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Tonight I am so lucky, two of my favourite actresses | 0:00:02 | 0:00:04 | |
and Chandler Bing from Friends. No-one said life would be this way. | 0:00:04 | 0:00:08 | |
SHORT BURST OF APPLAUSE They remembered! | 0:00:08 | 0:00:10 | |
Let's start the show! | 0:00:10 | 0:00:12 | |
This programme contains some strong language. | 0:00:12 | 0:00:19 | |
Oh! Oh! Oh! | 0:00:27 | 0:00:31 | |
Hello! Hi, hi! Hi! | 0:00:31 | 0:00:35 | |
Hello! Hello, good evening! | 0:00:35 | 0:00:38 | |
Well done, everyone, one, two, three, four. Excellent. Very good. | 0:00:38 | 0:00:42 | |
Great guests tonight, and here's an interesting thing. | 0:00:42 | 0:00:45 | |
One of them is about to star in the West End as Nell Gwynn. | 0:00:45 | 0:00:50 | |
Nell Gwynn, King Charles II's bawdy lover, ladies and gentlemen. | 0:00:50 | 0:00:55 | |
WHISTLING There's the actual Nell Gwynn. | 0:00:55 | 0:00:58 | |
And she was famous, of course, for selling oranges. | 0:00:58 | 0:01:01 | |
Interesting, though, if you google the words woman and orange, | 0:01:01 | 0:01:04 | |
you actually get this. | 0:01:04 | 0:01:06 | |
LAUGHTER | 0:01:06 | 0:01:09 | |
Rumour has it that Nell Gwynn was attracted to King Charles II | 0:01:09 | 0:01:12 | |
because he was so incredibly rich. | 0:01:12 | 0:01:14 | |
But, would a beautiful woman behave like that nowadays? | 0:01:14 | 0:01:17 | |
Let's get my guests on! | 0:01:20 | 0:01:23 | |
Later, we'll have music from rising star Jack Savoretti. | 0:01:23 | 0:01:27 | |
But, first, she's gone from Gravesend to the West End, | 0:01:28 | 0:01:32 | |
starring in movies like St Trinian's, Quantum Of Solace, Tamara Drewe, | 0:01:32 | 0:01:35 | |
and last year's sell-out musical Made In Dagenham. | 0:01:35 | 0:01:38 | |
Please welcome Gemma Arterton! | 0:01:38 | 0:01:40 | |
CHEERING AND APPLAUSE | 0:01:40 | 0:01:42 | |
Look at you, you're like liquid silver. Mercury. Sit down, sit down. | 0:01:46 | 0:01:51 | |
She's the Bafta award-winning actress | 0:01:53 | 0:01:55 | |
who's delighted us with countless roles over the years, | 0:01:55 | 0:01:57 | |
including Professor Sprout in Harry Potter. | 0:01:57 | 0:01:59 | |
She's quite simply a force of nature. | 0:01:59 | 0:02:01 | |
It is such a warm welcome back to Miriam Margolyes. | 0:02:01 | 0:02:06 | |
CHEERING AND APPLAUSE | 0:02:06 | 0:02:08 | |
I've come to get you. Look at you. | 0:02:08 | 0:02:10 | |
You don't need help at all. | 0:02:10 | 0:02:13 | |
Shove up, Gemma, shove up. There you go. | 0:02:15 | 0:02:17 | |
And, for ten years he was part of our lives as Chandler Bing | 0:02:18 | 0:02:21 | |
in the smash hit Friends. Now he's returning to the West End | 0:02:21 | 0:02:24 | |
with his play-writing debut, The End Of Longing. | 0:02:24 | 0:02:28 | |
Welcome, for the very first time, Mr Matthew Perry. | 0:02:28 | 0:02:32 | |
APPLAUSE AND CHEERING | 0:02:32 | 0:02:34 | |
Hello, it's really nice to meet you. I'm really well. | 0:02:35 | 0:02:38 | |
Come in and sit down. | 0:02:38 | 0:02:39 | |
Shove up, ladies! | 0:02:39 | 0:02:41 | |
You're all very welcome. Gemma, Miriam, you've been here before. | 0:02:47 | 0:02:50 | |
Matthew, you haven't been here before, | 0:02:50 | 0:02:52 | |
you have been in London many times. | 0:02:52 | 0:02:53 | |
I did, yes, I did a play here in 2003. | 0:02:53 | 0:02:56 | |
-Have you chatted out the back a bit? -Very briefly. -OK. | 0:02:56 | 0:03:01 | |
I don't know you, we don't know each other. | 0:03:01 | 0:03:04 | |
-No, we don't. -No. Not yet. | 0:03:04 | 0:03:06 | |
-But I'm very pleased to meet you. -It's nice to meet you, too. | 0:03:07 | 0:03:10 | |
Very pleased. And I think you're lovely. | 0:03:10 | 0:03:14 | |
LAUGHTER | 0:03:14 | 0:03:16 | |
-I think you're lovely too. -Thank you. -That's good. | 0:03:16 | 0:03:20 | |
There we leave our show! | 0:03:20 | 0:03:22 | |
-While it's all going well, let's stop. -She didn't say I looked lovely! | 0:03:22 | 0:03:26 | |
She was very pleased to meet you. | 0:03:26 | 0:03:28 | |
-That's true. -What the fuck do you want? | 0:03:28 | 0:03:30 | |
LAUGHTER | 0:03:30 | 0:03:32 | |
I want to look lovely. | 0:03:33 | 0:03:35 | |
We're going to talk about your play, Matthew. | 0:03:37 | 0:03:39 | |
But, later, because you've never been here before, | 0:03:39 | 0:03:42 | |
-there will be a couple of Friends questions. -OK, that's fine. | 0:03:42 | 0:03:44 | |
Just to let you know, on the sofa, it's quite Yin and Yang. | 0:03:44 | 0:03:47 | |
Gemma Arterton over there, you lived and breathed Friends, | 0:03:47 | 0:03:51 | |
-you were a big fan. -I was the generation of Friends. | 0:03:51 | 0:03:54 | |
I'm 30 in two weeks. | 0:03:54 | 0:03:56 | |
When I was a kid, I had a Rachel haircut, the lot. | 0:03:56 | 0:04:00 | |
-Oh! -It wasn't a good period. -No? | 0:04:00 | 0:04:03 | |
-Terrible. -And then, Miriam is one of those people. | 0:04:05 | 0:04:08 | |
You must be in such a tiny minority in the world. | 0:04:08 | 0:04:12 | |
I have never seen Friends. | 0:04:12 | 0:04:14 | |
AUDIENCE GASPS | 0:04:14 | 0:04:16 | |
LAUGHTER | 0:04:17 | 0:04:19 | |
But that's not possible. | 0:04:19 | 0:04:21 | |
You must have woken up in a hotel room and it was just on. | 0:04:21 | 0:04:24 | |
RIPPLE OF LAUGHTER | 0:04:26 | 0:04:28 | |
I'll show you some episodes in a hotel room. | 0:04:28 | 0:04:31 | |
I'll tell you why. Many years ago, I lived in America, in Los Angeles. | 0:04:32 | 0:04:37 | |
And I was part of the stable of comedy people of Norman Lear. | 0:04:37 | 0:04:44 | |
And he introduced me to Marta Kauffmann and David Crane. | 0:04:44 | 0:04:49 | |
-Yes. -And I really liked David Crane. | 0:04:49 | 0:04:52 | |
And I couldn't stand Marta Kauffmann. | 0:04:52 | 0:04:55 | |
I thought she was a monster. | 0:04:55 | 0:04:57 | |
And they wrote Friends. So... | 0:05:00 | 0:05:03 | |
I thought, bugger it, I'm not watching that! | 0:05:03 | 0:05:06 | |
LAUGHTER AND APPLAUSE | 0:05:07 | 0:05:09 | |
And that's the only reason. | 0:05:09 | 0:05:11 | |
-The only reason. -All right. | 0:05:11 | 0:05:13 | |
She's actually quite a lovely woman, | 0:05:13 | 0:05:15 | |
-I don't know what you're talking about. -Don't say anything. -I won't. | 0:05:15 | 0:05:18 | |
No need, I'd have thought, at this point, it being on telly and all. | 0:05:20 | 0:05:24 | |
I think it's been said. | 0:05:24 | 0:05:26 | |
Now. Matthew Perry, you join us at... | 0:05:27 | 0:05:29 | |
This is an amazing... This is kind of a life milestone for you | 0:05:29 | 0:05:33 | |
-in that you have written a play. -I did. | 0:05:33 | 0:05:36 | |
I wrote a play called The End Of Longing | 0:05:36 | 0:05:38 | |
that's going to be at The Playhouse Theatre, | 0:05:38 | 0:05:41 | |
opening on February the 11th. I'm very excited about it. | 0:05:41 | 0:05:43 | |
-And you're in it as well. -I'm in it as well. | 0:05:43 | 0:05:46 | |
