
-IN A BRITISH ACCENT: -We're British in it, | 0:04:48 | 0:04:51 | |
speaking like this to hide the fact that we're drunk. | 0:04:51 | 0:04:53 | |
Which really works, because you can't tell. | 0:04:53 | 0:04:56 | |
I'm so drunk right now, you can't tell, I just sound proper. | 0:04:57 | 0:05:02 | |
The Star Wars thing... Your movie is really, really good. | 0:05:04 | 0:05:09 | |
Thank you. | 0:05:09 | 0:05:10 | |
-But it may not be the number-one film that week. -I don't know(!) | 0:05:10 | 0:05:13 | |
I think it's too soon to tell. | 0:05:13 | 0:05:14 | |
Definite awareness is high. | 0:05:17 | 0:05:20 | |
It comes out the same day as Star Wars, so, | 0:05:20 | 0:05:23 | |
-it's what they call counterprogramming. -OK. | 0:05:23 | 0:05:25 | |
Like when they put on very gay shows during the Super Bowl. | 0:05:25 | 0:05:29 | |
Is the Super Bowl currently on?! | 0:05:33 | 0:05:35 | |
Somewhere! Somewhere it is. | 0:05:37 | 0:05:39 | |
The weird thing is, you auditioned for Star Wars, didn't you, Kurt? | 0:05:40 | 0:05:45 | |
Oh, yeah, years ago, they were going to do this movie. | 0:05:45 | 0:05:48 | |
Guys my age were all going in to read for it. | 0:05:48 | 0:05:51 | |
I read for both parts, actually, for Han Solo and... | 0:05:51 | 0:05:54 | |
Princess Leia! | 0:05:54 | 0:05:55 | |
It went in a different direction. | 0:05:57 | 0:05:58 | |
It's funny because, at the time, | 0:06:00 | 0:06:03 | |
it was the Millennium Falcon this, the Death Star that. | 0:06:03 | 0:06:07 | |
We had no idea what we were talking about. | 0:06:07 | 0:06:09 | |
"Like, this is a real turkey." | 0:06:09 | 0:06:10 | |
That was the Death Star, you know. | 0:06:10 | 0:06:12 | |
There's this young guy. Lucas was about 25 or something. | 0:06:12 | 0:06:18 | |
I said, "I've got to make a choice here. | 0:06:18 | 0:06:20 | |
"Do you know if you're going to use me in this movie?" | 0:06:20 | 0:06:23 | |
He said, "There's a lot of combinations that I'm looking at | 0:06:23 | 0:06:27 | |
"and I don't know." | 0:06:27 | 0:06:29 | |
I said, "I've got to go to work." | 0:06:29 | 0:06:32 | |
-What did you do instead of Star Wars? -I didn't do it instead of Star Wars, | 0:06:32 | 0:06:35 | |
he may not have used me. | 0:06:35 | 0:06:36 | |
-Let's go with, you did it instead of Star Wars. -Yeah. | 0:06:36 | 0:06:39 | |
-He turned down Star Wars. -I did not turn down Star Wars! | 0:06:39 | 0:06:42 | |
Please, God, let it be the chimp film! | 0:06:42 | 0:06:44 | |
LAUGHTER | 0:06:44 | 0:06:46 | |
I didn't turn down anything. | 0:06:47 | 0:06:48 | |
Tina Fey, you've given us your Princess Leia. | 0:06:50 | 0:06:53 | |
Yeah, I was a big Star Wars fan as a kid. | 0:06:53 | 0:06:56 | |
And I've dressed up like Princess Leia for TV shows. Just any excuse. | 0:06:56 | 0:07:00 | |
In 30 Rock, I was always getting... | 0:07:00 | 0:07:01 | |
To get out of jury duty, I would dress up like Princess Leia. | 0:07:01 | 0:07:04 | |
If you want to meet some perverts, dress up like Princess Leia! | 0:07:04 | 0:07:08 | |
Some guy from the crew you've never met before will come talk to you. | 0:07:08 | 0:07:12 | |
People, it's a real specific... pervert that likes that. | 0:07:12 | 0:07:17 | |
Imagine a version of Star Wars that was never made | 0:07:18 | 0:07:21 | |
where you're Princess Leia and you're Han Solo. | 0:07:21 | 0:07:23 | |
-Do the "I love you" line. -Oh, oh, yeah. | 0:07:23 | 0:07:25 | |
-Getting into character. Hold on. -Very professional. | 0:07:25 | 0:07:28 | |
-My hair... -There's some perverts coming over from the horizon. | 0:07:29 | 0:07:32 | |
Um. I love you. | 0:07:33 | 0:07:35 | |
I know. | 0:07:37 | 0:07:38 | |
See, that's cool. He should have got it. | 0:07:38 | 0:07:40 | |
Mwargh! | 0:07:40 | 0:07:42 | |
Very good. APPLAUSE | 0:07:42 | 0:07:45 | |
A bit of Chewbacca, nice. Nice. | 0:07:45 | 0:07:48 | |
Let's talk about the new Tarantino epic, The Hateful Eight. | 0:07:49 | 0:07:53 | |
It opens here on the 8th of January. | 0:07:53 | 0:07:56 | |
And it is Tarantino, but it's a western, it's epic. | 0:07:56 | 0:08:00 | |
So, which of The Hateful Eight are you, Kurt? | 0:08:00 | 0:08:02 | |
I'm John Ruth, John "The Hangman" Ruth. I bring my bounties in alive. | 0:08:02 | 0:08:07 | |
He's bringing this bounty in, and there's a snowstorm. | 0:08:07 | 0:08:11 | |
Pick up a couple of guys that are out there in the snow | 0:08:11 | 0:08:15 | |
in the middle of nowhere, which is suspicious to him already, | 0:08:15 | 0:08:18 | |
he's very paranoid. | 0:08:18 | 0:08:20 | |
Samuel Jackson is also a bounty hunter, | 0:08:20 | 0:08:22 | |
so he might want to take his bounty from him. | 0:08:22 | 0:08:24 | |
And then there is a guy who claims to be the sheriff. | 0:08:24 | 0:08:27 | |
They're trying to make it to Red Rock where they'll get the money, | 0:08:27 | 0:08:30 | |
or he's going to the money for this bounty. | 0:08:30 | 0:08:32 | |
And now they've got to stop at this place that's a halfway spot. | 0:08:32 | 0:08:36 | |
And there's already people there. | 0:08:36 | 0:08:38 | |
So he's very paranoid about everybody there. | 0:08:38 | 0:08:40 | |
Then the whole movie is about what unfolds. | 0:08:40 | 0:08:44 | |
Who's who, who's lying about who they are, | 0:08:44 | 0:08:47 | |
who might not be who they are. | 0:08:47 | 0:08:48 | |
-And it's Tarantino, so there will be blood. -Oh, there will. | 0:08:48 | 0:08:52 | |
There will be blood! | 0:08:52 | 0:08:53 | |
We've got a picture of you as John Ruth. Can I just say, | 0:08:53 | 0:08:57 | |
as a beard owner myself, some great beard work here. | 0:08:57 | 0:09:01 | |
That took four months to grow. | 0:09:01 | 0:09:02 | |
-That's a moustache wearing a man. -Is that real? -Yeah. | 0:09:02 | 0:09:07 | |
Oh, good work. | 0:09:07 | 0:09:09 | |
Well, Goldie didn't think highly of it. | 0:09:09 | 0:09:12 | |
In the movie, it looks stunning. | 0:09:13 | 0:09:16 | |
But I must say, I'm with Goldie, | 0:09:16 | 0:09:18 | |
in real life it didn't really work that well. | 0:09:18 | 0:09:21 | |
LAUGHTER | 0:09:22 | 0:09:24 | |
This is the life of an actor. | 0:09:24 | 0:09:26 | |
But you are married to a beard. | 0:09:26 | 0:09:28 | |
