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On tonight's show, all the ingredients for a perfect line-up: | :00:00. | :00:07. | |
The amazingly talented star of the new film "Burnt"? | :00:08. | :00:17. | |
Good. Oh, and a charismatic, debonair and hilarious host? | :00:18. | :00:22. | |
Is everyone excited about Hallowe'en? | :00:23. | :00:58. | |
Have you all got your pumpkins carved and your costumes ready? | :00:59. | :01:05. | |
But, ladies and gentlemen, no tricks tonight, just treats. | :01:06. | :01:16. | |
We've got a really fantastic line-up for you. | :01:17. | :01:20. | |
Later we'll have music from the one and only Mr Justin Bieber! | :01:21. | :01:30. | |
And before that, how fantastic is this? | :01:31. | :01:32. | |
Making her first appearance on a British chat show in 42 years | :01:33. | :01:37. | |
Yes, her last British chat show was 1973 - you weren't even born. | :01:38. | :01:54. | |
You should have seen her face when she heard she was coming | :01:55. | :01:59. | |
Dame Maggie will be talking about her new film, The Lady In The Van | :02:00. | :02:06. | |
She's the home-grown actress whose Hollywood star has risen with her | :02:07. | :02:12. | |
recent performances in Foxcatcher, and American Sniper. | :02:13. | :02:15. | |
Now starring in the new kitchen drama Burnt, | :02:16. | :02:17. | |
CHEERING. Hello! Wow! You won an Oscar. You look beautiful. Lovely to | :02:18. | :02:32. | |
see you. And he's the breakout star | :02:33. | :02:33. | |
of the Hangover movies, who has since received three Oscar | :02:34. | :02:36. | |
nominations in a row for Silver Linings Playbook, American | :02:37. | :02:38. | |
Hustle, and American Sniper. It's a warm welcome back to | :02:39. | :02:40. | |
Bradley Cooper! CHEERING. Yay! Hello. How you doing? | :02:41. | :03:03. | |
That's a pretty couch isn't it? Quite comfy. Sienna Miller looks | :03:04. | :03:13. | |
like an Oscar. Very sparkly. Old ugly corner over here. We were | :03:14. | :03:21. | |
talking about the first time I was on here. She has never been on this | :03:22. | :03:27. | |
show before. It is a unique environment, because you are very | :03:28. | :03:30. | |
vulnerable. I feel quite shy. I remember the first time I was on. | :03:31. | :03:35. | |
Liam Neeson was late and we were on for an hour-and-a-half. What was he | :03:36. | :03:37. | |
doing? He was coming from... We'll talk about Burnt more, | :03:38. | :03:53. | |
but one of the things that struck me For you, Sienna, is it's nice to | :03:54. | :04:03. | |
kind of be filming in London? When you were filming in London | :04:04. | :04:11. | |
before, people were taking pictures, paparazzi, but you don't really | :04:12. | :04:14. | |
have that so much any more. How did the shutters come down | :04:15. | :04:17. | |
on that? I secretly filmed them | :04:18. | :04:20. | |
on what looks like a lighter but was actually a camera for about | :04:21. | :04:23. | |
two years, it was proper spy stuff. And, yeah, basically built up a case | :04:24. | :04:26. | |
and took it to court and got an injunction, so it's illegal for them | :04:27. | :04:30. | |
to follow or sit outside the house. If you're coming out | :04:31. | :04:34. | |
of somewhere like a premiere, you I have to say real quick, so, | :04:35. | :04:36. | |
she told me this and I was doing The Elephant Man, | :04:37. | :04:41. | |
and sometimes paparazzi would follow They had a camera at the side of the | :04:42. | :04:50. | |
place I was staying, and another The guy who I drive with, George, | :04:51. | :04:56. | |
his uncle, who is a black cab driver, came and we had a whole | :04:57. | :05:00. | |
thing, we were going to get them. No-one followed us. | :05:01. | :05:04. | |
Nothing. Nothing! | :05:05. | :05:05. | |
Absolutely nothing. LAUGHTER. I was going to say, | :05:06. | :05:09. | |
you do get bothered in the States. Not that much, you know, | :05:10. | :05:12. | |
it's not that bad. It's more | :05:13. | :05:16. | |
in Europe, sometimes you go There was | :05:17. | :05:18. | |
an unfortunate paparazzi shot. The thing is, you have a sixth sense | :05:19. | :05:21. | |
of when you're getting captured. This was a couple of years ago, but | :05:22. | :05:28. | |
