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On the show tonight, we have the stars of the new Bond film, Spectre. | 0:00:02 | 0:00:04 | |
But I'm a bit tied up. I need someone to come and save me. | 0:00:04 | 0:00:08 | |
I wish they've hurry up and save me. | 0:00:08 | 0:00:10 | |
CHEERING | 0:00:10 | 0:00:12 | |
Oh! Thank God! | 0:00:12 | 0:00:14 | |
Yes! No, no, shut up! | 0:00:17 | 0:00:21 | |
Hi! | 0:00:28 | 0:00:29 | |
-How you doing, Graham? -I'm good. Er...a little help here, please? | 0:00:30 | 0:00:34 | |
-Is that the time? You've lost weight. -Daniel, no! | 0:00:36 | 0:00:40 | |
Let's start the shooooooow! | 0:00:40 | 0:00:43 | |
Oh! | 0:00:58 | 0:00:59 | |
CHEERING | 0:00:59 | 0:01:01 | |
Well... | 0:01:01 | 0:01:03 | |
Good evening, all. Good evening, all. Welcome, welcome, welcome, all. | 0:01:03 | 0:01:08 | |
Ooh, ooh, ooh! | 0:01:08 | 0:01:10 | |
Oh, I love the smell of burning crotch in the evening. | 0:01:10 | 0:01:12 | |
Now...a great show for you tonight | 0:01:12 | 0:01:15 | |
and, of course, later on, there will be a full orchestra right there, | 0:01:15 | 0:01:19 | |
for a stunning musical performance by Mr Sam Smith, everybody. | 0:01:19 | 0:01:22 | |
Yes, there will. CHEERING AND APPLAUSE | 0:01:22 | 0:01:25 | |
Don't miss it. Yes, James Bond is in town. He's back. | 0:01:26 | 0:01:32 | |
But, of course, he's not the only one. | 0:01:32 | 0:01:33 | |
No, the Chinese Premier's been here. | 0:01:33 | 0:01:35 | |
The Queen laid on a lavish banquet for him. | 0:01:35 | 0:01:39 | |
There they all are - the Queen, Princess Kate, David Cameron - | 0:01:39 | 0:01:42 | |
all at the top table. | 0:01:42 | 0:01:43 | |
This is where they sat Jeremy Corbyn. | 0:01:43 | 0:01:46 | |
LAUGHTER | 0:01:46 | 0:01:48 | |
Now, after the banquet, | 0:01:52 | 0:01:53 | |
the Chinese Premier stayed the night at Buckingham Palace. | 0:01:53 | 0:01:57 | |
-CROWD: -Oooooooh! -Now, no, stop that! | 0:01:57 | 0:01:59 | |
Nothing happened! | 0:01:59 | 0:02:01 | |
The Queen isn't like that. | 0:02:01 | 0:02:02 | |
Her Majesty has only even taken one man to her bed chamber. | 0:02:02 | 0:02:06 | |
Ooh! LAUGHTER | 0:02:06 | 0:02:08 | |
Let's get some guests on! | 0:02:08 | 0:02:10 | |
He is a double Oscar winner for Quentin Tarantino's last two films, | 0:02:11 | 0:02:15 | |
Inglourious Basterds and Django Unchained. | 0:02:15 | 0:02:19 | |
Now, he's the latest in a long line of brilliant Bond villains. | 0:02:19 | 0:02:22 | |
Please welcome Christoph Waltz! | 0:02:22 | 0:02:24 | |
APPLAUSE AND CHEERING Hello, sir! | 0:02:24 | 0:02:26 | |
Really nice to meet you. Have a seat, do. | 0:02:28 | 0:02:30 | |
Christoph Waltz! | 0:02:30 | 0:02:32 | |
She scared us in 28 Days Later, | 0:02:34 | 0:02:36 | |
thrilled us in Pirates Of The Caribbean | 0:02:36 | 0:02:38 | |
and moved us in Mandela: Long Walk To Freedom. | 0:02:38 | 0:02:40 | |
Now, she's reinvented the role of Miss Moneypenny. It's Naomie Harris! | 0:02:40 | 0:02:44 | |
APPLAUSE AND CHEERING Oh, it's the '60s! | 0:02:44 | 0:02:49 | |
So '60s! | 0:02:49 | 0:02:50 | |
It's very nice. Come in, have a seat. | 0:02:50 | 0:02:53 | |
And this man needs no introduction. | 0:02:55 | 0:02:57 | |
He's already the most successful James Bond of all time | 0:02:57 | 0:03:00 | |
and now he's back. | 0:03:00 | 0:03:01 | |
Please welcome Daniel Craig! | 0:03:01 | 0:03:02 | |
APPLAUSE AND CHEERING | 0:03:02 | 0:03:06 | |
Hello! It's lovely to see you. | 0:03:08 | 0:03:11 | |
They're excited tonight, I tell you. | 0:03:18 | 0:03:20 | |
Oh, good show. Welcome, all. Welcome, all. | 0:03:20 | 0:03:23 | |
You must be all in a good mood. | 0:03:23 | 0:03:25 | |
Everyone loves the new movie. It's all excellent. | 0:03:25 | 0:03:27 | |
You've done it, it's great! Relax... | 0:03:27 | 0:03:30 | |
-And now we're here. -LAUGHTER | 0:03:30 | 0:03:32 | |
Now, don't you start! | 0:03:32 | 0:03:34 | |
Now, Christoph, er... VAL-tz? | 0:03:34 | 0:03:37 | |
-Correct? -Yeah. -Oh, good! -Not wrong, at least. | 0:03:37 | 0:03:40 | |
-LAUGHTER -It can be tricky, this. | 0:03:40 | 0:03:43 | |
I aim that high! | 0:03:43 | 0:03:44 | |
Erm, have you been on a British talk show before? | 0:03:45 | 0:03:48 | |
-Erm... I might have, but if I have, then I forgot. -OK. | 0:03:48 | 0:03:53 | |
You've blanked it from your mind. | 0:03:54 | 0:03:56 | |
Now, Naomie Harris, great to have you on the show. | 0:03:57 | 0:03:59 | |
Tell us about you as an actor. | 0:03:59 | 0:04:01 | |
You take such a variety of roles, so people may not even know | 0:04:01 | 0:04:05 | |
that they enjoyed you in Pirates Of The Caribbean. | 0:04:05 | 0:04:08 | |
Cos this... That's you! | 0:04:08 | 0:04:11 | |
-Er, which is quite a strong look. -It's a very strong look. | 0:04:11 | 0:04:14 | |
I tried to actually rock that look, very unsuccessfully, actually. | 0:04:14 | 0:04:18 | |
The black lipstick, the dreadlocks... | 0:04:18 | 0:04:21 | |
It's not good in real life. | 0:04:21 | 0:04:22 | |
No? | 0:04:22 | 0:04:23 | |
-Where did you try to rock that look? -Just out on a Friday night. | 0:04:23 | 0:04:27 | |
-As you do! -Yeah. "Who's she?! | 0:04:27 | 0:04:30 | |
"She's been watching Pirates Of The Caribbean..." | 0:04:30 | 0:04:33 | |
And the odd thing about when you're making a movie like this, | 0:04:33 | 0:04:36 | |
Daniel, you do hurt yourself a lot. | 0:04:36 | 0:04:39 | |
Like, in the previous ones, what's happened to you? | 0:04:39 | 0:04:42 | |
Erm... I've had my right shoulder reconstructed. | 0:04:42 | 0:04:45 | |
I've had this left knee operated on, my right knee operated on... | 0:04:45 | 0:04:50 | |
-Er... My thumb hurts... -LAUGHTER | 0:04:50 | 0:04:54 | |
-Dry scalp. -A lot! | 0:04:54 | 0:04:55 | |
Itchy crotch. | 0:04:57 | 0:04:58 | |
It's very difficult! | 0:05:00 | 0:05:01 | |
So, you get to do all the action and running around and Naomie, now, | 0:05:04 | 0:05:07 | |
last time you did. | 0:05:07 | 0:05:08 | |
You trained, you were out there. | 0:05:08 | 0:05:10 | |
We've got a shot of you giving it your all. Here you are. Look at that! | 0:05:10 | 0:05:13 | |
It's great. | 0:05:13 | 0:05:15 | |
She cares! | 0:05:15 | 0:05:16 | |
Naomie cares a lot more than that lady does. | 0:05:18 | 0:05:21 | |
Does she even know she's...? | 0:05:23 | 0:05:24 | |
She looks like, "Why are they filming me shopping?!" | 0:05:24 | 0:05:27 | |
I don't think she's in the movie. | 0:05:27 | 0:05:31 | |
Didn't you have a thing when you were doing action stunts with...? | 0:05:31 | 0:05:34 | |