I am married to a beard. | 0:09:28 | 0:09:30 | |
-I am not a beard! -No! | 0:09:30 | 0:09:31 | |
But I am married... | 0:09:31 | 0:09:33 | |
My husband's got a beard, a nice salt-and-pepper beard like yours. | 0:09:33 | 0:09:36 | |
I like it. I wouldn't have said I was a beard person, | 0:09:36 | 0:09:39 | |
but I like it on him. | 0:09:39 | 0:09:41 | |
The beard I don't like is, and you see this a lot at home, | 0:09:41 | 0:09:44 | |
you get a fat guy who shaves that skinny little beard here | 0:09:44 | 0:09:48 | |
to show where his jaw would be! | 0:09:48 | 0:09:51 | |
Or the one down here that my friend Paula refers to as a "furtle" neck. | 0:09:53 | 0:09:57 | |
But I like a good... | 0:09:58 | 0:10:00 | |
Do you like the way it looks, but not like the way it feels? | 0:10:00 | 0:10:03 | |
I mean, it's softer now. When it's coming in, it's a little scratchy, | 0:10:03 | 0:10:07 | |
but I'm used to it now, and I think it suits him, the salt and pepper. | 0:10:07 | 0:10:11 | |
-Ah, Goldie hates it. -It's nice, but baby skin is nice. | 0:10:11 | 0:10:14 | |
Can you grow a beard? | 0:10:14 | 0:10:17 | |
If we had a race, I think I could beat him | 0:10:17 | 0:10:19 | |
if we had a beard-growing race. | 0:10:19 | 0:10:21 | |
-It would be patchy but I could do it. -No, I can't, really. | 0:10:21 | 0:10:25 | |
I've never grown a proper beard, because it's patchy and ginger. | 0:10:25 | 0:10:30 | |
-That doesn't sound great. -Quit bragging! | 0:10:30 | 0:10:32 | |
Patchy and Ginger could be a pop duo. | 0:10:32 | 0:10:35 | |
No. It's no good. You shave those bits, don't you, there? | 0:10:36 | 0:10:41 | |
Yes, shave it there, otherwise it would eventually | 0:10:41 | 0:10:44 | |
just grow up and join my eyebrows. | 0:10:44 | 0:10:46 | |
And I could pick hit-or-miss television shows, it would be good. | 0:10:46 | 0:10:50 | |
The Hateful Eight, we've got a clip. | 0:10:52 | 0:10:55 | |
These are some moments from The Hateful Eight. | 0:10:55 | 0:10:58 | |
Got room for one more? | 0:11:05 | 0:11:07 | |
This here is Daisy Domergue, she's wanted dead or alive for murder. | 0:11:10 | 0:11:15 | |
When that sun comes out, I'm taking this woman to hang. | 0:11:15 | 0:11:19 | |
Is there anybody here committed to stoppin' me from doing that? | 0:11:19 | 0:11:23 | |
Looks like Minnie's Haberdashery's about to get coated. | 0:11:23 | 0:11:26 | |
One of them fellas is not what he says he is. | 0:11:29 | 0:11:33 | |
APPLAUSE | 0:11:36 | 0:11:39 | |
-It's seriously good. -Yeah. | 0:11:40 | 0:11:42 | |
Everyone says making a Tarantino movie isn't like anything else. | 0:11:42 | 0:11:47 | |
Now that he's not here... | 0:11:47 | 0:11:49 | |
-We can talk about it. -What does that mean? | 0:11:49 | 0:11:51 | |
Is it a good thing it's not like anything else? | 0:11:51 | 0:11:54 | |
It's funny, I'd heard a lot about him, | 0:11:54 | 0:11:56 | |
and his people talk about his mercurial way. | 0:11:56 | 0:11:59 | |
I don't know. I love the guy, I just think he's great. | 0:11:59 | 0:12:03 | |
His heart's in it. I wish every actor could work with him. | 0:12:03 | 0:12:06 | |
Cheers for that! | 0:12:06 | 0:12:07 | |
All I can say is, come prepared to give everything you can think of. | 0:12:08 | 0:12:13 | |
If you come ready to play, you're going to have the time of your life. | 0:12:13 | 0:12:17 | |
If you're not ready to play, or if you're lazy, | 0:12:17 | 0:12:19 | |
or if it doesn't click or doesn't mean that much to you, | 0:12:19 | 0:12:22 | |
then it's not going to work. | 0:12:22 | 0:12:24 | |
-He has rules on set, doesn't he? -Um. Yeah, just a couple. | 0:12:24 | 0:12:28 | |
One of them is that you can't bring any device you can turn on or off, | 0:12:28 | 0:12:33 | |
which I think is great. You're there to work. | 0:12:33 | 0:12:35 | |
I don't think you should have anything like that. | 0:12:35 | 0:12:37 | |
The other one's a little rougher, | 0:12:37 | 0:12:39 | |
tougher on me because I grew up sleeping on sets. | 0:12:39 | 0:12:41 | |
When I hear people working, I like to slump down and take a nap. | 0:12:41 | 0:12:44 | |
As you get older, you like to take more and more naps, | 0:12:44 | 0:12:47 | |
and he won't allow sleeping on his set. | 0:12:47 | 0:12:51 | |
So, if anybody is caught sleeping, | 0:12:51 | 0:12:55 | |
one of his rules is that they will slide in | 0:12:55 | 0:12:59 | |
and put Big Jerry next to your face, | 0:12:59 | 0:13:01 | |
and take a picture of you with Big Jerry, and put you on the wall. | 0:13:01 | 0:13:05 | |
-What is Big Jerry? -Big Jerry's a dildo that's about that big. | 0:13:05 | 0:13:10 | |
-Purple. -Purple? -It's a purple dildo. -Purple dildo. | 0:13:10 | 0:13:14 | |
Can you turn Big Jerry on and off? | 0:13:14 | 0:13:16 | |
You know what? Sometimes I get tired, | 0:13:16 | 0:13:18 | |
and I'd say, "Bring me Big Jerry." | 0:13:18 | 0:13:21 | |
I don't know where we got this. It's a picture from Inglourious Basterds | 0:13:22 | 0:13:26 | |
-of Brad Pitt with Big Jerry. -Could be. There you go. | 0:13:26 | 0:13:29 | |
Jerry is big, I'll give you that. | 0:13:31 | 0:13:33 | |
Tina, you started directing, started as a director, quite young. | 0:13:35 | 0:13:39 | |
Was it in school or summer camp? | 0:13:39 | 0:13:42 | |
Yeah, I'm not really a director | 0:13:42 | 0:13:44 | |
but when I was in community theatre in my town | 0:13:44 | 0:13:47 | |
and I would be, like, the assistant to the director | 0:13:47 | 0:13:50 | |
in this little town theatre. | 0:13:50 | 0:13:52 | |
Mostly just leveraged it to sabotage girls that I was jealous of. | 0:13:52 | 0:13:57 | |
This girl was dating the boy that I loved, | 0:13:57 | 0:14:00 | |
and I would be like, "I don't think she's right for this." | 0:14:00 | 0:14:03 | |
Really, like, just the worst behaviour you've ever seen | 0:14:04 | 0:14:07 | |
at such a low level. | 0:14:07 | 0:14:09 | |
Such a low-stakes sabotage. | 0:14:09 | 0:14:12 | |
-Well done, you, though. -Yeah, I did it, nailed it. | 0:14:12 | 0:14:15 | |
When you became head writer on Saturday Night Live, | 0:14:15 | 0:14:18 | |
then you DID have to deal with big stars' egos. | 0:14:18 | 0:14:22 | |