I do remember being outside. I had this little house in Venice, | :05:29. | :05:32. | |
the front door just opened right to I was putting my dog, I think, | :05:33. | :05:36. | |
in the back of You could hear the click, | :05:37. | :05:39. | |
just hear it. I thought, oh yeah, | :05:40. | :05:43. | |
these pants are really tight, And then, like, you go online | :05:44. | :05:49. | |
and bam, they've got it! In fairness, they did, | :05:50. | :05:56. | |
we've got it there. APPLAUSE. Burnt opens next Friday, | :05:57. | :06:14. | |
6th. This movie is about a chef. It is the first film I've seen that | :06:15. | :06:20. | |
really captures that stress and how thrilling it is to be in a proper | :06:21. | :06:25. | |
kitchen, a proper catering kitchen. Good, we tried to do that. In this | :06:26. | :06:31. | |
you are a former wild child who's trying to redeem himself? Yes, it's | :06:32. | :06:36. | |
a guy who had a lot of success early on in Paris, a young chef. Blew it | :06:37. | :06:46. | |
up, and you meet him. He had a self-imposed penance in New Orleans | :06:47. | :06:50. | |
where he wanted to chuck oysters to clear his head. OK! I worked in | :06:51. | :06:54. | |
kitchens and I know you have experience. The pressure is just | :06:55. | :07:00. | |
like nothing else. But this level, this two Michelin star I've never | :07:01. | :07:05. | |
experienced. We've got to train with some amazing chefs. You play the | :07:06. | :07:10. | |
protege? A sous chef, yes. But better than that. Well, I think so, | :07:11. | :07:16. | |
but technically yes, a sous chef with an interesting haircut. I | :07:17. | :07:22. | |
begged her to do the movie. We were doing American sniper. I begged her | :07:23. | :07:29. | |
to do it and she showed up on set the first day the back of her head | :07:30. | :07:35. | |
shaved and tattoos. If you see the movie, she's unbelievable. You are | :07:36. | :07:40. | |
both great in it. Thank you. You were incredible. ? Thank you, so is | :07:41. | :07:45. | |
he. The training, is it a skill you learn so that you can do it in that | :07:46. | :07:49. | |
moment, or can you now recreate that food in your house? A lot of things | :07:50. | :07:54. | |
go in and out for me. You train a lot, you can do it for that time and | :07:55. | :08:00. | |
then it's gone. What about you? I can cook fish really well, because I | :08:01. | :08:04. | |
think I cooked 500 pieces of it before filming. That stayed. I was | :08:05. | :08:13. | |
taught to fillet a turbot, which seems inane, but it is like a ryes | :08:14. | :08:18. | |
no Ross that's been squashed, like leather. I went to the farmer's | :08:19. | :08:24. | |
market and asked for a whole tur bet. It cost a fortune. I just | :08:25. | :08:31. | |
hacked at it. It was awful. Got the kitchen scissors out. My child | :08:32. | :08:38. | |
started crying. I was like, shut up! We were really doing it in a | :08:39. | :08:41. | |
functioning kitchen and all the other people were chefs in | :08:42. | :08:45. | |
Michelin-starred restaurants. We would do 25 minute takes. It was | :08:46. | :08:53. | |
crazy. I do remember, there was one scene where I'm doing grouse. I was | :08:54. | :08:57. | |
leaning up against it and I thought I am OK with stuff. I thought I was | :08:58. | :09:02. | |
going to faint. I was going to pass out. When you cut the head off? | :09:03. | :09:08. | |
Yeah, and I remember, and I stayed aft because I wanted to make sure | :09:09. | :09:12. | |
there were no close-ups that weren't my hands. It was like a big deal. It | :09:13. | :09:18. | |
takes time because I'm not a real chef. I thought, oh my God I'm going | :09:19. | :09:23. | |
to pass out, the whole day is going to be gone. I was leaning and I had | :09:24. | :09:30. | |
to be as close as I could. My hand started shaking. It was really | :09:31. | :09:34. | |
intense. It's crazy what they do. It is a bit like the fashion world. You | :09:35. | :09:43. | |
really got a sense of it. I had to stand up for that. You trained as a | :09:44. | :09:50. | |
mime? That was pretty incredible. I saw the grouse. | :09:51. | :09:57. | |
LAUGHTER. Listen, let's watch a clip from Burnt. This is you both in the | :09:58. | :10:02. | |