Was that an extra? When you were doing the driving? | 0:05:34 | 0:05:36 | |
Yeah, I had to drive into a crowd of people and everybody, | 0:05:36 | 0:05:40 | |
all the extras were supposed to part, like a sea, for the car - | 0:05:40 | 0:05:43 | |
as you would do for a moving vehicle coming in your direction. | 0:05:43 | 0:05:46 | |
And one extra decided to just be a kamikaze and just, like, | 0:05:46 | 0:05:49 | |
dive in front of the car. | 0:05:49 | 0:05:52 | |
So, I almost ran him over, which was absolutely terrifying. | 0:05:52 | 0:05:56 | |
Was that a money-making scheme on his part? | 0:05:56 | 0:05:59 | |
-I don't know what was going through his head. -You didn't hit him. | 0:05:59 | 0:06:02 | |
No, I didn't hit him, because I have very good reflexes. | 0:06:02 | 0:06:05 | |
-Very good driving skills. -Yes! -I can attest to that. | 0:06:05 | 0:06:07 | |
Christoph, you weren't injured in this film. | 0:06:07 | 0:06:09 | |
-Not on this one, no. -No, no, because... | 0:06:09 | 0:06:11 | |
Yes, I'm trying to think... | 0:06:11 | 0:06:12 | |
-But you have been injured on a film. -Yeah, yeah. | 0:06:12 | 0:06:15 | |
Well, you know, you get injured as you go along. Of course you do. | 0:06:15 | 0:06:18 | |
Mostly psychologically. | 0:06:18 | 0:06:20 | |
LAUGHTER | 0:06:20 | 0:06:22 | |
Er, but was it Django Unchained that you had to ride a horse? | 0:06:22 | 0:06:25 | |
Are you a natural horseman? | 0:06:25 | 0:06:27 | |
Erm, oh... I think I'm more naturally a horse than a horseman. | 0:06:27 | 0:06:33 | |
-But... -Hello! OK. | 0:06:33 | 0:06:35 | |
LAUGHTER AND APPLAUSE | 0:06:35 | 0:06:38 | |
If you say so! | 0:06:40 | 0:06:41 | |
I'll say it. That's me. | 0:06:41 | 0:06:43 | |
Good to know. I'll make a note. | 0:06:44 | 0:06:46 | |
Yeah, erm, I mean, whatever I will say now will top that thing, | 0:06:47 | 0:06:52 | |
so I'll refrain. | 0:06:52 | 0:06:55 | |
-We'll just leave it at that. -Yes, please. -You're a horse. | 0:06:55 | 0:06:59 | |
And, Christoph, literally, we just met. | 0:06:59 | 0:07:01 | |
-We've never met before. -Yes. | 0:07:01 | 0:07:02 | |
And you seem very nice. Erm... | 0:07:02 | 0:07:05 | |
But, you know, what's useful, though, for me as an interviewer is - | 0:07:05 | 0:07:10 | |
I don't know if you know this - your fans on your fan page | 0:07:10 | 0:07:13 | |
have put together a handy list of dos and don'ts for the interviewer. | 0:07:13 | 0:07:19 | |
Which, some, I think are very good. | 0:07:19 | 0:07:21 | |
This is the site here. So you go down to the bottom. | 0:07:21 | 0:07:24 | |
There's some very good ones like, "Be humble." | 0:07:24 | 0:07:26 | |
That's good. "Do your homework. Show respect." All very good. | 0:07:26 | 0:07:30 | |
Some of them I feel are going to be a little more challenging. Er, like, | 0:07:30 | 0:07:35 | |
"Please do not ask him to describe his character in the film | 0:07:35 | 0:07:38 | |
"or to describe the film." | 0:07:38 | 0:07:39 | |
Don't! | 0:07:39 | 0:07:40 | |
Don't. | 0:07:40 | 0:07:41 | |
Time for music! | 0:07:44 | 0:07:45 | |
It's all on you guys, OK? | 0:07:47 | 0:07:49 | |
Now, the new Bond film, Spectre. | 0:07:51 | 0:07:53 | |
It opens everywhere this Monday and, er, | 0:07:53 | 0:07:56 | |
obviously, James Bond, Miss Moneypenny... | 0:07:56 | 0:07:59 | |
Are we allowed to ask you the name of your character? | 0:07:59 | 0:08:02 | |
You can ask anything you want. | 0:08:02 | 0:08:04 | |
-Who are you playing? -Franz Oberhauser. | 0:08:04 | 0:08:07 | |
HE GASPS OK. | 0:08:07 | 0:08:08 | |
-That's all I really wanted to know. -There you go. | 0:08:10 | 0:08:13 | |
-Baby steps. Baby steps. -Yeah. | 0:08:14 | 0:08:16 | |
-Does it say on the website? -No, it doesn't say baby steps. | 0:08:16 | 0:08:19 | |
-I'll put that up there. I'll type that in later. -Please. | 0:08:19 | 0:08:22 | |
"Take baby steps." | 0:08:22 | 0:08:24 | |
So, what can any of you tell us about the plot? | 0:08:24 | 0:08:29 | |
SILENCE | 0:08:29 | 0:08:31 | |
LAUGHTER | 0:08:31 | 0:08:33 | |
I haven't actually seen it, so I can't tell you much, at all. | 0:08:33 | 0:08:37 | |
Wait, I've seen it - you're in it and you haven't seen it? | 0:08:37 | 0:08:40 | |
It's very good. I think you'll be pleased. | 0:08:40 | 0:08:43 | |
You - excellent! | 0:08:44 | 0:08:46 | |
-Seriously, it is really good. You've seen it, right? -Yes, I have. | 0:08:47 | 0:08:50 | |
-Have you seen it? -I have. -Oh, phew! | 0:08:50 | 0:08:51 | |
-Oh, good. -You're waiting. -I'm waiting for the Royal Premiere. -OK. | 0:08:51 | 0:08:55 | |
To see it with my family, you know. | 0:08:55 | 0:08:56 | |
All right! | 0:08:56 | 0:08:58 | |
"I'm not going to watch it by myself with these losers! | 0:08:58 | 0:09:02 | |
"I'm going to go with the Royal Family. Then, I'll watch it." | 0:09:03 | 0:09:07 | |
So, you can't tell us anything about it. | 0:09:08 | 0:09:10 | |
Can you tell us anything about the plot? | 0:09:10 | 0:09:12 | |
-HE SIGHS -Erm... | 0:09:12 | 0:09:14 | |
I could sort of quote you the... | 0:09:15 | 0:09:17 | |
the trailer, but I mean, people have seen that. | 0:09:17 | 0:09:22 | |
-Bond discovers something from his past. -Good, good. Excellent. | 0:09:22 | 0:09:26 | |
-And he gets a message from the past. -Oh, yes? | 0:09:26 | 0:09:29 | |
-And he...goes rogue. -Goes rogue, yes. -And he... | 0:09:29 | 0:09:32 | |
..gets together with a few women, drives a nice car. | 0:09:33 | 0:09:36 | |
-Shoots a few people, gets in a fight. -Yeah? -Hurts his knee a bit. | 0:09:36 | 0:09:40 | |
And... Yeah, that's all I've got. | 0:09:43 | 0:09:46 | |
OK, that's good. What more do you want? | 0:09:46 | 0:09:49 | |
Hey, let's start with a reminder of why everyone loves James Bond. | 0:09:49 | 0:09:53 | |
This is big. | 0:09:53 | 0:09:54 | |
Wow! APPLAUSE | 0:10:18 | 0:10:21 | |
That's the opening sequence in Mexico and what's... | 0:10:24 | 0:10:28 | |
-Like, those are real people. -Yeah, we... There were a lot of people. | 0:10:28 | 0:10:32 | |
We made more people. | 0:10:32 | 0:10:34 | |
Yeah, but still, that opening sequence in Mexico - | 0:10:34 | 0:10:37 | |
-because it is really Mexico, isn't it? -It is. It's Mexico City, yes. | 0:10:37 | 0:10:40 | |
We filmed there and it was remarkable. | 0:10:40 | 0:10:43 | |
I mean, we had about 2,000 extras, I think. | 0:10:43 | 0:10:47 | |
Erm, they all had to be in costume, they all had to be in make-up | 0:10:47 | 0:10:49 | |
and they were some of the best extras I've ever worked with. | 0:10:49 | 0:10:52 | |
They were so enthusiastic. | 0:10:52 | 0:10:54 | |