-You're not directing it? -I'm not directing it. | 0:05:46 | 0:05:48 | |
But I wrote a play, and I put myself as the lead, | 0:05:48 | 0:05:51 | |
so I'm quite narcissistic. | 0:05:51 | 0:05:54 | |
It starts at The Playhouse, on February the 2nd. | 0:05:54 | 0:05:58 | |
-February the 2nd it previews. -Previews, yes. | 0:05:58 | 0:06:01 | |
I suppose, a lot of people say, | 0:06:01 | 0:06:03 | |
why have you chosen to debut your play in London? Why bring it here? | 0:06:03 | 0:06:07 | |
Well, it's an interesting question. | 0:06:07 | 0:06:10 | |
I think that the play, | 0:06:10 | 0:06:11 | |
it's actually a really good play for the Friends generation. | 0:06:11 | 0:06:15 | |
It's about people in their 30s and 40s who are single, | 0:06:15 | 0:06:18 | |
and kind of broken, and trying to make it work, | 0:06:18 | 0:06:22 | |
and have a relationship with one another. | 0:06:22 | 0:06:24 | |
And I think that the humour is very dark | 0:06:24 | 0:06:27 | |
and I think it will really appeal to British audiences. | 0:06:27 | 0:06:29 | |
It's very satirical. | 0:06:29 | 0:06:31 | |
LAUGHTER | 0:06:31 | 0:06:33 | |
People here will like it a lot. | 0:06:33 | 0:06:36 | |
You've said that it's not autobiographical in any way. | 0:06:36 | 0:06:40 | |
And yet the character you play is a lot of you. | 0:06:40 | 0:06:44 | |
Well, I play a drunk. | 0:06:44 | 0:06:46 | |
OK. | 0:06:46 | 0:06:47 | |
So... | 0:06:48 | 0:06:50 | |
-It's a slightly exaggerated form of myself. -Yes. | 0:06:52 | 0:06:56 | |
-Were you an alcoholic at one time? -I still am. | 0:06:56 | 0:07:01 | |
-Not really? -Well, yes. -I don't think you ever stop. -No, you always are. | 0:07:01 | 0:07:04 | |
You always are. I'm a recovering alcoholic. | 0:07:04 | 0:07:07 | |
I'm glad we are talking about this! | 0:07:07 | 0:07:09 | |
LAUGHTER | 0:07:09 | 0:07:11 | |
-You look great. -Thank you very much. Thank you. | 0:07:11 | 0:07:14 | |
Now, this is your first full-length play. | 0:07:14 | 0:07:16 | |
But you've always been drawn to writing. | 0:07:16 | 0:07:19 | |
-You would go into the writers' room. -Yes. | 0:07:19 | 0:07:22 | |
I was in the writers' room of Friends a lot. | 0:07:22 | 0:07:24 | |
And I wrote the show, I'm doing The Odd Couple, a revamp, | 0:07:24 | 0:07:28 | |
in the States now. And I wrote the pilot of that. | 0:07:28 | 0:07:31 | |
But the play is the first thing I've ever written by myself | 0:07:31 | 0:07:34 | |
which was quite daunting and scary. | 0:07:34 | 0:07:36 | |
But I've always written with a partner before. | 0:07:36 | 0:07:39 | |
But the play was the first thing I've written by myself. | 0:07:39 | 0:07:41 | |
It's the hardest thing to write, isn't it? Much harder. | 0:07:41 | 0:07:44 | |
It's hard to face the page and there's nothing there. | 0:07:44 | 0:07:46 | |
And then, all of a sudden, you make something there, yes. | 0:07:46 | 0:07:49 | |
-How do you... -Sorry. -Sorry. | 0:07:49 | 0:07:51 | |
LAUGHTER | 0:07:52 | 0:07:53 | |
Stay out of this, will you? | 0:07:53 | 0:07:55 | |
I'm just checking the name of the show! | 0:07:55 | 0:07:57 | |
APPLAUSE | 0:07:59 | 0:08:01 | |
I wanted to ask, was this something that you've had in your mind | 0:08:03 | 0:08:06 | |
for a long time? Or was it...? | 0:08:06 | 0:08:08 | |
I'd done that play in 2003. I did a David Mamet play. | 0:08:08 | 0:08:11 | |
And I wanted to do a similar thing | 0:08:11 | 0:08:15 | |
and see if I could write something similar to that. | 0:08:15 | 0:08:18 | |
Which is bloody hard. It must be good. | 0:08:18 | 0:08:20 | |
Not just anybody can get a thing on in the West End. | 0:08:20 | 0:08:23 | |
-How true. -I hear my play is slightly better than Gemma's. | 0:08:23 | 0:08:26 | |
AUDIENCE LAUGH AND GASP | 0:08:28 | 0:08:29 | |
Let's have a play-off later, a play-off. | 0:08:29 | 0:08:32 | |
The interesting thing is, because, being a stage actor, | 0:08:32 | 0:08:34 | |
we don't think of you being a stage actor. But everything's been | 0:08:34 | 0:08:38 | |
-in front of a live audience all these years. -True. | 0:08:38 | 0:08:40 | |
Yes, I'm very used to performing in front of a live audience. | 0:08:40 | 0:08:44 | |
-Is The Odd Couple in front of a live audience as well? -Yes, it is. | 0:08:44 | 0:08:48 | |
-But they're American, an American live audience. -Yeah. | 0:08:48 | 0:08:50 | |
This is going to be slightly different. | 0:08:50 | 0:08:52 | |
-It will be slightly different. -No, he's played the West End before. | 0:08:52 | 0:08:55 | |
You've been in the West End before? | 0:08:55 | 0:08:57 | |
Yeah, are you paying attention to the show? | 0:08:57 | 0:08:59 | |
-LAUGHTER -Obviously not closely enough. | 0:08:59 | 0:09:01 | |
I guess not. | 0:09:01 | 0:09:02 | |
-I've already done a play on the West End. -Oh, well... | 0:09:02 | 0:09:06 | |
You're laughing! | 0:09:06 | 0:09:07 | |
Gemma was in a big musical last year, Made In Dagenham. | 0:09:09 | 0:09:13 | |
-In that, you had to go amongst the live audience. -I did. | 0:09:13 | 0:09:17 | |
-Oh, wow. -Not something I enjoy doing, I have to admit. | 0:09:17 | 0:09:22 | |
I don't know if audiences even like it because they get a bit nervous. | 0:09:22 | 0:09:26 | |
"What's going to happen? | 0:09:26 | 0:09:27 | |
"Are you going to talk to me, or make me participate?" | 0:09:27 | 0:09:30 | |
But I did go into the audience. | 0:09:30 | 0:09:32 | |
It does happen where phones go off. | 0:09:32 | 0:09:35 | |
Can you believe it? | 0:09:35 | 0:09:37 | |
Phones go off in the theatre, which is the big bugbear of mine. | 0:09:37 | 0:09:42 | |
And this guy, I walked down the aisle and I have to stand there. | 0:09:42 | 0:09:45 | |
And, first of all, his phone went off. Then he took a picture of me. | 0:09:45 | 0:09:49 | |
So I just took it. The play was set in the 1960s | 0:09:49 | 0:09:52 | |
and I said, "What's that, then?" | 0:09:52 | 0:09:54 | |
I turned it off and took it away with me. | 0:09:54 | 0:09:56 | |
Good for you. | 0:09:56 | 0:09:58 | |
You should have squeezed his testicles very hard. | 0:09:59 | 0:10:02 | |
Well, I did that as well. | 0:10:03 | 0:10:05 | |
I think he might have enjoyed that, Miriam. | 0:10:05 | 0:10:07 | |
I don't know. | 0:10:07 | 0:10:09 | |
Miriam, now, you've been quite bossy with audiences. | 0:10:09 | 0:10:13 | |
-Was it your Dickens, your one-woman Dickens show? -Um, yes. | 0:10:13 | 0:10:17 | |
I think it was. No. It was something in Australia I did. | 0:10:17 | 0:10:20 | |
I can't actually remember what it was. | 0:10:20 | 0:10:22 | |
But I was very good! And, um... | 0:10:22 | 0:10:25 | |
LAUGHTER | 0:10:25 | 0:10:26 | |
And everybody stood up in the audience except this one woman | 0:10:26 | 0:10:30 | |
-in the front row. -GEMMA GASPS | 0:10:30 | 0:10:32 | |
And I said, "Why aren't you standing up?" | 0:10:32 | 0:10:35 | |
She said, good on her, she said, | 0:10:37 | 0:10:41 | |
"I stood up for Derek Jacobi." | 0:10:41 | 0:10:44 | |
And that put me in my place. | 0:10:47 | 0:10:48 | |