kitchen discussing your philosophy of food. Cooking is an express of | :10:03. | :10:11. | |
what, tell me? At its best, of sustaining someone, of love. Aal | :10:12. | :10:16. | |
Jones of Ed the Langham is one of the most interesting places. What do | :10:17. | :10:23. | |
you like, one of or interesting? We should be dealing in culinary other | :10:24. | :10:28. | |
gasles. Aling in culinary other gasles. When was -- orgasms. Remind | :10:29. | :10:33. | |
me never to discuss food with you in public. I want to make food that | :10:34. | :10:40. | |
people stop eating. You're being stupid. Cooking is an expression of | :10:41. | :10:48. | |
who we are. We are two stars, this is a two-star review. I want people | :10:49. | :10:52. | |
to sit that the table and be sick with longing and I need you to do it | :10:53. | :10:55. | |
with me. APPLAUSE. Bradley Cooper and little | :10:56. | :11:13. | |
Lord Fauntleroy. I heard you talking of restaurant etiquette that none of | :11:14. | :11:19. | |
us would have thought of. In a Michelin restaurant food can only | :11:20. | :11:23. | |
sit on the pass for two minutes. Longer than that and they throw it | :11:24. | :11:32. | |
away. If you have your starter and some asshole goes off for a wee, | :11:33. | :11:37. | |
they have to start again. It is a real juggling act. You don't even | :11:38. | :11:43. | |
consider it. You can't smoke in restaurants anywhere, which is a | :11:44. | :11:46. | |
nightmare for the kitchen, because people are constantly going up. What | :11:47. | :11:52. | |
I think is worst is when the food arrives and they say, I'm just going | :11:53. | :11:57. | |
to the toilet, like they are making room. | :11:58. | :12:02. | |
LAUGHTER. They look at themselves... Back in a minute! I can gauge it | :12:03. | :12:12. | |
now. I wasn't sure what I was getting. Oh my God. The thing I want | :12:13. | :12:19. | |
to know, is it true the thing in the film, or are we allowed to say this? | :12:20. | :12:26. | |
Say it. About how you can spot the inspectors? It is more crazy than | :12:27. | :12:30. | |
that. The fork is maybe a little general, but in certain kitchens | :12:31. | :12:34. | |
they have mugshots, all these photos of people they think are part of the | :12:35. | :12:38. | |
Michelin guide, so they are constantly looking out. It is | :12:39. | :12:42. | |
unbelievable the depths they go to. It is hard for them to know. It is | :12:43. | :12:49. | |
harder in America but in yomp it is easier. Is it the same guys in | :12:50. | :12:55. | |
Europe? There's 40 or 50 of them, I kind of made that number up. It felt | :12:56. | :13:04. | |
right. I believed you. Putting the fork under the table, explain that | :13:05. | :13:09. | |
to that. The fork under the table to see if anybody notices it. They | :13:10. | :13:14. | |
don't drop the fork? Though, they place it. They'll see if you notice | :13:15. | :13:21. | |
there's a missing fork. Wow! Don't try that at Nando's. We've all... | :13:22. | :13:30. | |
What a Nando's? I want a Nando's bro. You don't have it in America? | :13:31. | :13:35. | |
You would love it. What is it? A lot of chicken. A chicken place? Chicken | :13:36. | :13:43. | |
done several ways. That can be on their poster, Sienna Miller, it's | :13:44. | :13:45. | |
like chicken. Were you a waitress? I was for a | :13:46. | :13:56. | |
day, it didn't go well, I had several very short-term jobs. Some | :13:57. | :14:00. | |
man was inappropriate and I accidentally on purpose but passed | :14:01. | :14:06. | |
on his lap. Don't mess with CNN. That was good. Did he walk out? It | :14:07. | :14:17. | |
didn't work. -- don't mess with CNN Vela -- Sienna. I was a prep cook | :14:18. | :14:21. | |
between high school and college at an Italian place. Through college I | :14:22. | :14:25. | |
was a horrible way to. Genuinely bad or did you hate it? I was back, the | :14:26. | :14:31. | |
guy who hired me was a friend, he said, Bradley, you are literally the | :14:32. | :14:37. | |
worst waiter I've ever seen. But you have sad eyes, I will keep you. | :14:38. | :14:41. | |
LAUGHTER You know what? It's so funny, I'm | :14:42. | :14:49. | |
