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Now, Salma Hayek, so nice to have you on the show tonight. | 0:00:02 | 0:00:04 | |
-Thank you, thank you. -Now, you're from "Mehico". -Exactly. | 0:00:04 | 0:00:07 | |
I actually speak a poco of Spanish. So I wondered, | 0:00:07 | 0:00:10 | |
how would I say, "Let's start the show," en espanol? | 0:00:10 | 0:00:14 | |
Bueno. Pues, puedes decir muchas cosas. Lo importante es que hagas | 0:00:14 | 0:00:17 | |
que tu publico se sienta bienvenido y se entusiasme - | 0:00:17 | 0:00:22 | |
tenga ganas de ver tu programa. Y cuando estes listo, | 0:00:22 | 0:00:26 | |
cuando sientas que la energia subido, | 0:00:26 | 0:00:28 | |
y que todos estan desesperados por verte, | 0:00:28 | 0:00:31 | |
entonces les puedes decir empecemos el programa. | 0:00:31 | 0:00:35 | |
Bueno. | 0:00:35 | 0:00:37 | |
Let's start the show! | 0:00:37 | 0:00:39 | |
APPLAUSE | 0:00:39 | 0:00:41 | |
Oh! Oh! | 0:00:54 | 0:00:58 | |
Oh! | 0:00:58 | 0:01:00 | |
Hello! Hello! | 0:01:00 | 0:01:04 | |
Buenas noches. Buenas noches, buenas noches. | 0:01:04 | 0:01:09 | |
Good evening, everybody! Hey, it's Friday night! | 0:01:09 | 0:01:13 | |
Yes, it is. CHEERING | 0:01:13 | 0:01:15 | |
It's the weekend! CHEERING | 0:01:15 | 0:01:18 | |
It's three weeks to the EU referendum! | 0:01:18 | 0:01:21 | |
A FEW HALF-HEARTED CHEERS | 0:01:21 | 0:01:24 | |
LAUGHTER | 0:01:24 | 0:01:26 | |
So excited in here, ladies and gentlemen, so excited. | 0:01:26 | 0:01:29 | |
The debate has reached fever pitch, hasn't it? | 0:01:29 | 0:01:32 | |
Real fever pitch. Lots of debate about immigration this week. | 0:01:32 | 0:01:36 | |
Some people think we should bring in an Australian-style points system. | 0:01:36 | 0:01:40 | |
Hm. Any Australians in tonight? CHEERING | 0:01:40 | 0:01:43 | |
There's always Australians. Hello. Where are you? There you are. Hi! | 0:01:43 | 0:01:46 | |
You have done a great job, a great job, of keeping people out | 0:01:46 | 0:01:49 | |
of your country. LAUGHTER | 0:01:49 | 0:01:51 | |
You have! You've filled it with poisonous animals, | 0:01:51 | 0:01:53 | |
put it miles away, | 0:01:53 | 0:01:55 | |
and you live there, so it's all, yeah... Bung, bung, bung. | 0:01:55 | 0:01:58 | |
Of course, if the Brexit camp wins, | 0:01:58 | 0:02:00 | |
then Boris Johnson could end up being the next Prime Minister. | 0:02:00 | 0:02:04 | |
BOOING AND CHEERING | 0:02:04 | 0:02:05 | |
But don't worry, I don't think there's anyone more sensitive | 0:02:05 | 0:02:08 | |
to the feelings of ethnic minorities. | 0:02:08 | 0:02:11 | |
LAUGHTER | 0:02:11 | 0:02:13 | |
But, hey, who are we allowing onto our sacred British sofa tonight? | 0:02:16 | 0:02:19 | |
Well, later we'll have music from Alicia Keys. Yes! | 0:02:19 | 0:02:22 | |
CHEERING | 0:02:22 | 0:02:23 | |
But first, he's one of the funniest things to come out of Wales. | 0:02:23 | 0:02:26 | |
Star of Would I Lie to You?, Live At The Apollo and Work Experience, | 0:02:26 | 0:02:29 | |
now scouring the country to find the UK's Best Part-Time Band, | 0:02:29 | 0:02:31 | |
it's Rhod Gilbert, everybody! CHEERING | 0:02:31 | 0:02:34 | |
Hello! | 0:02:36 | 0:02:38 | |
Hello, sir. Lovely to see you. | 0:02:38 | 0:02:40 | |
Sit, have wine! | 0:02:40 | 0:02:42 | |
This British actress has gone from Black Books to Green Wing | 0:02:44 | 0:02:47 | |
to the hugely successful Episodes. | 0:02:47 | 0:02:49 | |
Now she's here with her latest comedy caper, | 0:02:49 | 0:02:51 | |
Breaking The Bank. It's Tamsin Greig! | 0:02:51 | 0:02:53 | |
CHEERING | 0:02:53 | 0:02:55 | |
Yay! | 0:02:55 | 0:02:57 | |
Sophisticated lady. Look at you! Hello, darling. | 0:02:57 | 0:03:00 | |
Lovely to see you. Come in, Rhod, Tamsin. | 0:03:00 | 0:03:05 | |
This multi-award winning actor starred as Dr Frasier Crane | 0:03:05 | 0:03:08 | |
for 20 years and, amongst other roles, has lent his | 0:03:08 | 0:03:11 | |
unmistakable voice to Sideshow Bob in The Simpsons. | 0:03:11 | 0:03:14 | |
Now he's gone all British in Breaking The Bank. | 0:03:14 | 0:03:16 | |
Please welcome, for the first time, Kelsey Grammer! | 0:03:16 | 0:03:19 | |
CHEERING | 0:03:19 | 0:03:20 | |
Hello, sir, lovely to see you. | 0:03:23 | 0:03:26 | |
Thank you so much for doing this. We really appreciate it. | 0:03:26 | 0:03:29 | |
That's who that is. | 0:03:29 | 0:03:31 | |
And from her breakout role in Desperado | 0:03:33 | 0:03:35 | |
to her Oscar-nominated turn as Frida Kahlo, | 0:03:35 | 0:03:38 | |
this actress has become one of Hollywood's most | 0:03:38 | 0:03:40 | |
dazzling leading ladies, and now her new film, | 0:03:40 | 0:03:42 | |
Tale Of Tales, is getting rave reviews. | 0:03:42 | 0:03:44 | |
Please welcome Salma Hayek! | 0:03:44 | 0:03:47 | |
CHEERING AND APPLAUSE | 0:03:47 | 0:03:49 | |
Hey, hello. Mwah and mwah. | 0:03:50 | 0:03:52 | |
Thank you for coming. Seriously. | 0:03:52 | 0:03:54 | |
You've met everybody. You've met everybody. | 0:03:54 | 0:03:57 | |
What a jolly sofa. Very good. Nice to see you all. | 0:04:00 | 0:04:03 | |
-Welcome, welcome, welcome. -Thank you. | 0:04:03 | 0:04:06 | |
Now, there's an odd thing on the couch tonight, | 0:04:06 | 0:04:08 | |
I don't think we've ever had this before, | 0:04:08 | 0:04:10 | |
but Salma and Kelsey, you've got an odd connection. | 0:04:10 | 0:04:13 | |
-Mm-hm. -Yes. | 0:04:13 | 0:04:15 | |
Let's elaborate. LAUGHTER | 0:04:15 | 0:04:18 | |
Salma bought a home I owned years ago. | 0:04:19 | 0:04:23 | |
-Did you know it was his house? -Yes. I still have it. | 0:04:23 | 0:04:27 | |
-I was going to ask if you still have it! -Yes! | 0:04:27 | 0:04:29 | |
It's such a beautiful place. I loved it. | 0:04:29 | 0:04:31 | |
And yet he moved on. | 0:04:31 | 0:04:33 | |
It's all worked out lovely. | 0:04:33 | 0:04:35 | |
-Did he leave it nice? -Yes, in very good shape. -Oh, it was a great home. | 0:04:35 | 0:04:40 | |
Did he take the light bulbs? | 0:04:40 | 0:04:41 | |
-Um...I think you did! -No... | 0:04:43 | 0:04:45 | |
-I might have... -LAUGHTER | 0:04:45 | 0:04:49 | |
Now, Rhod Gilbert, thank you for being here. | 0:04:49 | 0:04:51 | |
And it's very nice of you to be here because | 0:04:51 | 0:04:53 | |
has your appearance tonight caused trouble at home? | 0:04:53 | 0:04:56 | |
-Um... -LAUGHTER | 0:04:59 | 0:05:02 | |
Are you trying to tell him something? | 0:05:02 | 0:05:04 | |
No, no, I believe somebody else told him something. | 0:05:04 | 0:05:08 | |
-No, it's my wife's birthday. -TAMSIN GASPS | 0:05:08 | 0:05:10 | |
-AUDIENCE GASPS -Look at them! "Ooh!" | 0:05:10 | 0:05:13 | |
Yeah, it's my wife's birthday... | 0:05:14 | 0:05:16 | |
To be honest, I've sort of promised her something that | 0:05:16 | 0:05:20 | |
involves you, Salma, I'm afraid. | 0:05:20 | 0:05:22 | |
-You're taking Salma home for her? -LAUGHTER | 0:05:22 | 0:05:26 | |
Well, I didn't guarantee that... | 0:05:26 | 0:05:28 | |
Cos I said, "The Graham Norton Show have rung." | 0:05:28 | 0:05:33 | |
