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This programme contains some strong language. | 0:00:02 | 0:00:07 | |
So many great films to talk about! I'm here with my date, Dame Helen Mirren. Mm! | 0:00:07 | 0:00:10 | |
I'm all set. I've got my popcorn, I've got my drink... | 0:00:10 | 0:00:14 | |
All I need now is a snog with my date. | 0:00:14 | 0:00:17 | |
Charming. Let's start the show! | 0:00:19 | 0:00:21 | |
CHEERING | 0:00:21 | 0:00:24 | |
Oh! | 0:00:37 | 0:00:39 | |
Oh! | 0:00:39 | 0:00:40 | |
Oh! | 0:00:40 | 0:00:41 | |
Oh! Oh! | 0:00:41 | 0:00:43 | |
Hello! | 0:00:43 | 0:00:45 | |
Hello! | 0:00:45 | 0:00:46 | |
Welcome, one. Welcome, all! | 0:00:46 | 0:00:49 | |
Thank you! Thank you! Lovely to see you all. | 0:00:52 | 0:00:55 | |
Thanks for being here. Great show tonight. | 0:00:55 | 0:00:57 | |
Of course, the great dame herself is here, plus a host of film stars. | 0:00:57 | 0:01:02 | |
I tell you, there are more stars on that sofa | 0:01:02 | 0:01:05 | |
than a tax office in Panama. There really are. | 0:01:05 | 0:01:07 | |
Not me! Phew! | 0:01:10 | 0:01:12 | |
I did check. "Did I do that? | 0:01:13 | 0:01:15 | |
"No, I didn't." | 0:01:15 | 0:01:17 | |
Now, very exciting because, later on, we've got a real treat. | 0:01:17 | 0:01:20 | |
Making his first appearance on the show, | 0:01:20 | 0:01:23 | |
actor and Academy Award-winning director Kevin Costner! | 0:01:23 | 0:01:27 | |
CHEERING Yeah! He's here! | 0:01:27 | 0:01:30 | |
But who's coming on first? | 0:01:31 | 0:01:33 | |
From Slough to superstardom, | 0:01:33 | 0:01:35 | |
this man has won Baftas, Golden Globes and Emmys | 0:01:35 | 0:01:38 | |
and is one of Britain's greatest comedy exports... | 0:01:38 | 0:01:40 | |
Please welcome, Mr Ricky Gervais! | 0:01:40 | 0:01:44 | |
Yeah! | 0:01:44 | 0:01:45 | |
-Hello! -Thank you. | 0:01:45 | 0:01:48 | |
How do you do? Good to see you! | 0:01:48 | 0:01:49 | |
-You all right? -Yeah, good. Sit down! | 0:01:49 | 0:01:52 | |
Starring with Ricky in his new film Special Correspondents, | 0:01:53 | 0:01:56 | |
this man is one of Australia's finest actors | 0:01:56 | 0:01:59 | |
who starred in Munich, Star Trek, Troy and Black Hawk Down, | 0:01:59 | 0:02:02 | |
it's Mr Eric Bana! | 0:02:02 | 0:02:04 | |
Yes, it is! | 0:02:05 | 0:02:07 | |
Hello! How are you doing? Nice to see you! Sit down, sit down! | 0:02:07 | 0:02:10 | |
He went from Trainspotting to "Moulin Rouge!" and Star Wars | 0:02:12 | 0:02:16 | |
as the young Obi-Wan Kenobi. | 0:02:16 | 0:02:17 | |
Now he's starring in the new Le Carre thriller, | 0:02:17 | 0:02:20 | |
Our Kind Of Traitor, | 0:02:20 | 0:02:21 | |
it's Ewan McGregor, everybody! | 0:02:21 | 0:02:24 | |
-Hello! -New shoes? | 0:02:25 | 0:02:27 | |
-How are you? -I'm really well, nice to see you. | 0:02:27 | 0:02:29 | |
Hi, lads. | 0:02:29 | 0:02:31 | |
And it's a very warm welcome back to true acting royalty. | 0:02:31 | 0:02:37 | |
It's the Tony, Emmy and Oscar-winning Dame Helen Mirren! | 0:02:37 | 0:02:40 | |
Yay! | 0:02:42 | 0:02:44 | |
Hello! | 0:02:44 | 0:02:45 | |
Mwah! Lovely to see you! Come in... | 0:02:45 | 0:02:48 | |
Sit! Sit! | 0:02:50 | 0:02:52 | |
Oh! | 0:02:52 | 0:02:53 | |
Glad we all chose dark colours tonight. That was a good choice. | 0:02:53 | 0:02:56 | |
You look lovely. You stand out. | 0:02:56 | 0:02:59 | |
-They're not overcrowding you, there, on the sofa, the boys? -I wish. | 0:02:59 | 0:03:02 | |
He made me move up but I'm on a crack. | 0:03:02 | 0:03:05 | |
-Move on down. -Someone thought he was the only one on. | 0:03:05 | 0:03:10 | |
There you go. No, because men like to do the manspreading thing, | 0:03:10 | 0:03:13 | |
which can crush a lady. | 0:03:13 | 0:03:15 | |
Yes, look, even here, I'm sitting nicely like this | 0:03:15 | 0:03:18 | |
-with my legs crossed. You are, too. -Yes. | 0:03:18 | 0:03:20 | |
They're all like, you know, "My sofa." | 0:03:20 | 0:03:23 | |
No, because, Ricky Gervais, you've fallen victim of manspreading. | 0:03:25 | 0:03:28 | |
Well, it wasn't me. We were at the Knicks game in New York, basketball. | 0:03:28 | 0:03:32 | |
We're right in the front row, great seats. | 0:03:32 | 0:03:35 | |
This side of me was your mate Hugh Jackman... | 0:03:35 | 0:03:39 | |
Right. | 0:03:39 | 0:03:41 | |
-Because he's from Australia. -Yeah, you all live in the same... | 0:03:41 | 0:03:44 | |
Like Neighbours. You all live in the same... | 0:03:44 | 0:03:47 | |
My girlfriend Jane was here and, next to her, | 0:03:47 | 0:03:49 | |
Evander Holyfield came and sat down | 0:03:49 | 0:03:52 | |
and he's massive and she went, "His thighs are halfway on my..." | 0:03:52 | 0:03:56 | |
His thighs were like that, right? | 0:03:56 | 0:03:57 | |
"I'm squeezed up," and I said, "I'm not going to say anything!" | 0:03:57 | 0:04:01 | |
Wolverine wouldn't help me, would he? | 0:04:01 | 0:04:04 | |
They were massive, yeah. | 0:04:04 | 0:04:05 | |
I don't need to spread. | 0:04:05 | 0:04:07 | |
I've got tiny testicles. | 0:04:07 | 0:04:08 | |
You see, I would have thought, Eric and Ewan, | 0:04:11 | 0:04:13 | |
because you both ride motorcycles, that you're kind of... | 0:04:13 | 0:04:16 | |
You must be prone to manspreading. | 0:04:16 | 0:04:18 | |
I actually had an incident last week. | 0:04:18 | 0:04:20 | |
I was at a football game and I had a foot-spreader. | 0:04:20 | 0:04:23 | |
I had a foot-spreader next to me | 0:04:23 | 0:04:25 | |
and I actually found myself getting quite pissed off about it | 0:04:25 | 0:04:28 | |
because... Like Ricky, he had sort of invaded my space | 0:04:28 | 0:04:31 | |
to the point that I couldn't adopt a neutral stance. | 0:04:31 | 0:04:34 | |
I had to kind of like do that. | 0:04:34 | 0:04:36 | |
-You wanted to spread. -I wanted to hit him and he... | 0:04:36 | 0:04:39 | |
And I just couldn't reclaim it and it took until three-quarter time. | 0:04:40 | 0:04:44 | |
I had to wait till he went to the bathroom | 0:04:44 | 0:04:46 | |
and then I was like, "Oh, finally!" | 0:04:46 | 0:04:49 | |
And he didn't return so I couldn't actually claim... | 0:04:49 | 0:04:52 | |
And he barracked for the opposition, so I just was trying to be nice. | 0:04:52 | 0:04:56 | |
Because, now, Ewan McGregor, see, the motorcycle thing, | 0:04:56 | 0:04:59 | |
but also kilts, I would've thought would encourage manspreading. | 0:04:59 | 0:05:01 | |
-Definitely not! -No. | 0:05:01 | 0:05:03 | |
Why would you do that with a kilt on? | 0:05:03 | 0:05:05 | |
You have to be careful with a kilt. | 0:05:05 | 0:05:08 | |
But doesn't the sporran keep the middle down? | 0:05:08 | 0:05:10 | |
If you've got enough change in your sporran to weigh it down. | 0:05:10 | 0:05:13 | |
Is that a euphemism? | 0:05:13 | 0:05:15 | |
-Is that what you put in a sporran? Money? -Change, your fags, whatever. | 0:05:15 | 0:05:19 | |
I didn't know that. They're like a little pocket. | 0:05:19 | 0:05:21 | |
-It's like a little pouch. -I thought it was just a look, you know? | 0:05:21 | 0:05:24 | |
-It's a practical thing. -BANA: -The original fanny pack. | 0:05:24 | 0:05:26 | |
Original man-bag, he says! | 0:05:26 | 0:05:28 | |
A man-bag! | 0:05:28 | 0:05:29 | |
Your traditional Scottish thing is a man-bag! | 0:05:29 | 0:05:33 | |
Braveheart had a man-bag! | 0:05:34 | 0:05:35 | |
The other thing is to touch people. | 0:05:37 | 0:05:39 | |
-What? -It's to touch people. | 0:05:39 | 0:05:41 | |
Different times, different times. | 0:05:42 | 0:05:44 | |
-Nice to see you. -Lovely. | 0:05:47 | 0:05:49 | |
-Hi. -How's it going? | 0:05:49 | 0:05:51 | |
You see politicians do this. | 0:05:51 | 0:05:54 | |
You see them fighting to be the first one to touch the other one | 0:05:54 | 0:05:57 | |