still friends with him, he's the manager of this restaurant in | :14:50. | :14:52. | |
Washington, DC, I see him all the time. Indie film you speak French. | :14:53. | :14:56. | |
And you speak French as well. He can speak fluent French. I speak one | :14:57. | :15:00. | |
line of French. Didn't you study there? I did, spring semester of my | :15:01. | :15:07. | |
junior year of college I went to the south and studied there. How would | :15:08. | :15:11. | |
you urge people to see the film, Burnt, in French? That was good! | :15:12. | :15:21. | |
CHEERING Why wouldn't you? Brulee. Hole I | :15:22. | :15:33. | |
like Brulee, they should do that instead. | :15:34. | :15:42. | |
The other thing is and we last saw you, you took the most famous selfie | :15:43. | :15:52. | |
in the world, at the Oscars. By mistake. It wasn't planned, I was | :15:53. | :15:57. | |
actually trying to... I completely messed up talented generous's joke, | :15:58. | :16:02. | |
she was trying to make a joke about her and Meryl Streep, that she | :16:03. | :16:06. | |
couldn't take a selfie with Meryl Streep. I thought, something is | :16:07. | :16:17. | |
wrong. -- Ellen de Generes. Due was like, Bradley, as got it. She's | :16:18. | :16:22. | |
constantly saying, it's OK. And then she made this goal, she said, | :16:23. | :16:27. | |
everybody start coming behind her. She started taking it. I was there, | :16:28. | :16:31. | |
my arm was longer, took over, I was like, I've got it. Here it is. Who | :16:32. | :16:40. | |
is that? That you didn't quite get? I think it's Jarrod O. Angelina | :16:41. | :16:47. | |
Jolie didn't get the concept, you have to be able to see yourself. -- | :16:48. | :16:54. | |
Jared Leto. It's like something out of Harry Potter. The evil beast. | :16:55. | :17:03. | |
Yeah. I wish I knew his name, this guy. It was so sweet, you thought, | :17:04. | :17:11. | |
I'll do it. Look how much space he has come of the most real estate. | :17:12. | :17:16. | |
Poor Meryl Streep, she's hardly... Belly I love Kevin 's busy. Perfect. | :17:17. | :17:26. | |
-- I love Kevin Spacey. I've found my space and my light. The whole | :17:27. | :17:32. | |
selfie thing, that was the most famous. Now they are everywhere, | :17:33. | :17:37. | |
everybody takes selfies. There is a new sort of selfie. | :17:38. | :17:39. | |
Are you aware of this thing, nutscaping? | :17:40. | :17:41. | |
What you do is, you're oot and aboot and you see just a wonder | :17:42. | :17:51. | |
You basically, you drop your testicles into the picture. | :17:52. | :18:03. | |
LAUGHTER. A picture... paints a thousand words. | :18:04. | :18:06. | |
LAUGHTER. There's something wrong with that nut. | :18:07. | :18:54. | |
What do we know? We're cows. | :18:55. | :19:17. | |
This one is beautiful, it's incredibly artistic. | :19:18. | :19:22. | |
Listen, it's been absolutely lovely talking to you. Both of you. Good | :19:23. | :19:42. | |
luck with the movie Burnt, it opens next Friday. Thank Sienna Miller and | :19:43. | :19:45. | |
Bradley Cooper! One is a multi-award-winning actor | :19:46. | :19:52. | |
who gave us his Prince Charles The other is possibly this country's | :19:53. | :19:57. | |
most treasured actress, a double Oscar winner and the main reason | :19:58. | :20:00. | |
the world loves Downton Abbey. They're currently starring together | :20:01. | :20:05. | |
in the big screen adaptation of Alan Bennett's The Lady in | :20:06. | :20:07. | |
the Van - here they are in action. In your drive? That never occurred | :20:08. | :20:21. | |
to me. I don't know, it might not be convenient. I thought it over, | :20:22. | :20:25. | |
believe me, Miss Shepherd, it's all right, just till you sort yourself | :20:26. | :20:30. | |
out. Not convenient for you, convenient for me. You're not doing | :20:31. | :20:34. | |
me a favour, you know, I have other fish to fry. A man on the pavements | :20:35. | :20:38. | |
told me if I went south of the river I'd be welcomed with open arms. | :20:39. | :20:46. | |
Ladies and gentlemen, please welcome Alex Jennings and Dame Maggie Smith! | :20:47. | :20:50. | |
CHEERING APPLAUSE | :20:51. | :21:00. | |
It's a big deal, they don't stand up for people. Did they stand up? They | :21:01. | :21:27. | |
