:00:00. > :00:07.On tonight's show, all the ingredients for a perfect line-up:
:00:08. > :00:17.The amazingly talented star of the new film "Burnt"?
:00:18. > :00:22.Good. Oh, and a charismatic, debonair and hilarious host?
:00:23. > :00:58.Is everyone excited about Hallowe'en?
:00:59. > :01:05.Have you all got your pumpkins carved and your costumes ready?
:01:06. > :01:16.But, ladies and gentlemen, no tricks tonight, just treats.
:01:17. > :01:20.We've got a really fantastic line-up for you.
:01:21. > :01:30.Later we'll have music from the one and only Mr Justin Bieber!
:01:31. > :01:32.And before that, how fantastic is this?
:01:33. > :01:37.Making her first appearance on a British chat show in 42 years
:01:38. > :01:54.Yes, her last British chat show was 1973 - you weren't even born.
:01:55. > :01:59.You should have seen her face when she heard she was coming
:02:00. > :02:06.Dame Maggie will be talking about her new film, The Lady In The Van
:02:07. > :02:12.She's the home-grown actress whose Hollywood star has risen with her
:02:13. > :02:15.recent performances in Foxcatcher, and American Sniper.
:02:16. > :02:17.Now starring in the new kitchen drama Burnt,
:02:18. > :02:32.CHEERING. Hello! Wow! You won an Oscar. You look beautiful. Lovely to
:02:33. > :02:33.see you. And he's the breakout star
:02:34. > :02:36.of the Hangover movies, who has since received three Oscar
:02:37. > :02:38.nominations in a row for Silver Linings Playbook, American
:02:39. > :02:40.Hustle, and American Sniper. It's a warm welcome back to
:02:41. > :03:03.Bradley Cooper! CHEERING. Yay! Hello. How you doing?
:03:04. > :03:13.That's a pretty couch isn't it? Quite comfy. Sienna Miller looks
:03:14. > :03:21.like an Oscar. Very sparkly. Old ugly corner over here. We were
:03:22. > :03:27.talking about the first time I was on here. She has never been on this
:03:28. > :03:30.show before. It is a unique environment, because you are very
:03:31. > :03:35.vulnerable. I feel quite shy. I remember the first time I was on.
:03:36. > :03:37.Liam Neeson was late and we were on for an hour-and-a-half. What was he
:03:38. > :03:53.doing? He was coming from... We'll talk about Burnt more,
:03:54. > :04:03.but one of the things that struck me For you, Sienna, is it's nice to
:04:04. > :04:11.kind of be filming in London? When you were filming in London
:04:12. > :04:14.before, people were taking pictures, paparazzi, but you don't really
:04:15. > :04:17.have that so much any more. How did the shutters come down
:04:18. > :04:20.on that? I secretly filmed them
:04:21. > :04:23.on what looks like a lighter but was actually a camera for about
:04:24. > :04:26.two years, it was proper spy stuff. And, yeah, basically built up a case
:04:27. > :04:30.and took it to court and got an injunction, so it's illegal for them
:04:31. > :04:34.to follow or sit outside the house. If you're coming out
:04:35. > :04:36.of somewhere like a premiere, you I have to say real quick, so,
:04:37. > :04:41.she told me this and I was doing The Elephant Man,
:04:42. > :04:50.and sometimes paparazzi would follow They had a camera at the side of the
:04:51. > :04:56.place I was staying, and another The guy who I drive with, George,
:04:57. > :05:00.his uncle, who is a black cab driver, came and we had a whole
:05:01. > :05:04.thing, we were going to get them. No-one followed us.
:05:05. > :05:05.Nothing. Nothing!