-because touching... -Is that a power... | 0:05:57 | 0:05:59 | |
-That's a power thing, though. -It's a power thing. | 0:05:59 | 0:06:01 | |
If I touch Ewan, I'm not being nice to Ewan, I'm saying... | 0:06:01 | 0:06:06 | |
It's quite nice. | 0:06:06 | 0:06:08 | |
-Stop it! -It's quite nice to me. | 0:06:08 | 0:06:10 | |
-Please touch me again. Go on. -You know what I'm saying. | 0:06:10 | 0:06:13 | |
Have you a lot of change in your sporran now? | 0:06:13 | 0:06:16 | |
APPLAUSE | 0:06:16 | 0:06:19 | |
Hey, we've got lots of movies to talk about tonight | 0:06:21 | 0:06:24 | |
so let's start with Dame Helen's new film, which is Eye In The Sky. | 0:06:24 | 0:06:29 | |
I love this film. It's a properly kind of exciting, nail-biting drama | 0:06:29 | 0:06:33 | |
about modern warfare with drones. | 0:06:33 | 0:06:36 | |
It opens next Friday. | 0:06:36 | 0:06:38 | |
Before we talk about it, | 0:06:38 | 0:06:40 | |
this clip really kind of sets up the central moral dilemma | 0:06:40 | 0:06:44 | |
in that sort of warfare. You're the colonel. | 0:06:44 | 0:06:47 | |
She's stopped. | 0:06:51 | 0:06:53 | |
Lieutenant, we have this one opportunity. Let's not lose it. | 0:07:16 | 0:07:20 | |
-Ma'am, she's selling bread. -Jesus... | 0:07:20 | 0:07:24 | |
Those men are about to disperse. Engage now. | 0:07:24 | 0:07:26 | |
Ma'am, I understand we have clearance. | 0:07:26 | 0:07:28 | |
I will fire if I see the HVIs moving | 0:07:28 | 0:07:30 | |
or when this girl's out of the frag radius | 0:07:30 | 0:07:32 | |
but I want to give her a chance to get out of the way. | 0:07:32 | 0:07:34 | |
Lieutenant, you have clearance. | 0:07:34 | 0:07:35 | |
There is a lot more at stake than you see here in this image. | 0:07:35 | 0:07:38 | |
Ma'am, I need you to run the collateral damage estimate again with this girl out front. | 0:07:38 | 0:07:42 | |
The situation has not changed, lieutenant. | 0:07:42 | 0:07:44 | |
You are cleared to engage. | 0:07:44 | 0:07:46 | |
CHEERING AND APPLAUSE | 0:07:46 | 0:07:48 | |
And it is, you know... A lot of movies try to be tense. | 0:07:52 | 0:07:55 | |
This is... And it holds you for the whole time. | 0:07:55 | 0:07:58 | |
Yes, it does. It really does. It takes place in real time. | 0:07:58 | 0:08:01 | |
The two hours that this operation takes to be completed | 0:08:01 | 0:08:06 | |
is exactly the sort of two hours of the movie... | 0:08:06 | 0:08:08 | |
And it's a kind of forensic examination of all the decisions | 0:08:08 | 0:08:12 | |
-that have to go into something. -Yes. Extraordinary. | 0:08:12 | 0:08:14 | |
I didn't know about this | 0:08:14 | 0:08:15 | |
and I think the majority of the audience won't understand. | 0:08:15 | 0:08:18 | |
In a strike like this, specifically like this, | 0:08:18 | 0:08:22 | |
this is exactly what would happen in terms of the chain of command, | 0:08:22 | 0:08:26 | |
going all the way up to the Prime Minister if necessary, | 0:08:26 | 0:08:30 | |
and nobody, as you see in the movie, quite wanting to make a decision. | 0:08:30 | 0:08:34 | |
And it's a great cast of Americans and British actors. | 0:08:34 | 0:08:37 | |
And we must mention the late, great Alan Rickman, who's perfect in this. | 0:08:37 | 0:08:40 | |
Yes, fantastic. His last film. | 0:08:40 | 0:08:42 | |
-It's a brilliant, fitting final performance. -It is. | 0:08:42 | 0:08:44 | |
I think it's a movie he would be very proud of | 0:08:44 | 0:08:47 | |
in the sense that he would appreciate what the film was about | 0:08:47 | 0:08:49 | |
and the way in which it tells its story, | 0:08:49 | 0:08:51 | |
it doesn't take sides, incidentally. | 0:08:51 | 0:08:53 | |
It makes no moral decisions. | 0:08:53 | 0:08:55 | |
It just throws up the moral questions | 0:08:55 | 0:08:57 | |
but what I love about the film is it's Alan as I knew Alan, you know? | 0:08:57 | 0:09:02 | |
He was a brilliant character actor | 0:09:02 | 0:09:04 | |
and we see him in Harry Potter and Die Hard | 0:09:04 | 0:09:07 | |
playing these extraordinary characters. | 0:09:07 | 0:09:09 | |
That is Alan as he really is, you know? | 0:09:09 | 0:09:11 | |
Funny, urbane, intelligent, very human | 0:09:11 | 0:09:15 | |
and so it's really great to see him up there. | 0:09:15 | 0:09:18 | |
There is action in this film even though you're in that room, | 0:09:18 | 0:09:21 | |
but you have done the kind of big action thing. | 0:09:21 | 0:09:24 | |
-You did the Red franchise. -I did Red, yes. | 0:09:24 | 0:09:26 | |
And, now, I hear... I don't know if this is true. | 0:09:26 | 0:09:29 | |
That you are gunning to be in a big action franchise. | 0:09:29 | 0:09:33 | |
Yes, Fast And Furious. | 0:09:33 | 0:09:35 | |
-I would love to be in Fast And Furious. -LAUGHTER | 0:09:35 | 0:09:37 | |
-You're not joking, are you? You're serious. -No, no. | 0:09:37 | 0:09:40 | |
It's incredible fun to do those movies. Aren't they? | 0:09:40 | 0:09:42 | |
I mean, they're like... You don't act. | 0:09:42 | 0:09:46 | |
LAUGHTER | 0:09:46 | 0:09:48 | |
Phew! | 0:09:48 | 0:09:50 | |
-Now I'm interested, yeah. -No acting required. | 0:09:50 | 0:09:53 | |
It's amazing. They set all these things... | 0:09:53 | 0:09:55 | |
Things explode all around you and... | 0:09:55 | 0:09:58 | |
Oh, it's unbelievable fun. | 0:09:58 | 0:10:00 | |
And that with cars, that would be my dream come true. | 0:10:00 | 0:10:04 | |
-I didn't know - you love cars. -I don't love cars. | 0:10:04 | 0:10:07 | |
-You like driving? -I like driving. | 0:10:07 | 0:10:08 | |
I'm not interested in cars as cars. | 0:10:08 | 0:10:11 | |
You guys are, right? Some of you are. | 0:10:11 | 0:10:13 | |
-You're a racing driver. -Yeah, I love cars | 0:10:13 | 0:10:15 | |
but I don't ever want to do a movie where you pretend to race cars | 0:10:15 | 0:10:19 | |
because that would drive me insane. | 0:10:19 | 0:10:21 | |
Oh, I'd like that. | 0:10:21 | 0:10:23 | |
-I'd be very offended. -Oh! | 0:10:23 | 0:10:24 | |
A guy coming over and saying, | 0:10:25 | 0:10:27 | |
"Are you familiar with a manual transmission?" | 0:10:27 | 0:10:30 | |
-But you can't... Can you not drive at all? -No. | 0:10:30 | 0:10:33 | |
No, but do you know how? | 0:10:33 | 0:10:36 | |
Well, I've seen people do it. | 0:10:36 | 0:10:37 | |
-I'll have a go. -You don't have a licence? -No. -OK. | 0:10:39 | 0:10:42 | |
You can't drink and drive, so what's the point? | 0:10:42 | 0:10:45 | |
That's kind of... CHEERING AND APPLAUSE | 0:10:45 | 0:10:49 | |
That's sort of why I learnt. | 0:10:50 | 0:10:53 | |
-To stop myself drinking! -Really? | 0:10:53 | 0:10:56 | |
-There'll be a couple of occasions when I can't drink. -Not worth it. | 0:10:56 | 0:11:00 | |
Helen, have you done the stunt driving in movies? | 0:11:00 | 0:11:03 | |
I drove stunt driving, believe it or not, in The Queen. | 0:11:03 | 0:11:06 | |
Was there a lot of stunt... | 0:11:06 | 0:11:08 | |
Now, you may think that doesn't count as stunt driving | 0:11:12 | 0:11:14 | |
but I had to do a shot where, as my fellow actors will know, | 0:11:14 | 0:11:18 | |
the cameras were set up all across the front of the car, | 0:11:18 | 0:11:21 | |
so I couldn't see anything and I had to drive like quite fast | 0:11:21 | 0:11:25 | |
through country... Not even made-up roads, just back tracks in Scotland | 0:11:25 | 0:11:32 | |
so that... I think that sort of categorises as stunt driving. | 0:11:32 | 0:11:36 | |
Yeah, Fast And Furious - easy. | 0:11:36 | 0:11:38 | |
Previous experience! | 0:11:40 | 0:11:43 | |
I also smashed a camera off the side of a car | 0:11:43 | 0:11:46 | |
when I was stunt driving once. | 0:11:46 | 0:11:48 | |
I totally forgot that it was on the side... | 0:11:48 | 0:11:51 | |
You know, put on the side of the car. | 0:11:51 | 0:11:54 | |