did, not all of them, but some of them did, the ones that could do it. | :21:28. | :21:33. | |
Thank you. We're thrilled, we never thought this day would come. Neither | :21:34. | :21:38. | |
did I. It's a long time since the last one. Alex Jennings I'm ignoring | :21:39. | :21:46. | |
you, hello. Hello. You are both so good in this film, terrific, it's | :21:47. | :21:51. | |
fantastic. The Lady in the Van opens on the 13th of November. Which is a | :21:52. | :21:58. | |
Friday. LAUGHTER Say no more. In that clip we got the | :21:59. | :22:04. | |
idea you are delayed in the van. Yeah. -- UART The Lady in the Van. | :22:05. | :22:12. | |
Miss Shepherd was real? Miss Shepherd was very real and very | :22:13. | :22:17. | |
frightening. She was real, and the fact: Put up with her for so long is | :22:18. | :22:21. | |
beyond anybody's comprehension. Nobody understands that. 15 years. | :22:22. | :22:26. | |
She was in that van outside his window. The film begins with him | :22:27. | :22:36. | |
describing peace now. Don't! And you play... Two different versions of | :22:37. | :22:40. | |
Alan Bennett. I do Paige different versions, the writer, who is | :22:41. | :22:45. | |
observing Alan Bennett, as it were, having a life, or not having a life, | :22:46. | :22:50. | |
wishing he was having a more exciting life so he could write | :22:51. | :22:53. | |
about things other than old ladies. Was Alan Bennett there the whole | :22:54. | :23:00. | |
time? Yeah, it was creepy, there were so many of them. They were | :23:01. | :23:05. | |
everywhere, all over. Gloucester Crescent was it? It was the more we | :23:06. | :23:10. | |
filmed it in the house where it all happened. That is extraordinary, it | :23:11. | :23:13. | |
never happens with a film where you get a film on the street. We were | :23:14. | :23:18. | |
there, the van was there. Did the neighbours think, my God, she's | :23:19. | :23:22. | |
back? The ones that remember it were frightened. Jonathan Miller looked a | :23:23. | :23:28. | |
bit... He looked a bit... Worried. He wandered into the shop a couple | :23:29. | :23:32. | |
of times. It's quite a starry street. That's what they said, I | :23:33. | :23:38. | |
didn't notice. I was in the van most of the time. Jonathan Miller | :23:39. | :23:43. | |
appeared once or twice looking a bit fed up, which is not surprising | :23:44. | :23:47. | |
because it was, you know, all that stuff going on in your street is not | :23:48. | :23:51. | |
amusing. You say you were in the van, how much time did you spend in | :23:52. | :23:56. | |
the van and how unpleasant does it get? What was difficult, as you | :23:57. | :23:59. | |
might think, was getting in and out of it. And how the hell that woman | :24:00. | :24:05. | |
did it. I mean... You just can't imagine because it's the smallest | :24:06. | :24:12. | |
space, isn't it? To think, we're talking for a very long time. I | :24:13. | :24:17. | |
don't want to go into it, but she did everything there. She did. I'll | :24:18. | :24:22. | |
go no further, but she did everything. Over the course of the | :24:23. | :24:30. | |
filming apparently, you were saying Alex, the van was shared. Yes, we | :24:31. | :24:36. | |
were filming in Alan's house, the van was back in the street. It was | :24:37. | :24:40. | |
disgusting, I mean, full of old bits of vegetables. It was horrible. It | :24:41. | :24:47. | |
was horrible. Sanitary ware hanging... Don't! It wasn't mine, it | :24:48. | :24:59. | |
was Miss Shepherd's. And there was some kind of token security when we | :25:00. | :25:04. | |
weren't filming there. Security came in one morning, we were due to start | :25:05. | :25:08. | |
shooting, I don't know, quite early in the morning. And discovered four | :25:09. | :25:12. | |
feet poking out of the end of the van. Two Camden Town revellers had | :25:13. | :25:18. | |
broken into the van and spent the night in it. They got rid of them, | :25:19. | :25:25. | |
cleans the van out of all this stuff, cleaned it, put it back | :25:26. | :25:32. | |
before she came on set. She. She. And didn't tell Maggie. Everyone was | :25:33. | :25:39. | |
sworn to secrecy, don't tell Maggie, don't tell Maggie. What they thought | :25:40. | :25:43. | |