You've been on a movie set. | 0:10:54 | 0:10:56 | |
It's just repetition, repetition, repetition... | 0:10:56 | 0:10:59 | |
-I was the extra. -Uh-huh. | 0:10:59 | 0:11:00 | |
But you must have shut Mexico City, did you? | 0:11:02 | 0:11:04 | |
-I mean... -We did, we closed it down, yeah. | 0:11:04 | 0:11:06 | |
And we flew helicopters around the streets and they gave us | 0:11:06 | 0:11:09 | |
lots of permissions I don't think you get in many cities. | 0:11:09 | 0:11:11 | |
Well, no, because you are doing proper helicopter stunts | 0:11:11 | 0:11:14 | |
-over real people. -Yeah, we made it safe. We weren't... | 0:11:14 | 0:11:18 | |
We weren't going to put anybody in danger. | 0:11:18 | 0:11:21 | |
OK... | 0:11:21 | 0:11:22 | |
This is the most expensive Bond movie of all time, is that correct? | 0:11:23 | 0:11:27 | |
I think so. | 0:11:27 | 0:11:28 | |
Well, no, it ought to be. You go everywhere! | 0:11:28 | 0:11:31 | |
It's more locations than ever before. | 0:11:31 | 0:11:32 | |
Well, I mean, I think | 0:11:32 | 0:11:34 | |
that Sam had set something in motion with Skyfall and... | 0:11:34 | 0:11:41 | |
You know, we made a lot of money on that movie. | 0:11:41 | 0:11:43 | |
It was a very, very successful movie, | 0:11:43 | 0:11:45 | |
which is a high-class problem to have, but... | 0:11:45 | 0:11:48 | |
We had to make this better. | 0:11:48 | 0:11:50 | |
So, really we just wanted to make the best Bond film we could | 0:11:50 | 0:11:53 | |
and that means going to locations and being as glamorous | 0:11:53 | 0:11:55 | |
as we possibly can and just, sort of, throwing the kitchen sink at it. | 0:11:55 | 0:11:59 | |
And travelling around. Roger Moore, when I talked to him, | 0:11:59 | 0:12:01 | |
he talked about how it didn't matter where he went. He could show up | 0:12:01 | 0:12:04 | |
in a village in Timbuktu and people would go "James Bond, James Bond." | 0:12:04 | 0:12:08 | |
Were any of these locations...? | 0:12:08 | 0:12:09 | |
Could you go there and people didn't know that you were James Bond? | 0:12:09 | 0:12:13 | |
Erm... | 0:12:13 | 0:12:14 | |
-No. No, no. -That's crazy, isn't it? -It is crazy. | 0:12:14 | 0:12:18 | |
I can't get my head around it at all. | 0:12:18 | 0:12:20 | |
I mean, I've been in some very remote locations. | 0:12:20 | 0:12:22 | |
You've got to think - there isn't a cinema, | 0:12:22 | 0:12:24 | |
you don't have a television, | 0:12:24 | 0:12:25 | |
how the hell do you know who I am? And yet, they do. | 0:12:25 | 0:12:27 | |
I think most people do have televisions, I mean... | 0:12:27 | 0:12:30 | |
There are very few places. | 0:12:31 | 0:12:33 | |
-So... -And because you are "James Bond", presumably people... | 0:12:35 | 0:12:39 | |
Do they treat you differently? | 0:12:39 | 0:12:40 | |
Are there perks, are there downsides? | 0:12:40 | 0:12:42 | |
I get treated very, very, very well. | 0:12:42 | 0:12:44 | |
And I have to, kind of, keep my feet on the ground, | 0:12:44 | 0:12:47 | |
otherwise it would really go to my head - | 0:12:47 | 0:12:49 | |
more than it's gone to my head, already. | 0:12:49 | 0:12:52 | |
Cos I heard you saying that drinks just appear. | 0:12:52 | 0:12:54 | |
It doesn't matter where you are, drinks appear. | 0:12:54 | 0:12:57 | |
Usually, sort of, at nine o'clock in the morning, as well. | 0:12:57 | 0:13:00 | |
-Someone just sends it. -Hello! | 0:13:00 | 0:13:02 | |
There's not much wrong with that. No, you're right. | 0:13:04 | 0:13:06 | |
-Erm... -Oh, is that why? You don't want to offend people? | 0:13:06 | 0:13:10 | |
Yeah, yeah! | 0:13:10 | 0:13:11 | |
-That's why he's drunk all day. -It's a good excuse. | 0:13:12 | 0:13:15 | |
Cos you were warned, when you went into Skyfall, | 0:13:15 | 0:13:19 | |
weren't you warned that this was going to change your life, Naomie? | 0:13:19 | 0:13:21 | |
-Yeah. -So, how has it affected your life? | 0:13:21 | 0:13:24 | |
It hasn't, really. | 0:13:24 | 0:13:25 | |
LAUGHTER | 0:13:25 | 0:13:27 | |
-Seriously, like... -No drinks? Nothing? -No, no drinks for me. | 0:13:27 | 0:13:30 | |
But I can go on the Tube, the buses, sit under a poster of myself | 0:13:30 | 0:13:34 | |
and no-one notices, at all. | 0:13:34 | 0:13:36 | |
-So... -Is that disappointing? | 0:13:36 | 0:13:39 | |
It's a little bit disappointing. | 0:13:39 | 0:13:41 | |
That was a bit like a cry from the heart. | 0:13:41 | 0:13:43 | |
If you do see her out and about, ladies and gentlemen... | 0:13:43 | 0:13:46 | |
Shout out her name! | 0:13:46 | 0:13:47 | |
If you could mob her, get selfies, things like that. | 0:13:47 | 0:13:50 | |
Just, yeah, get strangers involved. Erm... | 0:13:50 | 0:13:53 | |
Now, Naomie, when you went for this, | 0:13:53 | 0:13:54 | |
did you know you were going to be Moneypenny? | 0:13:54 | 0:13:57 | |
Or did you think you'd be one of the Bond girls? | 0:13:57 | 0:13:59 | |
No, I was asked to audition as a Bond girl, | 0:13:59 | 0:14:02 | |
for the role of a Bond girl, | 0:14:02 | 0:14:03 | |
and I just went in for a laugh, to be honest, | 0:14:03 | 0:14:05 | |
because I know they audition thousands of people | 0:14:05 | 0:14:08 | |
all around the world and I just thought I was one of many. | 0:14:08 | 0:14:10 | |
I didn't really think I had a chance in hell, really, of getting it. | 0:14:10 | 0:14:14 | |
But was your Moneypenny, sort of, a Bond girl? | 0:14:14 | 0:14:16 | |
No, she is Moneypenny. | 0:14:16 | 0:14:17 | |
But the idea was I would audition for a Bond girl and then... | 0:14:17 | 0:14:21 | |
-Be so brilliant, you were Moneypenny. -Yes. | 0:14:21 | 0:14:25 | |
No, then they would tell me that the role was actually for Moneypenny. | 0:14:25 | 0:14:28 | |
Oh, I see! | 0:14:28 | 0:14:29 | |
-They're messing with your mind... -Exactly, exactly. | 0:14:29 | 0:14:32 | |
OK. Did you ever find out what your Bond girl name would have been? | 0:14:32 | 0:14:36 | |
Erm, it would have been Kiki Martin. | 0:14:36 | 0:14:39 | |
Kiki Martin. OK. I don't know if you know how this works. | 0:14:39 | 0:14:42 | |
Last time Daniel was here, yours was Cock Hargreaves. | 0:14:42 | 0:14:47 | |
Basically, it's whatever you call your private area. | 0:14:49 | 0:14:54 | |
We've talked about that before. | 0:14:54 | 0:14:55 | |
Yes. We know what you call yours. | 0:14:55 | 0:14:58 | |
And, er...Neddy. | 0:14:58 | 0:15:00 | |
And, er... And then your grandmother's maiden name. | 0:15:00 | 0:15:05 | |
What was yours again? | 0:15:05 | 0:15:06 | |
-Kiki Martin. -Kiki Martin? -Mmhm. | 0:15:06 | 0:15:09 | |