And she said, "Who?" I explained. | 0:05:33 | 0:05:35 | |
He's only pretending. | 0:05:37 | 0:05:39 | |
They said, "Will you do it?" and I said, "Of course, I'd love to, | 0:05:39 | 0:05:41 | |
"the only problem is it's my wife's birthday." | 0:05:41 | 0:05:44 | |
So I said, "Do you mind if I do it?" She said, "Can I come?" | 0:05:44 | 0:05:46 | |
And I said, "Well, if you do, that's your birthday present." | 0:05:46 | 0:05:49 | |
So... | 0:05:49 | 0:05:51 | |
That's so cheap. Buy her something! | 0:05:51 | 0:05:54 | |
It's not that cheap. | 0:05:54 | 0:05:56 | |
I've promised her an hour with you in the green room after. | 0:05:56 | 0:05:59 | |
-LAUGHTER -You are the birthday present. | 0:05:59 | 0:06:01 | |
That's a good gift. | 0:06:01 | 0:06:03 | |
Tamsin, obviously in Episodes you worked with Matt LeBlanc, | 0:06:04 | 0:06:07 | |
a big sitcom star, but, Kelsey, arguably the most successful | 0:06:07 | 0:06:10 | |
-sitcom star of all time. -Well, arguably, yes. | 0:06:10 | 0:06:13 | |
OK, let's just go with he is. | 0:06:13 | 0:06:15 | |
Was it intimidating, or was it all fine? Was it just actors? | 0:06:15 | 0:06:18 | |
After Matt LeBlanc... | 0:06:18 | 0:06:20 | |
LAUGHTER | 0:06:20 | 0:06:22 | |
I said to my agent, "I only want to work with even bigger stars." | 0:06:24 | 0:06:28 | |
What's bigger than Kelsey? I don't know, who can we get next? | 0:06:28 | 0:06:31 | |
There are several, but not many. | 0:06:31 | 0:06:32 | |
It's not intimidating because he is an incredible gentleman. | 0:06:36 | 0:06:40 | |
He's very warm and appreciative and very supportive and very funny. | 0:06:40 | 0:06:45 | |
And also very close to tears all the time. | 0:06:45 | 0:06:48 | |
It's true, I do live that way, yes, I do. | 0:06:48 | 0:06:50 | |
-On the verge of tears almost always. -All the time. I can see them now. | 0:06:50 | 0:06:54 | |
My wife knows. She's over there. She knows I cry at the drop of a hat. | 0:06:54 | 0:06:57 | |
-She calls it gin. -LAUGHTER | 0:06:57 | 0:07:00 | |
And half the time, she's right. | 0:07:00 | 0:07:02 | |
Tamsin, Kelsey has a reputation for singing on set. | 0:07:04 | 0:07:08 | |
Did this happen on this set? | 0:07:08 | 0:07:10 | |
Yeah, he's got a great voice and there's a lot of hanging | 0:07:10 | 0:07:13 | |
around on sets, so we'd just turn to our puppet master | 0:07:13 | 0:07:17 | |
to just perform a little, pull his strings, | 0:07:17 | 0:07:20 | |
-and he'd come out with something. -OK, so, Kelsey, could you, | 0:07:20 | 0:07:24 | |
if I poke you with a stick, just give us a little burst of | 0:07:24 | 0:07:26 | |
the end song in Frasier? | 0:07:26 | 0:07:28 | |
-Aw, sure, I could. -OK, I think we've got a little backing track. | 0:07:28 | 0:07:31 | |
-You have? -Do you want the backing track? -Yeah, sure. | 0:07:31 | 0:07:33 | |
OK, here's the backing track. | 0:07:33 | 0:07:35 | |
# Hey, baby, I hear the blues a-callin' | 0:07:35 | 0:07:37 | |
# Tossed salads and scrambled eggs Yeah, that's it | 0:07:37 | 0:07:41 | |
# Quite stylish | 0:07:41 | 0:07:42 | |
# And maybe I seem a bit confused | 0:07:42 | 0:07:44 | |
# Yeah, maybe, but I got you pegged That's it | 0:07:44 | 0:07:49 | |
# But I don't know what to do with those tossed salads | 0:07:49 | 0:07:52 | |
# And scrambled eggs. # | 0:07:52 | 0:07:54 | |
CHEERING | 0:07:55 | 0:07:59 | |
How cool is that? Thank you very much, that's very nice of you. | 0:07:59 | 0:08:02 | |
Now, lots of movies and programmes to talk about tonight, | 0:08:07 | 0:08:10 | |
so let's get started. Now, Salma, you have a new movie, | 0:08:10 | 0:08:14 | |
Tale Of Tales. It opens in a couple of weeks, on June 17. | 0:08:14 | 0:08:18 | |
And it's an extraordinary film. | 0:08:18 | 0:08:20 | |
It's a retelling of classic Italian fairy tales. | 0:08:20 | 0:08:23 | |
For a British audience, if they think, | 0:08:23 | 0:08:25 | |
"Oh, we know what fairy tales are like," these are bonkers tales. | 0:08:25 | 0:08:28 | |
-Yes, don't take your children, please. -No, no. | 0:08:28 | 0:08:31 | |
Whatever you do, do not take your children to see this one. | 0:08:31 | 0:08:35 | |
It's very dark, but it's really beautiful, visually exuberant. | 0:08:35 | 0:08:39 | |
And just interesting, unique, different. | 0:08:39 | 0:08:43 | |
Yes, because you start watching and think, "What the hell is going on?" | 0:08:43 | 0:08:46 | |
And once you're in the mood of the film, it really carries you along. | 0:08:46 | 0:08:48 | |
-They're amazing, the stories. -Yes. -So, talk us through the tale | 0:08:48 | 0:08:51 | |
-that you're involved in. Cos there's three tales. -Yes. | 0:08:51 | 0:08:54 | |
My tale is about motherhood, and I am a queen. | 0:08:54 | 0:08:58 | |
I was so excited because the closest I got to being a queen | 0:08:58 | 0:09:02 | |
was to be the queen of the drug cartel in Savages. | 0:09:02 | 0:09:05 | |
When you're Mexican, it's kind of hard to get that role. | 0:09:05 | 0:09:10 | |
And she is very sad because she cannot have children. | 0:09:10 | 0:09:14 | |
And she is willing to do anything, anything, | 0:09:14 | 0:09:17 | |
in order to conceive a child. | 0:09:17 | 0:09:20 | |
-So... -Fairy-tale stuff. -Do you want me to continue? | 0:09:20 | 0:09:23 | |
Well, you can tell us a bit. Because we can know how | 0:09:23 | 0:09:27 | |
she got with child, can't we? | 0:09:27 | 0:09:29 | |
Yes. One of the parts of the ritual, the many things we had to do, | 0:09:29 | 0:09:35 | |
was we had to kill a sea dragon, | 0:09:35 | 0:09:38 | |
and then I had to eat the heart of this dragon | 0:09:38 | 0:09:42 | |
that had to be cooked by a virgin, which was really difficult to find, | 0:09:42 | 0:09:47 | |
even in those days. | 0:09:47 | 0:09:49 | |
And, by eating the heart of the dragon, | 0:09:49 | 0:09:53 | |
I was going to conceive a baby, which is not as fun | 0:09:53 | 0:09:58 | |
as the normal way, but she was desperate. | 0:09:58 | 0:10:02 | |
-And it was disgusting. -But that all happens in about the first | 0:10:02 | 0:10:04 | |
five minutes. We've got a still of you eating the heart. | 0:10:04 | 0:10:07 | |
Now, what was that? | 0:10:07 | 0:10:12 | |
Cos it looked disgusting. | 0:10:12 | 0:10:14 | |
It was disgusting! | 0:10:14 | 0:10:16 | |
And I still don't know, cos when you asked the Italians... | 0:10:16 | 0:10:20 | |
They asked me, "What are you allergic to?" and I told them. | 0:10:20 | 0:10:23 | |
And when it was the time, I said, "What's in it?" | 0:10:23 | 0:10:26 | |
and they said, "You're not allergic to it." | 0:10:26 | 0:10:28 | |
I said, "OK, but what's in it?" And they said, "Many different things." | 0:10:28 | 0:10:32 | |
And I said, "Yeah, but what things?" | 0:10:32 | 0:10:34 | |
"Things that you're not allergic to." And that's it! | 0:10:34 | 0:10:38 | |
But every bite, I would find different textures | 0:10:38 | 0:10:42 | |
and things and flavours. At some point, I was convinced | 0:10:42 | 0:10:46 | |