I'd do I don't know, I was sorely tempted to come like Miss Shepherd | :25:44. | :25:47. | |
tonight. I have this horrible thing, what should I wear? I feel haunted | :25:48. | :25:54. | |
by her, she lived in Storrington quite near where I live, I live in a | :25:55. | :26:02. | |
village next door, little place. She was in a nunnery because she was | :26:03. | :26:06. | |
wanting... Don't know whether she wanted to become a nun, but it was | :26:07. | :26:10. | |
one of the ideas in the family, they thought it was a good idea to do | :26:11. | :26:16. | |
that. They used to be huge -- there used to be a huge nunnery in | :26:17. | :26:20. | |
Storrington. When I go in there, which I do sometimes, I go to | :26:21. | :26:25. | |
Waitrose and various things... I always think, I wonder what it was | :26:26. | :26:29. | |
like when she... When she was here, you know, as a young person. | :26:30. | :26:36. | |
It's... It's very odd playing a person who is real, which is what | :26:37. | :26:41. | |
you found, wasn't it? Alan Bennett on one side, then even the fact they | :26:42. | :26:48. | |
wouldn't tell you people were in the van, it's intimidating when Dame | :26:49. | :26:51. | |
Maggie Smith is on the set for you? Not for you. LAUGHTER | :26:52. | :26:58. | |
I pointed around you. It's not intimidating, we've worked together. | :26:59. | :27:05. | |
Liar! There was the odd moment. I was much more intimidated because | :27:06. | :27:11. | |
every single person on that set had been at the National with Nick | :27:12. | :27:18. | |
Hytner or in The History Boys. So I was such an outsider you wouldn't | :27:19. | :27:21. | |
believe. I really felt I ought to audition. I really did. The play? I | :27:22. | :27:29. | |
felt an outsider, you were very cliquey. Were we? Yes, you were. And | :27:30. | :27:38. | |
it made me feel very... Very annoyed. So I don't know why you | :27:39. | :27:47. | |
were intimidated. You do know what it's like from the other side. I've | :27:48. | :27:51. | |
read in interviews you talked about how intimidating you found it | :27:52. | :27:54. | |
when... In the 60s when you worked with Laurence Olivier. Ooh! It | :27:55. | :28:01. | |
sounds like he was very tough. Well, yes, but I think everybody who | :28:02. | :28:10. | |
worked with him... They were in all. He hit me very hard one night. | :28:11. | :28:16. | |
You're kidding? Onstage? Yes, he was a bit cross with me. At one point he | :28:17. | :28:26. | |
had to say, out, Devil! Dubai. He slapped me, I hit the floor. I think | :28:27. | :28:31. | |
it was Edward Petherbridge, a Venetian gentleman, apparently, he | :28:32. | :28:42. | |
said, ooh, Mags. I don't remember because I literally went out. I | :28:43. | :28:47. | |
remember saying, well, I did see stars at the National Theatre. I | :28:48. | :28:53. | |
really did. When you did Desdemona to his fellow, you gave as good as | :28:54. | :29:02. | |
you got? Yes. -- to his Othello. This is when he was doing Othello | :29:03. | :29:08. | |
and wearing all that make-up, all that's... Are used to stick his | :29:09. | :29:15. | |
eyelashes on for him. -- I used to. Great big eyelashes. I went in one | :29:16. | :29:19. | |
night, he said Darling Maggie, I've been meaning to tell you, I think | :29:20. | :29:26. | |
your vowels are not very good. Could you watch it? Anyway, I went in the | :29:27. | :29:31. | |
next night to do his eyelashes and things and said, how now brown cow? | :29:32. | :29:39. | |
He didn't get it. You asked what it's like being with | :29:40. | :29:51. | |
Maggie, it's working with the best, because she is the best. Stop it. | :29:52. | :30:00. | |
APPLAUSE. I know that's not true. And before you film, before you go | :30:01. | :30:05. | |
on stage, you are getting fantastic nuggets about Noel Coward and | :30:06. | :30:13. | |
Laurence Olivier or being taught Polari by Kenneth Williams, and | :30:14. | :30:15. | |
Bette Davis. She's really naughty. You've had this | :30:16. | :30:19. | |
extraordinary career. You know, I mentioned the Oscars | :30:20. | :30:20. | |
in the introduction and things. That did sort of change your life | :30:21. | :30:23. | |