Cock, meet Kiki. Kiki, Cock. | 0:15:13 | 0:15:15 | |
As a child! As a child, you said as a child, right? | 0:15:17 | 0:15:20 | |
Yeah. Or now, I don't care. | 0:15:20 | 0:15:22 | |
Hiya! | 0:15:23 | 0:15:24 | |
Kiki Martin. Kiki Martin's a good name. | 0:15:25 | 0:15:28 | |
What would your Bond girl name be, Christoph? | 0:15:28 | 0:15:31 | |
Oo-ee... | 0:15:31 | 0:15:32 | |
It would be, erm... | 0:15:34 | 0:15:35 | |
-Well, we called it Horsey. -Horsey. | 0:15:35 | 0:15:39 | |
Er... Horsey... Horsey Mayen. | 0:15:39 | 0:15:43 | |
Horsey Mayen! | 0:15:43 | 0:15:45 | |
Wow! | 0:15:45 | 0:15:46 | |
It sounds like a cross between horse radish and mayonnaise, doesn't it? | 0:15:46 | 0:15:50 | |
I'll have that with Horsey Mayen. | 0:15:50 | 0:15:52 | |
Delicious! | 0:15:54 | 0:15:55 | |
Now, here's a thing. | 0:15:55 | 0:15:57 | |
In Skyfall, Naomie and Daniel, you had that very sexy, | 0:15:57 | 0:16:01 | |
potentially-dangerous scene, with the shaving. | 0:16:01 | 0:16:05 | |
CHEERING | 0:16:05 | 0:16:07 | |
Now which of you, or were either of you nervous going into that scene? | 0:16:07 | 0:16:12 | |
You must have been a bit nervous? | 0:16:12 | 0:16:14 | |
-No, she practised. -I did. For six weeks, no less. | 0:16:14 | 0:16:18 | |
Were there a lot of bleeding extras? | 0:16:18 | 0:16:20 | |
-Members of the crew who came in and I'd practise on them. -Really? | 0:16:21 | 0:16:25 | |
Yeah, in their lunch break. They liked it. | 0:16:25 | 0:16:27 | |
Did they have a choice? | 0:16:27 | 0:16:28 | |
Maybe not. I don't know. | 0:16:28 | 0:16:30 | |
Crying... | 0:16:30 | 0:16:32 | |
"I have children!" | 0:16:33 | 0:16:34 | |
You... Did you do the classic training on a balloon thing? | 0:16:37 | 0:16:39 | |
Yes, I did. Mm-hm. | 0:16:39 | 0:16:41 | |
Now, we heard that you were exceptionally good at shaving... | 0:16:41 | 0:16:45 | |
Well, it took me six weeks, so I don't think I was that good. | 0:16:45 | 0:16:49 | |
OK. So could you still do it? | 0:16:49 | 0:16:50 | |
If I got you to shave a balloon, could you still do it? | 0:16:50 | 0:16:52 | |
-I could give it a go. -All right. She's game. | 0:16:52 | 0:16:54 | |
-I've got the bits of equipment here. -Do we need to blow up the balloon? | 0:16:56 | 0:16:59 | |
-Well, we've got to blow up the balloon. Can you do that? -I'll try. | 0:16:59 | 0:17:02 | |
You've got children. You must have done parties. | 0:17:02 | 0:17:05 | |
It's good. It's not as big as your head yet. | 0:17:08 | 0:17:10 | |
-Don't look at me! -No, I'm not looking. | 0:17:10 | 0:17:12 | |
LAUGHTER | 0:17:12 | 0:17:14 | |
I can't do it if you're watching. | 0:17:20 | 0:17:22 | |
I'll shut my eyes. | 0:17:24 | 0:17:25 | |
This'll be in the next Bond film. | 0:17:28 | 0:17:30 | |
GRAHAM LAUGHING | 0:17:32 | 0:17:35 | |
-More? -It's nearly as big as your head, keep going. | 0:17:38 | 0:17:41 | |
There, that's about right now. If you just want to tie it off. | 0:17:41 | 0:17:44 | |
And, now, Christoph, you're an artist. | 0:17:44 | 0:17:45 | |
I wonder, could you put Daniel's face on the balloon? | 0:17:45 | 0:17:48 | |
Thank you very much. | 0:17:48 | 0:17:51 | |
Lovely. | 0:17:51 | 0:17:52 | |
LAUGHTER | 0:17:54 | 0:17:57 | |
Please be kind! | 0:17:57 | 0:17:58 | |
It's a pink balloon. How kind can he be? | 0:17:59 | 0:18:01 | |
-We're going to put shaving foam on it. -OK. | 0:18:06 | 0:18:08 | |
Are you confident you won't burst this? | 0:18:08 | 0:18:10 | |
Cos if you burst this, we are all going to be covered in this. | 0:18:10 | 0:18:13 | |
-No pressure, then! -Let's see you. | 0:18:14 | 0:18:16 | |
Oh, actually, let's have a look. Turn like that. | 0:18:16 | 0:18:19 | |
APPLAUSE | 0:18:20 | 0:18:22 | |
-I'm not sure that applause is a good thing. -I'm not, either. | 0:18:22 | 0:18:25 | |
OK. Can you soap it up, or do you want me to soap it up? | 0:18:25 | 0:18:28 | |
-You can soap it up. -OK. OK. -Do you want me to hold it? -Why don't you? | 0:18:28 | 0:18:31 | |
Yes, thank you very much. HE HUMS | 0:18:31 | 0:18:34 | |
-Have you done this before? -Oh, yeah. | 0:18:36 | 0:18:38 | |
-Er, OK, I'll put lots on. -Yeah. | 0:18:40 | 0:18:42 | |
-It'll be easier to get off that way, won't it? -No! | 0:18:42 | 0:18:44 | |
-OK. -Harder. | 0:18:44 | 0:18:45 | |
LAUGHTER | 0:18:46 | 0:18:48 | |
OK, so, if you want to stand up, and I'd say shove down, you guys, | 0:18:49 | 0:18:53 | |
cos you're wearing expensive clothes. | 0:18:53 | 0:18:56 | |
-Er, OK... -So I'm going to sit. -Oh, you're going to sit? OK. | 0:18:56 | 0:18:59 | |
It's up to you. OK, I'll hold it for you. I'll hold it. | 0:18:59 | 0:19:03 | |
-Right... -Oh... Oh, God. | 0:19:03 | 0:19:04 | |
-OK. -This is unbearable. | 0:19:04 | 0:19:06 | |
Argh! Argh, argh, argh... | 0:19:09 | 0:19:10 | |
There's a towel. There's a towel, | 0:19:13 | 0:19:14 | |
there's a towel. APPLAUSE | 0:19:14 | 0:19:16 | |
-Perfect. -OK. | 0:19:16 | 0:19:17 | |
It's around the lips that you have to be really careful. | 0:19:19 | 0:19:22 | |
It's a balloon! | 0:19:22 | 0:19:23 | |
Are you going to do this? You are, aren't you? | 0:19:28 | 0:19:30 | |
Yeah, because I was trained by the amazing Tony. | 0:19:30 | 0:19:34 | |
Of Guy? LAUGHTER | 0:19:34 | 0:19:37 | |
Oh, well done, you! | 0:19:43 | 0:19:44 | |
Excellent, very good! APPLAUSE | 0:19:44 | 0:19:47 | |
That's, er... That's... | 0:19:49 | 0:19:51 | |
There, it's gone. It's gone. | 0:19:51 | 0:19:53 | |
We'll have to explain that later. | 0:19:56 | 0:19:58 | |
How will we recover? That's so impressive! | 0:20:01 | 0:20:03 | |
-Thank you! -Yeah! | 0:20:03 | 0:20:05 | |
Something to fall back on, isn't it? Something to fall back on. | 0:20:05 | 0:20:09 | |
All right, let's enjoy another taste of Spectre. | 0:20:09 | 0:20:11 | |
This is Daniel Craig with Christoph Waltz, who is... | 0:20:11 | 0:20:14 | |
They're just having a chat. | 0:20:14 | 0:20:15 | |
-Yes. -You're just having a chat. | 0:20:15 | 0:20:18 | |
Information is all... | 0:20:18 | 0:20:19 | |
..is it not? | 0:20:21 | 0:20:23 | |
For example, you must know by now | 0:20:23 | 0:20:25 | |
that the 00 programme is officially dead... | 0:20:25 | 0:20:28 | |
..which leads me to speculate exactly why you came. | 0:20:30 | 0:20:33 | |
So, James, | 0:20:36 | 0:20:38 | |
why did you come? | 0:20:38 | 0:20:40 | |
I came here to kill you. | 0:20:40 | 0:20:41 | |
And I thought you came here to die. | 0:20:42 | 0:20:44 | |
Well, it's all a matter of perspective. | 0:20:44 | 0:20:46 | |
WHOOPING AND APPLAUSE | 0:20:46 | 0:20:49 | |
Now... | 0:20:53 | 0:20:55 | |