-Did you let her sit there, then? -What could I do? | 0:10:48 | 0:10:51 | |
I wasn't going to haul her to her feet. | 0:10:51 | 0:10:53 | |
You should never do that. | 0:10:54 | 0:10:56 | |
Whatever the audience gives you, be grateful, and that's it. | 0:10:56 | 0:11:00 | |
I know that's true. But I just thought, how could she not stand up | 0:11:00 | 0:11:04 | |
when everybody else in the theatre was standing up? | 0:11:04 | 0:11:06 | |
-Because then she's making a point. -She's making a point. | 0:11:06 | 0:11:09 | |
I said, "I think it's very rude of you." | 0:11:09 | 0:11:13 | |
-Maybe she couldn't stand up. -No, she got up to go out. | 0:11:14 | 0:11:18 | |
LAUGHTER AND APPLAUSE | 0:11:19 | 0:11:22 | |
So, you've said already, just to be clear. | 0:11:25 | 0:11:27 | |
With this play, people who are fans of Friends, | 0:11:27 | 0:11:30 | |
they will enjoy this play? | 0:11:30 | 0:11:31 | |
They won't come to it thinking, "It's Friends live." | 0:11:31 | 0:11:33 | |
-Then go, "What the hell was that?" -No, I don't think so. | 0:11:33 | 0:11:36 | |
I think it's a good play for the Friends generation. | 0:11:36 | 0:11:39 | |
It's a dark comedy, a little darker than Friends was. | 0:11:39 | 0:11:43 | |
-But we're all older. Life's got darker. -Life's gotten darker. Yeah. | 0:11:43 | 0:11:48 | |
Yeah. | 0:11:49 | 0:11:50 | |
It is so weird. Even in the papers this week, | 0:11:50 | 0:11:53 | |
12 years after Friends stopped, | 0:11:53 | 0:11:56 | |
it's now in the papers this week because there's a rumoured reunion | 0:11:56 | 0:11:59 | |
-that you're getting together. Is that true? -No, that's not true. | 0:11:59 | 0:12:02 | |
-Because you'll be here. -I am going to be here, yes. | 0:12:02 | 0:12:05 | |
It's not the Friends reunion that everybody's hoping for. | 0:12:05 | 0:12:09 | |
They're celebrating Jim Burrows who was a director of Friends. | 0:12:09 | 0:12:13 | |
And five of them are going to be on this special. | 0:12:13 | 0:12:17 | |
And I'm going to introduce them from here | 0:12:17 | 0:12:19 | |
because I'm doing the play here so I can't be there. | 0:12:19 | 0:12:23 | |
-That's a really good excuse. -Yeah. | 0:12:23 | 0:12:25 | |
Listen. There probably won't be a reunion, maybe there will. | 0:12:26 | 0:12:29 | |
But, like so many big hits, Friends lives on in its porn parody. | 0:12:29 | 0:12:35 | |
It's very true. | 0:12:37 | 0:12:38 | |
I think maybe it's even more than one porn parody. It's very popular. | 0:12:38 | 0:12:41 | |
-There's one that I'm familiar with. -LAUGHTER | 0:12:41 | 0:12:45 | |
-I've got one here. -You do? -Is it that one? | 0:12:45 | 0:12:48 | |
-What is that called? -Friends At XXX Parody. | 0:12:48 | 0:12:51 | |
No, the one I know about is called Fiends. | 0:12:51 | 0:12:54 | |
And, in it, all of the characters are having sex with each other, | 0:12:55 | 0:12:59 | |
except for Chandler who's just sitting in the corner masturbating. | 0:12:59 | 0:13:03 | |
APPLAUSE | 0:13:05 | 0:13:07 | |
Gemma, you're a fan. Would you like a copy of this? | 0:13:09 | 0:13:13 | |
I want Fiends. | 0:13:13 | 0:13:14 | |
This sounds quite good, though. Listen to this. | 0:13:16 | 0:13:19 | |
"The comedy flies, as do the bodily fluids." | 0:13:19 | 0:13:23 | |
Oh, wow. | 0:13:23 | 0:13:24 | |
"Hilarity and deep penetration ensues." | 0:13:24 | 0:13:26 | |
You can have it. Go on. Oh, no, it's out of its cover now. | 0:13:28 | 0:13:31 | |
Here, I think you should have this. | 0:13:31 | 0:13:33 | |
Actually, I've made my own. | 0:13:34 | 0:13:36 | |
LAUGHTER AND APPLAUSE | 0:13:36 | 0:13:38 | |
-Miriam's been in a lot of porn. -Oh, really? I didn't realise that. | 0:13:38 | 0:13:41 | |
-Only audio, though. -Only the audio? | 0:13:41 | 0:13:43 | |
Yes. I've never actually done it in front of a camera. | 0:13:43 | 0:13:47 | |
-But you make the sounds of it. -I make the sounds. | 0:13:47 | 0:13:50 | |
-And I'm not doing it now. -No! | 0:13:50 | 0:13:53 | |
I wasn't going to ask. You brought it up, Miriam. | 0:13:54 | 0:13:57 | |
-I'd rather watch your show. -I don't think anybody really wants this. | 0:13:57 | 0:14:01 | |
-Do you want it? -No. -No. Here, you can have this back. | 0:14:01 | 0:14:05 | |
-Auction it for charity. -If we leave it there, | 0:14:05 | 0:14:07 | |
by the end of the show, that'll be gone. | 0:14:07 | 0:14:10 | |
-Somebody will take it. -Look at him in the shirt, he is eyeing it up. | 0:14:11 | 0:14:15 | |
"If I can sack my girlfriend, I can get that into my bag." | 0:14:16 | 0:14:18 | |
Now, Gemma Arterton, your play in the West End, | 0:14:18 | 0:14:23 | |
you take on the role of, | 0:14:23 | 0:14:25 | |
she's kind of the original raunchy actress, Nell Gwynn. | 0:14:25 | 0:14:28 | |
She was the second British actress to grace the boards. | 0:14:28 | 0:14:32 | |
And she was famous, not only for being an actress, | 0:14:32 | 0:14:36 | |
and she was a very popular actress, but also because she became gentry. | 0:14:36 | 0:14:40 | |
She had King Charles' sons, and was included into the English court. | 0:14:40 | 0:14:48 | |
And so she was a Cockney girl who managed to work her way up. | 0:14:48 | 0:14:53 | |
Yeah. And I love the poster here. "Gemma Arterton is Nell Gwynn." | 0:14:53 | 0:14:56 | |
And I like this. "Fun, funny and joyous. | 0:14:56 | 0:14:58 | |
"A cast of 20. And a band. Naughty songs, merry dances. And a dog!" | 0:14:58 | 0:15:03 | |
Now, Matthew Perry, take that. | 0:15:03 | 0:15:06 | |
-Do you have a dog? -I don't have a dog. | 0:15:06 | 0:15:09 | |
-Well, there you go. -There'll be a horse by tomorrow. | 0:15:09 | 0:15:11 | |
A rewrite, spuriously overnight. | 0:15:12 | 0:15:15 | |
And it's at the Apollo Theatre from February 4th | 0:15:15 | 0:15:17 | |
until the end of April and it's a new play. | 0:15:17 | 0:15:20 | |
It's been done once before but it's still new. | 0:15:20 | 0:15:22 | |
Yeah, it's brand-new, written by Jessica Swale, a young writer. | 0:15:22 | 0:15:27 | |
She is brilliant and it's very, very funny. | 0:15:27 | 0:15:29 | |
Sort of got Blackadder vibes and yeah, there's music, um, and | 0:15:29 | 0:15:36 | |
it's just great, great fun and I'm rehearsing as we speak and it's just a laugh. | 0:15:36 | 0:15:42 | |
-Now, in this play, there's a fan language. -Yeah. | 0:15:42 | 0:15:45 | |
Is this a real thing? | 0:15:45 | 0:15:46 | |
Do you not know about fan language? | 0:15:46 | 0:15:48 | |
Fan language was created | 0:15:48 | 0:15:50 | |
when women weren't allowed to talk in the company of men, | 0:15:50 | 0:15:53 | |
so they created their own language with fans in order to communicate. | 0:15:53 | 0:15:58 | |
-Well, I've got a fan. -Ah. | 0:15:58 | 0:16:00 | |
-Is this... -That's a fan. -That is a fan, yes. | 0:16:00 | 0:16:02 | |
And so... | 0:16:02 | 0:16:05 | |
First of all, you can speak a lot with a fan before... | 0:16:05 | 0:16:08 | |
You don't even have to open your mouth. | 0:16:08 | 0:16:11 | |