I was eating a worm. | 0:10:46 | 0:10:48 | |
I said, "You must tell me what this is!" "That's spaghetti." | 0:10:48 | 0:10:52 | |
So one of the arteries inside of there was spaghetti, but, anyway, | 0:10:52 | 0:10:57 | |
I don't want to repeat that recipe. I will never cook it for anyone. | 0:10:57 | 0:11:01 | |
We've got a clip. | 0:11:01 | 0:11:03 | |
This is you talking to your son. | 0:11:03 | 0:11:07 | |
-We shouldn't say any more, should we? -We shouldn't say any more, | 0:11:07 | 0:11:10 | |
-except that... -This is the child you conceived, who's now speaking? | 0:11:10 | 0:11:13 | |
Yes, he came out albino, I don't know why. | 0:11:13 | 0:11:16 | |
LAUGHTER | 0:11:16 | 0:11:17 | |
It's an Italian fairy tale. | 0:11:19 | 0:11:21 | |
-This is you being a strict mother with your son. -Exactly, yes. | 0:11:21 | 0:11:27 | |
You disrespect me and you disobey me. | 0:11:27 | 0:11:31 | |
You know you were not supposed to see him. | 0:11:31 | 0:11:35 | |
Come here. | 0:11:35 | 0:11:37 | |
Elias, you are a prince. | 0:11:42 | 0:11:45 | |
You cannot be the friend of a son of a servant. | 0:11:45 | 0:11:49 | |
But I like being with him. He's like a brother to me. | 0:11:49 | 0:11:53 | |
-I will see him whenever I want. -A brother? | 0:11:53 | 0:11:56 | |
The only one bond of blood that you have is with me, your mother. | 0:11:56 | 0:12:03 | |
And it is to me that you owe respect and obedience. | 0:12:03 | 0:12:07 | |
I am your Queen. Don't you ever forget it. | 0:12:07 | 0:12:11 | |
APPLAUSE | 0:12:11 | 0:12:13 | |
You know, if I start talking to my daughter like that, | 0:12:15 | 0:12:18 | |
she starts laughing at me. Walks away. | 0:12:18 | 0:12:21 | |
-You filmed it in Sicily and Tuscany. -And Tuscany, yes. | 0:12:23 | 0:12:27 | |
-The food was so good. -Ooh, well, apart from your heart, obviously. | 0:12:27 | 0:12:30 | |
-Yes. -Sea monster heart, no. | 0:12:30 | 0:12:33 | |
But when people travel, they collect things, | 0:12:33 | 0:12:35 | |
postcards, dolls in national dress. | 0:12:35 | 0:12:38 | |
But you collect animals, like, living animals. | 0:12:38 | 0:12:42 | |
Well, no, I don't collect them, I rescue them. | 0:12:43 | 0:12:46 | |
-Oh, OK. -I rescue them. | 0:12:46 | 0:12:48 | |
So, did you rescue anything when you were in Sicily and Tuscany? | 0:12:48 | 0:12:51 | |
Not in that one, but in the movie I did right after, | 0:12:51 | 0:12:55 | |
in Bulgaria, I did. | 0:12:55 | 0:12:57 | |
-OK. -I had promised my husband I was going to stop, because at the time | 0:12:57 | 0:13:02 | |
I had ten dogs, five parrots, I had alpacas, | 0:13:02 | 0:13:07 | |
horses, cats. | 0:13:07 | 0:13:09 | |
And, by the way, one without a tail, the other one without a leg. | 0:13:09 | 0:13:14 | |
Always, they find me, they come to me, these animals, | 0:13:16 | 0:13:20 | |
which he doesn't believe me, but they do. I promised him no more, OK. | 0:13:20 | 0:13:25 | |
We were up to 30 animals and I swore no more. | 0:13:25 | 0:13:29 | |
I was there, and a little puppy, who was abandoned | 0:13:29 | 0:13:33 | |
and was going to die... I won't tell you the sad story | 0:13:33 | 0:13:36 | |
cos this is a comedy show and I'll start crying, | 0:13:36 | 0:13:40 | |
but he came to me and I couldn't help it and I picked him up. | 0:13:40 | 0:13:44 | |
His name is Ochoa, after the goalie of the soccer team in Mexico. | 0:13:44 | 0:13:49 | |
It was the World Cup. And I took him, | 0:13:49 | 0:13:51 | |
and then I was terrified, how am I going to explain this to my husband? | 0:13:51 | 0:13:55 | |
I promised, I promised. So I came up with this brilliant idea, | 0:13:55 | 0:14:00 | |
to pretend that I was having an affair. | 0:14:00 | 0:14:02 | |
-LAUGHTER -With Ochoa? | 0:14:02 | 0:14:05 | |
No, with somebody. To make him think that I was having an affair | 0:14:05 | 0:14:08 | |
and at the end I would say, "No, it's not an affair, | 0:14:08 | 0:14:10 | |
"I picked up a dog," and then he would feel better that I picked up | 0:14:10 | 0:14:14 | |
a dog and was not having an affair. | 0:14:14 | 0:14:15 | |
This is clever. Good plan, good plan. | 0:14:15 | 0:14:18 | |
So I left him a message, "You must call me at this time. | 0:14:18 | 0:14:21 | |
"We need to talk, it's very important," and I never do that. | 0:14:21 | 0:14:24 | |
And this time he said, "OK, what happened? What happened?" | 0:14:24 | 0:14:27 | |
And I said, "Listen, I feel so terrible, | 0:14:27 | 0:14:31 | |
"I don't know how to say this to you, and I know this is not going | 0:14:31 | 0:14:36 | |
"to go down well, and I'm really nervous, | 0:14:36 | 0:14:39 | |
"and, please, have mercy on me, have patience, be understanding, | 0:14:39 | 0:14:44 | |
"it's just been so stressful and I'm so tired, and I was so lonely here | 0:14:44 | 0:14:49 | |
"for so many days, and you do crazy things | 0:14:49 | 0:14:53 | |
"when you're in this state!" | 0:14:53 | 0:14:55 | |
And he said to me, "Oh, please don't tell me | 0:14:55 | 0:14:57 | |
"you picked up another dog!" | 0:14:57 | 0:15:00 | |
LAUGHTER AND APPLAUSE | 0:15:00 | 0:15:02 | |
I was so sad that I was so predictable. | 0:15:07 | 0:15:10 | |
Talking of dogs, famously, Eddie, the little Jack Russell in Frasier, | 0:15:11 | 0:15:17 | |
we all fell in love. Everyone loved that Jack Russell. | 0:15:17 | 0:15:20 | |
But apparently, you... Not that you didn't like him, but you were... | 0:15:20 | 0:15:23 | |
No, I actually liked him quite a bit. The person who didn't like him | 0:15:23 | 0:15:26 | |
was John, the one that played my dad. | 0:15:26 | 0:15:29 | |
He was terrified of him. | 0:15:29 | 0:15:31 | |
-Oh, really?! -Oh, yeah! | 0:15:31 | 0:15:32 | |
Whenever he sat on his lap, the dog bit him. | 0:15:32 | 0:15:35 | |
LAUGHTER | 0:15:35 | 0:15:37 | |
-Very dangerous place to start biting. -He was not a pleasant animal. Yeah. | 0:15:37 | 0:15:40 | |
Did it annoy you all on set that that dog must have got | 0:15:40 | 0:15:43 | |
-so much attention? -It annoyed me no end. | 0:15:43 | 0:15:45 | |
-But, only this, because there was... -HE LAUGHS | 0:15:45 | 0:15:48 | |
We had a director for a while who was a guest director. | 0:15:48 | 0:15:51 | |
We booked him to do maybe three shows. | 0:15:51 | 0:15:54 | |
Somewhere in the middle of that number, he turned to the dog | 0:15:54 | 0:15:59 | |
and said, "Eddie, action." | 0:15:59 | 0:16:01 | |
LAUGHTER | 0:16:01 | 0:16:03 | |
I said, "You're fired. | 0:16:06 | 0:16:09 | |
"I've never heard anything like that in my life. You're out." | 0:16:09 | 0:16:12 | |
I was never really that mean, but in this case, I was. | 0:16:14 | 0:16:17 | |
-It's a dog! -It's a dog. He doesn't understand "action". | 0:16:18 | 0:16:21 | |
On the action thing, you said he didn't understand "action". | 0:16:23 | 0:16:25 | |
My first ever time on screen, I was in my 20s, had never done anything | 0:16:25 | 0:16:30 | |
on stage or screen before. I went along to the Jobcentre. | 0:16:30 | 0:16:33 | |