in a way. Well, yes, | :30:24. | :30:33. | |
a lot of very small people kind LAUGHTER. There's | :30:34. | :30:37. | |
a whole different of people. But also it's so weird they would | :30:38. | :30:47. | |
only know you for that one thing. Except one kid once said to me, | :30:48. | :30:51. | |
he said, were you really a cat? And I heard myself saying, | :30:52. | :31:04. | |
just pull yourself together... There's the Harry Potter bit of your | :31:05. | :31:10. | |
life, which kind of changed your Is that one of those things | :31:11. | :31:21. | |
where you thought you were famous It's only since Downton that people | :31:22. | :31:32. | |
seem to know, you know, It's only since Downton | :31:33. | :31:49. | |
and that's television for you. Funnily enough, I was in Waitrose | :31:50. | :31:52. | |
in Storrington, my favourite. And a little boy was | :31:53. | :32:00. | |
at the checkout with his mother. I thought, | :32:01. | :32:04. | |
what am I going to do about it? Kept looking at me and looking | :32:05. | :32:10. | |
at me. It's all right, | :32:11. | :32:14. | |
it'll come to me in a minute. The people coming up to you now, | :32:15. | :32:24. | |
Americans, you know, But I don't go anywhere, really, | :32:25. | :32:38. | |
where they can get at me. CHEERING Because it's usually | :32:39. | :32:48. | |
in museums and art galleries Are you in a way glad that Downton | :32:49. | :32:59. | |
is over? LAUGHTER No, because honestly, | :33:00. | :33:09. | |
she was about, by the time we Alex, | :33:10. | :33:17. | |
I know you're a big Downton fan. I do, yeah, we watch it and we | :33:18. | :33:30. | |
shout at it because I'm not in it. Have we got it on good authority | :33:31. | :34:12. | |
that the actual Queen watches Downton Abbey? We hear that she's a | :34:13. | :34:18. | |
fan. You are not supposed to talk about that. I was told that she did, | :34:19. | :34:24. | |
but I have been told by another gentleman who works this those | :34:25. | :34:30. | |
establishments that she likes Midsomer murder. Who doesn't? I | :34:31. | :34:41. | |
didn't take it badly. Alan when it isn't the first real person you | :34:42. | :34:46. | |
played. You played Prince Charles. I did, and one of the reviews said, | :34:47. | :34:54. | |
why have they cast somebody who looks like George Bush. You know | :34:55. | :34:59. | |
Prince Charles don't you? I wouldn't say I know him but he's patron of an | :35:00. | :35:06. | |
actors charity I'm involved in. You're in love with him, look at | :35:07. | :35:11. | |
you! That's the funniest thing anyone's ever said. Give me an OBE. | :35:12. | :35:20. | |
Yes, he hasn't seen The Queen, I know. For sure. I mean The Queen, | :35:21. | :35:29. | |
the film. Has she seen it? But his wife has. Did she like it? She did, | :35:30. | :35:38. | |
she said, what was it like playing my husband? Oh! She was quite | :35:39. | :35:47. | |
twinkly. She is really very nice. Clearly you are Dame Maggie Smith, | :35:48. | :35:52. | |
we know that. I'm not that when I'm working. Oh, so on a poster it says | :35:53. | :35:59. | |
that? Yeah, because you don't use it professionally. OK. Unless you're, | :36:00. | :36:11. | |
who is it, Sir King Bens lie. LAUGHTER. We must mention your other | :36:12. | :36:23. | |
incredible honour, an elite group, the Order of the Companions of | :36:24. | :36:35. | |
Honour. That's a good hat isn't it? Good hat, good shoes, good dress. | :36:36. | :36:40. | |
How does that happen, how do you join that elite group? It sort of | :36:41. | :36:46. | |
happens when people die. You take their place. I see! So there's a | :36:47. | :36:55. | |
fixed number. There's a fixed number, so... They just hang around | :36:56. | :36:59. | |
a bit there'll be another vacancy. LAUGHTER. It has been wonderful to | :37:00. | :37:08. | |
meet you both. Please don't wait another 42 years. There isn't time! | :37:09. | :37:13. | |
We'll put it in the books now. OK. The Lady In The Van is such a funny, | :37:14. | :37:18. | |
sweet film. It opens on 13th November. I urge you to see it. | :37:19. | :37:23. | |
Ladies and gentlemen, Alex Jennings and Dame Maggie Smith! | :37:24. | :37:34. | |