Yes. Have you hosted? | 0:14:22 | 0:14:24 | |
-No. -You've never done it? -Nope. | 0:14:24 | 0:14:26 | |
-Maybe for this you should it. -No, no. -Why? You would have so much fun. | 0:14:26 | 0:14:30 | |
I'm just one of those people, | 0:14:30 | 0:14:31 | |
-you are better off without me. -No, I doubt it. | 0:14:31 | 0:14:34 | |
-Yeah, yeah, yeah! -LAUGHTER | 0:14:34 | 0:14:36 | |
Yeah, yeah. You too! | 0:14:36 | 0:14:38 | |
But, you do, you have all these big stars come through every week. | 0:14:38 | 0:14:42 | |
But you do realise that, even though they're Oscar winners | 0:14:42 | 0:14:44 | |
and big stars, that they're kind of nervous | 0:14:44 | 0:14:47 | |
-and they just want... -They want it to be good. -They want it to be good. | 0:14:47 | 0:14:50 | |
And they want you to tell them. "Just tell me how to do it." | 0:14:50 | 0:14:52 | |
I remember I got pranked. My very first show there. | 0:14:52 | 0:14:55 | |
I was, like, 27 years old. | 0:14:55 | 0:14:57 | |
And my first show, the host was Sylvester Stallone | 0:14:57 | 0:15:00 | |
which is a big, that's like Kurt, like a movie star. | 0:15:00 | 0:15:03 | |
-No, I've heard of him! -Yeah! | 0:15:03 | 0:15:05 | |
And we were doing some sketch, and then, | 0:15:06 | 0:15:09 | |
I was assigned to help out and be a helper on this sketch. | 0:15:09 | 0:15:11 | |
They were like, they just pranked me, | 0:15:11 | 0:15:14 | |
"You need to go into his dressing room | 0:15:14 | 0:15:16 | |
"and tell him we can't understand anything he's saying." | 0:15:16 | 0:15:19 | |
"OK." | 0:15:20 | 0:15:22 | |
And he was so sweet about it. | 0:15:24 | 0:15:26 | |
It was clearly not the first time he'd gotten that note. | 0:15:26 | 0:15:29 | |
He was, like, "Aw, you can't understand me, all right. I'll try to enunciate." | 0:15:29 | 0:15:33 | |
But he was so nice. Everyone just wants to do a good job. | 0:15:33 | 0:15:35 | |
He's a great guy, isn't he? I got to work with him once, | 0:15:35 | 0:15:38 | |
-he's just a wonderful guy. -Tango And Cash! -Yep. -Yes. | 0:15:38 | 0:15:41 | |
Yay! APPLAUSE AND CHEERING | 0:15:43 | 0:15:46 | |
Kurt, in the movie, you play another one of these big alpha males. | 0:15:47 | 0:15:51 | |
We've seen you in Backdraft, Big Trouble In Little China, Stargate. | 0:15:51 | 0:15:54 | |
And, of course, Escape From New York, another terrific film. | 0:15:54 | 0:15:57 | |
WHOOPING Yes. | 0:15:57 | 0:15:59 | |
APPLAUSE | 0:15:59 | 0:16:01 | |
You were saying, when you were making this movie, and in the outfit, | 0:16:01 | 0:16:07 | |
you knew this movie was going to work. | 0:16:07 | 0:16:10 | |
Oh, um. Yeah. | 0:16:10 | 0:16:14 | |
Of course, you shoot Escape From New York in St Louis(!) | 0:16:14 | 0:16:17 | |
The reason we did was because, at that time, the centre of St Louis | 0:16:18 | 0:16:22 | |
was literally bombed out. | 0:16:22 | 0:16:23 | |
There was nothing there so it was perfect for our needs. | 0:16:23 | 0:16:26 | |
That's good news, isn't it(?) | 0:16:27 | 0:16:29 | |
Every cloud! | 0:16:29 | 0:16:31 | |
There were never even any bums down there at night, | 0:16:31 | 0:16:34 | |
there was nothing down there. | 0:16:34 | 0:16:36 | |
We were just young guys, and we were doing this show. | 0:16:36 | 0:16:39 | |
And John Carpenter said, "OK, run down there about five blocks, | 0:16:39 | 0:16:44 | |
"and get off camera. | 0:16:44 | 0:16:46 | |
"We'll give you a walkie-talkie and tell you to come, | 0:16:46 | 0:16:48 | |
"want to get a shot of you running down here." | 0:16:48 | 0:16:50 | |
So I had that outfit on, and this was 1980, | 0:16:50 | 0:16:54 | |
and I had this massive machinegun, and another gun on my hip, | 0:16:54 | 0:16:58 | |
my eye patch on. | 0:16:58 | 0:17:00 | |
And going down there, I'm getting in the Snake mood. | 0:17:00 | 0:17:03 | |
And Snake was a pretty bad boy, he didn't much care about anything. | 0:17:04 | 0:17:09 | |
By the time I got down there, and turned to the corner, | 0:17:09 | 0:17:12 | |
I'm ready to go. And I turn the corner and there's four big guys | 0:17:12 | 0:17:16 | |
coming round the corner from their side. | 0:17:16 | 0:17:19 | |
They're coming, and they stopped. | 0:17:19 | 0:17:21 | |
And they looked at me. | 0:17:21 | 0:17:22 | |
Because of the eye patch, | 0:17:22 | 0:17:23 | |
I had this habit of turning my head to see what I was looking at. | 0:17:23 | 0:17:27 | |
They saw this guy just eyeballing them. | 0:17:27 | 0:17:31 | |
And there was that quarter of a second where | 0:17:31 | 0:17:33 | |
something was going to go. | 0:17:33 | 0:17:35 | |
They looked at me and went, "Easy, man, easy!" | 0:17:35 | 0:17:39 | |
They all turned around and walked away. | 0:17:41 | 0:17:43 | |
I remember coming around the corner and told John, | 0:17:43 | 0:17:45 | |
"I think this character's going to work!" | 0:17:45 | 0:17:47 | |
APPLAUSE | 0:17:49 | 0:17:52 | |
Now, you are the real deal. Growing up, you were the jock, Kurt, | 0:17:53 | 0:17:57 | |
you were the sportsman, all of that. | 0:17:57 | 0:17:59 | |
But, I have to say, you are on the couch with Nerd Central. | 0:17:59 | 0:18:03 | |
-What?! -No... No. | 0:18:04 | 0:18:07 | |
Tina. You do a lot of material about growing up a nerd, | 0:18:07 | 0:18:10 | |
-but you really were a nerd. -Yeah. No, I really was. | 0:18:10 | 0:18:12 | |
-We've got photographic evidence. -There you go, this will prove it. | 0:18:12 | 0:18:15 | |
I would say that haircut was done by folding my face in half, | 0:18:17 | 0:18:21 | |
and cutting out a heart. | 0:18:21 | 0:18:23 | |
The worst haircut of all time. | 0:18:24 | 0:18:27 | |
-I look like the guy from Spinal Tap. -Who did it? | 0:18:27 | 0:18:29 | |
My mum used to take me to a haircutting school | 0:18:29 | 0:18:32 | |
because you could get literally a 2 haircut. | 0:18:32 | 0:18:36 | |
-You were the guinea pig! -The sign outside the school said, | 0:18:36 | 0:18:39 | |
"London, Paris, Upper Derby." | 0:18:39 | 0:18:42 | |
You've talked about your late blossoming, | 0:18:47 | 0:18:50 | |
-your sexual awakening. -Thank you for bringing that up. | 0:18:50 | 0:18:52 | |
I was wanting to make sure everyone knew. | 0:18:52 | 0:18:54 | |