They sent everyone, all the waifs and strays, all of us, | 0:16:33 | 0:16:37 | |
they sent all of us to be film extras in a Welsh film | 0:16:37 | 0:16:39 | |
that was filming nearby. Off we went and got our 30 quid for the day. | 0:16:39 | 0:16:42 | |
-Oh, it was a Welsh dog? In that case... -No, this was a horse! | 0:16:42 | 0:16:45 | |
This was a horse! | 0:16:45 | 0:16:47 | |
The horse's job, all he had to do was walk through the back | 0:16:47 | 0:16:50 | |
of the shot. It was a period drama. | 0:16:50 | 0:16:52 | |
And every single time the director shouted, "Action," I kid you not, | 0:16:52 | 0:16:56 | |
the horse got an erection. Every single time. | 0:16:56 | 0:17:00 | |
And there was this little guy whose sole job it was, | 0:17:00 | 0:17:03 | |
as far as I could work out, was to run out with a bicycle pump | 0:17:03 | 0:17:07 | |
and a bucket, and as soon as it went "Action," the horse went dong, | 0:17:07 | 0:17:10 | |
and this bloke went tsh-tsh-tsh, | 0:17:10 | 0:17:12 | |
and this horse's penis just went...back in. | 0:17:12 | 0:17:14 | |
And they'd go, "Right, cut!" And they'd start again. | 0:17:14 | 0:17:17 | |
"Action," dong, tsh-tsh-tsh, every single time he said, "Action." | 0:17:17 | 0:17:22 | |
What's he doing with the bicycle pump? | 0:17:22 | 0:17:25 | |
-Un-erecting. -How do you un-erect a...? | 0:17:25 | 0:17:27 | |
Well, this is what I'm telling you. | 0:17:27 | 0:17:29 | |
That's a Welsh blow job! | 0:17:29 | 0:17:32 | |
APPLAUSE | 0:17:32 | 0:17:33 | |
-That's what I'm telling you. -You know what, I bet there's a | 0:17:36 | 0:17:39 | |
lot of women out there, and men too, that would want | 0:17:39 | 0:17:42 | |
the number of the trainer of the horse. | 0:17:42 | 0:17:46 | |
What would help it, the horse's penis would go like that, | 0:17:46 | 0:17:48 | |
and then this little man would run out, suck water up from the bucket, into the pump, | 0:17:48 | 0:17:52 | |
and then spray the horse's penis with cold water, basically, | 0:17:52 | 0:17:55 | |
and then the penis would just go back in. | 0:17:55 | 0:17:58 | |
And off they'd go, and he'd go, "Action," out it would go again, | 0:17:58 | 0:18:01 | |
dong, tsh-tsh-tsh, back in. | 0:18:01 | 0:18:03 | |
I've met a lot of actors that do that. | 0:18:03 | 0:18:06 | |
That's the other trainer who was behind the horse. | 0:18:08 | 0:18:11 | |
-It's going very well. -It's going very well. | 0:18:14 | 0:18:17 | |
Now, you, Tamsin, when you were growing up, who had the cat? | 0:18:17 | 0:18:21 | |
Did your father have a cat or did you have the cat? | 0:18:21 | 0:18:23 | |
Yes, we grew up with lots and lots of cats. | 0:18:23 | 0:18:25 | |
My dad collected a lot of stray cats, so we learnt at | 0:18:25 | 0:18:27 | |
an early age how to kill fleas. They're really hard to kill. | 0:18:27 | 0:18:31 | |
-Fingernails. -Fingernails! You have to rip them in half, | 0:18:31 | 0:18:33 | |
so that you see the blood. | 0:18:33 | 0:18:35 | |
-Or you hear the crack. -Yeah, there's a crack! -You'll hear the crack. | 0:18:35 | 0:18:39 | |
-You know. -If you want a link, if you like fleas, | 0:18:39 | 0:18:43 | |
one of the stories in Tale Of Tales is the best flea story ever. | 0:18:43 | 0:18:47 | |
-It is so bizarre. -You are like, "What the hell?" | 0:18:47 | 0:18:50 | |
-Anyway, sorry, I interrupted. -My dad had accidents with the cats. | 0:18:50 | 0:18:54 | |
He was slightly distracted most of his life. | 0:18:54 | 0:18:59 | |
I think that's how he ended up with my mum! | 0:18:59 | 0:19:01 | |
LAUGHTER | 0:19:01 | 0:19:03 | |
It was like, "Oh! Wow, don't know how that happened." | 0:19:03 | 0:19:07 | |
And he tumble-dryered one cat. | 0:19:07 | 0:19:09 | |
-That's very bad, Tamsin. -It was a man, in that age, | 0:19:10 | 0:19:14 | |
doing the washing! What more do you want? | 0:19:14 | 0:19:17 | |
The cat can't have liked that, Tamsin, in any way. | 0:19:17 | 0:19:20 | |
-Did they die? -It didn't die. | 0:19:20 | 0:19:22 | |
I know somebody who did that and the cat died. | 0:19:22 | 0:19:26 | |
-OK, well... -This one didn't die? -It didn't die. It was a miracle. | 0:19:26 | 0:19:29 | |
It'll be a better tumble dryer. | 0:19:29 | 0:19:32 | |
Yes, that was an American tumble dryer. | 0:19:32 | 0:19:35 | |
Our tumble dryers could be on for a year | 0:19:35 | 0:19:37 | |
and you could still pick out a wet sheet with the cat going, | 0:19:37 | 0:19:40 | |
"I'm a little warm, but not very." | 0:19:40 | 0:19:42 | |
LAUGHTER | 0:19:42 | 0:19:45 | |
In America, it's like beef jerky by the time you get it out. | 0:19:45 | 0:19:49 | |
We'll have to hang this up for half an hour on the line after. | 0:19:49 | 0:19:52 | |
Just in case, please don't try it. | 0:19:52 | 0:19:54 | |
No, no, no. Tamsin's father got away with it, but that's it. | 0:19:54 | 0:19:58 | |
He got away with murder. | 0:19:58 | 0:20:00 | |
He didn't murder me! I don't know why I did that. | 0:20:00 | 0:20:03 | |
Now, Kelsey, you're working with a dog again, | 0:20:05 | 0:20:07 | |
new movie that you and Tamsin are in, you've got a dog called... | 0:20:07 | 0:20:10 | |
Is the dog called Taxi always, or...? | 0:20:10 | 0:20:11 | |
No, his name's Taxi in the film. I don't know what his name is, actually. | 0:20:11 | 0:20:15 | |
-Taxi is a good name for a dog. -Taxi was a great name. | 0:20:15 | 0:20:18 | |
It worked well in the film, because I say, "Taxi," and someone thinks | 0:20:18 | 0:20:21 | |
I've called for a taxi on the other end of the phone, | 0:20:21 | 0:20:25 | |
so, yes, it's a good name. | 0:20:25 | 0:20:27 | |
Tamsin, is that true or is that just a story, the people who | 0:20:27 | 0:20:31 | |
-had to look after the Christian dog? -Oh, yes, I heard about... | 0:20:31 | 0:20:34 | |
When you think about good names or bad names for a dog, | 0:20:34 | 0:20:37 | |
Taxi is a good name for... Something you would shout, | 0:20:37 | 0:20:41 | |
-a word that you might shout out in public. -Yes. | 0:20:41 | 0:20:44 | |
And I heard of this Christian family | 0:20:44 | 0:20:46 | |
who were very friendly with their neighbours, | 0:20:46 | 0:20:49 | |
who were not Christians. And the Christian family had a dog, | 0:20:49 | 0:20:52 | |
and they secretly named it, knowing that they would be going away | 0:20:52 | 0:20:56 | |
and that the family next door would be looking after it, | 0:20:56 | 0:20:58 | |
and it was a bolter, it would go. | 0:20:58 | 0:21:01 | |
So the Christian family called the dog Repent. | 0:21:01 | 0:21:04 | |
-I think that's brilliant. -That is brilliant. | 0:21:07 | 0:21:09 | |
-Is that true? -Yeah. -So they had to be in the street going, "Repent!" | 0:21:09 | 0:21:14 | |
"Repent, come back, you fucker." | 0:21:14 | 0:21:16 | |
So, the new film is Breaking The Bank, | 0:21:20 | 0:21:23 | |
and it's a proper British farce. | 0:21:23 | 0:21:25 | |
I mean, it really is, it's that kind of Ealing Comedy style. | 0:21:25 | 0:21:28 | |
Yeah, it's a beautiful mainstream comedy, which is a kind of | 0:21:28 | 0:21:31 | |