I was on my own in the car and I went round a corner really fast | 0:11:54 | 0:11:58 | |
but, of course, I forgot about the camera | 0:11:58 | 0:12:01 | |
and I completely smashed it off the... | 0:12:01 | 0:12:03 | |
Total write-off, the camera. | 0:12:03 | 0:12:05 | |
We've got a lot to think about, though, haven't we? | 0:12:05 | 0:12:07 | |
We're put in cars and asked to drive with cameras in the way | 0:12:07 | 0:12:10 | |
and we're acting as well. There's quite a lot to think about. | 0:12:10 | 0:12:13 | |
And, suddenly, it becomes impossible to open the door. | 0:12:13 | 0:12:16 | |
Somehow, opening the door becomes a real difficulty. | 0:12:16 | 0:12:19 | |
What I can't do in a film is park a car. | 0:12:19 | 0:12:22 | |
Like, I'm a good driver and I can park a car like the best of them... | 0:12:22 | 0:12:25 | |
All right! | 0:12:25 | 0:12:27 | |
But, when there's a camera crew there, you can't park a car. | 0:12:28 | 0:12:31 | |
It's tough being an actor. | 0:12:31 | 0:12:35 | |
The audience are going, "Oh, poor them!" | 0:12:35 | 0:12:39 | |
Nurses, soldiers... You try and park a car with someone looking at you. | 0:12:39 | 0:12:43 | |
Because, Ricky and Eric, your new movie is Special Correspondents. | 0:12:45 | 0:12:48 | |
Now, Eric, you did all your own driving in that, though, didn't you? | 0:12:48 | 0:12:51 | |
There wasn't much, there was just one scene | 0:12:51 | 0:12:53 | |
where we have a little getaway and some people, you know, | 0:12:53 | 0:12:56 | |
claim to be nervous passengers in your car and you kind of go, | 0:12:56 | 0:12:58 | |
"Oh, whatever, I don't mind scaring them," but I genuinely... | 0:12:58 | 0:13:02 | |
Ricky was so convincing, describing to me how scared... | 0:13:02 | 0:13:07 | |
-I'm scared of roads. -Really, really scared. | 0:13:07 | 0:13:09 | |
No, seriously, I'm scared of roads and speed and all that. | 0:13:09 | 0:13:12 | |
And guns. I'm scared of guns. | 0:13:12 | 0:13:14 | |
I had to shoot a gun and jump into a Jeep that he had to... | 0:13:14 | 0:13:17 | |
I found out. I didn't even know he was a race car driver | 0:13:17 | 0:13:20 | |
when I wrote the scene and then that worried me but he was really good. | 0:13:20 | 0:13:24 | |
I was so... I went the other way. | 0:13:24 | 0:13:26 | |
I was like, "He's going to really, really get scared here | 0:13:26 | 0:13:28 | |
"if I try and scare him," | 0:13:28 | 0:13:30 | |
so I actually... I took it really easy on him, actually, | 0:13:30 | 0:13:32 | |
because I was worried he would go to his trailer and just not come back. | 0:13:32 | 0:13:36 | |
He drove with one hand and the other hand just comforting me. | 0:13:36 | 0:13:40 | |
Manspreaded, our knees were touching. | 0:13:41 | 0:13:45 | |
I said, "It's all right." | 0:13:45 | 0:13:46 | |
Well, you're making the film sound very exciting. | 0:13:46 | 0:13:48 | |
Special Correspondents, now, this is posh and new, ladies and gentlemen. | 0:13:50 | 0:13:53 | |
It is released worldwide on Netflix on 29th April. | 0:13:53 | 0:13:58 | |
-Exactly. -So tell the people what it's about. | 0:13:58 | 0:14:00 | |
It's about... | 0:14:00 | 0:14:02 | |
I play a bit of a radio nerd. | 0:14:02 | 0:14:05 | |
I'm an engineer. | 0:14:05 | 0:14:06 | |
Eric plays a handsome sort of... | 0:14:06 | 0:14:09 | |
We flipped a coin. He plays... | 0:14:09 | 0:14:11 | |
..the tall handsome radio sort of news journalist | 0:14:12 | 0:14:16 | |
and I look up to him but he thinks I'm an idiot | 0:14:16 | 0:14:19 | |
and he sort of bullies me. | 0:14:19 | 0:14:20 | |
And we're thrown together, | 0:14:20 | 0:14:21 | |
and we're meant to go and cover a civil war, | 0:14:21 | 0:14:24 | |
but because I'm going through a really bad time, | 0:14:24 | 0:14:27 | |
I lose the tickets and passport | 0:14:27 | 0:14:29 | |
and we have to sort of hide in a Spanish restaurant | 0:14:29 | 0:14:33 | |
and we're trying to work out how we get out of this | 0:14:33 | 0:14:37 | |
and I think this is... You've got a clip. | 0:14:37 | 0:14:39 | |
We've got the clip of you and the people in the Spanish restaurant. | 0:14:39 | 0:14:42 | |
Yeah, we're trying to brainstorm how we get out of this situation now | 0:14:42 | 0:14:45 | |
because we're expected to do a report from Ecuador in a few hours | 0:14:45 | 0:14:48 | |
-and, obviously, we're not there. -Here we go. | 0:14:48 | 0:14:51 | |
We need to brainstorm. | 0:14:51 | 0:14:52 | |
-Brainstorm. -Brainstorm. | 0:14:52 | 0:14:53 | |
-What is a brainstorm? -I love these two to bits but they're not | 0:14:55 | 0:14:58 | |
-the sharpest tool in the box. -You're a genius. | 0:14:58 | 0:15:00 | |
-Can two other people go, instead of you? -What? Of course not. | 0:15:00 | 0:15:04 | |
-Can you cover a different story? -No, it needs to be that story, | 0:15:04 | 0:15:07 | |
it needs to be Ecuador and it needs to be us. | 0:15:07 | 0:15:10 | |
-I got it. -Go on. -You could use someone else's passports. | 0:15:10 | 0:15:13 | |
-Ours! -Oh, we're screwed. -No, but she's... Who would...? | 0:15:13 | 0:15:17 | |
OK, um...you could save up money for a new ticket | 0:15:17 | 0:15:19 | |
-and by then the passports will be here. -And the war will be over. | 0:15:19 | 0:15:23 | |
-That's good. -Not for us. -No, but for the people. | 0:15:23 | 0:15:26 | |
-Less will die. -Less will die. -They're thinking of the people. | 0:15:26 | 0:15:29 | |
-Less will die. -You'll die, though - I'll kill you. | 0:15:29 | 0:15:31 | |
LAUGHTER AND APPLAUSE | 0:15:31 | 0:15:35 | |
You guys have not worked together before. | 0:15:39 | 0:15:41 | |
Eric, how did you expect Ricky to be as a director? | 0:15:41 | 0:15:43 | |
I had no real expectation. I was just shocked that he knew who I was. | 0:15:43 | 0:15:47 | |
I got a call that he was doing this project and blah, blah, blah | 0:15:47 | 0:15:50 | |
and "We'll send you the script." I'm like, | 0:15:50 | 0:15:52 | |
"Oh, yeah, I'm a fan and I would love to read what he's doing next. | 0:15:52 | 0:15:55 | |
"What's the point of me reading the script?" They're like, | 0:15:55 | 0:15:58 | |
"He wants you to be in it." And I literally, I was like, | 0:15:58 | 0:16:00 | |
-"Does Ricky Gervais know who I am? Does he know I exist?" -Really? -Yeah. | 0:16:00 | 0:16:05 | |
It was so bizarre! And I read the script and it was terrible. | 0:16:05 | 0:16:09 | |
LAUGHTER | 0:16:09 | 0:16:12 | |
But I was humbled by the fact that he knew who I was, so I said yes. | 0:16:12 | 0:16:17 | |
And I remember, the reason I cast you is | 0:16:17 | 0:16:19 | |
cos I thought you were this really cool, brooding thespian - | 0:16:19 | 0:16:22 | |
I saw you in Munich and he was the Hulk and all this - | 0:16:22 | 0:16:26 | |
and I thought it would be great, an action hero, a bit screwed up. | 0:16:26 | 0:16:29 | |
And on the first day you said, | 0:16:29 | 0:16:32 | |
"Did you cast me cos you knew I did comedy?" | 0:16:32 | 0:16:34 | |
And I didn't. He started out in comedy, in Australia, | 0:16:34 | 0:16:36 | |
in a very similar way to me. | 0:16:36 | 0:16:39 | |
You did a little sketch show and then you got your own show | 0:16:39 | 0:16:42 | |
and then you went and became a handsome action hero. | 0:16:42 | 0:16:46 | |
-Just like you. -Just like me. | 0:16:46 | 0:16:49 | |
No, but I didn't... | 0:16:49 | 0:16:51 | |
And I found out he was an idiot like me. It was brilliant! | 0:16:51 | 0:16:54 | |
He's not cool at all, he's a fucking idiot. | 0:16:54 | 0:16:56 | |
LAUGHTER | 0:16:56 | 0:16:58 | |
We talked about nothing but our balls for about six... | 0:16:58 | 0:17:03 | |
-Is that true? -Unfortunately. -But in a funny Russian accent. | 0:17:03 | 0:17:07 | |
-RUSSIAN ACCENT: -"Hello, how are your balls?" | 0:17:07 | 0:17:09 | |