I was a late starter. | 0:18:55 | 0:18:57 | |
Yeah, for sure, I probably didn't see a penis until I was at least 20, | 0:18:57 | 0:19:02 | |
and that was probably a medical journal. | 0:19:02 | 0:19:04 | |
So, to see a healthy penis, well into my late 20s. | 0:19:04 | 0:19:09 | |
"Well, it's not...mottled. | 0:19:10 | 0:19:14 | |
"It's fine." | 0:19:14 | 0:19:15 | |
-Oh? -Oh, oh, oh! | 0:19:18 | 0:19:21 | |
It's still horrible-looking! | 0:19:21 | 0:19:22 | |
But then, this is so weird to be talking to someone about this, | 0:19:25 | 0:19:28 | |
but you did... | 0:19:28 | 0:19:30 | |
-You did... -Look at my body language. | 0:19:30 | 0:19:33 | |
-You did develop physically quite early. -Again, thank you! | 0:19:33 | 0:19:38 | |
-Yeah. You must have read this in Bossypants. -Yeah. | 0:19:40 | 0:19:43 | |
I was wearing, cross my heart, that haircut and, like, a bra. | 0:19:43 | 0:19:47 | |
I remember my mom taking me to JC Penney, | 0:19:47 | 0:19:49 | |
and trying a bra on over my clothes in the middle of JC Penney. | 0:19:49 | 0:19:53 | |
And being like, "No! No, Mommy, no!" | 0:19:53 | 0:19:58 | |
Like, there's no turning back. | 0:19:58 | 0:20:01 | |
-That was, like, ten. -Ten! | 0:20:02 | 0:20:06 | |
Literally, at the same time, 1980, | 0:20:06 | 0:20:08 | |
the same time Kurt was scaring men in the streets of St Louis, | 0:20:08 | 0:20:11 | |
I was, like, now, smash, cut to a JC Penney in Philadelphia. | 0:20:11 | 0:20:14 | |
"No, Mommy, no!" | 0:20:14 | 0:20:16 | |
Josh, we don't need to look for nerdy pictures of you | 0:20:18 | 0:20:21 | |
-because they're in the title sequence of your sitcom. -Yeah. | 0:20:21 | 0:20:25 | |
-Here you are as a little, little boy. -Aw, come on! | 0:20:25 | 0:20:27 | |
That was my Elton John phase. | 0:20:29 | 0:20:31 | |
This next one, you are such a high achiever. | 0:20:33 | 0:20:36 | |
Here you are, look at that! | 0:20:36 | 0:20:38 | |
What competition had you won second and third prize in? | 0:20:40 | 0:20:44 | |
I think it was worst shell suit, wasn't it? | 0:20:44 | 0:20:47 | |
It was at the local village flower show for flower arranging. | 0:20:49 | 0:20:54 | |
LAUGHTER | 0:20:54 | 0:20:56 | |
That wasn't the answer I was expecting! | 0:20:56 | 0:21:00 | |
Was it a flower arrangement you did? | 0:21:01 | 0:21:03 | |
-Yeah, I did the flower arrangement. -Two. -Two? | 0:21:03 | 0:21:05 | |
You came second and third. | 0:21:05 | 0:21:07 | |
I think the other one, there was a class which was | 0:21:07 | 0:21:11 | |
best animal model made out of vegetables. | 0:21:11 | 0:21:15 | |
And my dad cheated and did it himself. | 0:21:16 | 0:21:19 | |
And still came third! | 0:21:19 | 0:21:20 | |
And then we've got one more picture of you. Ah! | 0:21:23 | 0:21:26 | |
That's good. | 0:21:26 | 0:21:28 | |
-Like a young Martina Navratilova! -LAUGHTER | 0:21:28 | 0:21:31 | |
APPLAUSE | 0:21:33 | 0:21:35 | |
Now, listen. Tina Fey, geek no more. | 0:21:36 | 0:21:39 | |
Because, in your new movie, Sisters, you play the wild child. | 0:21:39 | 0:21:43 | |
I do. We're sisters who are opposites of each other | 0:21:43 | 0:21:45 | |
in a lot of ways. And I opted to play the wrecking ball, | 0:21:45 | 0:21:49 | |
this woman who's a single mum, she's a trashy hairdresser. | 0:21:49 | 0:21:53 | |
Because I never get to play stuff like that. | 0:21:53 | 0:21:56 | |
And the nice thing about the movie, we play sisters, Amy and I, | 0:21:56 | 0:22:00 | |
and my character is a wild woman who's trying to reform herself. | 0:22:00 | 0:22:04 | |
So it's almost like, if I were in a film, or it's like, | 0:22:04 | 0:22:07 | |
"I was the greatest ice skater of all time, | 0:22:07 | 0:22:09 | |
"but now I'm in this wheelchair." | 0:22:09 | 0:22:12 | |
You hear a lot about how hot I was, how many drugs I did, | 0:22:12 | 0:22:14 | |
but I don't do any of if in the film. | 0:22:14 | 0:22:16 | |
Amy's character is the more uptight caregiver one. | 0:22:16 | 0:22:18 | |
She's cutting loose over the film. | 0:22:18 | 0:22:20 | |
That's better casting because she's the one you want to see | 0:22:20 | 0:22:23 | |
go completely off the chain by the end of the film. | 0:22:23 | 0:22:25 | |
It opens tomorrow, I'll have you know. And it is really, really funny. | 0:22:25 | 0:22:29 | |
-Aw, thanks. -You and Amy, you are best friends or just good friends? | 0:22:29 | 0:22:33 | |
We're very good friends. We live on opposite sides of the country now. | 0:22:33 | 0:22:36 | |
So, the only time we get to hang out is when we work together. | 0:22:36 | 0:22:39 | |
So that's the main reason we keep trying to do it. | 0:22:39 | 0:22:42 | |
We've known each other for over 20 years. | 0:22:42 | 0:22:45 | |
We met in Chicago, doing improv. | 0:22:45 | 0:22:46 | |
Amy likes to say that our friendship is as old as Lourdes Ciccone. | 0:22:46 | 0:22:50 | |
As old as Madonna's daughter. I'd say it's as beautiful. | 0:22:51 | 0:22:54 | |
So, we've done weird things. | 0:22:56 | 0:22:58 | |
We've done jobs where we were touring sketch comedy in a van | 0:22:58 | 0:23:01 | |
for 75 bucks a show. | 0:23:01 | 0:23:03 | |
And we've done Saturday Night Live. We used to do the fake news. | 0:23:03 | 0:23:05 | |
Then we've done the Golden Globes together. | 0:23:05 | 0:23:07 | |
So we always have these weird gigs, | 0:23:07 | 0:23:10 | |
but we always say yes so we can hang out. | 0:23:10 | 0:23:12 | |
We've got a clip. This is you and your sister played by Amy Poehler, | 0:23:12 | 0:23:15 | |
-choosing your outfits for the party. -We try to go dress shopping. | 0:23:15 | 0:23:19 | |
What do you think, Brayla? | 0:23:23 | 0:23:25 | |
That looks amazing on you. | 0:23:25 | 0:23:27 | |
-I never met a Brayla before. -I know, like, three. | 0:23:28 | 0:23:31 | |
So you're trending. God bless. | 0:23:31 | 0:23:34 | |
It's a lot of underteat, but I think I'm getting away with it. | 0:23:34 | 0:23:39 | |
Also, it's on backwards. | 0:23:39 | 0:23:40 | |
-Is it? -Mm. | 0:23:43 | 0:23:45 | |
-How's it going in there? -I don't get this dress. | 0:23:45 | 0:23:49 | |
One of my apples keeps rolling out of the bag. | 0:23:49 | 0:23:51 | |