:05:06. > :05:09.Absolutely nothing. LAUGHTER. I was going to say,
:05:10. > :05:12.you do get bothered in the States. Not that much, you know,
:05:13. > :05:16.it's not that bad. It's more
:05:17. > :05:18.in Europe, sometimes you go There was
:05:19. > :05:21.an unfortunate paparazzi shot. The thing is, you have a sixth sense
:05:22. > :05:28.of when you're getting captured. This was a couple of years ago, but
:05:29. > :05:32.I do remember being outside. I had this little house in Venice,
:05:33. > :05:36.the front door just opened right to I was putting my dog, I think,
:05:37. > :05:39.in the back of You could hear the click,
:05:40. > :05:43.just hear it. I thought, oh yeah,
:05:44. > :05:49.these pants are really tight, And then, like, you go online
:05:50. > :05:56.and bam, they've got it! In fairness, they did,
:05:57. > :06:14.we've got it there. APPLAUSE. Burnt opens next Friday,
:06:15. > :06:20.6th. This movie is about a chef. It is the first film I've seen that
:06:21. > :06:25.really captures that stress and how thrilling it is to be in a proper
:06:26. > :06:31.kitchen, a proper catering kitchen. Good, we tried to do that. In this
:06:32. > :06:36.you are a former wild child who's trying to redeem himself? Yes, it's
:06:37. > :06:46.a guy who had a lot of success early on in Paris, a young chef. Blew it
:06:47. > :06:50.up, and you meet him. He had a self-imposed penance in New Orleans
:06:51. > :06:54.where he wanted to chuck oysters to clear his head. OK! I worked in
:06:55. > :07:00.kitchens and I know you have experience. The pressure is just
:07:01. > :07:05.like nothing else. But this level, this two Michelin star I've never
:07:06. > :07:10.experienced. We've got to train with some amazing chefs. You play the
:07:11. > :07:16.protege? A sous chef, yes. But better than that. Well, I think so,
:07:17. > :07:22.but technically yes, a sous chef with an interesting haircut. I
:07:23. > :07:29.begged her to do the movie. We were doing American sniper. I begged her
:07:30. > :07:35.to do it and she showed up on set the first day the back of her head
:07:36. > :07:40.shaved and tattoos. If you see the movie, she's unbelievable. You are
:07:41. > :07:45.both great in it. Thank you. You were incredible. ? Thank you, so is
:07:46. > :07:49.he. The training, is it a skill you learn so that you can do it in that
:07:50. > :07:54.moment, or can you now recreate that food in your house? A lot of things
:07:55. > :08:00.go in and out for me. You train a lot, you can do it for that time and
:08:01. > :08:04.then it's gone. What about you? I can cook fish really well, because I
:08:05. > :08:13.think I cooked 500 pieces of it before filming. That stayed. I was
:08:14. > :08:18.taught to fillet a turbot, which seems inane, but it is like a ryes
:08:19. > :08:24.no Ross that's been squashed, like leather. I went to the farmer's
:08:25. > :08:31.market and asked for a whole tur bet. It cost a fortune. I just
:08:32. > :08:38.hacked at it. It was awful. Got the kitchen scissors out. My child
:08:39. > :08:41.started crying. I was like, shut up! We were really doing it in a
:08:42. > :08:45.functioning kitchen and all the other people were chefs in
:08:46. > :08:53.Michelin-starred restaurants. We would do 25 minute takes. It was
:08:54. > :08:57.crazy. I do remember, there was one scene where I'm doing grouse. I was
:08:58. > :09:02.leaning up against it and I thought I am OK with stuff. I thought I was
:09:03. > :09:08.going to faint. I was going to pass out. When you cut the head off?
:09:09. > :09:12.Yeah, and I remember, and I stayed aft because I wanted to make sure
:09:13. > :09:18.there were no close-ups that weren't my hands. It was like a big deal. It
:09:19. > :09:23.takes time because I'm not a real chef. I thought, oh my God I'm going
:09:24. > :09:30.to pass out, the whole day is going to be gone. I was leaning and I had
:09:31. > :09:34.to be as close as I could. My hand started shaking. It was really
:09:35. > :09:43.intense. It's crazy what they do. It is a bit like the fashion world. You
:09:44. > :09:50.really got a sense of it. I had to stand up for that. You trained as a
:09:51. > :09:57.mime? That was pretty incredible. I saw the grouse.