I don't know how that happened. It just morphed into... | 0:17:09 | 0:17:12 | |
Why did it have to be Russian? He'd come to work and go... | 0:17:12 | 0:17:15 | |
-RUSSIAN ACCENT: -"And here comes Mr Bana with his big balls." | 0:17:15 | 0:17:18 | |
And I'd be like... | 0:17:18 | 0:17:20 | |
-RUSSIAN ACCENT: -"Here comes Mr Gervais with the suspiciously round balls." | 0:17:20 | 0:17:24 | |
Is it cos I found out you were Croatian? | 0:17:24 | 0:17:27 | |
Yeah, but I'm not Russian! | 0:17:27 | 0:17:30 | |
I can't do any accents. | 0:17:30 | 0:17:32 | |
It just sounds different. That's it. | 0:17:32 | 0:17:34 | |
He had to play American and I didn't want to play American. | 0:17:34 | 0:17:37 | |
Everyone was American except me. I wrote in, "He's from Reading." | 0:17:37 | 0:17:42 | |
LAUGHTER | 0:17:42 | 0:17:44 | |
You may not have known that Eric Bana was a stand-up | 0:17:44 | 0:17:47 | |
but I didn't know that you, Helen, worked as a carny, | 0:17:47 | 0:17:50 | |
like in a carnival. | 0:17:50 | 0:17:52 | |
Uh, well, in Southend-on-Sea, which sadly is closed now. | 0:17:52 | 0:17:57 | |
It was a funfair. | 0:17:57 | 0:17:59 | |
OK. What did you do? | 0:17:59 | 0:18:01 | |
I worked on a dart's stall | 0:18:01 | 0:18:03 | |
and I worked as a blaggard to get the people to come to the stall. | 0:18:03 | 0:18:08 | |
You seem a bit posh to do that. | 0:18:08 | 0:18:12 | |
She was common then. | 0:18:12 | 0:18:14 | |
I was common then, actually. | 0:18:14 | 0:18:16 | |
Not really, but I did live in Southend-on-Sea. | 0:18:16 | 0:18:20 | |
Southend-on-Sea's fabulous. It's St Tropez, you know... | 0:18:20 | 0:18:25 | |
The British St Tropez. | 0:18:25 | 0:18:27 | |
And how did you encourage people to play darts? | 0:18:27 | 0:18:29 | |
-I'd shout at them incomprehensively. -What would you say? | 0:18:29 | 0:18:33 | |
"Excuse me, sir, sir, did you blag in at the gate? Did you? | 0:18:33 | 0:18:37 | |
"No, I'm sorry, did you blag in at the gate? Cos you have to. | 0:18:37 | 0:18:40 | |
"You have to blag in at the gate. If you haven't... | 0:18:40 | 0:18:43 | |
"Sorry, I'll explain. | 0:18:43 | 0:18:45 | |
"If you come over here I'll explain what it is. | 0:18:45 | 0:18:48 | |
"Did you blag in at the gate? | 0:18:48 | 0:18:49 | |
"Anyway, we've got a great stall here." | 0:18:49 | 0:18:52 | |
-Just shout anything to get them to come over. -And that would work? | 0:18:52 | 0:18:57 | |
Yeah, because if you're asking a question...people are, | 0:18:57 | 0:19:01 | |
"What? What? What did you say?" | 0:19:01 | 0:19:03 | |
How weird were the men that they needed to be asked twice | 0:19:03 | 0:19:06 | |
to come over to you? | 0:19:06 | 0:19:08 | |
A beautiful lady, darts - what's not to like? Yay! | 0:19:08 | 0:19:13 | |
I assume it was rigged as well? Aren't they? | 0:19:13 | 0:19:15 | |
It was just... Nobody ever won. | 0:19:15 | 0:19:19 | |
That sounds rigged to me. | 0:19:19 | 0:19:21 | |
LAUGHTER AND APPLAUSE | 0:19:21 | 0:19:24 | |
Now, guess what, everybody, as chance would have it, | 0:19:26 | 0:19:30 | |
Ewan McGregor also has a new film out. Yes! | 0:19:30 | 0:19:33 | |
WHOOPING AND CHEERING | 0:19:33 | 0:19:35 | |
DROWNED OUT BY AUDIENCE | 0:19:35 | 0:19:39 | |
-I feel a fool. -Don't feel a fool. -I don't have one. Everyone else... | 0:19:39 | 0:19:44 | |
Everyone's got a film. This one is called Our Kind Of Traitor. | 0:19:44 | 0:19:48 | |
It opens on Friday the 13th of May. | 0:19:48 | 0:19:50 | |
Of course, John le Carre - very hot right now, after The Night Manager. | 0:19:50 | 0:19:54 | |
-Exactly. -This is another one of his thrillers. | 0:19:54 | 0:19:57 | |
Tell us who you are and what it contains. | 0:19:57 | 0:20:02 | |
It's a story about an everyday man. I play a professor, | 0:20:02 | 0:20:07 | |
a teacher in a college in London who gets drawn into an espionage plot | 0:20:07 | 0:20:12 | |
between the British Secret Service and the Russian Mafia. | 0:20:12 | 0:20:16 | |
Stellan Skarsgard plays the sort of main Russian Mafia... | 0:20:16 | 0:20:20 | |
-He's so good. -He's funny in it. He's very, very good. | 0:20:20 | 0:20:23 | |
And brilliant. I like working with him a lot. It's a good story. | 0:20:23 | 0:20:27 | |
-Is it a comedy? -No. | 0:20:27 | 0:20:29 | |
LAUGHTER | 0:20:29 | 0:20:31 | |
He starts off funny... He starts off funny and then... | 0:20:31 | 0:20:34 | |
No, he's funny to work WITH. His character's not particularly funny. | 0:20:34 | 0:20:38 | |
He kills quite a lot of people. | 0:20:38 | 0:20:40 | |
-LAUGHTER -But in a funny way. | 0:20:40 | 0:20:43 | |
It's quite zeitgeist-y cos it's all about the new Russian money | 0:20:43 | 0:20:46 | |
and that sort of stuff. How different is it from the book? | 0:20:46 | 0:20:48 | |
Or do you know? Did you just get the script? | 0:20:48 | 0:20:51 | |
It is pretty close to the book. | 0:20:51 | 0:20:53 | |
The characters are older in the book and not Scottish - | 0:20:53 | 0:20:56 | |
I played him as a Scotsman as opposed to an English person. | 0:20:56 | 0:21:00 | |
Correct. No point doing silly accents. | 0:21:00 | 0:21:04 | |
Let's have a look at a clip. | 0:21:04 | 0:21:06 | |
This is you with your wife, played by Naomie Harris, | 0:21:06 | 0:21:09 | |
being interrogated by Damian Lewis | 0:21:09 | 0:21:11 | |
-and realising you are getting out of your depth. -Right. | 0:21:11 | 0:21:14 | |
Perhaps you would like to sit down. | 0:21:14 | 0:21:16 | |
I have some questions. | 0:21:22 | 0:21:24 | |
Not tough. Medium-soft. | 0:21:24 | 0:21:27 | |
Is this all he gave you? | 0:21:33 | 0:21:34 | |
-Yeah. -Didn't offer you any money? | 0:21:34 | 0:21:36 | |
Oh, he did, but I refused. | 0:21:36 | 0:21:38 | |
-Then why did you bring it? -I thought it was the right thing to do. | 0:21:39 | 0:21:43 | |
-He said his children would be killed if I didn't. -You believed him? | 0:21:43 | 0:21:46 | |
He seemed scared. | 0:21:47 | 0:21:49 | |
He told you he was a member of the Russian Mafia. | 0:21:51 | 0:21:54 | |
And you still agreed to help him. | 0:21:54 | 0:21:56 | |
-You haven't checked the contents of the memory stick? -No, I thought | 0:21:59 | 0:22:02 | |
I could just hand it over and be done with it. | 0:22:02 | 0:22:04 | |
Thought that would be it, you know? | 0:22:04 | 0:22:06 | |
CHEERING AND APPLAUSE | 0:22:06 | 0:22:09 | |
So you've got this movie out - and here's a thing - | 0:22:12 | 0:22:15 | |
I didn't know - I don't know if you guys did - | 0:22:15 | 0:22:17 | |
that, obviously, you were Obi-Wan Kenobi - | 0:22:17 | 0:22:20 | |
-You didn't know that? -No, that I knew. That I knew. | 0:22:20 | 0:22:23 | |
-But you are in the new Star Wars. -Well, hardly. | 0:22:23 | 0:22:25 | |
My voice is in it for a second. I recorded a little line. | 0:22:25 | 0:22:29 | |
-When do you speak? -I can't... I don't know. -Have you seen it? | 0:22:29 | 0:22:33 | |
Have you seen it? | 0:22:33 | 0:22:34 | |
I did. Yes, I thought it was very good. I can't... | 0:22:34 | 0:22:38 | |
LAUGHTER | 0:22:38 | 0:22:40 | |
That line - excellent! | 0:22:40 | 0:22:43 | |
You know that bit where... I don't remember where I speak, no idea. | 0:22:43 | 0:22:47 | |
-Alec Guinness speaks in it as well. -Yes. | 0:22:47 | 0:22:50 | |
I think the beginning of the line is... | 0:22:50 | 0:22:52 | |
The character's name is Rey - I am really struggling here. | 0:22:52 | 0:22:55 | |
Go on, go on. | 0:22:55 | 0:22:57 | |
-The character's name is, of course, as you all know, Rey. -It is. | 0:22:57 | 0:23:01 | |
They wanted a line of dialogue that said, "Rey..." | 0:23:01 | 0:23:05 | |
LAUGHTER AND APPLAUSE | 0:23:05 | 0:23:07 | |
Brilliant, absolutely brilliant. | 0:23:07 | 0:23:09 | |
DROWNED OUT BY AUDIENCE | 0:23:09 | 0:23:13 | |