I like the story it tells with the fringe. | 0:23:51 | 0:23:55 | |
-You're going to have to rock a thong with this. -No, I don't wear thongs. | 0:23:55 | 0:23:58 | |
I have a very fuzzy taint. | 0:23:58 | 0:24:00 | |
You have to build up a callous. Right, Brayla? | 0:24:00 | 0:24:02 | |
That looks amazing on you. | 0:24:02 | 0:24:04 | |
APPLAUSE | 0:24:05 | 0:24:07 | |
I want to ask Kurt... | 0:24:07 | 0:24:10 | |
I'm getting worried now. | 0:24:10 | 0:24:11 | |
..which movie has more use of the word "taint"? | 0:24:11 | 0:24:15 | |
LAUGHTER | 0:24:15 | 0:24:17 | |
The other thing about that clip that's funny is, in the movie, | 0:24:17 | 0:24:19 | |
and this is really going to sell tickets, they digitally paint, | 0:24:19 | 0:24:23 | |
in the movie, you see the bottom of my boobs | 0:24:23 | 0:24:25 | |
but, for clip purposes, they've digitally painted a bra on me. | 0:24:25 | 0:24:29 | |
-That's so weird. -You really want to see my underteat. | 0:24:29 | 0:24:32 | |
That's so weird you say that because I saw the clip and I thought, | 0:24:32 | 0:24:36 | |
I don't remember the bra! | 0:24:36 | 0:24:37 | |
-That's how sexy it is. -There we go. -Couldn't show it. | 0:24:37 | 0:24:40 | |
Tina Fey, you've done all these extraordinary things. | 0:24:40 | 0:24:43 | |
Saturday Night Live, your sitcom 30 Rock and NBC. | 0:24:43 | 0:24:46 | |
And yet, the thing that brought you so much attention | 0:24:46 | 0:24:51 | |
-was the bizarre coincidence of you looking like someone. -Yes. | 0:24:51 | 0:24:55 | |
It was a weird thing, and it seems like a million years ago now. | 0:24:55 | 0:24:58 | |
-I guess it's eight years ago. -Is it that long ago already? | 0:24:58 | 0:25:01 | |
That I just happen to look like this woman, Sarah Palin, | 0:25:01 | 0:25:03 | |
who was a vice-presidential nominee. | 0:25:03 | 0:25:06 | |
-And I don't even look that much like her. -Oh, yes, you do! | 0:25:06 | 0:25:09 | |
Yes, you do. We've got a picture of you dressed up as her. | 0:25:09 | 0:25:11 | |
This is spectacular. | 0:25:11 | 0:25:14 | |
-You do look very like her. -It was the weirdest thing. | 0:25:14 | 0:25:16 | |
It was a six-week window at the end of the last presidential election | 0:25:16 | 0:25:20 | |
where it was this crazy storm of us doing sketches, | 0:25:20 | 0:25:24 | |
being on the news all the time. | 0:25:24 | 0:25:26 | |
-It seems so gentle and lovely now compared to... -Yeah, really! | 0:25:26 | 0:25:31 | |
What's good news is you don't look like Donald Trump. | 0:25:31 | 0:25:34 | |
That is good. | 0:25:34 | 0:25:36 | |
The resemblance is so good - I know it's only Fox News - | 0:25:36 | 0:25:41 | |
but even Fox News confused you. | 0:25:41 | 0:25:44 | |
They ran a picture of me and thought it was her. | 0:25:44 | 0:25:46 | |
-Really? -Yeah. | 0:25:46 | 0:25:48 | |
LAUGHTER | 0:25:48 | 0:25:51 | |
APPLAUSE | 0:25:51 | 0:25:52 | |
That's amazing. | 0:25:55 | 0:25:56 | |
Have you kept in touch with her in any way? We have lunch every... No! | 0:25:56 | 0:25:59 | |
We had a big 40th anniversary show of SNL, she came. I saw her there. | 0:25:59 | 0:26:05 | |
-What was she like? -She's lovely. | 0:26:05 | 0:26:07 | |
Your version of her was lovely to her. | 0:26:07 | 0:26:11 | |
-You were nice about that. -Thank you. | 0:26:11 | 0:26:13 | |
-We tried to be fair. -You were fun and funny, but it wasn't nasty bad. | 0:26:13 | 0:26:18 | |
Thank you for saying so. | 0:26:18 | 0:26:19 | |
Amy Poehler was playing Hillary Clinton at the time, | 0:26:19 | 0:26:22 | |
and we both were very aware we didn't want it to just be nasty. | 0:26:22 | 0:26:26 | |
-But it is weird when you play a real person. -Yeah. | 0:26:26 | 0:26:28 | |
-You've done it. -Had to do Elvis. | 0:26:28 | 0:26:31 | |
-A very famous person! -He was not alive. | 0:26:31 | 0:26:33 | |
That is about as famous as it gets. | 0:26:33 | 0:26:35 | |
Elvis, that was what established you as... | 0:26:35 | 0:26:37 | |
I was going to say an adult movie star, but that makes it sound wrong! | 0:26:37 | 0:26:40 | |
Adult film worker! | 0:26:43 | 0:26:45 | |
A movie star as an adult, that was your big break-out role, wasn't it? | 0:26:45 | 0:26:49 | |
It really was. | 0:26:49 | 0:26:50 | |
But the thing about it is, when you're playing the Coca Cola can, | 0:26:50 | 0:26:55 | |
because everybody knows... | 0:26:55 | 0:26:57 | |
You got that. At that time, Sarah Palin was really well-known. | 0:26:57 | 0:27:01 | |
Everybody knew what she looked like and sounded like. | 0:27:01 | 0:27:04 | |
It's very difficult. | 0:27:04 | 0:27:06 | |
Because you get the parameters there. | 0:27:06 | 0:27:08 | |
You cannot go outside of that or you start losing. | 0:27:08 | 0:27:10 | |
But I only had to be two-dimensional. | 0:27:10 | 0:27:13 | |
You had to portray this person as three-dimensional. | 0:27:13 | 0:27:15 | |
-But I had help with the screenplay and the story. -Sure. | 0:27:15 | 0:27:18 | |
It had a lot going for it. | 0:27:18 | 0:27:20 | |
It's so odd that this thing crops up in your life | 0:27:20 | 0:27:22 | |
-because one of your very first acting roles was with the real Elvis. -Yeah. | 0:27:22 | 0:27:27 | |
It was 1962, something like that, it was The World's Fair. | 0:27:27 | 0:27:30 | |
I was ten years old, and I got this job | 0:27:30 | 0:27:32 | |
to play this kid that kicks Elvis in the shins. | 0:27:32 | 0:27:35 | |
-There you are, kicking Elvis in the shin. -Here I am, kicking away. | 0:27:35 | 0:27:39 | |
He wants to meet a girl, a nurse. | 0:27:39 | 0:27:41 | |
So he figures he gets this kid to injure him a little bit. | 0:27:41 | 0:27:44 | |
And I kind of hit him a little too hard. | 0:27:44 | 0:27:46 | |
But he pays me 50 cents. | 0:27:46 | 0:27:48 | |
Later on, when she's with him, I run into him at the fair | 0:27:48 | 0:27:51 | |
and I say, "Hey, mister, do you want me to kick you in the shin again?" | 0:27:51 | 0:27:54 | |
He goes, "Get away." | 0:27:54 | 0:27:57 | |
"You can do it for a quarter, I'll take a quarter." | 0:27:57 | 0:27:59 | |
Was that the film?! | 0:27:59 | 0:28:02 | |
Wow! That's better than the monkey one! | 0:28:02 | 0:28:04 | |