:09:58. > :10:02.LAUGHTER. Listen, let's watch a clip from Burnt. This is you both in the
:10:03. > :10:11.kitchen discussing your philosophy of food. Cooking is an express of
:10:12. > :10:16.what, tell me? At its best, of sustaining someone, of love. Aal
:10:17. > :10:23.Jones of Ed the Langham is one of the most interesting places. What do
:10:24. > :10:28.you like, one of or interesting? We should be dealing in culinary other
:10:29. > :10:33.gasles. Aling in culinary other gasles. When was -- orgasms. Remind
:10:34. > :10:40.me never to discuss food with you in public. I want to make food that
:10:41. > :10:48.people stop eating. You're being stupid. Cooking is an expression of
:10:49. > :10:52.who we are. We are two stars, this is a two-star review. I want people
:10:53. > :10:55.to sit that the table and be sick with longing and I need you to do it
:10:56. > :11:13.with me. APPLAUSE. Bradley Cooper and little
:11:14. > :11:19.Lord Fauntleroy. I heard you talking of restaurant etiquette that none of
:11:20. > :11:23.us would have thought of. In a Michelin restaurant food can only
:11:24. > :11:32.sit on the pass for two minutes. Longer than that and they throw it
:11:33. > :11:37.away. If you have your starter and some asshole goes off for a wee,
:11:38. > :11:43.they have to start again. It is a real juggling act. You don't even
:11:44. > :11:46.consider it. You can't smoke in restaurants anywhere, which is a
:11:47. > :11:52.nightmare for the kitchen, because people are constantly going up. What
:11:53. > :11:57.I think is worst is when the food arrives and they say, I'm just going
:11:58. > :12:02.to the toilet, like they are making room.
:12:03. > :12:12.LAUGHTER. They look at themselves... Back in a minute! I can gauge it
:12:13. > :12:19.now. I wasn't sure what I was getting. Oh my God. The thing I want
:12:20. > :12:26.to know, is it true the thing in the film, or are we allowed to say this?
:12:27. > :12:30.Say it. About how you can spot the inspectors? It is more crazy than
:12:31. > :12:34.that. The fork is maybe a little general, but in certain kitchens
:12:35. > :12:38.they have mugshots, all these photos of people they think are part of the
:12:39. > :12:42.Michelin guide, so they are constantly looking out. It is
:12:43. > :12:49.unbelievable the depths they go to. It is hard for them to know. It is
:12:50. > :12:55.harder in America but in yomp it is easier. Is it the same guys in
:12:56. > :13:04.Europe? There's 40 or 50 of them, I kind of made that number up. It felt
:13:05. > :13:09.right. I believed you. Putting the fork under the table, explain that
:13:10. > :13:14.to that. The fork under the table to see if anybody notices it. They
:13:15. > :13:21.don't drop the fork? Though, they place it. They'll see if you notice
:13:22. > :13:30.there's a missing fork. Wow! Don't try that at Nando's. We've all...
:13:31. > :13:35.What a Nando's? I want a Nando's bro. You don't have it in America?
:13:36. > :13:43.You would love it. What is it? A lot of chicken. A chicken place? Chicken
:13:44. > :13:45.done several ways. That can be on their poster, Sienna Miller, it's
:13:46. > :13:56.like chicken. Were you a waitress? I was for a
:13:57. > :14:00.day, it didn't go well, I had several very short-term jobs. Some
:14:01. > :14:06.man was inappropriate and I accidentally on purpose but passed
:14:07. > :14:17.on his lap. Don't mess with CNN. That was good. Did he walk out? It
:14:18. > :14:21.didn't work. -- don't mess with CNN Vela -- Sienna. I was a prep cook
:14:22. > :14:25.between high school and college at an Italian place. Through college I
:14:26. > :14:31.was a horrible way to. Genuinely bad or did you hate it? I was back, the
:14:32. > :14:37.guy who hired me was a friend, he said, Bradley, you are literally the
:14:38. > :14:41.worst waiter I've ever seen. But you have sad eyes, I will keep you.
:14:42. > :14:49.LAUGHTER You know what? It's so funny, I'm
:14:50. > :14:52.still friends with him, he's the manager of this restaurant in
:14:53. > :14:56.Washington, DC, I see him all the time. Indie film you speak French.