Oh, Jesus! | 0:16:11 | 0:16:13 | |
It's quite scary, isn't it? | 0:16:13 | 0:16:14 | |
Sit a bit further away. | 0:16:14 | 0:16:16 | |
There's lots of things like, for example, | 0:16:18 | 0:16:20 | |
this means we're being watched. | 0:16:20 | 0:16:25 | |
-OK. -And this...means "kiss me". Kiss me. | 0:16:25 | 0:16:31 | |
This means "between you and I", which is where that comes from. | 0:16:31 | 0:16:35 | |
-Oh, I see. -And this... | 0:16:35 | 0:16:37 | |
Well, you can guess what that means. | 0:16:38 | 0:16:41 | |
I think that's actually in the porn. | 0:16:41 | 0:16:43 | |
LAUGHTER | 0:16:43 | 0:16:46 | |
Gemma, you get to do your natural Cockney voice in this, don't you? | 0:16:50 | 0:16:54 | |
I do. I get to do my old accent, before RADA accent. | 0:16:54 | 0:16:59 | |
Which is great, but then actually, she becomes... | 0:16:59 | 0:17:03 | |
She speaks very, very well at the end. | 0:17:03 | 0:17:05 | |
Because she's an actress and she picks it up very easily. | 0:17:05 | 0:17:08 | |
But when you went home with your new RADA voice, | 0:17:08 | 0:17:10 | |
-Gravesend were not keen, were they? -No. | 0:17:10 | 0:17:12 | |
They...well, the family weren't, you know. | 0:17:12 | 0:17:15 | |
You can't get away with it with my family. | 0:17:15 | 0:17:18 | |
They just put me right in my place. | 0:17:18 | 0:17:20 | |
-I bet they're very proud of you, darling. -They are very proud of me. | 0:17:20 | 0:17:23 | |
-I bet they are and so they should be. -Yeah, they are. | 0:17:23 | 0:17:26 | |
But it's different when you're working class, you know, | 0:17:26 | 0:17:29 | |
and you come back speaking posh, it does set people's teeth on edge. | 0:17:29 | 0:17:33 | |
-Yeah, it does. -Because I have a posh voice and I wish I didn't, but I just do, and...um... | 0:17:33 | 0:17:39 | |
LAUGHTER | 0:17:39 | 0:17:42 | |
You can change your accent - you should do that. | 0:17:42 | 0:17:44 | |
-I do. I always do. -Choose an accent a day. | 0:17:44 | 0:17:46 | |
I always... If I need something in the street, I always become Scottish. | 0:17:46 | 0:17:51 | |
LAUGHTER | 0:17:51 | 0:17:55 | |
I've got to ask you, what do you need in the street? | 0:17:55 | 0:17:57 | |
LAUGHTER | 0:17:57 | 0:18:00 | |
You never know. | 0:18:00 | 0:18:02 | |
Well, I mean, the time or a road or a garage, you know, | 0:18:02 | 0:18:06 | |
-something like that. -Yes. -Why Scottish? | 0:18:06 | 0:18:08 | |
I tell you why, and this is true. | 0:18:08 | 0:18:10 | |
Scottish is a classless sound and it's friendly. | 0:18:10 | 0:18:15 | |
-Mmm. -Excuse me. | 0:18:15 | 0:18:16 | |
-BAD SCOTTISH ACCENT: -Could you tell me where the nearest garage is? | 0:18:16 | 0:18:19 | |
I don't know where I am at the moment. | 0:18:19 | 0:18:20 | |
I'm just slightly lost here. Could you help me out? | 0:18:20 | 0:18:23 | |
LAUGHTER AND APPLAUSE | 0:18:23 | 0:18:26 | |
It's friendly. It's friendly. | 0:18:26 | 0:18:29 | |
We've rumbled you now! "It's that Scottish woman I helped!" | 0:18:29 | 0:18:33 | |
And now, here's a thing. | 0:18:35 | 0:18:36 | |
You're on stage in the West End and obviously, | 0:18:36 | 0:18:38 | |
people come to see you and you get confident, you get nervous | 0:18:38 | 0:18:41 | |
but do you get nervous when your family come, | 0:18:41 | 0:18:43 | |
because they don't sugar-coat what they think, do they? | 0:18:43 | 0:18:47 | |
No, they... | 0:18:47 | 0:18:48 | |
My family, they're very supportive, | 0:18:48 | 0:18:52 | |
but they don't feel the need to, you know... | 0:18:52 | 0:18:54 | |
If they don't like something, or they weren't that impressed, | 0:18:54 | 0:18:57 | |
or they're a bit bored, they'll say. | 0:18:57 | 0:18:59 | |
LAUGHTER | 0:18:59 | 0:19:01 | |
For example, when I did Made In Dagenham, | 0:19:01 | 0:19:03 | |
it was a huge deal for me, because I'm not really a singer | 0:19:03 | 0:19:06 | |
and I'd been practising and my mum came and she went, | 0:19:06 | 0:19:09 | |
"Hmm, the voice has gotten better." | 0:19:09 | 0:19:12 | |
LAUGHTER | 0:19:12 | 0:19:13 | |
But you know, in a way, she should have gone, "You're amazing!" | 0:19:13 | 0:19:18 | |
Because, Miriam, now you... I'm guessing you don't sugar-coat things. | 0:19:18 | 0:19:22 | |
-Do you get starstruck when you meet people? -I do sometimes. | 0:19:22 | 0:19:26 | |
I remember when I was young, and I met Laurence Olivier, that was... | 0:19:26 | 0:19:31 | |
I used to collect autographs at the stage door, and he came out | 0:19:31 | 0:19:36 | |
and I remember so distinctly that I started to cream in my knickers. | 0:19:36 | 0:19:42 | |
I could feel it. | 0:19:42 | 0:19:44 | |
Actually... I went all funny. | 0:19:44 | 0:19:48 | |
It's true. | 0:19:48 | 0:19:49 | |
D'you know what I mean? | 0:19:51 | 0:19:52 | |
I know exactly what you mean. | 0:19:52 | 0:19:54 | |
Wherever we thought the story was going... | 0:19:56 | 0:19:58 | |
I... | 0:19:58 | 0:20:00 | |
I honestly don't think I've ever been more uncomfortable in my life! | 0:20:00 | 0:20:04 | |
LAUGHTER | 0:20:04 | 0:20:07 | |
I think that's the worst moment of my life! | 0:20:12 | 0:20:16 | |
LAUGHTER | 0:20:16 | 0:20:19 | |
-Oh, dear. -It can only get better. | 0:20:19 | 0:20:21 | |
Well, that's a lovely story, Miriam. | 0:20:21 | 0:20:23 | |
Thank you for sharing. I think that's in the compilation. | 0:20:25 | 0:20:28 | |
That's... That's great. | 0:20:28 | 0:20:30 | |
But I think that's a tribute. | 0:20:33 | 0:20:35 | |
Oh, it's a...it's a... No greater compliment, Miriam. | 0:20:35 | 0:20:38 | |
Er, yes. | 0:20:38 | 0:20:40 | |
I think we should all get fans out now. | 0:20:40 | 0:20:42 | |
Here you are. Fan yourself. | 0:20:42 | 0:20:47 | |
Thank you. Thank you very much. | 0:20:48 | 0:20:50 | |
When you're sort of...Matthew Perry and you're so incredibly famous, | 0:20:50 | 0:20:54 | |
you imagine you won't get starstruck when you meet people. But you did. | 0:20:54 | 0:20:57 | |
Is it the director, the famous director, M Night Shyamalan? | 0:20:57 | 0:21:00 | |
-Oh, yes. M Night Shyamalan. -Shyamalan. That's it. -Yes. | 0:21:00 | 0:21:04 | |
Well, I have a story about M Night Shyamalan. | 0:21:04 | 0:21:06 | |
-Do you guys know who that is? -ALL: Yes. | 0:21:06 | 0:21:08 | |
-The guy who directed Sixth Sense. -Yeah. | 0:21:08 | 0:21:11 | |
Um, in this story, I drop a few names, | 0:21:11 | 0:21:14 | |
so I apologise in advance for this. | 0:21:14 | 0:21:16 | |
But about 15 years ago, when The Sixth Sense came out, Bruce Willis | 0:21:16 | 0:21:20 | |
won the People's Choice Award for Best Actor and he asked me to present the award to him, so I did. | 0:21:20 | 0:21:27 | |
I went backstage that night and I met Haley Joel Osment from the movie and I met M Night Shyamalan. | 0:21:27 | 0:21:33 | |
And about six months later, I was at this bar. | 0:21:33 | 0:21:36 | |
This was back when I was drinking. | 0:21:36 | 0:21:38 | |