love child of Trading Places and The Big Short. | 0:21:31 | 0:21:36 | |
At the heart of it, you've got a love story that breaks apart, | 0:21:36 | 0:21:39 | |
but it's also a public service film about what shorting is. | 0:21:39 | 0:21:43 | |
It explains in a very beautifully comedic way about certain banking | 0:21:43 | 0:21:47 | |
terms that none of us understand. | 0:21:47 | 0:21:49 | |
But the writer, Roger Devlin, cos it's a really funny script, | 0:21:51 | 0:21:54 | |
but he comes from the financial services area? | 0:21:54 | 0:21:56 | |
He is actually a banker, I suppose, yeah. | 0:21:56 | 0:21:58 | |
It's sort of a mea culpa kind of thing, on his behalf. | 0:21:58 | 0:22:02 | |
I think he wanted to try to say, "Gosh, I'm sorry we did this." | 0:22:02 | 0:22:05 | |
Or, "How can I continue to make money out of it?" | 0:22:07 | 0:22:09 | |
-He's doing splendidly. -Yeah. "I've been fired, how can I...?" | 0:22:09 | 0:22:15 | |
He's also now on the board of the Football Association, | 0:22:15 | 0:22:17 | |
so he really knows about... | 0:22:17 | 0:22:20 | |
How does Roger land on his feet in so many ways? | 0:22:20 | 0:22:22 | |
That's clearly going to be his next film. We've got a clip. | 0:22:22 | 0:22:26 | |
This is you, Tamsin, reacting to the news that Kelsey's character | 0:22:26 | 0:22:29 | |
-has essentially lost your family's bank. -Yes. | 0:22:29 | 0:22:34 | |
Penelope?! | 0:22:34 | 0:22:35 | |
Penelope! | 0:22:35 | 0:22:37 | |
Darling...you seem a little out of sorts. | 0:22:37 | 0:22:41 | |
What makes you say that? | 0:22:41 | 0:22:43 | |
That's Etruscan, 700 BC! | 0:22:45 | 0:22:47 | |
I'm just as upset as you are. | 0:22:54 | 0:22:55 | |
I seriously doubt that. | 0:22:55 | 0:22:57 | |
Wait! | 0:23:03 | 0:23:04 | |
Oh, no, carry on. The golf club's worth more than the porcelain dog. | 0:23:04 | 0:23:08 | |
Thanks for telling me. | 0:23:08 | 0:23:10 | |
Don't you ever stop to think how remarkable it is, Charles... | 0:23:11 | 0:23:14 | |
that your brain starts working the minute you get up in the morning... | 0:23:14 | 0:23:18 | |
and then it carries on working, never missing a beat... | 0:23:18 | 0:23:21 | |
until the second that you get to the office, and then, as if by magic... | 0:23:21 | 0:23:25 | |
it suddenly...stops? | 0:23:25 | 0:23:27 | |
Run a bank? You couldn't run a bath. | 0:23:30 | 0:23:33 | |
APPLAUSE | 0:23:33 | 0:23:35 | |
Breaking The Bank is in Empire Cinemas now, | 0:23:41 | 0:23:44 | |
on digital download from Monday, and on DVD from Monday 20 June. | 0:23:44 | 0:23:48 | |
-There is every way to see that film. -Yes, there is. | 0:23:48 | 0:23:51 | |
Now, fans. Obviously everyone has fans. | 0:23:53 | 0:23:55 | |
Kelsey, when you were filming here, you met if not your biggest fan, | 0:23:55 | 0:23:58 | |
certainly one of your biggest fans. | 0:23:58 | 0:24:00 | |
Certainly one of the biggest fans I've ever had, yeah. | 0:24:00 | 0:24:02 | |
Because, was she the girlfriend of someone who worked on the film? | 0:24:02 | 0:24:05 | |
She was the girlfriend of one of the prop guys, I think. | 0:24:05 | 0:24:08 | |
It was one of the guys that was helping. | 0:24:08 | 0:24:10 | |
But, she... I was introduced to her, and he said, | 0:24:12 | 0:24:15 | |
"Do you mind saying hello to my girlfriend?" and I said, | 0:24:15 | 0:24:17 | |
"Of course not." He says, "She has a tattoo of you on her arm." | 0:24:17 | 0:24:21 | |
And I said, "Oh. OK. Well, all right." | 0:24:24 | 0:24:28 | |
And then, she explained to me that it was confusing for a lot of people | 0:24:28 | 0:24:33 | |
because they would often ask her in a bar | 0:24:33 | 0:24:36 | |
why she had a tattoo of Bill Clinton on her arm. | 0:24:36 | 0:24:39 | |
LAUGHTER | 0:24:39 | 0:24:42 | |
-There it is. -I thought, "How did they ever get Bill Clinton | 0:24:42 | 0:24:46 | |
"out of that?" So I said, | 0:24:46 | 0:24:48 | |
"Why don't I just sign it and you can have that tattooed in there?" | 0:24:48 | 0:24:51 | |
-So that's what she finally did. -Oh... Wow. | 0:24:51 | 0:24:55 | |
Salma, you must have met people who've had you tattooed on them. | 0:24:55 | 0:24:59 | |
-Actually, I have. -I knew it, you see! | 0:24:59 | 0:25:02 | |
This is more common than we think! | 0:25:02 | 0:25:04 | |
But the weirdest one was Danny Trejo. | 0:25:04 | 0:25:08 | |
You know, the actor Danny Trejo from all these action films? | 0:25:08 | 0:25:13 | |
He was actually in prison for many years for... He's now an actor. | 0:25:13 | 0:25:19 | |
-Yes. -And he's very famous. | 0:25:19 | 0:25:20 | |
But before, he was in prison for many years for robbing banks. | 0:25:20 | 0:25:24 | |
And in prison he tattooed himself a huge tattoo of a woman here. | 0:25:24 | 0:25:31 | |
And he learned how to act in prison, and then when he got out of prison | 0:25:31 | 0:25:37 | |
he started working and, of course, | 0:25:37 | 0:25:39 | |
he landed on the movie, my first movie that I did. | 0:25:39 | 0:25:42 | |
And when he saw me for the first time, they told me, | 0:25:42 | 0:25:46 | |
"You're going to meet this prisoner that is now an actor." | 0:25:46 | 0:25:50 | |
I was a little bit afraid. | 0:25:50 | 0:25:52 | |
And when I saw him for the first time, he saw me | 0:25:52 | 0:25:56 | |
and he ran towards me and ripped his shirt off and said, | 0:25:56 | 0:26:01 | |
"I knew you before I knew you. I dreamt you before I knew you!" | 0:26:01 | 0:26:07 | |
And, sure enough, there was a picture of a woman | 0:26:08 | 0:26:12 | |
that looks exactly like me. | 0:26:12 | 0:26:15 | |
The body was a little bit better, but let's pretend... | 0:26:15 | 0:26:18 | |
LAUGHTER | 0:26:18 | 0:26:19 | |
-Exactly like me on his chest. -Wow. -Yes, yes. | 0:26:19 | 0:26:23 | |
-That is very peculiar. -He said, "I just got out of jail, | 0:26:23 | 0:26:27 | |
"and I'm happy but, for you, I would rob another bank!" | 0:26:27 | 0:26:32 | |
-So that was the strangest tattoo. -APPLAUSE | 0:26:34 | 0:26:37 | |
That's a fan. | 0:26:37 | 0:26:38 | |
Now, Rhod Gilbert, I know you have tattoos, | 0:26:38 | 0:26:42 | |
cos the last time you were here you showed us your flaming Battenburg. | 0:26:42 | 0:26:46 | |
That's not a euphemism. That's an actual tattoo. | 0:26:46 | 0:26:49 | |
-Do I need a bike pump? -LAUGHTER | 0:26:49 | 0:26:51 | |
But now you've added to your collection. | 0:26:54 | 0:26:56 | |
Don't call it a collection! That's a big word. I've got one more. | 0:26:56 | 0:26:59 | |
I got one more. But not through choice. | 0:26:59 | 0:27:02 | |
Well... I didn't want the first one | 0:27:02 | 0:27:04 | |
and I didn't want the second one either. | 0:27:04 | 0:27:06 | |
So why did you get the second one? | 0:27:06 | 0:27:08 | |
Well, I only got the first one because of a TV show. | 0:27:08 | 0:27:10 | |
The show I do, Rhod Gilbert's Work Experience, | 0:27:10 | 0:27:12 | |
I try out different jobs, I was trying to be a tattooist | 0:27:12 | 0:27:15 | |