:14:57. > :15:00.And you speak French as well. He can speak fluent French. I speak one
:15:01. > :15:07.line of French. Didn't you study there? I did, spring semester of my
:15:08. > :15:11.junior year of college I went to the south and studied there. How would
:15:12. > :15:21.you urge people to see the film, Burnt, in French? That was good!
:15:22. > :15:33.CHEERING Why wouldn't you? Brulee. Hole I
:15:34. > :15:42.like Brulee, they should do that instead.
:15:43. > :15:52.The other thing is and we last saw you, you took the most famous selfie
:15:53. > :15:57.in the world, at the Oscars. By mistake. It wasn't planned, I was
:15:58. > :16:02.actually trying to... I completely messed up talented generous's joke,
:16:03. > :16:06.she was trying to make a joke about her and Meryl Streep, that she
:16:07. > :16:17.couldn't take a selfie with Meryl Streep. I thought, something is
:16:18. > :16:22.wrong. -- Ellen de Generes. Due was like, Bradley, as got it. She's
:16:23. > :16:27.constantly saying, it's OK. And then she made this goal, she said,
:16:28. > :16:31.everybody start coming behind her. She started taking it. I was there,
:16:32. > :16:40.my arm was longer, took over, I was like, I've got it. Here it is. Who
:16:41. > :16:47.is that? That you didn't quite get? I think it's Jarrod O. Angelina
:16:48. > :16:54.Jolie didn't get the concept, you have to be able to see yourself. --
:16:55. > :17:03.Jared Leto. It's like something out of Harry Potter. The evil beast.
:17:04. > :17:11.Yeah. I wish I knew his name, this guy. It was so sweet, you thought,
:17:12. > :17:16.I'll do it. Look how much space he has come of the most real estate.
:17:17. > :17:26.Poor Meryl Streep, she's hardly... Belly I love Kevin 's busy. Perfect.
:17:27. > :17:32.-- I love Kevin Spacey. I've found my space and my light. The whole
:17:33. > :17:37.selfie thing, that was the most famous. Now they are everywhere,
:17:38. > :17:39.everybody takes selfies. There is a new sort of selfie.
:17:40. > :17:41.Are you aware of this thing, nutscaping?
:17:42. > :17:51.What you do is, you're oot and aboot and you see just a wonder
:17:52. > :18:03.You basically, you drop your testicles into the picture.
:18:04. > :18:06.LAUGHTER. A picture... paints a thousand words.
:18:07. > :18:54.LAUGHTER. There's something wrong with that nut.
:18:55. > :19:17.What do we know? We're cows.
:19:18. > :19:22.This one is beautiful, it's incredibly artistic.
:19:23. > :19:42.Listen, it's been absolutely lovely talking to you. Both of you. Good
:19:43. > :19:45.luck with the movie Burnt, it opens next Friday. Thank Sienna Miller and
:19:46. > :19:52.Bradley Cooper! One is a multi-award-winning actor
:19:53. > :19:57.who gave us his Prince Charles The other is possibly this country's
:19:58. > :20:00.most treasured actress, a double Oscar winner and the main reason
:20:01. > :20:05.the world loves Downton Abbey. They're currently starring together
:20:06. > :20:07.in the big screen adaptation of Alan Bennett's The Lady in
:20:08. > :20:21.the Van - here they are in action. In your drive? That never occurred
:20:22. > :20:25.to me. I don't know, it might not be convenient. I thought it over,
:20:26. > :20:30.believe me, Miss Shepherd, it's all right, just till you sort yourself
:20:31. > :20:34.out. Not convenient for you, convenient for me. You're not doing
:20:35. > :20:38.me a favour, you know, I have other fish to fry. A man on the pavements
:20:39. > :20:46.told me if I went south of the river I'd be welcomed with open arms.
:20:47. > :20:50.Ladies and gentlemen, please welcome Alex Jennings and Dame Maggie Smith!
:20:51. > :21:00.CHEERING APPLAUSE
:21:01. > :21:27.It's a big deal, they don't stand up for people. Did they stand up? They
:21:28. > :21:33.did, not all of them, but some of them did, the ones that could do it.