Then there's some other line that I say. | 0:23:13 | 0:23:15 | |
-"Rey, these are your first steps..." Or something. -What? | 0:23:15 | 0:23:19 | |
-"Rey, these are your first steps." -Or something. -Something. | 0:23:19 | 0:23:22 | |
That's what he says: "Rey, these are your first steps or something." | 0:23:22 | 0:23:26 | |
So they recorded me saying it | 0:23:26 | 0:23:28 | |
then they found Alec Guinness saying, "Afraid." | 0:23:28 | 0:23:32 | |
And they cut the "A" and the "D" off | 0:23:32 | 0:23:36 | |
and they took the "Rai" out... | 0:23:36 | 0:23:38 | |
LAUGHTER | 0:23:38 | 0:23:40 | |
So it's Alec Guinness saying, "Rey" | 0:23:40 | 0:23:42 | |
and then me saying that other line that you said. | 0:23:42 | 0:23:45 | |
Did you have to go all the way to Tunisia to do that? | 0:23:45 | 0:23:48 | |
No. It was obviously a very last-minute thing. | 0:23:48 | 0:23:51 | |
JJ Abrams e-mailed me out the blue. | 0:23:51 | 0:23:54 | |
He got my e-mail address from someone and it was about two weeks | 0:23:54 | 0:23:57 | |
before the film was released, so it was a last-minute, | 0:23:57 | 0:24:01 | |
"Oh, let's.... That might be a good idea." | 0:24:01 | 0:24:04 | |
So anyway. It was nice, I was glad to be part of it. | 0:24:04 | 0:24:06 | |
And, very quickly, talking of iconic characters, David Brent is back. | 0:24:06 | 0:24:11 | |
He is, yes. | 0:24:11 | 0:24:12 | |
CHEERING AND APPLAUSE | 0:24:12 | 0:24:16 | |
The new movie, David Brent: Life On The Road, we already know, | 0:24:17 | 0:24:20 | |
-it's opening on the 19th of August. -Yeah. | 0:24:20 | 0:24:23 | |
And the trailer was released yesterday. | 0:24:23 | 0:24:25 | |
Yeah, that is all we've got so far. | 0:24:25 | 0:24:28 | |
It's Brent now, sort of 15 years later, | 0:24:28 | 0:24:30 | |
we follow what he is doing, | 0:24:30 | 0:24:32 | |
we find out what happened after The Office documentary went out, | 0:24:32 | 0:24:35 | |
and what he went through, and he went though a bit of a breakdown. | 0:24:35 | 0:24:38 | |
Now he's selling toiletry products as a rep, up and down the country, | 0:24:38 | 0:24:44 | |
but he never gave up the dream of being a pop star... | 0:24:44 | 0:24:46 | |
And he's cashed in a few pensions, | 0:24:46 | 0:24:48 | |
and he's worked overtime and he's taken a holiday. | 0:24:48 | 0:24:50 | |
He's paid for a bunch of session musicians to go on tour with him, | 0:24:50 | 0:24:54 | |
he's hired venues and he thinks he's going to get signed | 0:24:54 | 0:24:57 | |
and it's...tragic. | 0:24:57 | 0:24:59 | |
LAUGHTER | 0:24:59 | 0:25:01 | |
And you posted some pictures of you getting into full Brent mode. | 0:25:01 | 0:25:04 | |
LAUGHTER | 0:25:04 | 0:25:06 | |
He makes a video called Lady Gypsy | 0:25:06 | 0:25:10 | |
about him losing his virginity when he was 18. | 0:25:10 | 0:25:13 | |
That's him trying to look 18. | 0:25:13 | 0:25:16 | |
You've gone full hog cos it's not just a film, | 0:25:16 | 0:25:20 | |
there is an accompanying album. | 0:25:20 | 0:25:22 | |
We're going to, yeah, bring out... | 0:25:22 | 0:25:24 | |
It's 15, 20 tracks. Seriously. | 0:25:24 | 0:25:29 | |
Of him. It is his dream come true and all these songs, like Lady Gypsy | 0:25:29 | 0:25:33 | |
and Native American. | 0:25:33 | 0:25:35 | |
And Equality Street. Yeah? | 0:25:35 | 0:25:38 | |
He's trying to change stuff. | 0:25:38 | 0:25:40 | |
But, yeah, basically... | 0:25:40 | 0:25:42 | |
He is a man out of time. It is funny, but it is quite sad as well. | 0:25:42 | 0:25:48 | |
-But Ricky Gervais, I'm guessing, is thrilled... -I'm nothing like him! | 0:25:48 | 0:25:52 | |
No, but you are thrilled to be bringing out an album. | 0:25:52 | 0:25:55 | |
I was a failed pop... I sneak a song into everything I do. | 0:25:55 | 0:26:00 | |
I wrote a song for The Simpsons. | 0:26:00 | 0:26:01 | |
I wrote a song with David Bowie for Extras. | 0:26:01 | 0:26:03 | |
You wrote a song for Vera in Special Correspondents. | 0:26:03 | 0:26:05 | |
Yeah, she sings a song. Yeah, yeah. | 0:26:05 | 0:26:08 | |
I'm a frustrated, failed musician. | 0:26:08 | 0:26:11 | |
It's great because I've got a get-out clause, it's sort of ironic, | 0:26:11 | 0:26:14 | |
but it's so much fun playing with a rock band | 0:26:14 | 0:26:17 | |
and they are really brilliant. It's Andy from Razorlight... | 0:26:17 | 0:26:22 | |
Did you used to bring the guitar... When you were doing stand-up, | 0:26:22 | 0:26:25 | |
were you one of those stand-ups who snuck a guitar on stage? | 0:26:25 | 0:26:28 | |
No, I would never do that, or get it out at a party. | 0:26:28 | 0:26:31 | |
When somebody gets that out - death. Forget it. We're going home. | 0:26:31 | 0:26:36 | |
-Did you? -No, I always used to hate it when stand-ups did that. | 0:26:36 | 0:26:40 | |
I know. It's like, "Oh, fuck me, he's got a guitar." | 0:26:40 | 0:26:45 | |
-"Tell a joke." -Ricky, can we look at a picture of you in your pop career? | 0:26:45 | 0:26:51 | |
-RICKY: -Whoo! | 0:26:51 | 0:26:52 | |
-ERIC: -Which one's which? -LAUGHTER | 0:26:52 | 0:26:55 | |
-HELEN: -Is that you on the right? -It is, yeah. -Wow, look at that! | 0:26:55 | 0:26:59 | |
That is a curious eyebrow. That is a kind of, | 0:26:59 | 0:27:02 | |
"Well, what is going on over there?" | 0:27:02 | 0:27:04 | |
What's the name of that two-piece? What is that? | 0:27:04 | 0:27:08 | |
-That's called Seona Dancing. Let's move on. -What's it called? | 0:27:08 | 0:27:12 | |
See, I know what you are doing. You're going, | 0:27:12 | 0:27:14 | |
"Oh, look at you there." | 0:27:14 | 0:27:16 | |
I am not embarrassed by that, I am embarrassed by THIS. | 0:27:16 | 0:27:20 | |
Everyone's going, "What the fuck happened?" | 0:27:20 | 0:27:24 | |
I tell you what happened - pizza happened. | 0:27:24 | 0:27:27 | |
LAUGHTER | 0:27:27 | 0:27:29 | |
You've brought us a clip from David Brent: Life On The Road. | 0:27:29 | 0:27:32 | |
Yeah, we get to know about his personal life a bit more and this is | 0:27:32 | 0:27:35 | |
him pretending he is a bit of a Lothario. But...yeah. | 0:27:35 | 0:27:40 | |
I have been out with all sorts of girls - rich girls, poor girls, | 0:27:40 | 0:27:45 | |
white girls, you know. | 0:27:45 | 0:27:47 | |
Thin girls. Fat girls. | 0:27:47 | 0:27:50 | |
I went out with a very big lady. | 0:27:50 | 0:27:53 | |
Lovely. Bubbly. Beautiful eyes. | 0:27:53 | 0:27:57 | |
My mates were like, "Brent, if she lost weight, | 0:27:57 | 0:27:59 | |
"she'd be an absolute stunner." And she did lose weight | 0:27:59 | 0:28:01 | |
and she wasn't a stunner. | 0:28:01 | 0:28:03 | |
Which was very disappointing. | 0:28:03 | 0:28:06 | |
It was a surprise to everyone. | 0:28:06 | 0:28:08 | |
I think she left it a bit late in life and lost it way too quickly, | 0:28:08 | 0:28:12 | |
so she was left with that wattle thing. | 0:28:12 | 0:28:15 | |
She wasn't bubbly any more. Bit grumpy. | 0:28:15 | 0:28:19 | |
Always hungry. | 0:28:19 | 0:28:21 | |
LAUGHTER AND APPLAUSE | 0:28:21 | 0:28:24 | |
Thank you. | 0:28:26 | 0:28:28 | |
We look forward to seeing it. | 0:28:29 | 0:28:31 | |
It is time to meet my final guest. | 0:28:32 | 0:28:34 | |
This Hollywood legend has starred in so many of our favourite movies, | 0:28:34 | 0:28:38 | |
from Field Of Dreams, The Bodyguard, The Untouchables, | 0:28:38 | 0:28:41 | |
to the Oscar-winning Dances With Wolves. | 0:28:41 | 0:28:43 | |
Welcome, for the first time to the show, Mr Kevin Costner, everybody! | 0:28:43 | 0:28:46 | |
CHEERING AND APPLAUSE | 0:28:46 | 0:28:50 | |
Hello, sir. Very, very nice to meet you. Please, sit down. | 0:28:53 | 0:28:57 | |
Kevin Costner, everyone. | 0:28:57 | 0:29:00 | |
DROWNED OUT BY AUDIENCE | 0:29:00 | 0:29:04 | |
CHEERING CONTINUES | 0:29:10 | 0:29:13 | |