and the producer said, "You've got to have a tattoo." I said I didn't want one. | 0:27:15 | 0:27:18 | |
In the end, I went, "They're pointless," and to prove that they're pointless, | 0:27:18 | 0:27:21 | |
I had the most pointless tattoo I could think of, | 0:27:21 | 0:27:24 | |
which was a Battenburg, on fire, on a cushion, which I've got there. | 0:27:24 | 0:27:27 | |
I'm very petty and wanted to win the argument. | 0:27:27 | 0:27:29 | |
In my head I went, "Right, that showed them." | 0:27:29 | 0:27:31 | |
But then, a few years later, I was doing... | 0:27:33 | 0:27:35 | |
I didn't have a punchline to a show. | 0:27:35 | 0:27:38 | |
I didn't have an ending to a show, so I flew to New York | 0:27:38 | 0:27:43 | |
and took a potato with me. | 0:27:43 | 0:27:46 | |
So I ended up getting a tattoo of the potato on my other shoulder. | 0:27:47 | 0:27:51 | |
And I tattooed the potato with my flaming Battenburg, | 0:27:53 | 0:27:56 | |
so the potato had one of me, and I had one of it. That was the point. | 0:27:56 | 0:27:59 | |
We've got a picture of the tattoo, there it is. | 0:27:59 | 0:28:02 | |
You can just see a glimpse of the Battenburg over there. | 0:28:03 | 0:28:06 | |
And here is... | 0:28:06 | 0:28:07 | |
Now, what sort of potato is that? | 0:28:07 | 0:28:09 | |
It's a King Edward. | 0:28:09 | 0:28:10 | |
What about your wife's name? | 0:28:13 | 0:28:16 | |
-What, Sian? -Yes. | 0:28:16 | 0:28:18 | |
How about tattooing her name for her birthday? | 0:28:18 | 0:28:21 | |
Because that would be a meaningful tattoo. I never wanted a | 0:28:21 | 0:28:24 | |
meaningful tattoo. I just want pointless tattoos. | 0:28:24 | 0:28:26 | |
-Anyway... -You're winning, Rhod. -I'm winning. | 0:28:26 | 0:28:30 | |
The worst thing is, it's not even like a potato. | 0:28:31 | 0:28:33 | |
I came away and thought, "God, that's a really good likeness | 0:28:33 | 0:28:36 | |
"of the potato." But then I forget it's there. | 0:28:36 | 0:28:38 | |
I was on a beach a couple of years ago in Wales, | 0:28:38 | 0:28:40 | |
the one nice day we had, and some kids came up to me holding hands, | 0:28:40 | 0:28:45 | |
a little boy and girl, and they said, "Excuse me, sir," | 0:28:45 | 0:28:47 | |
and I thought, "Oh, they're going to ask for an autograph, | 0:28:47 | 0:28:50 | |
"or the usual, a photo." I went, "Yes, what is it?" | 0:28:50 | 0:28:53 | |
The little boy went, "Why have you got a massive shite on your back?" | 0:28:53 | 0:28:57 | |
LAUGHTER | 0:28:57 | 0:28:59 | |
It is a little turd-like. | 0:29:05 | 0:29:08 | |
"A massive shite, sir." | 0:29:08 | 0:29:10 | |
-But, Kelsey, you've got ink, haven't you? -Just a little one. | 0:29:10 | 0:29:13 | |
-I actually have my wife's name tattooed. -See, it's meaningful. | 0:29:13 | 0:29:17 | |
She asked me if I would ever actually do that, and I said, | 0:29:17 | 0:29:20 | |
"Yeah, sure, of course I would." | 0:29:20 | 0:29:22 | |
-Is she called Potato? -No. -That's good. | 0:29:22 | 0:29:24 | |
-No, it's actually just her name, Kayte. -Where is it? | 0:29:24 | 0:29:28 | |
Somewhere near, you know... | 0:29:28 | 0:29:29 | |
This is a picture of it being done. | 0:29:31 | 0:29:33 | |
It gives you an idea of where it might be. | 0:29:33 | 0:29:36 | |
-RHOD: -God, it's internal! -LAUGHTER | 0:29:36 | 0:29:39 | |
-Is it on your bicycle pump? -Exactly. | 0:29:41 | 0:29:44 | |
Talk about marking your territory! | 0:29:44 | 0:29:46 | |
I've never seen anyone look quite so relaxed having a tattoo done. | 0:29:48 | 0:29:51 | |
Are you sure that's a photo from the tattoo thing? | 0:29:51 | 0:29:54 | |
It was a bit scratchy, I thought, but I'd had a parrot for years | 0:29:54 | 0:29:57 | |
and he used to bite me all the time, and that was worse than this. | 0:29:57 | 0:30:01 | |
That is a parrot that needs rescuing! | 0:30:01 | 0:30:03 | |
Oh, dear. Hey, Rhod Gilbert, new TV series. | 0:30:05 | 0:30:08 | |
You are looking for the UK's best part-time band. | 0:30:08 | 0:30:12 | |
It's a catchy title! | 0:30:12 | 0:30:13 | |
No, no, that says part-time band... | 0:30:13 | 0:30:16 | |
It's BBC Four, Fridays at 9:00. | 0:30:16 | 0:30:18 | |
It started tonight, but you can see that on catch-up, | 0:30:18 | 0:30:20 | |
and the final will be in a few weeks on BBC Two. | 0:30:20 | 0:30:23 | |
Is it as simple as... A part-time band is just not a full-time band? | 0:30:23 | 0:30:27 | |
It is that. | 0:30:27 | 0:30:28 | |
It's so much fun, it is so much fun. | 0:30:28 | 0:30:30 | |
It's a lot more fun than the title sounds. | 0:30:30 | 0:30:33 | |
As you saw from that picture, it's me, and I go out on tour, basically, | 0:30:33 | 0:30:37 | |
on the road for a week with Jazzie B from Soul II Soul... | 0:30:37 | 0:30:40 | |
You know, "Back to life..." | 0:30:40 | 0:30:42 | |
A week with Peter Hook, Joy Division, New Order, | 0:30:42 | 0:30:45 | |
and then a week with Midge Ure... Midge Ure! | 0:30:45 | 0:30:47 | |
And we just look at part-time bands, so people who play music | 0:30:47 | 0:30:51 | |
just for the love of it, as a passion, as a part-time thing, | 0:30:51 | 0:30:53 | |
not their main source of income. | 0:30:53 | 0:30:55 | |
And it's the most fun I've ever had. It's been a joy. | 0:30:55 | 0:30:58 | |
It's been an absolute joy. | 0:30:58 | 0:30:59 | |
And on BBC Two, for the final, what do they win? | 0:30:59 | 0:31:02 | |
Nothing. | 0:31:02 | 0:31:04 | |
It's BBC Two, mate! | 0:31:04 | 0:31:05 | |
LAUGHTER | 0:31:05 | 0:31:07 | |
An hour in the green room with me. | 0:31:07 | 0:31:09 | |
LAUGHTER AND APPLAUSE | 0:31:09 | 0:31:11 | |
We've got a clip. This is you meeting one... | 0:31:16 | 0:31:18 | |
I know this is one of your favourite part-time bands. | 0:31:18 | 0:31:22 | |
HE PLAYS HARMONICA | 0:31:22 | 0:31:24 | |
APPLAUSE | 0:31:36 | 0:31:37 | |
-Are you sure you're all in the band? -We've lost a couple. | 0:31:37 | 0:31:41 | |
Yeah, we had one die last week, unfortunately. | 0:31:41 | 0:31:44 | |
What, one of the band died last week? | 0:31:44 | 0:31:46 | |
Yeah, and then we lost a drummer last year. | 0:31:46 | 0:31:48 | |
Thank fuck we've got two others. | 0:31:48 | 0:31:50 | |
One and a spare! How the hell do you get together for rehearsals? | 0:31:51 | 0:31:55 | |
We don't rehearse. | 0:31:55 | 0:31:56 | |
I'm glad you said that. | 0:31:56 | 0:31:58 | |
THEY LAUGH | 0:31:58 | 0:32:00 | |
Midge, you're going to get a kick in the bollocks. | 0:32:00 | 0:32:02 | |
That's how I can still hit the high notes in Vienna. | 0:32:02 | 0:32:07 | |
APPLAUSE | 0:32:07 | 0:32:09 | |
-So much fun. -Yeah, why are you really rooting for those guys? | 0:32:12 | 0:32:17 | |
I'm so invested in all of them. We got so close to all of them. | 0:32:17 | 0:32:22 | |
I'm so invested. Those guys were called Pieces of Mind. | 0:32:22 | 0:32:25 | |
In 1966, they supported The Who. And then they split up, | 0:32:25 | 0:32:29 | |
went off and had their lives and jobs. | 0:32:29 | 0:32:32 | |