:21:34. > :21:38.Thank you. We're thrilled, we never thought this day would come. Neither
:21:39. > :21:46.did I. It's a long time since the last one. Alex Jennings I'm ignoring
:21:47. > :21:51.you, hello. Hello. You are both so good in this film, terrific, it's
:21:52. > :21:58.fantastic. The Lady in the Van opens on the 13th of November. Which is a
:21:59. > :22:04.Friday. LAUGHTER Say no more. In that clip we got the
:22:05. > :22:12.idea you are delayed in the van. Yeah. -- UART The Lady in the Van.
:22:13. > :22:17.Miss Shepherd was real? Miss Shepherd was very real and very
:22:18. > :22:21.frightening. She was real, and the fact: Put up with her for so long is
:22:22. > :22:26.beyond anybody's comprehension. Nobody understands that. 15 years.
:22:27. > :22:36.She was in that van outside his window. The film begins with him
:22:37. > :22:40.describing peace now. Don't! And you play... Two different versions of
:22:41. > :22:45.Alan Bennett. I do Paige different versions, the writer, who is
:22:46. > :22:50.observing Alan Bennett, as it were, having a life, or not having a life,
:22:51. > :22:53.wishing he was having a more exciting life so he could write
:22:54. > :23:00.about things other than old ladies. Was Alan Bennett there the whole
:23:01. > :23:05.time? Yeah, it was creepy, there were so many of them. They were
:23:06. > :23:10.everywhere, all over. Gloucester Crescent was it? It was the more we
:23:11. > :23:13.filmed it in the house where it all happened. That is extraordinary, it
:23:14. > :23:18.never happens with a film where you get a film on the street. We were
:23:19. > :23:22.there, the van was there. Did the neighbours think, my God, she's
:23:23. > :23:28.back? The ones that remember it were frightened. Jonathan Miller looked a
:23:29. > :23:32.bit... He looked a bit... Worried. He wandered into the shop a couple
:23:33. > :23:38.of times. It's quite a starry street. That's what they said, I
:23:39. > :23:43.didn't notice. I was in the van most of the time. Jonathan Miller
:23:44. > :23:47.appeared once or twice looking a bit fed up, which is not surprising
:23:48. > :23:51.because it was, you know, all that stuff going on in your street is not
:23:52. > :23:56.amusing. You say you were in the van, how much time did you spend in
:23:57. > :23:59.the van and how unpleasant does it get? What was difficult, as you
:24:00. > :24:05.might think, was getting in and out of it. And how the hell that woman
:24:06. > :24:12.did it. I mean... You just can't imagine because it's the smallest
:24:13. > :24:17.space, isn't it? To think, we're talking for a very long time. I
:24:18. > :24:22.don't want to go into it, but she did everything there. She did. I'll
:24:23. > :24:30.go no further, but she did everything. Over the course of the
:24:31. > :24:36.filming apparently, you were saying Alex, the van was shared. Yes, we
:24:37. > :24:40.were filming in Alan's house, the van was back in the street. It was
:24:41. > :24:47.disgusting, I mean, full of old bits of vegetables. It was horrible. It
:24:48. > :24:59.was horrible. Sanitary ware hanging... Don't! It wasn't mine, it
:25:00. > :25:04.was Miss Shepherd's. And there was some kind of token security when we
:25:05. > :25:08.weren't filming there. Security came in one morning, we were due to start
:25:09. > :25:12.shooting, I don't know, quite early in the morning. And discovered four
:25:13. > :25:18.feet poking out of the end of the van. Two Camden Town revellers had
:25:19. > :25:25.broken into the van and spent the night in it. They got rid of them,
:25:26. > :25:32.cleans the van out of all this stuff, cleaned it, put it back
:25:33. > :25:39.before she came on set. She. She. And didn't tell Maggie. Everyone was
:25:40. > :25:43.sworn to secrecy, don't tell Maggie, don't tell Maggie. What they thought
:25:44. > :25:47.I'd do I don't know, I was sorely tempted to come like Miss Shepherd
:25:48. > :25:54.tonight. I have this horrible thing, what should I wear? I feel haunted
:25:55. > :26:02.by her, she lived in Storrington quite near where I live, I live in a
:26:03. > :26:06.village next door, little place. She was in a nunnery because she was
:26:07. > :26:10.wanting... Don't know whether she wanted to become a nun, but it was
:26:11. > :26:16.one of the ideas in the family, they thought it was a good idea to do
:26:17. > :26:20.that. They used to be huge -- there used to be a huge nunnery in
:26:21. > :26:25.Storrington. When I go in there, which I do sometimes, I go to
:26:26. > :26:29.Waitrose and various things... I always think, I wonder what it was
:26:30. > :26:36.like when she... When she was here, you know, as a young person.