I was with a couple of friends and M Night Shyamalan walked in. | 0:21:38 | 0:21:41 | |
And he said, "Hi, Matthew." And I went, "Oh, my God. | 0:21:41 | 0:21:44 | |
"Hi, how are you? Please, sit down. Join us." | 0:21:44 | 0:21:47 | |
And he sat down and he joined us | 0:21:47 | 0:21:49 | |
and we sat there for about an hour, talking | 0:21:49 | 0:21:51 | |
and I noticed my friends sort of filtered out | 0:21:51 | 0:21:53 | |
and then it was just me and M Night Shyamalan for about another hour | 0:21:53 | 0:21:57 | |
and I noticed we weren't talking about show business or anything, | 0:21:57 | 0:22:00 | |
we were just kind of talking about women and love and loss | 0:22:00 | 0:22:04 | |
and life and all that. | 0:22:04 | 0:22:06 | |
And he mentioned that there was another club opening across town | 0:22:06 | 0:22:10 | |
and would I like to go with him | 0:22:10 | 0:22:12 | |
and I said, "Sure, I'd love to go with you." | 0:22:12 | 0:22:14 | |
And I had this weird moment, | 0:22:14 | 0:22:16 | |
which I've never had before where I was convinced that | 0:22:16 | 0:22:20 | |
I was going to be a big movie star as a result of this night. | 0:22:20 | 0:22:25 | |
Because he was laughing at all my jokes, he really was sort of into me. | 0:22:25 | 0:22:29 | |
I think he might have been a big Friends fan. | 0:22:29 | 0:22:31 | |
-He was really liking me. -Yeah! | 0:22:31 | 0:22:34 | |
And so we get to the next place and I felt comfortable enough, | 0:22:34 | 0:22:37 | |
sort of drunk enough, to say, | 0:22:37 | 0:22:38 | |
"We should work together sometime." And he kind of went like this... | 0:22:38 | 0:22:41 | |
And I remember going, "Oh, I wish I hadn't said that." | 0:22:44 | 0:22:47 | |
And then he went to the bathroom and a friend of mine came up to me and said, "How is your night going?" | 0:22:47 | 0:22:51 | |
And I said, "What, are you kidding? I'm having the greatest night of my life. | 0:22:51 | 0:22:55 | |
"M Night Shyamalan and I have been hanging out for the last two and a half hours. It's been great." | 0:22:55 | 0:22:59 | |
And the guy... M Night Shyamalan came back from the bathroom and my friend said, | 0:22:59 | 0:23:02 | |
"That's not M Night Shyamalan." | 0:23:02 | 0:23:04 | |
LAUGHTER | 0:23:04 | 0:23:06 | |
And it wasn't. | 0:23:11 | 0:23:12 | |
It was just an Indian gentleman... | 0:23:14 | 0:23:16 | |
..who looked a lot like M Night Shyamalan. | 0:23:18 | 0:23:22 | |
And I'd said to him, "Let's work together." | 0:23:24 | 0:23:26 | |
And it turned out he was a maitre d' at a local restaurant. | 0:23:28 | 0:23:31 | |
-Have you ever seen him again since? -No, but I've seen the guy | 0:23:32 | 0:23:35 | |
and we always look at each other like jilted lovers. | 0:23:35 | 0:23:38 | |
APPLAUSE | 0:23:38 | 0:23:40 | |
Miriam Margolyes, you don't bring us a film but you bring us | 0:23:46 | 0:23:49 | |
a documentary inspired by a film, which seems like a good idea. | 0:23:49 | 0:23:53 | |
It's called the Real Marigold Hotel. | 0:23:53 | 0:23:56 | |
It starts on BBC Two at 9pm on 26th January and it's you and a phrase I haven't uttered before. | 0:23:56 | 0:24:03 | |
-It's you and celebrity pensioners. -Oh, shit. | 0:24:03 | 0:24:06 | |
-I don't like that. -OK, well, we won't say it again. | 0:24:06 | 0:24:09 | |
Um, the idea is, you all go | 0:24:11 | 0:24:12 | |
and explore what it might be like to retire in India | 0:24:12 | 0:24:16 | |
and I think you seem like you enjoyed this experience. | 0:24:16 | 0:24:19 | |
Oh, it was wonderful. It was really wonderful. | 0:24:19 | 0:24:22 | |
India is a fantastic place. | 0:24:22 | 0:24:24 | |
-Have you been? -I've never been. -Have you been? -I've never been. | 0:24:24 | 0:24:27 | |
You must go. It's truly... I mean this from my heart, | 0:24:27 | 0:24:30 | |
it's absolutely a wonderful country, really. | 0:24:30 | 0:24:33 | |
And I don't know if I'd retire there, but I want to go back there. | 0:24:33 | 0:24:37 | |
It's where my friend M Night Shyamalan comes from... | 0:24:37 | 0:24:40 | |
-LAUGHTER -I was going to say, you might meet him there. | 0:24:40 | 0:24:45 | |
I don't know if it's the way the programme is edited, | 0:24:45 | 0:24:48 | |
but your trip did seem dominated by the toilet. | 0:24:48 | 0:24:51 | |
Well, this sounds like my favourite show ever. | 0:24:51 | 0:24:54 | |
Well, look, I'm nearly 75 | 0:24:57 | 0:24:59 | |
and you can't hang on to it as well as you can at your age and your age, | 0:24:59 | 0:25:05 | |
so it becomes important to be able to get to a toilet when you want to. | 0:25:05 | 0:25:09 | |
Is everything OK right now? | 0:25:09 | 0:25:11 | |
LAUGHTER | 0:25:11 | 0:25:14 | |
-If I start to fidget, get worried. -All right. | 0:25:14 | 0:25:18 | |
Yes, I mean, I think everybody would feel the same, you know, you want to be able to get to a toilet. | 0:25:18 | 0:25:24 | |
-Yes. -And in India, if you can get to a toilet, | 0:25:24 | 0:25:28 | |
it's not always a toilet you want to get to. | 0:25:28 | 0:25:30 | |
Put it like that, because it's a dirty hole in the ground with | 0:25:30 | 0:25:34 | |
two footprints and not much cover and lots of flies | 0:25:34 | 0:25:38 | |
and shit on the wall and everything. | 0:25:38 | 0:25:40 | |
It's not pleasant. | 0:25:40 | 0:25:42 | |
But if you're in a hotel or somewhere like that, | 0:25:42 | 0:25:44 | |
of course, it's absolutely as it would be in the West. | 0:25:44 | 0:25:47 | |
-Why are there two footprints? -One for each foot. | 0:25:47 | 0:25:50 | |
LAUGHTER | 0:25:50 | 0:25:53 | |
GRAHAM LAUGHS UNCONTROLLABLY | 0:25:56 | 0:26:03 | |
-I understand now. -You painted a lovely picture with words, Miriam. | 0:26:03 | 0:26:07 | |
But I mean, there's much more to India than dirty toilets. | 0:26:07 | 0:26:09 | |
-Of course there is, yeah. -But it's just something that was important to me. | 0:26:09 | 0:26:13 | |
Well, we've got a clip. | 0:26:13 | 0:26:14 | |
This is you getting ready for breakfast with your fellow travellers. | 0:26:14 | 0:26:17 | |
Oh, I haven't seen any of it. | 0:26:17 | 0:26:19 | |
-Well, you'll see it now. -There we go. | 0:26:19 | 0:26:22 | |
I've got a little tube of Vegemite. | 0:26:22 | 0:26:24 | |
Taking it up to breakfast. I'm not going to share it. | 0:26:26 | 0:26:30 | |
Actually, I find sharing food very difficult. | 0:26:30 | 0:26:33 | |
So I brought a bottle of whisky for everybody, so they don't think I'm | 0:26:38 | 0:26:43 | |
a mean old cow, but Vegemite, I might have to keep to myself. | 0:26:43 | 0:26:46 | |
'With the first week drawing to an end, | 0:26:48 | 0:26:50 | |
'the group are starting to settle into living together.' | 0:26:50 | 0:26:53 | |
I live alone most of the time, so suddenly being | 0:26:53 | 0:26:57 | |
squashed in with a lot of unknown people, is disconcerting | 0:26:57 | 0:27:04 | |
but it's also quite fun and I really love having | 0:27:04 | 0:27:08 | |
-breakfast in the mornings with everybody. -Good morning. | 0:27:08 | 0:27:12 | |