45 years, they just went off. | 0:32:32 | 0:32:34 | |
And then they just started playing again in the last couple of years, | 0:32:34 | 0:32:37 | |
and they're amazing. Absolutely amazing. | 0:32:37 | 0:32:39 | |
-They sounded really good there. -They are SO good. | 0:32:39 | 0:32:41 | |
So, in that band, they've got a sweepstake to get to the final? | 0:32:41 | 0:32:44 | |
Oh, yeah, they said to me, "We've got a sweepstake." That lead singer, | 0:32:44 | 0:32:48 | |
they're from Pontypool, in west Wales, but he's quite a Cockney. | 0:32:48 | 0:32:52 | |
He was going, "Yeah, we've got a sweepstake, Rhod, about the finals." | 0:32:52 | 0:32:55 | |
And I was like, "That's quite confident, quite cocky, | 0:32:55 | 0:32:58 | |
"having a sweepstake at this early stage about the final." | 0:32:58 | 0:33:00 | |
He goes, "No, no, no. A sweepstake to see | 0:33:00 | 0:33:02 | |
"who's fucking still alive when the final goes out." | 0:33:02 | 0:33:04 | |
APPLAUSE | 0:33:04 | 0:33:05 | |
It's so funny. So funny. | 0:33:09 | 0:33:11 | |
Now, Kelsey, talking of singing, | 0:33:14 | 0:33:16 | |
how did the singing lead to Sideshow Bob in The Simpsons? | 0:33:16 | 0:33:20 | |
Ah, well, Sam Simon, who created The Simpsons, | 0:33:20 | 0:33:24 | |
was one of the writers on Cheers, years ago. | 0:33:24 | 0:33:27 | |
And as I do, as is my wont, I would walk onto the set sometimes | 0:33:27 | 0:33:31 | |
and I would usually sing... | 0:33:31 | 0:33:33 | |
# Oh, the good life. # | 0:33:33 | 0:33:36 | |
Kind of in my best Tony Bennett derivative. | 0:33:36 | 0:33:38 | |
And he called me one afternoon and said, | 0:33:38 | 0:33:41 | |
"Hey, do you still sing, Kels?" | 0:33:41 | 0:33:43 | |
Could you sing a Cole Porter song? Ev'ry Time We Say Goodbye. | 0:33:43 | 0:33:46 | |
I said, "Of course I could. Yeah, I love that song." | 0:33:46 | 0:33:48 | |
He said, "Well, we've got this character who's never actually | 0:33:48 | 0:33:51 | |
"said anything on the show. | 0:33:51 | 0:33:53 | |
"He's Krusty The Clown's sideshow, we call him Sideshow Bob. | 0:33:53 | 0:33:58 | |
"And we want him to speak finally and we thought you should do it. | 0:33:58 | 0:34:01 | |
"Can you sing this Cole Porter song?" | 0:34:01 | 0:34:04 | |
I said I'd certainly do that. | 0:34:04 | 0:34:05 | |
And then I read the script | 0:34:05 | 0:34:06 | |
and it was actually really funny and wonderful. | 0:34:06 | 0:34:09 | |
But he was very cultured, and I borrowed... | 0:34:09 | 0:34:13 | |
At that time it seemed like the opportunity... | 0:34:13 | 0:34:15 | |
I had logged away a voice years ago | 0:34:15 | 0:34:18 | |
when I worked for a man named Ellis Rabb | 0:34:18 | 0:34:20 | |
who had started a theatre company in New York City, | 0:34:20 | 0:34:23 | |
had great success. | 0:34:23 | 0:34:24 | |
And when I was working for him, I was painting his bathroom | 0:34:24 | 0:34:29 | |
and hanging wallpaper and stuff like that. | 0:34:29 | 0:34:32 | |
I wasn't really a successful actor at the time. | 0:34:32 | 0:34:35 | |
But Ellis would regale me with stories | 0:34:35 | 0:34:37 | |
when he'd come home from work always | 0:34:37 | 0:34:39 | |
and he would say things like this, he'd say, | 0:34:39 | 0:34:41 | |
"Oh, Kelsey, that baby should have been mine." | 0:34:41 | 0:34:47 | |
This guy. I'm going to use him someday. | 0:34:49 | 0:34:52 | |
And when I read the script for Sideshow Bob, | 0:34:54 | 0:34:57 | |
I said, "This is Ellis Rabb." | 0:34:57 | 0:34:59 | |
And it went immediately into, "Oh, Bart, | 0:34:59 | 0:35:03 | |
"I just despise you." | 0:35:03 | 0:35:06 | |
APPLAUSE | 0:35:06 | 0:35:08 | |
All right, it is time for our musical guest tonight. | 0:35:13 | 0:35:15 | |
This lady burst onto the music scene 15 years ago | 0:35:15 | 0:35:18 | |
with her incredible debut, Falling. | 0:35:18 | 0:35:20 | |
Since then, she's won 15 Grammys and sold over 30 million records. | 0:35:20 | 0:35:25 | |
Here performing her new single, In Common, | 0:35:25 | 0:35:27 | |
is the fabulous Alicia Keys. | 0:35:27 | 0:35:28 | |
Yeah. | 0:35:39 | 0:35:40 | |
Yes. | 0:35:47 | 0:35:48 | |
Mm. | 0:35:52 | 0:35:53 | |
Mhm. | 0:35:53 | 0:35:55 | |
# Said I'd be gone by five | 0:35:57 | 0:35:59 | |
# But it's sunrise And I'm still in your bed | 0:36:01 | 0:36:03 | |
# Goodnight usually means goodbye | 0:36:05 | 0:36:08 | |
# And me replaying memories In my head | 0:36:08 | 0:36:12 | |
# Look at you, look at you Look what you made me do | 0:36:12 | 0:36:16 | |
# How do you, how do you figure my every move? | 0:36:16 | 0:36:20 | |
# Who are you? Who are you? You look so familiar | 0:36:20 | 0:36:24 | |
# I know you, I know you Baby, I know the truth | 0:36:24 | 0:36:27 | |
# We got way too much in common | 0:36:27 | 0:36:29 | |
# If I'm being honest with you | 0:36:32 | 0:36:35 | |
# We got way too much in common | 0:36:35 | 0:36:40 | |
# Since I'm being honest with you | 0:36:40 | 0:36:43 | |
# Who wants to love somebody like me? | 0:36:43 | 0:36:46 | |
# You wanna love somebody like me If you could love somebody like me | 0:36:46 | 0:36:49 | |
# You must be messed up, too | 0:36:49 | 0:36:51 | |
# Who wants to love somebody like me? | 0:36:51 | 0:36:53 | |
# You wanna love somebody like me If you could love somebody like me | 0:36:53 | 0:36:57 | |
# You must be messed up, too | 0:36:57 | 0:36:59 | |
# We used to talk until midnight | 0:37:01 | 0:37:03 | |
# All those days that you stayed at my house | 0:37:04 | 0:37:07 | |
# We were just passing the time | 0:37:08 | 0:37:11 | |
# We were young and we ain't had no vows | 0:37:12 | 0:37:15 | |
# Nah, nah, nah Maybe later on I'll text you | 0:37:16 | 0:37:19 | |
# Maybe you'll reply | 0:37:19 | 0:37:21 | |
# We both know we have no patience Together day and night | 0:37:21 | 0:37:24 | |
# Getting high on our supply Yeah, we ain't satisfied | 0:37:24 | 0:37:28 | |
# I could love you all occasions | 0:37:28 | 0:37:31 | |
# We got way too much in common | 0:37:31 | 0:37:35 | |
# If I'm being honest with you | 0:37:35 | 0:37:39 | |
# We got way too much in common | 0:37:39 | 0:37:44 | |
# Since I'm being honest with you | 0:37:44 | 0:37:46 | |
# Who wants to love somebody like me? | 0:37:47 | 0:37:50 | |
# You wanna love somebody like me If you could love somebody like me | 0:37:50 | 0:37:53 | |
# You must be messed up, too | 0:37:53 | 0:37:55 | |
# Who wants to love somebody like me? | 0:37:55 | 0:37:57 | |
# You wanna love somebody like me If you could love somebody like me | 0:37:57 | 0:38:01 | |
# You must be messed up, too | 0:38:01 | 0:38:03 | |
# Messed up, too Messed up, too | 0:38:04 | 0:38:08 | |
# Just like you Just like you | 0:38:08 | 0:38:12 | |
# Messed up, too Messed up, too | 0:38:12 | 0:38:16 | |
# Just like you Just like you | 0:38:16 | 0:38:20 | |
# We got way too much in common | 0:38:27 | 0:38:29 | |
# If I'm being honest with you | 0:38:31 | 0:38:35 | |
# We got way too much in common | 0:38:35 | 0:38:40 | |
# Since I'm being honest with you | 0:38:40 | 0:38:44 | |
# Who's going to love? Who's going to love? | 0:38:44 | 0:38:49 | |
# Oh, yeah | 0:38:49 | 0:38:52 | |
# Who's going to love? Who's going to touch? | 0:38:52 | 0:38:56 | |
# Oh, yeah | 0:38:56 | 0:38:59 | |
# Oh, baby | 0:38:59 | 0:39:01 | |
# La la la la la | 0:39:01 | 0:39:05 | |
# La la la | 0:39:05 | 0:39:08 | |
# La la la la la | 0:39:08 | 0:39:12 | |
# La la la. # | 0:39:12 | 0:39:17 | |
APPLAUSE | 0:39:19 | 0:39:24 | |