Now, this started for you... | 0:20:55 | 0:20:56 | |
You were a working actor all your life, you worked away, | 0:20:56 | 0:20:59 | |
and then this crazy thing happened, where suddenly you have global fame. | 0:20:59 | 0:21:05 | |
Yeah, but with me, I'm the other end of the spectrum. | 0:21:05 | 0:21:08 | |
When people see me, they duck and run. | 0:21:08 | 0:21:10 | |
But the thing is, like everyone else, | 0:21:12 | 0:21:14 | |
we discovered you on that world stage | 0:21:14 | 0:21:16 | |
when you did Inglourious Basterds, but I assumed you'd been | 0:21:16 | 0:21:20 | |
-just busy working in Germany, Austria, whatever... -Yeah. | 0:21:20 | 0:21:23 | |
..but when you were young, though, you did try to crack America. | 0:21:23 | 0:21:27 | |
Yeah, I did. | 0:21:27 | 0:21:28 | |
I was there for about two years, waiting on tables, then I said, | 0:21:28 | 0:21:33 | |
"Do I want to be a waiter?" | 0:21:33 | 0:21:35 | |
Since I didn't, I went back. | 0:21:35 | 0:21:38 | |
So how did Quentin Tarantino find you? | 0:21:39 | 0:21:42 | |
Well, he had to look hard. | 0:21:44 | 0:21:46 | |
In the end, he was rewarded, let's say. | 0:21:48 | 0:21:51 | |
APPLAUSE | 0:21:51 | 0:21:54 | |
-He did change your life. -Totally, completely. | 0:21:57 | 0:22:00 | |
Two Oscars. You've now got as many Oscars as he does, | 0:22:00 | 0:22:02 | |
which must be kind of annoying for him. | 0:22:02 | 0:22:05 | |
Well, the way I see it is, he kind of wrote the stuff that he | 0:22:05 | 0:22:12 | |
-offered me to win an Oscar with. -Yeah. -So I'm indebted to him. | 0:22:12 | 0:22:18 | |
Now, going back to your early acting days... | 0:22:18 | 0:22:20 | |
..there was a television programme. | 0:22:21 | 0:22:23 | |
What age were you when you were in - I think I'm saying it right - | 0:22:23 | 0:22:26 | |
Am Dam Des? | 0:22:26 | 0:22:28 | |
Yeah... | 0:22:31 | 0:22:33 | |
What age? Mmm, I don't know. | 0:22:33 | 0:22:35 | |
-Hmm, maybe 19? -19. | 0:22:35 | 0:22:38 | |
Now, don't laugh too much, because we've got crap on you, as well. | 0:22:38 | 0:22:43 | |
This is a clip... Listen, we've all done things. | 0:22:43 | 0:22:46 | |
This is a clip from Am Dam Des, | 0:22:46 | 0:22:50 | |
but even in this, I think you can see the glimmer of greatness | 0:22:50 | 0:22:54 | |
that would one day lead to two Oscars. | 0:22:54 | 0:22:56 | |
HE SNORTS Roll the clip. | 0:22:56 | 0:22:58 | |
AUDIENCE LAUGHS | 0:23:00 | 0:23:02 | |
-HE SINGS: -# Ich bin das neue Jahr | 0:23:02 | 0:23:04 | |
# Bin junger als das alte war | 0:23:04 | 0:23:06 | |
# Wie viel? | 0:23:06 | 0:23:07 | |
# Das ist jetzt die Frage | 0:23:07 | 0:23:10 | |
# Um 365 Tage. # | 0:23:10 | 0:23:14 | |
Oh, beautiful! CHEERING | 0:23:14 | 0:23:17 | |
Could you repeat that? I missed the last part. | 0:23:23 | 0:23:26 | |
So just because... Why did it say "1977" on you? | 0:23:27 | 0:23:31 | |
Because I was the new year. | 0:23:31 | 0:23:33 | |
Couldn't you tell? | 0:23:33 | 0:23:35 | |
You were certainly festive! | 0:23:36 | 0:23:38 | |
Did you keep the outfit? It's extraordinary. | 0:23:40 | 0:23:42 | |
I would like that - a New Year's outfit. | 0:23:42 | 0:23:44 | |
Yeah, it really is. Nothing says "New Year" like a knitted leotard. | 0:23:44 | 0:23:48 | |
But... | 0:23:51 | 0:23:53 | |
But, Daniel Craig, we turn to you. | 0:23:54 | 0:23:56 | |
Because you started very young, as well. | 0:23:57 | 0:23:59 | |
-STRAINED: -Yes... | 0:23:59 | 0:24:00 | |
You were in school, in the National Youth Theatre. | 0:24:02 | 0:24:05 | |
When did you do panto? How old were you when you did panto? | 0:24:05 | 0:24:07 | |
Um...15, 14? | 0:24:07 | 0:24:10 | |
-15, 14. -Yeah. | 0:24:10 | 0:24:11 | |
Now, annoyingly, we only have a still, | 0:24:11 | 0:24:14 | |
but it's still a quality picture, it's still a quality still. | 0:24:14 | 0:24:17 | |
This is Daniel Craig. See if you can spot which one he is. | 0:24:17 | 0:24:22 | |
He is one of the Ugly Sisters in Cinderella. | 0:24:22 | 0:24:26 | |
Can we zoom in on the faces? | 0:24:28 | 0:24:30 | |
Right or left, ladies and gentlemen? | 0:24:31 | 0:24:33 | |
-AUDIENCE: -Left! | 0:24:33 | 0:24:36 | |
-Left. -Yep. | 0:24:36 | 0:24:39 | |
Do you know who that is? | 0:24:39 | 0:24:41 | |
Um, I think it's, um... | 0:24:41 | 0:24:43 | |
-(Richard Kelly.) RELIEVED: -Oh, thank you! | 0:24:43 | 0:24:45 | |
A long time ago. Richard Kelly. | 0:24:45 | 0:24:48 | |
Richard Kelly! Yay! He's here tonight. No, he's not. | 0:24:48 | 0:24:51 | |
Where was that? | 0:24:52 | 0:24:54 | |
At school. A school production of Cinderella. | 0:24:54 | 0:24:56 | |
-You really went for it, didn't you? -That's my career right there. | 0:24:56 | 0:25:00 | |
Commitment, ladies and gentlemen. | 0:25:00 | 0:25:02 | |
Now, annoyingly, cos we kind of thought, | 0:25:02 | 0:25:05 | |
"Oh, Naomie was a child star! This will be hilarious." | 0:25:05 | 0:25:09 | |
No, Naomie - just ado-ra-ble! | 0:25:09 | 0:25:11 | |
-Aww! -Is it Simon And The Witch you were in? -Yes. | 0:25:12 | 0:25:15 | |
Look at Naomie, look at this. | 0:25:15 | 0:25:17 | |
-Oh, God. -Look at that! AUDIENCE: -Aww! | 0:25:17 | 0:25:19 | |
Aww! | 0:25:19 | 0:25:21 | |
You credit Danny Boyle for rescuing you from that side of your career. | 0:25:23 | 0:25:28 | |
Yeah, yeah, he actually gave me the part in 28 Days Later | 0:25:28 | 0:25:33 | |
when I'd just left drama school and that completely changed my career. | 0:25:33 | 0:25:37 | |
Then, he also gave me a part in Frankenstein, at the National, | 0:25:37 | 0:25:40 | |
which is the reason why I'm in Bond, in fact, | 0:25:40 | 0:25:42 | |
cos Sam Mendes came to see it, and Debbie McWilliams, | 0:25:42 | 0:25:44 | |
and that's how I got cast. | 0:25:44 | 0:25:47 | |
-It's a small world, isn't it? -Yeah. | 0:25:47 | 0:25:49 | |
If you're in it. | 0:25:49 | 0:25:50 | |
APPLAUSE | 0:25:50 | 0:25:53 | |
We've got to ask you, Daniel, | 0:25:56 | 0:25:57 | |
how annoying is it when you're actually making a film, | 0:25:57 | 0:26:01 | |
you're actually out there, you're hurting your knee | 0:26:01 | 0:26:03 | |
your running down the street, you're reversing cars | 0:26:03 | 0:26:05 | |
and the papers are just full of who's going to be Bond next? | 0:26:05 | 0:26:10 | |
That must be a bit irksome. | 0:26:10 | 0:26:12 | |
I just ignore it. I don't really get involved with it, | 0:26:12 | 0:26:15 | |
so that's the way I deal with it. | 0:26:15 | 0:26:17 | |
There's always a... | 0:26:17 | 0:26:19 | |
There's always speculation round a Bond movie. | 0:26:19 | 0:26:21 | |