Have you met these people before? | 0:29:15 | 0:29:17 | |
I feel like we always are entering everybody's living room, basically, | 0:29:17 | 0:29:22 | |
so I've watched, admired and laughed. | 0:29:22 | 0:29:27 | |
You are always... Think better... | 0:29:27 | 0:29:31 | |
Jesus Christ, why did I come on this show? | 0:29:31 | 0:29:33 | |
LAUGHTER | 0:29:33 | 0:29:36 | |
The others are thinking it, you've said it. | 0:29:36 | 0:29:39 | |
LAUGHTER | 0:29:39 | 0:29:41 | |
INDISTINCT CHATTER | 0:29:41 | 0:29:44 | |
You have come out here tonight and you look like Kevin Costner. | 0:29:44 | 0:29:47 | |
Because you were spending time in London in character | 0:29:47 | 0:29:51 | |
for your new movie, Criminal, | 0:29:51 | 0:29:52 | |
where people were slightly taken aback by you. | 0:29:52 | 0:29:55 | |
-Yeah, they were. -Like frightened of you? | 0:29:55 | 0:29:58 | |
Well, I play this part called Criminal, | 0:29:58 | 0:30:02 | |
the only person that doesn't know about it is my mom. | 0:30:02 | 0:30:05 | |
And I basically play a pretty dodgy character and fierce, | 0:30:05 | 0:30:10 | |
and I had to figure out how he was going to look. And he comes out | 0:30:10 | 0:30:14 | |
looking a little bit of a modern Frankenstein, if you will, | 0:30:14 | 0:30:17 | |
a pretty fierce character. | 0:30:17 | 0:30:19 | |
This is the look. | 0:30:19 | 0:30:21 | |
Did people not recognise you? | 0:30:21 | 0:30:24 | |
-Did you go out in London looking like that? -No, I put a hat on. | 0:30:24 | 0:30:30 | |
I don't enjoy the... | 0:30:30 | 0:30:32 | |
"I know you." | 0:30:32 | 0:30:34 | |
That exchange is like, "No, you don't." | 0:30:34 | 0:30:37 | |
And you just keep going. | 0:30:37 | 0:30:39 | |
This film, Criminal, which opens next Friday, | 0:30:39 | 0:30:42 | |
you play Jericho Stewart, and we are used to seeing you as the clean-cut, | 0:30:42 | 0:30:47 | |
American hero, the good guy. | 0:30:47 | 0:30:49 | |
No-one ever mistakes me for anything other than an American, I get that. | 0:30:49 | 0:30:55 | |
I make cowboy movies and baseball movies. | 0:30:55 | 0:30:59 | |
It is a little bit about the way you talk as well. Just a little bit. | 0:30:59 | 0:31:04 | |
-Yeah. -But this guy is not just a bad guy, he is a monster. | 0:31:04 | 0:31:08 | |
I don't feel like I'm playing... | 0:31:08 | 0:31:10 | |
I feel like I'm playing somebody | 0:31:10 | 0:31:12 | |
and people do not understand my problems, I don't feel like I'm bad. | 0:31:12 | 0:31:16 | |
I think that's the way you have to go about it. | 0:31:16 | 0:31:19 | |
In the film there is a ground-breaking medical process. | 0:31:19 | 0:31:23 | |
Yes, we have a big leap-of-faith movie here, | 0:31:23 | 0:31:26 | |
where we're going to have to transfer someone's memory into mine | 0:31:26 | 0:31:29 | |
and if we don't, the city's in peril, | 0:31:29 | 0:31:32 | |
so if you make your jump over that, that is what happens. | 0:31:32 | 0:31:34 | |
I love it already. I love that. Fantastic. | 0:31:34 | 0:31:37 | |
Someone puts someone else's memory in yours? | 0:31:37 | 0:31:40 | |
-I get Ryan Reynolds' memory... -They'll be great memories! | 0:31:40 | 0:31:44 | |
They'll be good memories. | 0:31:44 | 0:31:45 | |
LAUGHTER | 0:31:45 | 0:31:49 | |
I have a few myself! | 0:31:49 | 0:31:52 | |
I get little flashbacks. | 0:31:52 | 0:31:55 | |
The problem is my character is not a controllable person | 0:31:55 | 0:31:58 | |
and he finally gets himself on the streets, being a lifelong criminal, | 0:31:58 | 0:32:01 | |
and he realises people don't care about him, you know, | 0:32:01 | 0:32:05 | |
everything he does goes back to the street | 0:32:05 | 0:32:08 | |
and how he survives in prison. | 0:32:08 | 0:32:10 | |
It opens next Friday. This clip, this is you returning to | 0:32:10 | 0:32:14 | |
-the family home of Ryan Reynolds' character. -Of course. | 0:32:14 | 0:32:18 | |
Basically, you are in his basement, you have got his memories, | 0:32:18 | 0:32:21 | |
-and his wife finds you. -Yes. -OK. | 0:32:21 | 0:32:22 | |
What are you doing in my basement? | 0:32:22 | 0:32:24 | |
Did you work with Billy? | 0:32:27 | 0:32:28 | |
I don't think anyone like him | 0:32:28 | 0:32:32 | |
ever would have worked with somebody like me. | 0:32:32 | 0:32:34 | |
They stuck Billy in my head. | 0:32:35 | 0:32:39 | |
I got a scar. See? | 0:32:40 | 0:32:41 | |
All the stuff that he knew, | 0:32:42 | 0:32:44 | |
all the stuff that he could do, I got it all scrambled up inside me. | 0:32:44 | 0:32:48 | |
That's impossible. | 0:32:49 | 0:32:51 | |
The first car you two ever bought - | 0:32:52 | 0:32:55 | |
used Rover. | 0:32:55 | 0:32:57 | |
Bum clutch blew the first week. | 0:32:57 | 0:32:59 | |
-I told you, they stuck his brain in me. -That's enough. | 0:33:01 | 0:33:05 | |
-CHILD: -Mom? Mom, where are you? I'm hungry. | 0:33:05 | 0:33:08 | |
Just a second, baby. | 0:33:08 | 0:33:09 | |
Billy could never hurt you, so neither can I. | 0:33:11 | 0:33:14 | |
CHEERING AND APPLAUSE | 0:33:14 | 0:33:17 | |
When we knew you were coming on the show, we were talking about your movies | 0:33:24 | 0:33:28 | |
in the office and not only is it lots of people's favourite movies, | 0:33:28 | 0:33:32 | |
but for one actor it is an extraordinary hit rate. | 0:33:32 | 0:33:35 | |
You know, massive hits. And yet, when you think about them, | 0:33:35 | 0:33:39 | |
films like Field Of Dreams, Dances With Wolves, | 0:33:39 | 0:33:41 | |
even a Robin Hood reboot - they are not obvious box-office gold. | 0:33:41 | 0:33:47 | |
How did you get them made, how did you pick them? | 0:33:47 | 0:33:50 | |
Some of them I actually had to put my own money into. | 0:33:50 | 0:33:54 | |
I had to buy my own parts, actually. | 0:33:54 | 0:33:58 | |
A lot of the movies I have done - Field Of Dreams, Bull Durham | 0:33:58 | 0:34:02 | |
Dances With Wolves - were movies that were rejected by the studios. | 0:34:02 | 0:34:05 | |
Bull Durham cost... Somebody wouldn't give us 4 million | 0:34:05 | 0:34:08 | |
for Bull Durham and it ended up making like 300 million. | 0:34:08 | 0:34:11 | |
Dances With Wolves was a movie that was turned down twice | 0:34:11 | 0:34:14 | |
by the studios. | 0:34:14 | 0:34:17 | |
I guess I didn't hear them the first time. | 0:34:17 | 0:34:20 | |
And you directed Dances With Wolves. | 0:34:20 | 0:34:23 | |
I have directed three movies, | 0:34:23 | 0:34:26 | |
mostly stuff with horses. | 0:34:26 | 0:34:28 | |
-LAUGHTER -Brilliant. | 0:34:28 | 0:34:31 | |
You can't imagine how you would inspire. I remember when | 0:34:31 | 0:34:34 | |
Dances With Wolves came out, I was at drama school, | 0:34:34 | 0:34:36 | |
and how inspiring it was for all of us to see that movie, to know that | 0:34:36 | 0:34:40 | |
you directed it and acted in it. | 0:34:40 | 0:34:43 | |
-It blew our minds. I remember very distinctly. -That was... | 0:34:43 | 0:34:46 | |
I gotta tell you... | 0:34:46 | 0:34:48 | |
We all have friends you start with, and it's like who gets there first? | 0:34:48 | 0:34:52 | |
Who gets to the finish line? | 0:34:52 | 0:34:55 | |
There are a lot of friends behind us and you find a way to help them. | 0:34:55 | 0:35:00 | |
One of my friends was a writer and I sent him on a lot of, you know, jobs | 0:35:00 | 0:35:05 | |
and every report that came back was he just pissed everybody off. | 0:35:05 | 0:35:09 | |
Finally he came over, he goes, | 0:35:09 | 0:35:11 | |
"I hate Hollywood, I hate all you people." | 0:35:11 | 0:35:13 | |
And I said, "I tried to help you, man. | 0:35:13 | 0:35:16 | |
"Some of these people you're talking bad about | 0:35:16 | 0:35:19 | |
"have become friends of mine. | 0:35:19 | 0:35:21 | |
"And I don't understand this whole thing about Hollywood." I said... | 0:35:21 | 0:35:25 | |