Thank you. | 0:39:24 | 0:39:25 | |
Beautiful. Alicia Keys and her band and her backing singers. | 0:39:26 | 0:39:31 | |
Come and join me, you. That's gorgeous. | 0:39:31 | 0:39:36 | |
-Thank you. -Thank you so much. Alicia Keys. -Thank you. | 0:39:36 | 0:39:40 | |
Come and join us on the sofa. | 0:39:40 | 0:39:42 | |
Good sofa. | 0:39:42 | 0:39:43 | |
-Sit there, my darling. -Hi. -Hi. How are you? | 0:39:43 | 0:39:45 | |
It's Rhod, it's Tamsin, it's Kelsey, it's Salma. | 0:39:45 | 0:39:50 | |
Good to see you, how you doing? | 0:39:50 | 0:39:52 | |
-It's my baby. -Ah! | 0:39:52 | 0:39:55 | |
This couch is funny. I was watching y'all. | 0:39:56 | 0:39:59 | |
-Do you know each other? Or was that just a fan...? -No, no, no, I know. | 0:39:59 | 0:40:02 | |
But I am a fan. | 0:40:02 | 0:40:05 | |
Yeah, well, listen, we all are. Thank you very much. | 0:40:05 | 0:40:07 | |
That single is out now, In Common. | 0:40:07 | 0:40:09 | |
The voice is Alicia Keys, | 0:40:09 | 0:40:11 | |
but the vibe is kind of different, isn't it? | 0:40:11 | 0:40:13 | |
Yeah. No, definitely. I've been feeling different. | 0:40:13 | 0:40:16 | |
I've been feeling really connected to myself. | 0:40:16 | 0:40:18 | |
I've just been feeling like... | 0:40:18 | 0:40:20 | |
Being so good with being vulnerable and raw. | 0:40:20 | 0:40:24 | |
The song itself says, you know, if you can love somebody like me, | 0:40:24 | 0:40:27 | |
you must be messed up, too. | 0:40:27 | 0:40:29 | |
I feel like we're all works in progresses | 0:40:29 | 0:40:31 | |
and when we can admit and just own that, | 0:40:31 | 0:40:33 | |
you know, we set ourselves free. | 0:40:33 | 0:40:35 | |
I'm feeling good, it's summertime. We're like... | 0:40:35 | 0:40:38 | |
APPLAUSE | 0:40:38 | 0:40:39 | |
It's very sexy. It's very, very sexy, that song. | 0:40:39 | 0:40:42 | |
It's feeling good, thank you. | 0:40:42 | 0:40:43 | |
-There was a clubby, funky vibe. -I loved it. -It's lovely. | 0:40:43 | 0:40:46 | |
How does it work now? | 0:40:46 | 0:40:47 | |
We just buy that song right now and then... | 0:40:47 | 0:40:50 | |
And then the album will come later. Yes, you get this now so you can | 0:40:50 | 0:40:52 | |
just live and vibe and feel the summer vibrations. | 0:40:52 | 0:40:56 | |
And then when the album comes, you'll know. | 0:40:56 | 0:40:58 | |
And then you go and get it. | 0:40:58 | 0:40:59 | |
So, you're, like, teasing us. | 0:40:59 | 0:41:01 | |
-A little, tiny, tiny bit of foreplay. -Oh, gosh. | 0:41:01 | 0:41:04 | |
LAUGHTER | 0:41:04 | 0:41:06 | |
Thank you very much, Alicia Keys. | 0:41:08 | 0:41:10 | |
Very good. | 0:41:10 | 0:41:11 | |
OK. | 0:41:11 | 0:41:12 | |
I think we've just got time for a very quick visit | 0:41:13 | 0:41:18 | |
to the big red chair. So, who do we find there? | 0:41:18 | 0:41:21 | |
-Hello. -Hello. -He looks like... | 0:41:21 | 0:41:23 | |
-Aw! -Oh, no! | 0:41:30 | 0:41:33 | |
He dressed to match a chair! | 0:41:33 | 0:41:34 | |
I hope it wasn't a good... | 0:41:39 | 0:41:40 | |
I tell you what, he can change his clothes and come back. | 0:41:40 | 0:41:44 | |
Who's up next? | 0:41:44 | 0:41:46 | |
Oh! | 0:41:46 | 0:41:47 | |
LAUGHTER AND APPLAUSE | 0:41:49 | 0:41:51 | |
Yes! | 0:41:51 | 0:41:52 | |
Yes, Graham. | 0:41:54 | 0:41:55 | |
He hasn't even taken his hat off! | 0:41:55 | 0:41:59 | |
Graham, you've dressed to match your chair, to be fair. | 0:41:59 | 0:42:01 | |
Give him a chance. | 0:42:01 | 0:42:03 | |
That's true, you've dressed to match your chair. | 0:42:03 | 0:42:05 | |
Well, I didn't... I was dressed. | 0:42:05 | 0:42:07 | |
-OK. -OK, what's your name, sir? | 0:42:07 | 0:42:09 | |
My name is Pedro. | 0:42:09 | 0:42:10 | |
OK, lovely, Pedro. And do you live here or somewhere else? | 0:42:10 | 0:42:13 | |
I live in London but I am from Mexico City originally. | 0:42:13 | 0:42:15 | |
More Spanish in the show. | 0:42:15 | 0:42:18 | |
-You're cheering right now. -I hope this story's not about me! | 0:42:18 | 0:42:21 | |
-You know it is going to be. -Have I met you before? | 0:42:21 | 0:42:25 | |
Off you go, Pedro. | 0:42:25 | 0:42:27 | |
So, on weekends, my boyfriend and I run this Mexican-street-food stall | 0:42:27 | 0:42:31 | |
at Sunday Upmarket on Brick Lane. | 0:42:31 | 0:42:33 | |
And we sell these Mexican flatbreads that are stuffed, | 0:42:33 | 0:42:37 | |
-that are called gorditas. -Oh, they're good. | 0:42:37 | 0:42:40 | |
I am sure Salma knows what gorditas are, | 0:42:40 | 0:42:42 | |
most people in London don't know. | 0:42:42 | 0:42:43 | |
We're the first people here selling them, | 0:42:43 | 0:42:45 | |
so we came up with the idea to try and yell out the | 0:42:45 | 0:42:49 | |
name of our product, | 0:42:49 | 0:42:50 | |
like they do in the markets in Mexico, to attract people. | 0:42:50 | 0:42:54 | |
Unfortunately, what we didn't know is that Sunday Upmarket, | 0:42:54 | 0:42:57 | |
it's very popular with Spanish tourists. | 0:42:57 | 0:43:00 | |
And actually, gorditas, the name of our product, | 0:43:00 | 0:43:04 | |
in Spanish means "little fat women". | 0:43:04 | 0:43:06 | |
It does! | 0:43:06 | 0:43:09 | |
So, after an hour of yelling, "Gordita! Gordita! Gordita!", | 0:43:09 | 0:43:12 | |
to people, we realised that it wasn't a good strategy because | 0:43:12 | 0:43:16 | |
we were calling customers fat. | 0:43:16 | 0:43:18 | |
So, we did not do it after that. | 0:43:18 | 0:43:22 | |
Yeah, whatever! | 0:43:22 | 0:43:23 | |
OK. | 0:43:23 | 0:43:25 | |
I want the address where I can go and buy the gorditas. | 0:43:25 | 0:43:28 | |
We'll get you gorditas. | 0:43:28 | 0:43:29 | |
Well done, everyone. | 0:43:29 | 0:43:31 | |
If you'd like to join us on the show and have a go in the red chair, | 0:43:31 | 0:43:33 | |
you can contact us via our website at this very address. | 0:43:33 | 0:43:36 | |
That is it for tonight. | 0:43:36 | 0:43:37 | |
So, please say a huge thank you to my guests. | 0:43:37 | 0:43:39 | |
Alicia Keys! APPLAUSE | 0:43:39 | 0:43:42 | |
Mr Rhod Gilbert. APPLAUSE | 0:43:42 | 0:43:45 | |
Tamsin Greig. APPLAUSE | 0:43:45 | 0:43:47 | |
Kelsey Grammer. APPLAUSE | 0:43:47 | 0:43:50 | |
And Salma Hayek. APPLAUSE | 0:43:50 | 0:43:54 | |
Do join me next week, with music from Tom Odell, | 0:43:54 | 0:43:57 | |
Aussie heart-throb Liam Hemsworth, Hollywood star Jeff Goldblum | 0:43:57 | 0:44:00 | |
and the mighty Rock himself, Dwayne Johnson. | 0:44:00 | 0:44:02 | |
I'll see you then. Good night, everyone. Bye-bye! | 0:44:02 | 0:44:05 |