There's lots of excitement and lots of people have different opinions, | 0:26:21 | 0:26:24 | |
but I suppose that's just because we're hopefully getting it right | 0:26:24 | 0:26:30 | |
and that people are still interested, which is the best bit. | 0:26:30 | 0:26:33 | |
And if this film, as it looks like it's going to do, | 0:26:33 | 0:26:36 | |
does amazing business - blockbuster, blockbuster - presumably, | 0:26:36 | 0:26:40 | |
they'll just throw so much money at you, you'll have to do another one. | 0:26:40 | 0:26:44 | |
I would genuinely say this - I have never done any job for the money. | 0:26:46 | 0:26:49 | |
I've only ever... | 0:26:49 | 0:26:50 | |
You mightn't have been offered this much money before, though. | 0:26:50 | 0:26:53 | |
That's true. | 0:26:53 | 0:26:55 | |
That's true, but it's, uh... | 0:26:55 | 0:26:58 | |
I can't think about another one right at the moment, | 0:26:58 | 0:27:01 | |
because we've, literally, finished this one | 0:27:01 | 0:27:04 | |
and this is the best bit. | 0:27:04 | 0:27:05 | |
Now that all I care about is getting the film in front of an audience | 0:27:05 | 0:27:10 | |
and we'll see. I don't know. | 0:27:10 | 0:27:12 | |
-We hope you do. -That's very nice. -Fingers crossed, you do. | 0:27:12 | 0:27:15 | |
Listen, just before we meet Sam Smith, | 0:27:15 | 0:27:17 | |
this is very sweet. I don't know if you guys have seen this. | 0:27:17 | 0:27:19 | |
Someone posted it online and it's by an eight-year-old boy, | 0:27:19 | 0:27:23 | |
an eight-year-old boy wrote this, and it's, kind of, his review of Bond | 0:27:23 | 0:27:28 | |
and, through the eyes of a child, | 0:27:28 | 0:27:31 | |
really, this does capture the enduring appeal of James Bond. | 0:27:31 | 0:27:36 | |
He wrote, "Once there was a guy named Bond, James Bond. | 0:27:36 | 0:27:40 | |
"He was from Inglend. | 0:27:40 | 0:27:42 | |
"He was a very good actor in movies. | 0:27:42 | 0:27:44 | |
"He has a friend named M. | 0:27:44 | 0:27:46 | |
"James Bond gous in gun movies. | 0:27:46 | 0:27:48 | |
"And he never dies in all his movies. | 0:27:48 | 0:27:50 | |
"There are different actors. Some are not good. | 0:27:50 | 0:27:53 | |
"Some are good. | 0:27:53 | 0:27:54 | |
"Some are amazing. | 0:27:54 | 0:27:56 | |
"And at the end of the movies, there is kissey-kissey parts. | 0:27:56 | 0:28:00 | |
"I like them." | 0:28:00 | 0:28:01 | |
APPLAUSE | 0:28:01 | 0:28:03 | |
That's the plot. | 0:28:04 | 0:28:06 | |
Right, it is time for our musical guest tonight. | 0:28:08 | 0:28:11 | |
This man is a true home-grown superstar who's done it all. | 0:28:11 | 0:28:15 | |
He's won Brits and Grammys and now he's a world record-breaker | 0:28:15 | 0:28:18 | |
with his Bond theme, Writing's On The Wall. | 0:28:18 | 0:28:21 | |
Please welcome Sam Smith, everybody! | 0:28:21 | 0:28:23 | |
WHOOPING AND APPLAUSE | 0:28:23 | 0:28:25 | |
-Hello. -Hi. -How are you? -Lovely to see you. | 0:28:27 | 0:28:30 | |
THEY GREET EACH OTHER | 0:28:32 | 0:28:34 | |
There you go, sir. Have you guys all met before, or is this it? | 0:28:38 | 0:28:41 | |
-Just out there. -Out there now. | 0:28:41 | 0:28:43 | |
-We shouldn't say that, should we? -If it's true, why not say it? | 0:28:43 | 0:28:46 | |
We did, just now. It's nice to meet you. | 0:28:46 | 0:28:49 | |
Because you heard the song fairly early on, Daniel, didn't you? | 0:28:49 | 0:28:52 | |
Yeah, I got... | 0:28:52 | 0:28:54 | |
You'd just recorded it, hadn't you? | 0:28:54 | 0:28:55 | |
Sent us a copy of it and I sat in a room with Sam | 0:28:55 | 0:28:58 | |
-and stuck some headphones on and... -That early on? That's scary. | 0:28:58 | 0:29:01 | |
Have you seen it in the film yet? | 0:29:01 | 0:29:03 | |
-No, I'm the same as you. I haven't seen it. -I haven't seen it, either. | 0:29:03 | 0:29:06 | |
-I want to save it for me and my family. -Exactly. | 0:29:06 | 0:29:08 | |
All about the event, you know? | 0:29:08 | 0:29:10 | |
Oh, cos when you see it in the title sequence, | 0:29:10 | 0:29:12 | |
-it's so different. -I love how you've seen it, as well. | 0:29:12 | 0:29:15 | |
I'm sure you could have seen it, if you'd wanted to. | 0:29:17 | 0:29:20 | |
I was offered to, but I'm so excited for Monday. It'll be beautiful. | 0:29:20 | 0:29:23 | |
How does it happen? Do you get a call? Do you make the call? | 0:29:23 | 0:29:27 | |
I got a call to go to Pinewood Studios, to meet Sam and Barbara, | 0:29:27 | 0:29:30 | |
and I didn't know what that meant. | 0:29:30 | 0:29:32 | |
-Sam Mendes and Barbara Broccoli. -Yes. | 0:29:32 | 0:29:35 | |
Babs Broccoli, you know her. | 0:29:35 | 0:29:37 | |
-So, you go for the meeting... -Yes, went in there, went into the office. | 0:29:37 | 0:29:41 | |
Lovely people, it was great, | 0:29:41 | 0:29:43 | |
and they gave me the script. | 0:29:43 | 0:29:44 | |
I couldn't believe it, they gave me script, | 0:29:44 | 0:29:46 | |
there's my name across it. You guys probably know this. | 0:29:46 | 0:29:49 | |
There's your name across every page, | 0:29:49 | 0:29:51 | |
which is scary as shit. | 0:29:51 | 0:29:52 | |
If you leave it somewhere... | 0:29:52 | 0:29:54 | |
Yeah, because if you leave it, everything's blamed on me. | 0:29:54 | 0:29:57 | |
-Yeah. -Then I read the script, then I had a crack at the song. | 0:29:57 | 0:30:00 | |
But on the day, were they seeing other people? | 0:30:00 | 0:30:05 | |
-I think so, I don't know. -Metallica. | 0:30:05 | 0:30:07 | |
"Metallica"! | 0:30:07 | 0:30:09 | |
It's like, when you first start dating someone, isn't it? | 0:30:11 | 0:30:14 | |
"Are you still seeing other people?" | 0:30:14 | 0:30:16 | |
"Yes." | 0:30:16 | 0:30:17 | |
-So, you write the song, you send it off. -Yes. | 0:30:20 | 0:30:24 | |
Could they have gone, "Meh, not so much"? | 0:30:24 | 0:30:27 | |
I guess so. Thank God they didn't. | 0:30:27 | 0:30:29 | |
I was prepared to do many versions | 0:30:29 | 0:30:31 | |
-if they wanted me to. -You were? -Yeah. | 0:30:31 | 0:30:33 | |
But they did ask for some changes, is this right? | 0:30:33 | 0:30:36 | |
Yes, because lyrically, I think I'm quite a vulnerable writer, | 0:30:36 | 0:30:42 | |
quite an emotional writer, | 0:30:42 | 0:30:44 | |
and James Bond is quite a strong character... | 0:30:44 | 0:30:46 | |
I love that I'm telling you who you are. | 0:30:46 | 0:30:48 | |
Not that you are James Bond. | 0:30:49 | 0:30:52 | |
He IS James Bond. | 0:30:52 | 0:30:54 | |
We needed some tweaks lyrically, so Sam, | 0:30:54 | 0:30:57 | |
it was a massive collaboration between me and Sam, | 0:30:57 | 0:31:00 | |