:26:37. > :26:41.It's... It's very odd playing a person who is real, which is what
:26:42. > :26:48.you found, wasn't it? Alan Bennett on one side, then even the fact they
:26:49. > :26:51.wouldn't tell you people were in the van, it's intimidating when Dame
:26:52. > :26:58.Maggie Smith is on the set for you? Not for you. LAUGHTER
:26:59. > :27:05.I pointed around you. It's not intimidating, we've worked together.
:27:06. > :27:11.Liar! There was the odd moment. I was much more intimidated because
:27:12. > :27:18.every single person on that set had been at the National with Nick
:27:19. > :27:21.Hytner or in The History Boys. So I was such an outsider you wouldn't
:27:22. > :27:29.believe. I really felt I ought to audition. I really did. The play? I
:27:30. > :27:38.felt an outsider, you were very cliquey. Were we? Yes, you were. And
:27:39. > :27:47.it made me feel very... Very annoyed. So I don't know why you
:27:48. > :27:51.were intimidated. You do know what it's like from the other side. I've
:27:52. > :27:54.read in interviews you talked about how intimidating you found it
:27:55. > :28:01.when... In the 60s when you worked with Laurence Olivier. Ooh! It
:28:02. > :28:10.sounds like he was very tough. Well, yes, but I think everybody who
:28:11. > :28:16.worked with him... They were in all. He hit me very hard one night.
:28:17. > :28:26.You're kidding? Onstage? Yes, he was a bit cross with me. At one point he
:28:27. > :28:31.had to say, out, Devil! Dubai. He slapped me, I hit the floor. I think
:28:32. > :28:42.it was Edward Petherbridge, a Venetian gentleman, apparently, he
:28:43. > :28:47.said, ooh, Mags. I don't remember because I literally went out. I
:28:48. > :28:53.remember saying, well, I did see stars at the National Theatre. I
:28:54. > :29:02.really did. When you did Desdemona to his fellow, you gave as good as
:29:03. > :29:08.you got? Yes. -- to his Othello. This is when he was doing Othello
:29:09. > :29:15.and wearing all that make-up, all that's... Are used to stick his
:29:16. > :29:19.eyelashes on for him. -- I used to. Great big eyelashes. I went in one
:29:20. > :29:26.night, he said Darling Maggie, I've been meaning to tell you, I think
:29:27. > :29:31.your vowels are not very good. Could you watch it? Anyway, I went in the
:29:32. > :29:39.next night to do his eyelashes and things and said, how now brown cow?
:29:40. > :29:51.He didn't get it. You asked what it's like being with
:29:52. > :30:00.Maggie, it's working with the best, because she is the best. Stop it.