Even though a writer thinks the last thing they wrote was the best thing, | 0:35:25 | 0:35:28 | |
I said, "Maybe it's just not good enough." | 0:35:28 | 0:35:31 | |
He kind of said one more thing to me and it really crossed the line. | 0:35:31 | 0:35:35 | |
He's a kid from the '60s, protest march and everything, | 0:35:35 | 0:35:39 | |
and it is very easy to put Hollywood down. | 0:35:39 | 0:35:41 | |
But he crossed the line with a friend and I don't know | 0:35:41 | 0:35:44 | |
what happened but I had him up against the wall... | 0:35:44 | 0:35:46 | |
LAUGHTER | 0:35:46 | 0:35:49 | |
I said, "Would you just quit putting everybody down? | 0:35:49 | 0:35:54 | |
"Quit writing things that are 120 pages long" - | 0:35:54 | 0:35:57 | |
cos in our vernacular that means a script - | 0:35:57 | 0:36:00 | |
I said, "If you really want to write, | 0:36:00 | 0:36:02 | |
"write something that is 88 pages or 888." | 0:36:02 | 0:36:05 | |
And I realised I had my hands on him. I set him down, | 0:36:05 | 0:36:08 | |
I thought probably we had lost our friendship and a week later | 0:36:08 | 0:36:11 | |
he said, "I don't have a place to stay, can I stay at your house?" | 0:36:11 | 0:36:14 | |
So he stays there for a couple of months and is writing every night. | 0:36:14 | 0:36:18 | |
He said, "Will you read what I wrote today?" I said, "Fuck, no." | 0:36:18 | 0:36:22 | |
LAUGHTER | 0:36:22 | 0:36:24 | |
This went on and finally he started reading to my daughter, | 0:36:24 | 0:36:27 | |
who is three, every night. | 0:36:27 | 0:36:28 | |
And finally my wife said, "Look, he's in his room, | 0:36:28 | 0:36:31 | |
"reading to...and he has to go." | 0:36:31 | 0:36:34 | |
I finally said, "You gotta go." | 0:36:34 | 0:36:36 | |
So away he went. He left what he had written and he went to Arizona | 0:36:36 | 0:36:41 | |
and was working in a Chinese restaurant. | 0:36:41 | 0:36:43 | |
If you've ever worked in a Chinese restaurant, washing dishes - | 0:36:43 | 0:36:46 | |
there's a lot of them. | 0:36:46 | 0:36:47 | |
And he called me and said, "Have you read what I wrote?" | 0:36:47 | 0:36:51 | |
I said, "No. I don't like you any more." | 0:36:51 | 0:36:55 | |
He said, "I'm cold and I'm working at this place and I'm having to | 0:36:55 | 0:36:58 | |
"kill raccoons and work at this Chinese restaurant." | 0:36:58 | 0:37:01 | |
And I said... | 0:37:01 | 0:37:04 | |
So I sent him a sleeping bag and stuff. | 0:37:04 | 0:37:07 | |
And he said, "Did you read it?" | 0:37:07 | 0:37:09 | |
Finally I read it and it was Dances With Wolves. | 0:37:09 | 0:37:12 | |
-Oh... -AUDIENCE GASPS | 0:37:12 | 0:37:15 | |
When you have that situation, | 0:37:15 | 0:37:17 | |
somebody that you start with... | 0:37:17 | 0:37:20 | |
I was never so proud of somebody. | 0:37:20 | 0:37:22 | |
I said, "You did it, man, you really, really did it. | 0:37:22 | 0:37:25 | |
"I don't know how I'm going to do it but I'll make it into a movie." | 0:37:25 | 0:37:29 | |
And that was a story, actually, of a lot of my career, | 0:37:29 | 0:37:32 | |
-so many of those movies. -That is amazing. | 0:37:32 | 0:37:34 | |
-I had to push them up to the point... -It is extraordinary. | 0:37:34 | 0:37:38 | |
CHEERING AND APPLAUSE | 0:37:38 | 0:37:41 | |
-Did he get an Oscar as well? -He did, he did. | 0:37:41 | 0:37:44 | |
To go from killing raccoons and washing dishes to winning an Oscar! | 0:37:45 | 0:37:48 | |
It was already amazing before the punchline. | 0:37:48 | 0:37:52 | |
I never help people! | 0:37:52 | 0:37:54 | |
LAUGHTER | 0:37:54 | 0:37:56 | |
No point, no point. Cut 'em off. | 0:37:56 | 0:37:59 | |
LAUGHTER | 0:37:59 | 0:38:03 | |
There is a thing in the DVD extras, | 0:38:03 | 0:38:06 | |
where you're directing the film, | 0:38:06 | 0:38:09 | |
but there's a bit where you're having to direct wolves. | 0:38:09 | 0:38:12 | |
-And you were having to, like, encourage the wolves. -"Sit!" | 0:38:12 | 0:38:18 | |
I tell you, I remember when we got these wolves, they were real wolves, | 0:38:18 | 0:38:22 | |
and, I don't know, you ever think of salesmen, | 0:38:22 | 0:38:26 | |
like...carpet things... | 0:38:26 | 0:38:29 | |
-Vacuum cleaners. -Vacuum cleaner, got it. | 0:38:29 | 0:38:33 | |
You're fired. You are the worst salesman ever! | 0:38:33 | 0:38:37 | |
You always see them they come into your house and they throw ashes, | 0:38:37 | 0:38:41 | |
and shit like that, and then go like that and it cleans it perfectly. | 0:38:41 | 0:38:46 | |
And then you call your friends, and they throw the same shit | 0:38:46 | 0:38:49 | |
on the floor and a stain is there. | 0:38:49 | 0:38:52 | |
So, when I met the guy with the wolves, | 0:38:52 | 0:38:55 | |
he showed me how they would behave, | 0:38:55 | 0:38:57 | |
he would push a button and the wolf would come over here. | 0:38:57 | 0:39:00 | |
But when I got out there, those wolves didn't do shit... | 0:39:00 | 0:39:03 | |
LAUGHTER | 0:39:03 | 0:39:05 | |
I was ten days over schedule, | 0:39:05 | 0:39:07 | |
30 days into the movie, and they said, "What are you going to do?" | 0:39:07 | 0:39:12 | |
I said, "I'm not going to change the namesake of the movie..." | 0:39:12 | 0:39:15 | |
Dances With Dogs! | 0:39:15 | 0:39:18 | |
LAUGHTER | 0:39:18 | 0:39:19 | |
Listen, when it's your money you make everything.... You make them... | 0:39:19 | 0:39:25 | |
They like their belly being rubbed, apparently. | 0:39:25 | 0:39:29 | |
-What's that? -They like their belly being rubbed. No, it's true. | 0:39:29 | 0:39:32 | |
Doesn't everyone? | 0:39:32 | 0:39:34 | |
-But these are real wolves. -No, the real wolves do. | 0:39:34 | 0:39:38 | |
My girlfriend got me a present to go with these wolves, | 0:39:38 | 0:39:41 | |
they weren't tame but they were socialised. | 0:39:41 | 0:39:44 | |
LAUGHTER | 0:39:44 | 0:39:46 | |
That means they just don't kill you, yet. | 0:39:46 | 0:39:48 | |
And they were huge. And they liked having their belly rubbed. | 0:39:48 | 0:39:51 | |
I've tickled a wolf's belly. | 0:39:51 | 0:39:53 | |
Was it the belly you were tickling? | 0:39:53 | 0:39:56 | |
Ooh! | 0:39:56 | 0:39:57 | |
LAUGHTER AND APPLAUSE | 0:39:57 | 0:40:00 | |
Animal trainer extraordinaire. | 0:40:05 | 0:40:08 | |
That is someone's job - inseminate... Sorry! | 0:40:08 | 0:40:12 | |
You really broke down that wall, of actor-director. | 0:40:12 | 0:40:17 | |
You were really the pioneer of that whole movement. | 0:40:17 | 0:40:20 | |
We would not have Ben Affleck | 0:40:20 | 0:40:22 | |
if it was not for the work you had done back then. | 0:40:22 | 0:40:25 | |
Well, thank you. | 0:40:25 | 0:40:28 | |
It was a highlight for me to do, and I went out there, | 0:40:28 | 0:40:32 | |
and I tell you what was really weird, | 0:40:32 | 0:40:35 | |
my parents came to watch me, | 0:40:35 | 0:40:37 | |
just like I did when I was a little kid, playing sports. | 0:40:37 | 0:40:41 | |
I used to be kind of embarrassed about it | 0:40:41 | 0:40:43 | |
but it was an interesting thing. | 0:40:43 | 0:40:45 | |
I went out there on my first day, to direct, | 0:40:45 | 0:40:47 | |
and my parents took a trailer all the way to South Dakota, | 0:40:47 | 0:40:51 | |
and my mom said, "We won't be in the way, we're not going to bother you." | 0:40:51 | 0:40:55 | |
And I go, "Jesus Christ, really, you're coming?" | 0:40:55 | 0:40:59 | |
They go, "Yes, but we're not going to bother you." | 0:40:59 | 0:41:02 | |
I remember my first day, going out to direct and way up on a hill, | 0:41:02 | 0:41:06 | |
my mom and dad set a trailer and had their two lawn chairs | 0:41:06 | 0:41:09 | |
and my mom went like that. | 0:41:09 | 0:41:12 | |
And I was walking up in front of the crew and I said... | 0:41:12 | 0:41:14 | |