Did you get that it was Elvis, as a kid? | 0:28:05 | 0:28:08 | |
No. | 0:28:08 | 0:28:10 | |
It was my first brush with celebrity. | 0:28:10 | 0:28:13 | |
I'd never... I was just a kid, you know. | 0:28:13 | 0:28:15 | |
-Was he nice to you? -Yeah, he was great. He was a really nice man. | 0:28:15 | 0:28:18 | |
He came on the set in a car. | 0:28:18 | 0:28:21 | |
You know, it was The World's Fair, it was just opening, | 0:28:21 | 0:28:27 | |
so there were a lot of people. | 0:28:27 | 0:28:28 | |
And, all of a sudden, he came on the set. | 0:28:28 | 0:28:31 | |
And maybe 2,000 or 3,000 women just jumped the car. | 0:28:31 | 0:28:35 | |
He had to bail out and come in a different way. | 0:28:35 | 0:28:38 | |
I thought, "This guy must really be famous!" | 0:28:38 | 0:28:41 | |
Josh Widdicombe, in your sitcom, | 0:28:44 | 0:28:45 | |
you do get to meet your childhood showbiz heroes. | 0:28:45 | 0:28:48 | |
-I do, yes. The Chuckle Brothers. -Yes. | 0:28:48 | 0:28:53 | |
WHOOPING | 0:28:53 | 0:28:54 | |
I tell you what, guys, there they are with me. | 0:28:54 | 0:28:56 | |
My hair's not like that throughout the sitcom. | 0:28:56 | 0:28:58 | |
That's not what happens if you straighten my hair. | 0:28:58 | 0:29:00 | |
It does look really long. | 0:29:02 | 0:29:03 | |
-You probably don't know the Chuckle Brothers. -I don't. | 0:29:03 | 0:29:05 | |
They're like the British version of you and Amy Poehler. | 0:29:05 | 0:29:08 | |
That's what it looks like to me. | 0:29:08 | 0:29:09 | |
The most well-respected people in British comedy. | 0:29:09 | 0:29:12 | |
They are. They've got a catchphrase | 0:29:13 | 0:29:15 | |
you might like to incorporate into your act? | 0:29:15 | 0:29:18 | |
-What is it? -If you say, "To me." | 0:29:18 | 0:29:20 | |
-Say it. -To me? -To you. | 0:29:20 | 0:29:22 | |
-To me. -To you. -To me. -To you. | 0:29:22 | 0:29:25 | |
-To me. -To you. -To... To me. | 0:29:25 | 0:29:29 | |
This is a dream I never thought would happen. | 0:29:29 | 0:29:31 | |
LAUGHTER AND APPLAUSE | 0:29:33 | 0:29:35 | |
I really hope the Chuckle Brothers are watching this! | 0:29:36 | 0:29:38 | |
This is the sitcom, Josh, it's on BBC Three on Wednesday nights at 10:30. | 0:29:40 | 0:29:44 | |
If you haven't caught one yet, you can catch the last episode | 0:29:44 | 0:29:47 | |
next Wednesday, or stay tuned because it's repeated after this very show. | 0:29:47 | 0:29:53 | |
-It's semi-autobiographical? -Semi-autobiographical. | 0:29:53 | 0:29:56 | |
It's about when I was, three or four years ago, living in a flatshare. | 0:29:56 | 0:30:01 | |
Kind of not doing very well in life and career. | 0:30:01 | 0:30:06 | |
So, SEMI-autobiographical! | 0:30:06 | 0:30:09 | |
Not content with having a sitcom, you are touring the land. | 0:30:10 | 0:30:13 | |
-I am touring the land, yes. -You look thrilled about it(!) | 0:30:13 | 0:30:16 | |
That was at the start of the tour. Imagine how I feel now. | 0:30:18 | 0:30:21 | |
I'm going everywhere. | 0:30:21 | 0:30:23 | |
I think I'm in Dorking as we speak. | 0:30:23 | 0:30:27 | |
Oh, OK, yeah, great. | 0:30:27 | 0:30:29 | |
Forgot about that part! | 0:30:29 | 0:30:31 | |
I bet it's going really well! | 0:30:31 | 0:30:33 | |
Honestly, Graham, best audience of the tour, can't believe it. | 0:30:33 | 0:30:37 | |
Can't believe I got carried from the venue on their shoulders, amazing. | 0:30:37 | 0:30:41 | |
You had a very bad gig, but this wasn't on the tour. | 0:30:41 | 0:30:46 | |
No. A lot of my early gigs, | 0:30:46 | 0:30:48 | |
I'm sure you started on the same open-mic scene that I did. | 0:30:48 | 0:30:51 | |
There were awful things like... | 0:30:51 | 0:30:53 | |
I don't know what it was like when you started doing comedy in America, | 0:30:53 | 0:30:57 | |
I once played to two people. | 0:30:57 | 0:30:58 | |
I've done entire plays for two people. | 0:30:58 | 0:31:01 | |
-These two were on a first date. -LAUGHTER | 0:31:01 | 0:31:04 | |
And, I tell you how well the date went. | 0:31:04 | 0:31:07 | |
The second half, we played to one person! | 0:31:07 | 0:31:09 | |
That's a bad gig. | 0:31:10 | 0:31:12 | |
When were the farmers involved? | 0:31:13 | 0:31:15 | |
Oh. I once did a gig at a farmers' college. | 0:31:15 | 0:31:18 | |
All right! Not all of us could work with Elvis at the age of ten! | 0:31:21 | 0:31:24 | |
Some of us has to work our way up the hard way. | 0:31:25 | 0:31:28 | |
Are you drinking because my story's so sad? | 0:31:29 | 0:31:31 | |
-Just wanted to know if you wanted to have that. -Thank you. | 0:31:31 | 0:31:34 | |
-You're very gentlemanly. -Oh, it's Coca Cola, I thought it was wine! | 0:31:34 | 0:31:37 | |
Here you go, mate, you have that and I'll tell you about my shit life! | 0:31:38 | 0:31:41 | |
LAUGHTER | 0:31:41 | 0:31:43 | |
Let's get going on this thing now. | 0:31:43 | 0:31:45 | |
APPLAUSE | 0:31:45 | 0:31:47 | |
So, farmers' college, farmers' college? | 0:31:49 | 0:31:51 | |
So, it was to more people this time, about 300...pricks. | 0:31:51 | 0:31:56 | |
I was booked to do 20, I had to leave the stage after 6 minutes... | 0:31:58 | 0:32:02 | |
because I refused to down a pint. | 0:32:02 | 0:32:04 | |
They stopped the gig so that I had to down a pint. | 0:32:04 | 0:32:07 | |
I got off, and it was revealed to me that it was a pint of piss. | 0:32:07 | 0:32:10 | |
AUDIENCE GASPS | 0:32:10 | 0:32:12 | |
-Wow. -You had a problem with that?! | 0:32:12 | 0:32:14 | |
Didn't you want to entertain the people?! | 0:32:16 | 0:32:19 | |
What, and leave showbusiness? | 0:32:19 | 0:32:21 | |
I wonder if there's a stand-up comic watching this, going, "I drank that." | 0:32:22 | 0:32:26 | |
It happens every year! | 0:32:28 | 0:32:31 | |
We've got a clip from Josh. | 0:32:31 | 0:32:33 | |
-This is you with your landlord, played by Jack Dee. -Jack Dee. | 0:32:33 | 0:32:37 | |
In this clip, he's teaching you how to swim. | 0:32:37 | 0:32:40 | |
This is the butterfly stroke. | 0:32:40 | 0:32:42 | |
So called because it mirrors the graceful flap of the butterfly wing. | 0:32:42 | 0:32:47 | |
HE PANTS EXAGGERATEDLY | 0:32:47 | 0:32:49 | |
Really? | 0:32:49 | 0:32:51 | |
Over a short distance, it's actually faster than front crawl. | 0:32:54 | 0:32:58 | |