because this fits with the film, I think, | 0:31:00 | 0:31:02 | |
and I wanted it to fit the storyline. It's hard, actually, | 0:31:02 | 0:31:05 | |
to bring out a song before the film's even come out, | 0:31:05 | 0:31:07 | |
cos, hopefully, when you see the film, it will all make more sense. | 0:31:07 | 0:31:10 | |
Like I say, when you see it in that opening title... | 0:31:10 | 0:31:12 | |
The opening title sequence is gorgeous. | 0:31:12 | 0:31:14 | |
-I'm talking to people who've seen it. -I'm so excited. | 0:31:14 | 0:31:18 | |
It's really beautiful and, of course, the single is still out, | 0:31:18 | 0:31:21 | |
people can get the single. | 0:31:21 | 0:31:23 | |
Tonight, this is a world exclusive. | 0:31:23 | 0:31:26 | |
-You've never performed this song live. -Never. | 0:31:26 | 0:31:29 | |
And I'm dreading it, absolutely dreading it. | 0:31:29 | 0:31:32 | |
-You wrote the song! -I know, but do you know what? | 0:31:32 | 0:31:34 | |
I've only actually sung the song once, really, | 0:31:34 | 0:31:37 | |
because I did the demo in the studio and they used that. | 0:31:37 | 0:31:41 | |
It is horrible to sing. Horrible. | 0:31:41 | 0:31:44 | |
I regret... No, I don't regret. | 0:31:44 | 0:31:46 | |
-Why is it so bad to sing? -It's just so high. | 0:31:47 | 0:31:49 | |
I have to grab my balls, it's awful. | 0:31:49 | 0:31:51 | |
APPLAUSE | 0:31:51 | 0:31:53 | |
Keep your eyes peeled, ladies and gentlemen. | 0:31:54 | 0:31:57 | |
WHOOPING | 0:31:57 | 0:31:59 | |
So this is it, this is a world exclusive, | 0:31:59 | 0:32:01 | |
the first live performance of the new Bond theme. | 0:32:01 | 0:32:04 | |
We're so excited you're doing it for us. | 0:32:04 | 0:32:07 | |
A bored orchestra awaits. | 0:32:07 | 0:32:09 | |
-Do go and join them. -I shall. | 0:32:09 | 0:32:10 | |
-Ladies and gentlemen, Sam Smith! -Thank you. | 0:32:10 | 0:32:13 | |
WHOOPING AND APPLAUSE | 0:32:13 | 0:32:15 | |
Right! | 0:32:17 | 0:32:18 | |
Shortly, we'll have this week's stories from the big red chair, | 0:32:18 | 0:32:22 | |
but first, performing Writing's On The Wall, it is Mr Sam Smith! | 0:32:22 | 0:32:26 | |
WHOOPING AND APPLAUSE | 0:32:26 | 0:32:29 | |
# I've been here before | 0:32:45 | 0:32:50 | |
# But always hit the floor | 0:32:53 | 0:32:57 | |
# I've spent a lifetime running | 0:32:59 | 0:33:03 | |
# And I always get away | 0:33:03 | 0:33:07 | |
# But with you I'm feeling something | 0:33:07 | 0:33:12 | |
# That makes me want to stay | 0:33:12 | 0:33:17 | |
# I'm prepared for this | 0:33:17 | 0:33:21 | |
# I never shoot to miss | 0:33:24 | 0:33:28 | |
# But I feel like a storm is coming | 0:33:31 | 0:33:35 | |
# If I'm gonna make it through the day | 0:33:35 | 0:33:39 | |
# Then there's no more use in running | 0:33:39 | 0:33:43 | |
# This is something I gotta face | 0:33:43 | 0:33:47 | |
# If I risk it all | 0:33:48 | 0:33:54 | |
# Could you break my fall? | 0:33:55 | 0:34:01 | |
# How do I live? How do I breathe? | 0:34:01 | 0:34:05 | |
# When you're not here I'm suffocating | 0:34:05 | 0:34:09 | |
# I want to feel love run through my blood | 0:34:09 | 0:34:12 | |
# Tell me, is this where I give it all up? | 0:34:12 | 0:34:17 | |
# For you, I have to risk it all | 0:34:17 | 0:34:24 | |
# Cos the writing's on the wall | 0:34:25 | 0:34:32 | |
# A million shards of glass | 0:34:37 | 0:34:42 | |
# That haunt me from my past | 0:34:45 | 0:34:50 | |
# As the stars begin to gather | 0:34:52 | 0:34:55 | |
# And the light begins to fade | 0:34:55 | 0:35:00 | |
# When all hope begins to shatter | 0:35:00 | 0:35:03 | |
# Know that I won't be afraid | 0:35:03 | 0:35:07 | |
# If I risk it all | 0:35:08 | 0:35:16 | |
# Could you break my fall? | 0:35:16 | 0:35:22 | |
# How do I live? How do I breathe? | 0:35:22 | 0:35:26 | |
# When you're not here I'm suffocating | 0:35:26 | 0:35:29 | |
# I want to feel love run through my blood | 0:35:29 | 0:35:33 | |
# Tell me, is this where I give it all up? | 0:35:33 | 0:35:38 | |
# For you | 0:35:38 | 0:35:40 | |
# I have to risk it all | 0:35:40 | 0:35:46 | |
# Cos the writing's on the wall | 0:35:46 | 0:35:53 | |
# The writing's on the wall | 0:35:55 | 0:36:02 | |
# How do I live? How do I breathe? | 0:36:19 | 0:36:23 | |
# When you're not here I'm suffocating | 0:36:23 | 0:36:27 | |
# I want to feel love run through my blood | 0:36:27 | 0:36:31 | |
# Tell me, is this where I give it all up? | 0:36:31 | 0:36:34 | |
# For you, I have to risk it all | 0:36:36 | 0:36:44 | |
# Cos the writing's on | 0:36:45 | 0:36:52 | |
# The wall. # | 0:36:52 | 0:36:58 | |
CHEERING AND APPLAUSE | 0:36:59 | 0:37:02 | |
Sam Smith, everyone! | 0:37:04 | 0:37:06 | |
Wow! | 0:37:06 | 0:37:07 | |
That was stunning. | 0:37:07 | 0:37:09 | |
Thank you so, so much. | 0:37:09 | 0:37:11 | |
Come and sit down. | 0:37:11 | 0:37:13 | |
Have a seat there. How good was that?! | 0:37:13 | 0:37:15 | |
CHEERING CONTINUES | 0:37:15 | 0:37:17 | |
Wow. | 0:37:21 | 0:37:22 | |
It's amazing to have such a great film | 0:37:22 | 0:37:24 | |
and then to have that song in it, | 0:37:24 | 0:37:26 | |
-it's phenomenal. You must be thrilled, cock-a-hoop. -Relieved. | 0:37:26 | 0:37:30 | |
Well, that, too. | 0:37:30 | 0:37:32 | |
Listen, very quickly, before we go onto the red chair, | 0:37:32 | 0:37:34 | |
we were talking about childhood ambitions earlier with the guys, | 0:37:34 | 0:37:37 | |
because apparently as a child, you wanted to be an astronaut, | 0:37:37 | 0:37:40 | |
is this correct? | 0:37:40 | 0:37:41 | |
No. | 0:37:41 | 0:37:42 | |
No, no, I actually didn't. | 0:37:42 | 0:37:45 | |
Are you referring to a certain...? | 0:37:45 | 0:37:46 | |
We have a lovely picture. This is Sam, this is Sam, | 0:37:46 | 0:37:50 | |
living the dream. | 0:37:50 | 0:37:52 | |
AUDIENCE ROARS | 0:37:52 | 0:37:54 | |
-Oh, my God! -Is that Buzz Lightyear? | 0:37:54 | 0:37:56 | |
Yeah. | 0:37:56 | 0:37:58 | |
You know, I was too fat to fit in that, | 0:37:58 | 0:38:01 | |
it was split open at the back. | 0:38:01 | 0:38:03 | |
I was a fat, fat boy. | 0:38:03 | 0:38:05 | |
So you just take a pic not moving? | 0:38:05 | 0:38:07 | |
"This picture will last forever. | 0:38:07 | 0:38:09 | |
"One day, it will be on television." | 0:38:09 | 0:38:12 | |
OK, let's visit the red chair. Let's see who's there tonight. | 0:38:12 | 0:38:16 | |
-Ugh. Hello! -Hey. | 0:38:16 | 0:38:18 | |
What's your name? | 0:38:19 | 0:38:21 | |
Denison. Paul Denison. | 0:38:21 | 0:38:23 | |
Oh, Jesus. | 0:38:23 | 0:38:24 | |
APPLAUSE | 0:38:24 | 0:38:26 | |