:30:01. > :30:05.APPLAUSE. I know that's not true. And before you film, before you go
:30:06. > :30:13.on stage, you are getting fantastic nuggets about Noel Coward and
:30:14. > :30:15.Laurence Olivier or being taught Polari by Kenneth Williams, and
:30:16. > :30:19.Bette Davis. She's really naughty. You've had this
:30:20. > :30:20.extraordinary career. You know, I mentioned the Oscars
:30:21. > :30:23.in the introduction and things. That did sort of change your life
:30:24. > :30:33.in a way. Well, yes,
:30:34. > :30:37.a lot of very small people kind LAUGHTER. There's
:30:38. > :30:47.a whole different of people. But also it's so weird they would
:30:48. > :30:51.only know you for that one thing. Except one kid once said to me,
:30:52. > :31:04.he said, were you really a cat? And I heard myself saying,
:31:05. > :31:10.just pull yourself together... There's the Harry Potter bit of your
:31:11. > :31:21.life, which kind of changed your Is that one of those things
:31:22. > :31:32.where you thought you were famous It's only since Downton that people
:31:33. > :31:49.seem to know, you know, It's only since Downton
:31:50. > :31:52.and that's television for you. Funnily enough, I was in Waitrose
:31:53. > :32:00.in Storrington, my favourite. And a little boy was
:32:01. > :32:04.at the checkout with his mother. I thought,
:32:05. > :32:10.what am I going to do about it? Kept looking at me and looking
:32:11. > :32:14.at me. It's all right,
:32:15. > :32:24.it'll come to me in a minute. The people coming up to you now,
:32:25. > :32:38.Americans, you know, But I don't go anywhere, really,
:32:39. > :32:48.where they can get at me. CHEERING Because it's usually
:32:49. > :32:59.in museums and art galleries Are you in a way glad that Downton
:33:00. > :33:09.is over? LAUGHTER No, because honestly,
:33:10. > :33:17.she was about, by the time we Alex,
:33:18. > :33:30.I know you're a big Downton fan. I do, yeah, we watch it and we
:33:31. > :34:12.shout at it because I'm not in it. Have we got it on good authority
:34:13. > :34:18.that the actual Queen watches Downton Abbey? We hear that she's a
:34:19. > :34:24.fan. You are not supposed to talk about that. I was told that she did,
:34:25. > :34:30.but I have been told by another gentleman who works this those
:34:31. > :34:41.establishments that she likes Midsomer murder. Who doesn't? I
:34:42. > :34:46.didn't take it badly. Alan when it isn't the first real person you
:34:47. > :34:54.played. You played Prince Charles. I did, and one of the reviews said,
:34:55. > :34:59.why have they cast somebody who looks like George Bush. You know
:35:00. > :35:06.Prince Charles don't you? I wouldn't say I know him but he's patron of an
:35:07. > :35:11.actors charity I'm involved in. You're in love with him, look at
:35:12. > :35:20.you! That's the funniest thing anyone's ever said. Give me an OBE.
:35:21. > :35:29.Yes, he hasn't seen The Queen, I know. For sure. I mean The Queen,
:35:30. > :35:38.the film. Has she seen it? But his wife has. Did she like it? She did,
:35:39. > :35:47.she said, what was it like playing my husband? Oh! She was quite
:35:48. > :35:52.twinkly. She is really very nice. Clearly you are Dame Maggie Smith,
:35:53. > :35:59.we know that. I'm not that when I'm working. Oh, so on a poster it says
:36:00. > :36:11.that? Yeah, because you don't use it professionally. OK. Unless you're,
:36:12. > :36:23.who is it, Sir King Bens lie. LAUGHTER. We must mention your other
:36:24. > :36:35.incredible honour, an elite group, the Order of the Companions of
:36:36. > :36:40.Honour. That's a good hat isn't it? Good hat, good shoes, good dress.
:36:41. > :36:46.How does that happen, how do you join that elite group? It sort of
:36:47. > :36:55.happens when people die. You take their place. I see! So there's a
:36:56. > :36:59.fixed number. There's a fixed number, so... They just hang around
:37:00. > :37:08.a bit there'll be another vacancy. LAUGHTER. It has been wonderful to
:37:09. > :37:13.meet you both. Please don't wait another 42 years. There isn't time!
:37:14. > :37:18.We'll put it in the books now. OK. The Lady In The Van is such a funny,
:37:19. > :37:23.sweet film. It opens on 13th November. I urge you to see it.
:37:24. > :37:34.Ladies and gentlemen, Alex Jennings and Dame Maggie Smith!