-So, once again. -I'm just going to use this opportunity for a picture. | 0:32:58 | 0:33:01 | |
So, it's arms, legs, breathing out. | 0:33:01 | 0:33:04 | |
-Breathing out. Breathing out. -HE EXHALES RHYTHMICALLY | 0:33:04 | 0:33:07 | |
-Have you got that? -I've got it. -Can you remember it all? -Definitely. | 0:33:07 | 0:33:10 | |
-Are you sure? -Yep. -Reckon you can do it? -Yep. | 0:33:10 | 0:33:12 | |
Wrong. Butterfly is actually the hardest stroke, | 0:33:12 | 0:33:15 | |
it's way beyond your capabilities, Josh, avoid at all costs. | 0:33:15 | 0:33:19 | |
APPLAUSE | 0:33:19 | 0:33:20 | |
Right, it's time for our musical guest tonight. | 0:33:25 | 0:33:27 | |
This multi-platinum selling singer-songwriter | 0:33:27 | 0:33:30 | |
had over a billion hits on YouTube for her hit single Chandelier, | 0:33:30 | 0:33:34 | |
and has become the most famous unseen face in the music business. | 0:33:34 | 0:33:37 | |
Here, performing her current single, Alive, please welcome Sia! | 0:33:37 | 0:33:41 | |
CHEERING AND APPLAUSE | 0:33:41 | 0:33:44 | |
# I was born in a thunder storm | 0:33:47 | 0:33:50 | |
# I grew up overnight | 0:33:52 | 0:33:55 | |
# I played alone and I played on my own | 0:33:56 | 0:34:00 | |
# I survived | 0:34:00 | 0:34:02 | |
# I had a one-way ticket to a place where all the demons go | 0:34:05 | 0:34:10 | |
# Where the wind don't change and nothing in the ground can ever grow | 0:34:10 | 0:34:15 | |
# No hope, just lies and you're taught to cry into your pillow | 0:34:15 | 0:34:19 | |
# But I survived | 0:34:19 | 0:34:23 | |
# I'm still breathing I'm still breathing | 0:34:24 | 0:34:29 | |
# I'm still breathing I'm still breathing | 0:34:29 | 0:34:34 | |
# I'm alive | 0:34:34 | 0:34:38 | |
# I'm alive | 0:34:38 | 0:34:43 | |
# I'm alive | 0:34:43 | 0:34:48 | |
# I'm alive | 0:34:48 | 0:34:52 | |
# I found solace in the strangest place | 0:34:54 | 0:34:58 | |
# Way in the back of my mind | 0:34:58 | 0:35:02 | |
# I saw my life in a stranger's face | 0:35:04 | 0:35:08 | |
# And it was mine | 0:35:08 | 0:35:12 | |
# I had a one-way ticket to a place where all the demons go | 0:35:12 | 0:35:17 | |
# Where the wind don't change and nothing in the ground can ever grow | 0:35:17 | 0:35:22 | |
# No hope, just lies, and you're taught to cry into your pillow | 0:35:22 | 0:35:27 | |
# But I survived | 0:35:27 | 0:35:31 | |
# I'm still breathing I'm still breathing | 0:35:31 | 0:35:36 | |
# I'm still breathing I'm still breathing | 0:35:36 | 0:35:41 | |
# I'm alive | 0:35:41 | 0:35:45 | |
# I'm alive | 0:35:45 | 0:35:50 | |
# I'm alive | 0:35:50 | 0:35:56 | |
# I'm alive | 0:35:56 | 0:35:59 | |
# I have made every single mistake that you could ever possibly make | 0:36:00 | 0:36:05 | |
# I took and I took and I took what you gave | 0:36:05 | 0:36:08 | |
# But you never noticed that I was in pain | 0:36:08 | 0:36:10 | |
# I knew what I wanted I went out and got it | 0:36:10 | 0:36:12 | |
# I did all the things that you said that I wouldn't | 0:36:12 | 0:36:15 | |
# I told you that I would never be forgotten and all in spite of you | 0:36:15 | 0:36:22 | |
# I'm still breathing I'm still breathing | 0:36:24 | 0:36:29 | |
# I'm still breathing I'm still breathing | 0:36:29 | 0:36:34 | |
# I'm alive | 0:36:34 | 0:36:38 | |
# I'm alive | 0:36:38 | 0:36:43 | |
# I'm alive | 0:36:43 | 0:36:48 | |
# I'm alive | 0:36:48 | 0:36:53 | |
# I'm alive | 0:36:53 | 0:36:57 | |
# I'm alive | 0:36:57 | 0:37:02 | |
# I'm alive | 0:37:02 | 0:37:07 | |
# I'm alive. # | 0:37:07 | 0:37:12 | |
CHEERING AND APPLAUSE | 0:37:15 | 0:37:18 | |
Sia, fantastic job! | 0:37:18 | 0:37:21 | |
I will lead you over, hang on, Sia. | 0:37:23 | 0:37:25 | |
By the way, big round of applause for Julia on the floor there. | 0:37:27 | 0:37:30 | |
CHEERING Hooray! | 0:37:30 | 0:37:31 | |
You come with me, my dear. | 0:37:31 | 0:37:33 | |
-OK. There's a step, there's a step. -Got it. Got it. | 0:37:33 | 0:37:37 | |
-We walk. Step, step. -Oh, my gosh, my mic just fell out of my underpants! | 0:37:37 | 0:37:40 | |
LAUGHTER | 0:37:40 | 0:37:42 | |
-We can hold it together. -There you go. | 0:37:42 | 0:37:45 | |
She's walking. We'll go round the back of the couch. There's a step. | 0:37:45 | 0:37:49 | |
-No. Step, step. And walk around here. -Yep, yep. | 0:37:49 | 0:37:52 | |
-OK. I'll pop you down here at the end. -OK. Beauty. | 0:37:52 | 0:37:54 | |
-The man next to you is Kurt Russell. -Hi, Kurt! | 0:37:54 | 0:37:57 | |
-Hi, how are you? -Good, how are you? | 0:37:57 | 0:37:59 | |
LAUGHTER | 0:37:59 | 0:38:00 | |
That was a good one. | 0:38:05 | 0:38:07 | |
-Hi, Tina. How are you? -Nice to see you. | 0:38:07 | 0:38:10 | |
-We met briefly at SNL 40. -I remember. I saw your face. | 0:38:10 | 0:38:13 | |
-The other male voice is Josh. -Hello. | 0:38:13 | 0:38:16 | |
Hi, Josh, you sounded funny, I caught a bit of you on the way in. | 0:38:16 | 0:38:20 | |
-Do you want your drink? -Oh, thank you. -There you go. | 0:38:20 | 0:38:22 | |
-OK. -It is a non-alcoholic beverage, isn't it? -I don't know. | 0:38:22 | 0:38:25 | |
It's not piss. | 0:38:25 | 0:38:28 | |
It's a pint of piss(!) | 0:38:28 | 0:38:29 | |
We all went in it while you were singing(!) | 0:38:31 | 0:38:33 | |
LAUGHTER | 0:38:33 | 0:38:35 | |
That's what we call a freelapse. | 0:38:35 | 0:38:38 | |
I don't want to miss this. I'm going to get a good look at this. | 0:38:38 | 0:38:41 | |
Yeah, it's water. | 0:38:41 | 0:38:42 | |
-You're really great, obviously quite brilliant. -Thank you. | 0:38:42 | 0:38:45 | |
If you keep this going for about ten years and just live your life. | 0:38:45 | 0:38:48 | |
-Wouldn't that be cool if that worked? -Yeah, nobody knows. | 0:38:48 | 0:38:52 | |
Does anybody else feel like a spare part? | 0:38:52 | 0:38:54 | |
Kurt, last time Sia was here, her back was to the camera. | 0:38:57 | 0:39:02 | |
-Yeah. -So, baby steps, you're now facing the right direction. -Yeah. | 0:39:02 | 0:39:06 | |
The track we just heard, Alive, is on the new album called This Is Acting. | 0:39:06 | 0:39:12 | |
Thank you for talking about it. | 0:39:12 | 0:39:13 | |