What is the difference between love and herpes? | 0:27:12 | 0:27:16 | |
Love and herpes? | 0:27:16 | 0:27:17 | |
Herpes is for ever! | 0:27:17 | 0:27:19 | |
LAUGHTER | 0:27:19 | 0:27:23 | |
It's true! | 0:27:27 | 0:27:28 | |
I've bought tickets for your show, by the way. | 0:27:31 | 0:27:33 | |
Oh, thank you. Have you bought tickets for Matthew's show? | 0:27:33 | 0:27:36 | |
Not yet, but I will. I will buy tickets for your show. | 0:27:36 | 0:27:38 | |
-I don't ask for comps ever. I always pay. -No? OK. -No, I pay my way. | 0:27:38 | 0:27:41 | |
-Well, we'd love for you to come. -I will come, and I might come backstage and frighten you! | 0:27:41 | 0:27:45 | |
Just make sure she's near the toilet! | 0:27:45 | 0:27:47 | |
LAUGHTER | 0:27:47 | 0:27:49 | |
-I will guarantee you one thing. -There will be bathrooms backstage. | 0:27:51 | 0:27:54 | |
At the Playhouse? Hardly! But... | 0:27:56 | 0:28:00 | |
Over the years, Matthew, you were in some interview, talking about how you knew that Friends would be a big hit. | 0:28:00 | 0:28:06 | |
Like quite early on. Was there a specific episode? | 0:28:06 | 0:28:09 | |
I did know that Friends was going to be a hit. | 0:28:09 | 0:28:11 | |
I didn't know that it was going to be the giant hit that it was. | 0:28:11 | 0:28:15 | |
I tell you this. | 0:28:15 | 0:28:16 | |
I know it's been successful. | 0:28:18 | 0:28:19 | |
LAUGHTER | 0:28:19 | 0:28:22 | |
But there was one episode where there was | 0:28:22 | 0:28:24 | |
a blackout in New York City and I was stuck in an ATM vestibule with Jill Goodacre that was... | 0:28:24 | 0:28:31 | |
-Was she in it? -She was in it. -Ah. | 0:28:31 | 0:28:34 | |
-Yes. -You'd know that if you'd watched it. | 0:28:34 | 0:28:36 | |
Yes, I was stuck in an ATM vestibule with her so she was in it. | 0:28:36 | 0:28:42 | |
-In Friends? -Yeah. -Oh, right. OK. | 0:28:42 | 0:28:45 | |
The TV show, Friends. | 0:28:45 | 0:28:46 | |
Yes, and that show, that episode, really made me | 0:28:48 | 0:28:51 | |
think that we were doing something special. | 0:28:51 | 0:28:53 | |
Because I suppose, cos you were kind of away... | 0:28:53 | 0:28:55 | |
You could see the others in the apartment. | 0:28:55 | 0:28:57 | |
I could see the others in the apartment and the audience | 0:28:57 | 0:29:00 | |
was really laughing and it just felt like the right thing. | 0:29:00 | 0:29:04 | |
And there was a spooky thing that when you got the script, | 0:29:04 | 0:29:07 | |
before you auditioned, I mean, you... | 0:29:07 | 0:29:10 | |
it wasn't like you kind of thought, "I COULD be that guy." | 0:29:10 | 0:29:13 | |
Yeah, I was unavailable because I'd done this terrible | 0:29:13 | 0:29:17 | |
TV show about baggage handlers in the year 2197. | 0:29:17 | 0:29:21 | |
So I was off the market, | 0:29:22 | 0:29:25 | |
so my friends were all auditioning for this show called Friends and | 0:29:25 | 0:29:28 | |
there was this character called Chandler, who was very similar to me. | 0:29:28 | 0:29:32 | |
So I would help them with their auditions and I finally said, | 0:29:32 | 0:29:36 | |
"Let me just do this for you. Just imitate what I'm doing and go in," | 0:29:36 | 0:29:40 | |
and some of them got very far and almost got the job | 0:29:40 | 0:29:42 | |
and then somebody finally saw the baggage handlers show, | 0:29:42 | 0:29:45 | |
and decided that wasn't going to get picked up. | 0:29:45 | 0:29:48 | |
And then they allowed me to be on Friends. | 0:29:48 | 0:29:50 | |
Wow! Well, listen. | 0:29:50 | 0:29:52 | |
Our office, I think, has more than its fair share of Friends geeks. | 0:29:52 | 0:29:57 | |
-OK. -So you know the famous quiz episode, when the girls lose the apartment? | 0:29:57 | 0:30:00 | |
Yes, I remember that episode. | 0:30:00 | 0:30:02 | |
So, what the guys wanted you to do was see | 0:30:02 | 0:30:05 | |
if you could remember the answers | 0:30:05 | 0:30:07 | |
to the Chandler questions in the quiz. | 0:30:07 | 0:30:10 | |
If you can't, Gemma Arterton's right on it. | 0:30:10 | 0:30:13 | |
Do you remember this episode? | 0:30:13 | 0:30:15 | |
No! | 0:30:15 | 0:30:16 | |
Miriam, no hope, so... | 0:30:16 | 0:30:18 | |
Don't shout out until Matthew can't get it, | 0:30:18 | 0:30:20 | |
-but feel free to shout out if you can then get it. -The pressure is on. | 0:30:20 | 0:30:24 | |
Here we go. | 0:30:24 | 0:30:25 | |
According to Chandler, | 0:30:25 | 0:30:27 | |
what phenomenon scares the bejesus out of him? | 0:30:27 | 0:30:31 | |
-Oh, that's Michael Flatley, Lord of the Dance. -You are correct! | 0:30:31 | 0:30:34 | |
Yes, well done. | 0:30:34 | 0:30:36 | |
OK... | 0:30:36 | 0:30:37 | |
APPLAUSE | 0:30:37 | 0:30:39 | |
What is the name of Chandler's father's all-male burlesque? | 0:30:41 | 0:30:46 | |
I actually know that, too. That's Viva Las Gaygas. | 0:30:46 | 0:30:49 | |
LAUGHTER AND APPLAUSE | 0:30:49 | 0:30:51 | |
You'll definitely know this one. | 0:30:54 | 0:30:56 | |
Every week, the TV guide comes to Chandler and Joey's apartment. | 0:30:56 | 0:31:01 | |
What name appears on the address label? | 0:31:01 | 0:31:04 | |
Mrs Chanandler Bong. | 0:31:04 | 0:31:06 | |
Yes, very good! | 0:31:06 | 0:31:08 | |
Actually, the last one is... | 0:31:09 | 0:31:11 | |
Because the famous thing that no-one... | 0:31:11 | 0:31:14 | |
-Although Chandler was the only one with a proper job... -Right. | 0:31:14 | 0:31:17 | |
Throughout the series, it was never talked about what he actually did. | 0:31:17 | 0:31:21 | |
That's right, it was in computers, something in computers. | 0:31:21 | 0:31:24 | |
So shall we see if anyone in the audience knows this before...? | 0:31:24 | 0:31:27 | |
-Do you know it? -I'm not sure. | 0:31:27 | 0:31:29 | |
Does anyone know what is Chandler's job? | 0:31:29 | 0:31:33 | |
LAUGHTER | 0:31:34 | 0:31:36 | |
Oh, there's a hand back up there. | 0:31:36 | 0:31:38 | |
Wait, there's going to be a microphone coming to you, one second. | 0:31:38 | 0:31:41 | |
-What do you think his job was? -A trans-ponster. According to Rachel. | 0:31:41 | 0:31:45 | |
-No. -Ah! | 0:31:45 | 0:31:47 | |
Nope. Anyone else want to guess? Oh, there's a lady at the back. | 0:31:47 | 0:31:50 | |
Oh, they're having to get a very strange angle, | 0:31:50 | 0:31:53 | |
we've never spoken to anyone in the back row before. | 0:31:53 | 0:31:56 | |
Yes? | 0:31:57 | 0:31:58 | |
-Statistical data reconfiguration. -Ooh, you're so close! | 0:31:58 | 0:32:03 | |
You were so close. That's what it actually is. | 0:32:04 | 0:32:07 | |
-Statistical analysis and data reconfiguration. -She's so close! | 0:32:07 | 0:32:11 | |
Well done, that lady! Very good. | 0:32:11 | 0:32:14 | |
OK. | 0:32:17 | 0:32:19 | |
It's time for music and I'm | 0:32:19 | 0:32:21 | |
so thrilled we've got this man on the show. | 0:32:21 | 0:32:23 | |
He's a huge favourite on Radio 2, I play him all the time. | 0:32:23 | 0:32:27 | |