:37:35. > :37:41.CHEERING AND APPLAUSE. It is time for our musical guest tonight. This
:37:42. > :37:51.man went from YouTube sensation to bona fide superstar. Boosh boosh
:37:52. > :38:02.boosh please welcome Mr Justin Bieber.
:38:03. > :38:08.# When you nod your head yes # But you wanna say no
:38:09. > :38:16.# When you don't want me to move # But you tell me to go
:38:17. > :38:23.# What do you mean? # Oh, what do you mean?
:38:24. > :38:30.# What do you mean? # Oh-oh-oh, what do you mean?
:38:31. > :38:38.# You're so indecisive is what I'm saying
:38:39. > :38:46.# Don't know if you're happy or complaining
:38:47. > :38:53.# First you wanna go to the left # Then you turn right
:38:54. > :38:57.# Wanna argue all day # Making love all night
:38:58. > :39:01.# First you're up then you're down # And then in between
:39:02. > :39:10.# When you nod your head yes # But you wanna say no
:39:11. > :39:20.# When you don't want me to move # But you tell me to go
:39:21. > :39:24.# What do you mean? # Oh, what do you mean?
:39:25. > :39:39.# You're overprotective when I'm leaving
:39:40. > :39:43.# Trying to compromise, but I can't win
:39:44. > :39:47.# You wanna make a point but you keep preaching
:39:48. > :39:54.# First you wanna go to the left # Then you turn right
:39:55. > :39:58.# Wanna argue all day, make love all night
:39:59. > :40:02.# First you're up then you're down # Then you're in between
:40:03. > :40:11.# When you nod your head yes # But you wanna say no
:40:12. > :40:19.# When you don't want me to move # But you tell me to go
:40:20. > :40:25.# I wanna know # Oh, what do you mean?
:40:26. > :40:28.# Said you're running out of time # What do you mean?
:40:29. > :40:54.# When you don't want me to move # But you tell me to go
:40:55. > :41:04.# What do you mean? # Oh-oh-oh, what do you mean?
:41:05. > :41:11.# Better make up your mind # What do you mean? #
:41:12. > :41:22.CHEERING AND APPLAUSE. Mr Justin Bieber everybody. Thank you very
:41:23. > :41:28.much. That was fantastic. Thank you for doing that. Congratulations.
:41:29. > :41:34.It's number one everywhere isn't it? Yeah, it is. It must be a relief. It
:41:35. > :41:39.is. You bring out new material... It is good to have people accept the
:41:40. > :41:43.music and not be about my personal life. That's why I started in the
:41:44. > :41:48.first place. It feels really good, because I'm growing up and my music
:41:49. > :41:52.is growing up. It's fun. And you're out here busting a move. Obviously
:41:53. > :41:57.the voice is why we know you. Is that easy for you, the dancing
:41:58. > :42:02.stuff? What's hard is singing and dancing and trying to breathe at the
:42:03. > :42:06.same time. I'm forgetting to breathe because I'm so conscious of the
:42:07. > :42:14.moves and my voice, but I'm getting better at it. Good, we don't want to
:42:15. > :42:19.lose you on my watch. That song, what do you mean, it's a cry from
:42:20. > :42:25.the heart to the women of the world. I never know what they mean. All
:42:26. > :42:31.boys don't know what girls mean. That's why we needed an anthem. Boys
:42:32. > :42:36.walking down the street, what do you mean? Next time you're in an
:42:37. > :42:41.argument, say, what do you mean? That's the thing about boys, you
:42:42. > :42:45.know exactly what you mean. New album, Purpose, is out November
:42:46. > :42:50.13th. Yep. Very good. Thank you. No, it is. Presumably you will tour with
:42:51. > :42:56.this? I'm coming back to London to tour here as well. Please come and
:42:57. > :43:04.see us again, Justin. We love having you here. Thank you.
:43:05. > :43:16.CHEERING AND APPLAUSE. No time for the red chair tonight. Just time to
:43:17. > :43:22.say thanks to Justin Bieber, Alex Jennings, Bradley Cooper and Dame
:43:23. > :43:24.Maggie Smith. Next week it is Julie Walters and Michael Fassbender. I
:43:25. > :43:30.will see you then. Goodbye!