That's not you, though, in prosthetics? | 0:39:13 | 0:39:16 | |
That's not prosthetics, that's some digital work and some sticky tape. | 0:39:16 | 0:39:19 | |
I took my shoulders out, and I made my neck longer, | 0:39:19 | 0:39:23 | |
I changed the shape of my eyes and sticky-taped my nose. | 0:39:23 | 0:39:27 | |
OK! | 0:39:27 | 0:39:29 | |
What a lovely Christmas card... it's turned into! | 0:39:29 | 0:39:33 | |
GRAHAM LAUGHS | 0:39:35 | 0:39:37 | |
-That album is not out until the 29th of January. -Yeah, I know. | 0:39:37 | 0:39:41 | |
-I'm slogging away early. -Do it, do it. | 0:39:41 | 0:39:44 | |
Sell it. Pre-order for Christmas. | 0:39:44 | 0:39:47 | |
Are you...? Bored of asking, but it is interesting, | 0:39:47 | 0:39:49 | |
because 25 just came out, you did co-write this song with Adele. | 0:39:49 | 0:39:54 | |
-Yes. -Yeah. | 0:39:54 | 0:39:56 | |
WHOOPING AND APPLAUSE Yeah. Sia. Adele. Julia. | 0:39:56 | 0:39:59 | |
You've written the songs the artists sing. | 0:40:01 | 0:40:04 | |
And they're big anthems, all of them. | 0:40:04 | 0:40:06 | |
-So, can you ever tour an album? -Yeah, you just do it down. | 0:40:06 | 0:40:11 | |
Actually, Adele gave me a top tip, | 0:40:11 | 0:40:12 | |
she was like, "Whenever you can't hit the high note, | 0:40:12 | 0:40:15 | |
"you just like, 'la-la-la...' " | 0:40:15 | 0:40:17 | |
APPLAUSE | 0:40:20 | 0:40:23 | |
I was like, there's a reason she has 80 million! | 0:40:25 | 0:40:29 | |
And the rest. | 0:40:29 | 0:40:31 | |
And counting. | 0:40:32 | 0:40:33 | |
Before we go, just time for a visit to the Big Red Chair. | 0:40:34 | 0:40:38 | |
Who's there? | 0:40:38 | 0:40:39 | |
-Hello. -Hello! | 0:40:39 | 0:40:40 | |
-What's your name? -I'm Joe. | 0:40:40 | 0:40:42 | |
Good. And where are you from, Joe? | 0:40:42 | 0:40:44 | |
I'm from Stoke Gifford in Bristol. | 0:40:44 | 0:40:46 | |
Oh? Nothing! | 0:40:46 | 0:40:48 | |
And, do you have a job at Stoke Gifford? | 0:40:48 | 0:40:50 | |
Yes, I'm an architect. | 0:40:50 | 0:40:52 | |
An architect. He's an architect, ladies and gentlemen! | 0:40:52 | 0:40:55 | |
-AUDIENCE: -Ooh. -He's passed an exam. | 0:40:55 | 0:40:58 | |
-He has his architect shirt on. -Yeah. Really, yeah. Just seeing... | 0:40:59 | 0:41:02 | |
Joe, off you go with your story. | 0:41:04 | 0:41:06 | |
OK, so, growing up, I loved Big Trouble In Little China. | 0:41:06 | 0:41:10 | |
And, in my early teens, | 0:41:10 | 0:41:12 | |
I had a VHS recording of it that I watched repeatedly. | 0:41:12 | 0:41:15 | |
One of the scenes features Kurt Russell... | 0:41:16 | 0:41:20 | |
You touch that lever, I'm going to punch you! | 0:41:20 | 0:41:22 | |
LAUGHTER | 0:41:22 | 0:41:24 | |
It features Kurt Russell and chums running away from their foes | 0:41:26 | 0:41:29 | |
through a watery tunnel. | 0:41:29 | 0:41:32 | |
Part of this features a zoom-in on a lady's... | 0:41:32 | 0:41:37 | |
KURT SNORES | 0:41:37 | 0:41:39 | |
Oh, I'm sorry. | 0:41:39 | 0:41:40 | |
Hit the lever, hit the lever. | 0:41:40 | 0:41:41 | |
I will talk to him later. | 0:41:44 | 0:41:46 | |
I sensed that was coming. | 0:41:46 | 0:41:48 | |
I just thought, OK, you want to hear it. | 0:41:48 | 0:41:51 | |
KURT PROTESTS | 0:41:51 | 0:41:52 | |
Trust me, you don't. | 0:41:52 | 0:41:54 | |
-OK. Who's up next? Hello? -Hello, how are you? -I'm very well. | 0:41:56 | 0:42:00 | |
-You seem nervous? -I am very nervous, | 0:42:00 | 0:42:03 | |
I'm hanging on for dear life. | 0:42:03 | 0:42:05 | |
Don't be nervous. Nothing... Well, the chair may flip, | 0:42:05 | 0:42:08 | |
but that's the only bad thing. | 0:42:08 | 0:42:10 | |
-What's your name? -It's Rosanna. -And what do you do? | 0:42:10 | 0:42:12 | |
-I work in the travel industry. -The travel industry? As a...? | 0:42:12 | 0:42:16 | |
I work for a hotel wholesaler, providing rooms to travel agencies. | 0:42:16 | 0:42:20 | |
Oh, wow, I've glazed over! | 0:42:20 | 0:42:23 | |
Graham. | 0:42:25 | 0:42:26 | |
So... Off you go with your story. | 0:42:28 | 0:42:31 | |
I was travelling with two of my friends, and we were in Macao. | 0:42:31 | 0:42:34 | |
On a night out, and my friend suddenly got a really dodgy tummy. | 0:42:34 | 0:42:38 | |
So, he left early. | 0:42:38 | 0:42:40 | |
About 6:45am, I was headed back to the hotel | 0:42:40 | 0:42:44 | |
to find Frank standing in the room just wrapped in a towel. | 0:42:44 | 0:42:48 | |
A bit odd, he's been to bed for six hours already. | 0:42:48 | 0:42:51 | |
Then, my friend Ben comes back. He's like, | 0:42:51 | 0:42:54 | |
"You can't believe what I've just seen. | 0:42:54 | 0:42:56 | |
"A man's just been floored on his bicycle on his way to work. | 0:42:56 | 0:42:59 | |
"I run over to find him covered in poo and boxers." | 0:42:59 | 0:43:02 | |
It then transpires that Frank had heard me walking up the stairs | 0:43:02 | 0:43:07 | |
and he woke up in surprise, and also lost control | 0:43:07 | 0:43:10 | |
thus pooing in his boxers. | 0:43:10 | 0:43:12 | |
To which he had no idea what to do because he was so embarrassed. | 0:43:12 | 0:43:14 | |
And he flung them out the window, hitting the man on his bike. | 0:43:14 | 0:43:18 | |
That's a good story. APPLAUSE | 0:43:19 | 0:43:21 | |
You can walk. Yay! | 0:43:21 | 0:43:23 | |
Well done, all of you on the Big Red Chair. | 0:43:25 | 0:43:28 | |
If you'd like to join us on the show and have a go in that chair, you can. | 0:43:28 | 0:43:31 | |
Contact us via our website at this very address. | 0:43:31 | 0:43:33 | |
That's it for tonight. | 0:43:33 | 0:43:34 | |
Please say a huge thank you to my guests. | 0:43:34 | 0:43:37 | |
Josh Widdicombe! CHEERING | 0:43:37 | 0:43:40 | |
Tina Fey! CHEERING AND WHISTLING | 0:43:40 | 0:43:43 | |
Kurt Russell! CHEERING AND APPLAUSE | 0:43:43 | 0:43:45 | |
And Sia! CHEERING | 0:43:45 | 0:43:49 | |
Join me next week for Christmas chat with pop star Kylie Minogue, | 0:43:49 | 0:43:52 | |
the new faces of Star Wars, Daisy Ridley and John Boyega, | 0:43:52 | 0:43:56 | |
Princess Leia herself, Carrie Fisher, and the one and only David Beckham. | 0:43:56 | 0:44:01 | |
I'll see you then. Goodnight, everybody, bye-bye! | 0:44:01 | 0:44:04 |