Performing his beautiful new single Catapult, | 0:32:27 | 0:32:29 | |
please welcome Jack Savoretti. | 0:32:29 | 0:32:32 | |
CHEERING AND APPLAUSE | 0:32:32 | 0:32:36 | |
# Following the headlights | 0:32:43 | 0:32:46 | |
# Gotta find a way back to you | 0:32:47 | 0:32:50 | |
# I can be the white knight | 0:32:50 | 0:32:53 | |
# You can play the princess | 0:32:54 | 0:32:56 | |
# We'll be running like outlaws | 0:32:57 | 0:33:00 | |
# Hiding in the midnight | 0:33:01 | 0:33:04 | |
# Break down the gates | 0:33:05 | 0:33:07 | |
# Let in the sunlight | 0:33:09 | 0:33:12 | |
# Throw me over these walls | 0:33:12 | 0:33:15 | |
# High up in the atmosphere | 0:33:18 | 0:33:21 | |
# If I could catapult my heart | 0:33:21 | 0:33:24 | |
# Watch the empire fall | 0:33:27 | 0:33:29 | |
# I'm gonna get you out of here | 0:33:32 | 0:33:34 | |
# If I could catapult my heart | 0:33:35 | 0:33:40 | |
# To where you are | 0:33:40 | 0:33:42 | |
# You said you had your heart broken | 0:33:46 | 0:33:50 | |
# What a stupid little thing to do | 0:33:50 | 0:33:54 | |
# Now you're tied to a train track | 0:33:54 | 0:33:56 | |
# But I'm-a gonna come and rescue you | 0:33:58 | 0:34:00 | |
# Make no mistake | 0:34:01 | 0:34:04 | |
# I'll do whatever it takes | 0:34:04 | 0:34:08 | |
# To get over these walls | 0:34:08 | 0:34:12 | |
# High up in the atmosphere | 0:34:14 | 0:34:17 | |
# If I could catapult my heart | 0:34:17 | 0:34:21 | |
# Watch the empire fall | 0:34:23 | 0:34:26 | |
# Oh | 0:34:27 | 0:34:29 | |
# I'm gonna get you out of here | 0:34:29 | 0:34:30 | |
# If I could catapult my heart | 0:34:32 | 0:34:36 | |
# To where you are | 0:34:36 | 0:34:38 | |
# If I could catapult my heart | 0:34:38 | 0:34:42 | |
# Oh-oh | 0:34:42 | 0:34:45 | |
# Hey-eh | 0:34:50 | 0:34:52 | |
# Throw me over these walls | 0:34:56 | 0:35:00 | |
# Ooh, and high up in the atmosphere | 0:35:01 | 0:35:05 | |
# I could catapult my heart | 0:35:05 | 0:35:09 | |
# Watch the empire fall | 0:35:11 | 0:35:15 | |
# Whoa | 0:35:15 | 0:35:17 | |
# I'm gonna get you out of here | 0:35:17 | 0:35:19 | |
# If I could catapult my heart | 0:35:20 | 0:35:24 | |
# To where you are | 0:35:24 | 0:35:28 | |
# If I could catapult my heart | 0:35:28 | 0:35:31 | |
# To where you are | 0:35:31 | 0:35:35 | |
# I'm gonna catapult my heart. # | 0:35:35 | 0:35:39 | |
CHEERING AND APPLAUSE | 0:35:42 | 0:35:47 | |
How lovely is that? | 0:35:48 | 0:35:50 | |
That's beautiful. Come and join us, Jack. | 0:35:50 | 0:35:54 | |
Oh, a jacket! Dressing up. | 0:35:54 | 0:35:56 | |
-A suit! -Hello! | 0:35:56 | 0:35:58 | |
-How you doing? -I'm doing well. | 0:35:58 | 0:36:00 | |
Come in, meet everybody. | 0:36:00 | 0:36:02 | |
Gemma... | 0:36:02 | 0:36:04 | |
Miriam, Matthew... | 0:36:04 | 0:36:06 | |
I'm so glad to meet you! | 0:36:06 | 0:36:08 | |
-Nice to meet you! -Well done! That was gorgeous, absolutely gorgeous. | 0:36:08 | 0:36:12 | |
Thank you very much. | 0:36:12 | 0:36:13 | |
If people love that song, and who wouldn't have loved that song, | 0:36:13 | 0:36:16 | |
it's out now and it's also on the deluxe repackage of the album, | 0:36:16 | 0:36:21 | |
Written In Scars. | 0:36:21 | 0:36:22 | |
That album, it's your fourth album, but it's just done so well for you. | 0:36:22 | 0:36:26 | |
It has, it's been an amazing year, thanks very much to you | 0:36:26 | 0:36:29 | |
and your kind folk at BBC Radio 2! | 0:36:29 | 0:36:31 | |
Well, you sent us the CD, the least we could do was play it! | 0:36:31 | 0:36:34 | |
LAUGHTER | 0:36:34 | 0:36:36 | |
Now, Matthew Perry, you look at the end of the couch, there. | 0:36:36 | 0:36:39 | |
Do you recognise Jack Savoretti? | 0:36:39 | 0:36:42 | |
Well, NOW I do. | 0:36:42 | 0:36:44 | |
LAUGHTER | 0:36:44 | 0:36:45 | |
Because you have met before. Jack. | 0:36:45 | 0:36:47 | |
-We have met, actually. -This is M Night Shyamalan. | 0:36:47 | 0:36:50 | |
LAUGHTER | 0:36:50 | 0:36:52 | |
We met through a mutual friend - you did a play with Minnie Driver. | 0:36:55 | 0:36:59 | |
Oh, that's right! OK. | 0:36:59 | 0:37:00 | |
It was about 12 years ago and I'd just moved to London | 0:37:00 | 0:37:02 | |
and it was my first night out in London with some friends | 0:37:02 | 0:37:05 | |
and we went to a club which'll remain nameless and you were there. | 0:37:05 | 0:37:08 | |
And you were getting a lot of attention and you seemed to be | 0:37:08 | 0:37:10 | |
a bit overwhelmed by it. For some reason, I thought I had it | 0:37:10 | 0:37:13 | |
in my jurisdiction to come over | 0:37:13 | 0:37:15 | |
and give you a drink, and you were very cool, you sat with me | 0:37:15 | 0:37:18 | |
and talked for about five seconds | 0:37:18 | 0:37:20 | |
and then sort of said, "Go away". | 0:37:20 | 0:37:22 | |
We're now wondering who he thought you were. | 0:37:23 | 0:37:26 | |
You were incredibly polite, I was very obnoxious and young... | 0:37:28 | 0:37:31 | |
-Well, it's very nice to meet you again! -You too! | 0:37:31 | 0:37:34 | |
Well, you sound much more Italian than... | 0:37:34 | 0:37:36 | |
-You have an Italian thing in your voice. -It's confused. | 0:37:36 | 0:37:39 | |
I sound American when I get nervous, so I'm probably sounding | 0:37:39 | 0:37:42 | |
a little bit American right now, but I kind of moved around. | 0:37:42 | 0:37:45 | |
My mother is English, father's Italian, | 0:37:45 | 0:37:47 | |
I grew up travelling around, so... | 0:37:47 | 0:37:48 | |
-Miriam, you're... Do you speak Italian, Miriam? -You do. -Poco. Poco. | 0:37:48 | 0:37:53 | |
THEY CONVERSE IN ITALIAN | 0:37:53 | 0:37:57 | |
Actually, you're one of my favourite... Me and my wife watch the show all the time | 0:38:01 | 0:38:05 | |
and my favourite interview was you with will.i.am. | 0:38:05 | 0:38:07 | |
-That was our favourite interview. -APPLAUSE | 0:38:07 | 0:38:10 | |
You were amazing. | 0:38:10 | 0:38:11 | |
And you're touring soon? | 0:38:14 | 0:38:15 | |
Yes, we'll be touring the UK in March | 0:38:15 | 0:38:17 | |
and we're doing a special show in Cadogan Hall which | 0:38:17 | 0:38:19 | |
hopefully these three amazing ladies... | 0:38:19 | 0:38:21 | |
I haven't asked them yet, but I'm asking them now! | 0:38:21 | 0:38:23 | |
Hopefully they'll play with me. | 0:38:23 | 0:38:25 | |
We're doing a special show with just piano and guitar at Cadogan Hall, | 0:38:25 | 0:38:28 | |
but if you want to see all the other chaps there, we'll be | 0:38:28 | 0:38:30 | |
-touring the rest of the country during March. -Fantastic. | 0:38:30 | 0:38:33 | |
Well, listen, good luck with the tour, thank you so much for that beautiful performance. | 0:38:33 | 0:38:37 | |
Well done. Very good. OK... Jack Savoretti. | 0:38:37 | 0:38:40 | |
OK. Before we go, we have time for a visit to the big red chair. | 0:38:40 | 0:38:44 | |
Who awaits us? Hello! | 0:38:44 | 0:38:46 | |
Hello! | 0:38:47 | 0:38:49 | |
These are the easy bits(!) | 0:38:49 | 0:38:51 | |
-And what's your name, sir? -My name's Brad. | 0:38:51 | 0:38:53 | |