I have a sort of chill creeping through my bones | 0:38:35 | 0:38:38 | |
that we're just going to get that over and over again. | 0:38:38 | 0:38:43 | |
OK, fingers crossed, it is not a Bond Special red chair. | 0:38:43 | 0:38:47 | |
Hello. | 0:38:47 | 0:38:48 | |
-Hi. -AUDIENCE WHOOPS | 0:38:48 | 0:38:50 | |
Wow, they're loving you. What's your name, sir? | 0:38:51 | 0:38:54 | |
-My name's Howie Poon. -Howie Poon? -Yes. | 0:38:54 | 0:38:56 | |
LAUGHTER | 0:38:56 | 0:38:58 | |
Is that your Bond Girl name? | 0:38:58 | 0:39:00 | |
That's it. | 0:39:00 | 0:39:02 | |
OK. | 0:39:02 | 0:39:03 | |
And what do you do, sir? | 0:39:07 | 0:39:09 | |
I'm a flight attendant. | 0:39:09 | 0:39:10 | |
A flight attendant? OK. Transatlantic or domestic? | 0:39:10 | 0:39:15 | |
-For American Airlines. I do international. -Right, OK. | 0:39:15 | 0:39:19 | |
Yeah, yeah! | 0:39:19 | 0:39:21 | |
Do you look after the posh people or just the rabble? | 0:39:21 | 0:39:24 | |
-Just the rabble. -Yeah, but you treat them nicely, I'm sure. | 0:39:24 | 0:39:28 | |
-Oh, of course, yes. -So fired. | 0:39:28 | 0:39:31 | |
Off you go with your story. | 0:39:33 | 0:39:35 | |
I had to take my 70-year-old Chinese mom | 0:39:35 | 0:39:39 | |
to her gynaecologist check-up appointment | 0:39:39 | 0:39:43 | |
-and I... -Can I just say, | 0:39:43 | 0:39:45 | |
already my hopes for this story are so high, | 0:39:45 | 0:39:49 | |
I can't tell you. | 0:39:49 | 0:39:51 | |
So, basically, we get to the office, | 0:39:53 | 0:39:55 | |
I tell her gynaecologist that I have to translate, | 0:39:55 | 0:39:58 | |
the gynaecologist has a smirk on her face and says, | 0:39:58 | 0:40:01 | |
"Well, I'm going to have to ask you | 0:40:01 | 0:40:03 | |
"a couple of uncomfortable questions to translate for your mom." | 0:40:03 | 0:40:08 | |
She's like, "I need to know if your mom is sexually active | 0:40:08 | 0:40:12 | |
"and I need to know how active she is." | 0:40:12 | 0:40:16 | |
NAOMIE GROANS | 0:40:16 | 0:40:18 | |
So keep in mind she's 70 years old. | 0:40:18 | 0:40:19 | |
I translate in Chinese - I'm like... | 0:40:21 | 0:40:23 | |
HE SPEAKS IN CHINESE LANGUAGE | 0:40:23 | 0:40:25 | |
Basically, that means, "Do you guys still have sex?" | 0:40:26 | 0:40:29 | |
So my mum hits me on the shoulder, she's like, | 0:40:29 | 0:40:32 | |
"You know your dad. Of course we do. Five to six times a week." | 0:40:32 | 0:40:36 | |
AUDIENCE ROARS | 0:40:36 | 0:40:38 | |
APPLAUSE | 0:40:38 | 0:40:41 | |
Wow! | 0:40:41 | 0:40:42 | |
So, basically, I'm completely embarrassed, | 0:40:47 | 0:40:51 | |
my mom's not even shy about it. | 0:40:51 | 0:40:53 | |
I go from, like, basically embarrassed to depressed | 0:40:53 | 0:40:58 | |
that my mum and dad are getting more than I am. | 0:40:58 | 0:41:00 | |
Aww! | 0:41:00 | 0:41:02 | |
Can he walk? You should walk. | 0:41:02 | 0:41:04 | |
Yeah, walk, walk. | 0:41:04 | 0:41:06 | |
APPLAUSE | 0:41:06 | 0:41:08 | |
That's nice, but his mother can't. | 0:41:11 | 0:41:13 | |
OK... | 0:41:13 | 0:41:14 | |
They'll cut that out. | 0:41:18 | 0:41:19 | |
No, they won't! | 0:41:20 | 0:41:22 | |
Let's have another one. One more, one more. | 0:41:22 | 0:41:24 | |
-Hello, sir. -Hello. | 0:41:24 | 0:41:26 | |
-Hello, how are you? -Good, thank you. How are you? -I'm very good, thanks. | 0:41:26 | 0:41:29 | |
LAUGHTER | 0:41:29 | 0:41:32 | |
-What's your name? -My name is Zach Ford. -Zach Ford? Lovely. | 0:41:32 | 0:41:36 | |
Is that your real name? | 0:41:36 | 0:41:38 | |
-Yes, it is. -It is tonight. OK! | 0:41:38 | 0:41:40 | |
-And where are you from, Zach Ford? -I'm from New Zealand, Dunedin. | 0:41:40 | 0:41:43 | |
LOUD WHOOPING | 0:41:43 | 0:41:45 | |
I dunno. | 0:41:47 | 0:41:48 | |
-OK, Zach Ford... By the way, do you live here now? -I do, yeah. | 0:41:48 | 0:41:52 | |
-What do you do here? -I'm a primary school teacher. | 0:41:52 | 0:41:55 | |
Really?! OK. | 0:41:55 | 0:41:56 | |
Anyone else surprised? I was quite surprised. | 0:41:59 | 0:42:02 | |
"Zach Ford, primary school teacher." | 0:42:02 | 0:42:04 | |
IN SUAVE VOICE: "Hey, kids, let's count to ten." | 0:42:08 | 0:42:10 | |
He seems too cool. | 0:42:14 | 0:42:16 | |
They must worship you, Zach. | 0:42:17 | 0:42:19 | |
OK, Zach Ford, off you go with your story. | 0:42:19 | 0:42:22 | |
OK, so "a friend of mine" | 0:42:22 | 0:42:24 | |
was meeting his girlfriend's family for the first time. | 0:42:24 | 0:42:27 | |
They were meeting at the beach. | 0:42:27 | 0:42:29 | |
After meeting everyone, everything was going well | 0:42:29 | 0:42:32 | |
and suddenly, he had the urge to go to the toilet. | 0:42:32 | 0:42:35 | |
At the beach, there is nowhere really to hide behind | 0:42:35 | 0:42:39 | |
to do a number two. | 0:42:39 | 0:42:40 | |
Oh! AUDIENCE GROANS | 0:42:40 | 0:42:42 | |
So, the only place there was left was to go to the water, | 0:42:42 | 0:42:46 | |
so he swam out past the waves | 0:42:46 | 0:42:48 | |
and had himself an aqua-poo. | 0:42:48 | 0:42:49 | |
After succeeding, | 0:42:53 | 0:42:54 | |
he swam back in, | 0:42:54 | 0:42:56 | |
feeling pretty chuffed with himself, | 0:42:56 | 0:42:58 | |
got away with not having to go to the toilet in front of the family. | 0:42:58 | 0:43:01 | |
He went to go grab his towel and his girlfriend just looked at him | 0:43:01 | 0:43:04 | |
in disgust and was like, "What is that on your back?" | 0:43:04 | 0:43:08 | |
Oh! AUDIENCE HOWLS | 0:43:08 | 0:43:10 | |
-He was like... -We can't. | 0:43:10 | 0:43:12 | |
APPLAUSE That's it. | 0:43:12 | 0:43:14 | |
That's it. That is it for tonight. | 0:43:14 | 0:43:17 | |
Well done, everyone in the big red chair. | 0:43:17 | 0:43:19 | |
All right, that's your lot. | 0:43:21 | 0:43:23 | |
Please say thank you to my guests, Mr Sam Smith! | 0:43:23 | 0:43:26 | |
CHEERING | 0:43:26 | 0:43:28 | |
Christoph Waltz! | 0:43:28 | 0:43:30 | |
CHEERING | 0:43:30 | 0:43:31 | |
Naomie Harris! | 0:43:31 | 0:43:33 | |
CHEERING | 0:43:33 | 0:43:35 | |
And Daniel Craig! | 0:43:35 | 0:43:37 | |
CHEERING | 0:43:37 | 0:43:39 | |
Join me next week, with another great line-up, | 0:43:39 | 0:43:42 | |
including model Cindy Crawford, | 0:43:42 | 0:43:44 | |
actress Sienna Miller, actor Bradley Cooper, | 0:43:44 | 0:43:46 | |
pop superstar Justin Bieber | 0:43:46 | 0:43:48 | |
and a very rare appearance, the great Dame Maggie Smith. | 0:43:48 | 0:43:52 | |
AUDIENCE OOHS I'll see you, then! | 0:43:52 | 0:43:53 | |
Goodnight, everybody, bye-bye! | 0:43:53 | 0:43:55 | |
CHEERING AND APPLAUSE | 0:43:55 | 0:43:57 |