CHEERING AND APPLAUSE. It is time for our musical guest tonight. This | :37:35. | :37:41. | |
man went from YouTube sensation to bona fide superstar. Boosh boosh | :37:42. | :37:51. | |
boosh please welcome Mr Justin Bieber. | :37:52. | :38:02. | |
# When you nod your head yes # But you wanna say no | :38:03. | :38:08. | |
# When you don't want me to move # But you tell me to go | :38:09. | :38:16. | |
# What do you mean? # Oh, what do you mean? | :38:17. | :38:23. | |
# What do you mean? # Oh-oh-oh, what do you mean? | :38:24. | :38:30. | |
# You're so indecisive is what I'm saying | :38:31. | :38:38. | |
# Don't know if you're happy or complaining | :38:39. | :38:46. | |
# First you wanna go to the left # Then you turn right | :38:47. | :38:53. | |
# Wanna argue all day # Making love all night | :38:54. | :38:57. | |
# First you're up then you're down # And then in between | :38:58. | :39:01. | |
# When you nod your head yes # But you wanna say no | :39:02. | :39:10. | |
# When you don't want me to move # But you tell me to go | :39:11. | :39:20. | |
# What do you mean? # Oh, what do you mean? | :39:21. | :39:24. | |
# You're overprotective when I'm leaving | :39:25. | :39:39. | |
# Trying to compromise, but I can't win | :39:40. | :39:43. | |
# You wanna make a point but you keep preaching | :39:44. | :39:47. | |
# First you wanna go to the left # Then you turn right | :39:48. | :39:54. | |
# Wanna argue all day, make love all night | :39:55. | :39:58. | |
# First you're up then you're down # Then you're in between | :39:59. | :40:02. | |
# When you nod your head yes # But you wanna say no | :40:03. | :40:11. | |
# When you don't want me to move # But you tell me to go | :40:12. | :40:19. | |
# I wanna know # Oh, what do you mean? | :40:20. | :40:25. | |
# Said you're running out of time # What do you mean? | :40:26. | :40:28. | |
# When you don't want me to move # But you tell me to go | :40:29. | :40:54. | |
# What do you mean? # Oh-oh-oh, what do you mean? | :40:55. | :41:04. | |
# Better make up your mind # What do you mean? # | :41:05. | :41:11. | |
CHEERING AND APPLAUSE. Mr Justin Bieber everybody. Thank you very | :41:12. | :41:22. | |
much. That was fantastic. Thank you for doing that. Congratulations. | :41:23. | :41:28. | |
It's number one everywhere isn't it? Yeah, it is. It must be a relief. It | :41:29. | :41:34. | |
is. You bring out new material... It is good to have people accept the | :41:35. | :41:39. | |
music and not be about my personal life. That's why I started in the | :41:40. | :41:43. | |
first place. It feels really good, because I'm growing up and my music | :41:44. | :41:48. | |
is growing up. It's fun. And you're out here busting a move. Obviously | :41:49. | :41:52. | |
the voice is why we know you. Is that easy for you, the dancing | :41:53. | :41:57. | |
stuff? What's hard is singing and dancing and trying to breathe at the | :41:58. | :42:02. | |
same time. I'm forgetting to breathe because I'm so conscious of the | :42:03. | :42:06. | |
moves and my voice, but I'm getting better at it. Good, we don't want to | :42:07. | :42:14. | |
lose you on my watch. That song, what do you mean, it's a cry from | :42:15. | :42:19. | |
the heart to the women of the world. I never know what they mean. All | :42:20. | :42:25. | |
boys don't know what girls mean. That's why we needed an anthem. Boys | :42:26. | :42:31. | |
walking down the street, what do you mean? Next time you're in an | :42:32. | :42:36. | |
argument, say, what do you mean? That's the thing about boys, you | :42:37. | :42:41. | |
know exactly what you mean. New album, Purpose, is out November | :42:42. | :42:45. | |
13th. Yep. Very good. Thank you. No, it is. Presumably you will tour with | :42:46. | :42:50. | |
this? I'm coming back to London to tour here as well. Please come and | :42:51. | :42:56. | |
see us again, Justin. We love having you here. Thank you. | :42:57. | :43:04. | |
CHEERING AND APPLAUSE. No time for the red chair tonight. Just time to | :43:05. | :43:16. | |
say thanks to Justin Bieber, Alex Jennings, Bradley Cooper and Dame | :43:17. | :43:22. | |
Maggie Smith. Next week it is Julie Walters and Michael Fassbender. I | :43:23. | :43:24. | |
will see you then. Goodbye! | :43:25. | :43:30. |