-Bread? -Brad! -Brad. | 0:38:54 | 0:38:56 | |
I feel like a barista at Starbucks, just writing "Bread" on the cup... | 0:38:58 | 0:39:02 | |
-OK, Brad, sorry. Where are you from, Brad? -New Zealand. -Of course you are. | 0:39:03 | 0:39:06 | |
WHOOPING | 0:39:06 | 0:39:08 | |
They're always from New Zealand. New Zealand must be empty. | 0:39:08 | 0:39:12 | |
The airport is deserted. | 0:39:13 | 0:39:15 | |
They're all queueing for the red chair. | 0:39:15 | 0:39:18 | |
OK, Brad. Do you live here, or are you just visiting? | 0:39:18 | 0:39:20 | |
-I'm living in London. -What do you do here? | 0:39:20 | 0:39:23 | |
I'm working in a marketing department for a university. | 0:39:23 | 0:39:26 | |
Sounds quite a proper job, doesn't it? Well done, Brad! | 0:39:26 | 0:39:29 | |
OK, off you go with your story. | 0:39:29 | 0:39:31 | |
So I was in Italy, actually in Naples, | 0:39:31 | 0:39:34 | |
and was walking down the street | 0:39:34 | 0:39:37 | |
and it was a lightning storm | 0:39:37 | 0:39:39 | |
and a heck of a lot of rain coming down. | 0:39:39 | 0:39:42 | |
A very, very kind old lady offered me shelter in her house and | 0:39:42 | 0:39:46 | |
I went in, she made me a coffee | 0:39:46 | 0:39:49 | |
and she offered me a change of clothing. | 0:39:49 | 0:39:52 | |
It was when I was in the room next door, | 0:39:52 | 0:39:54 | |
trying to put my leg through the trousers that I tripped over. | 0:39:54 | 0:39:57 | |
I knocked a bookshelf | 0:39:57 | 0:39:59 | |
and the urn on the top of the bookshelf came crashing down. | 0:39:59 | 0:40:03 | |
I was still wet from the rain... | 0:40:03 | 0:40:05 | |
and as the urn hit the ground, the ash went all over me. | 0:40:05 | 0:40:10 | |
To make matters a little bit worse, as I managed to pull | 0:40:12 | 0:40:16 | |
the pants up around my waist, and started to clean up the mess | 0:40:16 | 0:40:20 | |
that I had made, I saw a photo | 0:40:20 | 0:40:22 | |
and it was the lady's husband... | 0:40:22 | 0:40:23 | |
Well, what looked like her husband, | 0:40:23 | 0:40:25 | |
and he was wearing the same pants that I was just putting on. | 0:40:25 | 0:40:30 | |
So that was potentially the most embarrassing and awkward moment. | 0:40:32 | 0:40:35 | |
That is a very good story. | 0:40:35 | 0:40:36 | |
That... Excellent. You can walk. | 0:40:37 | 0:40:39 | |
Walk, Bread. You want to be...? | 0:40:39 | 0:40:41 | |
Oh, you want to be flipped? | 0:40:41 | 0:40:43 | |
You want to be flipped, OK. There you go, Bread. Hey! | 0:40:43 | 0:40:46 | |
That was a good story. Lots of detail, it was excellent. | 0:40:46 | 0:40:50 | |
A short story in that. Normally, Matthew, they're not very good. | 0:40:50 | 0:40:53 | |
No?! | 0:40:53 | 0:40:55 | |
We've set the bar a little high, I feel. | 0:40:55 | 0:40:58 | |
-Who's next? -Craig. -Craig. Hi, Craig. | 0:40:58 | 0:41:00 | |
-Hiya. -Where are you from? -Deptford. -Deptford. -Yeah. -Deptford? Deptford? Nothing. | 0:41:00 | 0:41:05 | |
-And what do you do in Deptford? -I'm a graphic designer. | 0:41:07 | 0:41:10 | |
-A graphic designer. In Deptford? -Well, no, not in Deptford. | 0:41:10 | 0:41:13 | |
I was going to say! | 0:41:13 | 0:41:14 | |
Wouldn't have thought there was much call for graphic design in Deptford. | 0:41:14 | 0:41:18 | |
-So where do you do it, in the big... In the actual...? -Just off Oxford Street. | 0:41:18 | 0:41:21 | |
Of course, where graphic designers live(!) | 0:41:21 | 0:41:24 | |
OK, off you go with your story, sir. | 0:41:24 | 0:41:25 | |
So about five years ago, my girlfriend at the time | 0:41:25 | 0:41:28 | |
offered me to go on holiday to her parents' villa. | 0:41:28 | 0:41:31 | |
Her parents were gonna be there as well, I hadn't really met them | 0:41:31 | 0:41:33 | |
that many times, but it was a free holiday, | 0:41:33 | 0:41:36 | |
so I thought, in for a penny, in for a pound. | 0:41:36 | 0:41:38 | |
Everything was going all right up until about the third day when her | 0:41:40 | 0:41:44 | |
mum came into our room and offered us to go into a hot tub with them. | 0:41:44 | 0:41:48 | |
I wasn't massively sure because I didn't know them that well, | 0:41:48 | 0:41:51 | |
but I didn't want to rock the boat, | 0:41:51 | 0:41:52 | |
I was trying to impress the parents, so I thought, yeah, I'll do it. | 0:41:52 | 0:41:56 | |
About three or four minutes in, | 0:41:56 | 0:41:58 | |
I felt like a leg kind of graze | 0:41:58 | 0:42:01 | |
mine, edge towards mine, and I was like, this is a bit weird. | 0:42:01 | 0:42:04 | |
My girlfriend's playing footsie with me | 0:42:04 | 0:42:06 | |
with her parents right there. | 0:42:06 | 0:42:09 | |
Then I realised, because of the positioning of the hot tub, | 0:42:09 | 0:42:13 | |
it couldn't have been her and it was actually her dad. | 0:42:13 | 0:42:15 | |
So, um... | 0:42:17 | 0:42:19 | |
Being really British about it, | 0:42:19 | 0:42:21 | |
I was polite and didn't say, "What are you doing?", | 0:42:21 | 0:42:23 | |
I just composed myself, got out of the hot tub politely | 0:42:23 | 0:42:27 | |
and went into our room to kind of contemplate what had happened. | 0:42:27 | 0:42:31 | |
LAUGHTER | 0:42:31 | 0:42:33 | |
So my girlfriend followed out and she was like, "Are you OK?" | 0:42:34 | 0:42:37 | |
I was like, "I don't really know how to tell you this, | 0:42:37 | 0:42:40 | |
"but your dad's leg was kind of... | 0:42:40 | 0:42:43 | |
"invading mine, in the hot tub." | 0:42:43 | 0:42:46 | |
So, um, yeah, and she just burst out laughing. | 0:42:46 | 0:42:48 | |
Turned out he had a prosthetic leg and he was waving in the air. | 0:42:48 | 0:42:52 | |
We didn't see that coming, either! | 0:42:53 | 0:42:56 | |
You did rather well. | 0:42:56 | 0:42:58 | |
Thank you. Can I be flipped? | 0:42:58 | 0:43:00 | |
-Oh, you want to be flipped? -If that's all right, yes, please! -OK(!) | 0:43:00 | 0:43:03 | |
Well done, everyone. | 0:43:05 | 0:43:07 | |
If you'd like to join us after the show, you can contact us | 0:43:07 | 0:43:10 | |
via the website at this address. | 0:43:10 | 0:43:13 | |
That is it for tonight. | 0:43:13 | 0:43:15 | |
Please say a big thank you to all my guests. | 0:43:15 | 0:43:17 | |
Jack Savoretti, everybody. | 0:43:17 | 0:43:19 | |
APPLAUSE | 0:43:19 | 0:43:20 | |
Gemma Arterton... | 0:43:20 | 0:43:21 | |
APPLAUSE | 0:43:21 | 0:43:23 | |
Miriam Margolyes... APPLAUSE | 0:43:23 | 0:43:26 | |
And Mr Matthew Perry! | 0:43:26 | 0:43:28 | |
APPLAUSE | 0:43:28 | 0:43:30 | |
Join me next week with singer Elle King, | 0:43:30 | 0:43:33 | |
broadcasting legend Sir David Attenborough, | 0:43:33 | 0:43:35 | |
actress Olivia Colman, | 0:43:35 | 0:43:36 | |
House star Hugh Laurie, | 0:43:36 | 0:43:38 | |
comedian Kevin Hart | 0:43:38 | 0:43:39 | |
and rapper-turned-actor Ice Cube. | 0:43:39 | 0:43:41 | |
I'll see you then, goodnight, everybody - bye-bye! | 0:43:41 | 0:43:44 | |
CHEERING AND APPLAUSE | 0:43:44 | 0:43:49 |