HE MOUTHS | 0:41:14 | 0:41:16 | |
And, obviously, we are all Kevin Costner fans, but is it true, | 0:41:16 | 0:41:21 | |
the story about getting the call from Stephen Hawking? | 0:41:21 | 0:41:24 | |
Yeah. I got a call from this guy. | 0:41:24 | 0:41:28 | |
How did you know it was him? | 0:41:28 | 0:41:30 | |
LAUGHTER AND APPLAUSE | 0:41:30 | 0:41:33 | |
I thought I knew who he was but he wanted to come and see me. | 0:41:35 | 0:41:39 | |
So he comes into my driveway, big van, | 0:41:39 | 0:41:41 | |
and they bring him out, and there's like nine people. | 0:41:41 | 0:41:44 | |
And he comes into my living room | 0:41:44 | 0:41:47 | |
and I didn't really know how to talk to him. | 0:41:47 | 0:41:49 | |
He has an IQ of 169 and I have a 69 IQ. | 0:41:49 | 0:41:53 | |
And you're trying to carry a conversation but it was difficult. | 0:41:53 | 0:41:58 | |
And finally, I got a little hip to everything and I said, "What's up? | 0:41:58 | 0:42:01 | |
"What do you want to know?" | 0:42:01 | 0:42:04 | |
And he goes, "Well..." | 0:42:04 | 0:42:06 | |
And he wanted to know about Whitney. | 0:42:06 | 0:42:08 | |
In The Bodyguard. And I said, "Let's talk about that." | 0:42:08 | 0:42:12 | |
If that's what this wants to be about, then that is what we will do. | 0:42:12 | 0:42:16 | |
So we talked about Whitney for a while. | 0:42:16 | 0:42:19 | |
And then he said he was going to go dancing. | 0:42:19 | 0:42:22 | |
LAUGHTER | 0:42:22 | 0:42:23 | |
That is one of the oddest stories we've ever had on the show | 0:42:23 | 0:42:27 | |
-but I love it! -This is amazing! -So good! | 0:42:27 | 0:42:30 | |
CHEERING AND APPLAUSE | 0:42:30 | 0:42:32 | |
This is like a real chat show, like chat shows used to be. | 0:42:32 | 0:42:35 | |
If this was in America, we'd be dressed up as wolves, | 0:42:35 | 0:42:38 | |
dancing around | 0:42:38 | 0:42:40 | |
-for a YouTube hit the next day. -That's quite a good idea... | 0:42:40 | 0:42:45 | |
Listen, Kevin, good luck with Criminal. | 0:42:45 | 0:42:48 | |
Thank you so much for coming to see us. Kevin Costner, everybody. | 0:42:48 | 0:42:51 | |
CHEERING AND APPLAUSE | 0:42:51 | 0:42:54 | |
OK, it's music time. | 0:42:54 | 0:42:57 | |
This Grammy award-winning artist got into all our heads | 0:42:57 | 0:43:00 | |
with the hit single All About That Bass. Tonight she's performing | 0:43:00 | 0:43:04 | |
her new single No. It's Meghan Trainor, everyone! | 0:43:04 | 0:43:07 | |
CHEERING AND APPLAUSE | 0:43:07 | 0:43:10 | |
# I think it's so cute | 0:43:10 | 0:43:13 | |
# And I think it's so sweet | 0:43:13 | 0:43:17 | |
# How you let your friends encourage you | 0:43:17 | 0:43:21 | |
# To try and talk to me | 0:43:21 | 0:43:23 | |
# But let me stop you there | 0:43:23 | 0:43:25 | |
# Oh, before you speak | 0:43:25 | 0:43:32 | |
# Nah to the ah to the no, no, no | 0:43:32 | 0:43:34 | |
# My name is no | 0:43:34 | 0:43:35 | |
# My sign is no | 0:43:35 | 0:43:37 | |
# My number is no | 0:43:37 | 0:43:38 | |
# You need to let it go | 0:43:38 | 0:43:39 | |
# You need to let it go, need to let it go | 0:43:39 | 0:43:42 | |
# Nah to the ah to the no, no, no | 0:43:42 | 0:43:44 | |
# My name is no | 0:43:44 | 0:43:46 | |
# My sign is no | 0:43:46 | 0:43:47 | |
My number is no | 0:43:47 | 0:43:48 | |
# You need to let it go | 0:43:48 | 0:43:50 | |
# You need to let it go, need to let it go | 0:43:50 | 0:43:52 | |
# Nah to the ah to the no, no, no | 0:43:52 | 0:43:54 | |
# First you gonna say you ain't runnin' game | 0:43:54 | 0:43:57 | |
# Thinkin' I'm believing every word | 0:43:57 | 0:44:00 | |
# Call me beautiful, so original | 0:44:00 | 0:44:02 | |
# Telling me I'm not like other girls | 0:44:02 | 0:44:05 | |
# I was in my zone before you came along | 0:44:05 | 0:44:08 | |
# Now I'm thinking maybe you should go | 0:44:08 | 0:44:10 | |
# Blah, blah, blah | 0:44:10 | 0:44:12 | |
# I be like nah to the ah to the no, no, no | 0:44:12 | 0:44:15 | |
# All my ladies, listen up | 0:44:15 | 0:44:17 | |
# If that boy ain't giving up | 0:44:17 | 0:44:20 | |
# Lick your lips and swing your hips | 0:44:20 | 0:44:22 | |
# Girl, all you gotta say is | 0:44:22 | 0:44:25 | |
# My name is no | 0:44:25 | 0:44:26 | |
# My sign is no | 0:44:26 | 0:44:28 | |
# My number is no | 0:44:28 | 0:44:29 | |
# You need to let it go, you need to let it go | 0:44:29 | 0:44:32 | |
# Need to let it go | 0:44:32 | 0:44:33 | |
# Nah to the ah to the no, no, no | 0:44:33 | 0:44:35 | |
# My name is no | 0:44:35 | 0:44:37 | |
# My sign is no | 0:44:37 | 0:44:38 | |
# My number is no | 0:44:38 | 0:44:39 | |
# You need to let it go, you need to let it go | 0:44:39 | 0:44:42 | |
# Need to let it go | 0:44:42 | 0:44:43 | |
# Nah to the ah to the no, no, no | 0:44:43 | 0:44:46 | |
# Thank you in advance, I don't wanna dance | 0:44:46 | 0:44:49 | |
# I don't need your hands all over me | 0:44:49 | 0:44:51 | |
# If I want a man, then I'mma get a man | 0:44:51 | 0:44:54 | |
# But it's never my priority | 0:44:54 | 0:44:56 | |
# I was in my zone before you came along | 0:44:56 | 0:44:59 | |
# Don't want you to take this personal | 0:44:59 | 0:45:01 | |
# Blah, blah, blah | 0:45:01 | 0:45:03 | |
# I be like nah to the ah to the no, no, no | 0:45:03 | 0:45:06 | |
# All my ladies, listen up | 0:45:06 | 0:45:08 | |
# If that boy ain't giving up | 0:45:08 | 0:45:11 | |
# Lick your lips and swing your hips | 0:45:11 | 0:45:14 | |
# All you gotta say is | 0:45:14 | 0:45:16 | |
# My name is no | 0:45:16 | 0:45:17 | |
# My sign is no | 0:45:17 | 0:45:19 | |
# My number is no | 0:45:19 | 0:45:20 | |
# You need to let it go, you need to let it go | 0:45:20 | 0:45:23 | |
# Need to let it go | 0:45:23 | 0:45:24 | |
# Nah to the ah to the no, no, no | 0:45:24 | 0:45:26 | |
# My name is no | 0:45:26 | 0:45:28 | |
# My sign is no | 0:45:28 | 0:45:29 | |
# My number is no | 0:45:29 | 0:45:30 | |
# You need to let it go, you need to let it go | 0:45:30 | 0:45:33 | |
# Need to let it go | 0:45:33 | 0:45:34 | |
# Nah to the ah to the no, no, no | 0:45:34 | 0:45:36 | |
-# I'm feeling -Untouchable, untouchable | 0:45:36 | 0:45:39 | |
-# I'm feeling -Untouchable, untouchable | 0:45:39 | 0:45:41 | |
-# I'm feeling -Untouchable, untouchable | 0:45:41 | 0:45:44 | |
# I'm feeling | 0:45:44 | 0:45:45 | |
-# Untouchable, untouchable -I'm feeling | 0:45:47 | 0:45:49 | |
# Untouchable, untouchable | 0:45:49 | 0:45:51 | |
-# Untouchable -Untouchable, untouchable | 0:45:51 | 0:45:55 | |
# Nah to the ah to the no, no, no | 0:45:55 | 0:45:57 | |
-# All my ladies, listen up -Said all my ladies | 0:45:57 | 0:46:00 | |
-# If that boy ain't giving up -He ain't giving up | 0:46:00 | 0:46:02 | |
-# Lick your lips and swing your hips -No, no | 0:46:02 | 0:46:05 | |
-# No, no -Girl, all you gotta say is | 0:46:05 | 0:46:07 | |
# My name is no | 0:46:09 | 0:46:11 | |
# My sign is no | 0:46:11 | 0:46:12 | |
-# My number is no -No, no, no, no | 0:46:12 | 0:46:14 | |
# You need to let it go, you need to let it go | 0:46:14 | 0:46:16 | |
# Need to let it go | 0:46:16 | 0:46:18 | |
# Nah to the ah to the no, no, no | 0:46:18 | 0:46:20 | |
# My name is no | 0:46:20 | 0:46:21 | |
# My sign is no | 0:46:21 | 0:46:24 | |
# You need to let it go, you need to let it go | 0:46:24 | 0:46:27 | |
-# Need to let it go -Nah to the ah to the no, no, no | 0:46:27 | 0:46:30 | |
-# Untouchable, untouchable -I'm untouchable | 0:46:30 | 0:46:33 | |
-# Untouchable, untouchable -Go away, please | 0:46:33 | 0:46:35 | |
# Untouchable, untouchable | 0:46:35 | 0:46:37 | |
# Nah to the ah to the no, no, no. # | 0:46:37 | 0:46:41 | |
CHEERING AND APPLAUSE | 0:46:41 | 0:46:45 | |
Meghan Trainor, everybody! Great job! | 0:46:45 | 0:46:48 | |
Come and see us. | 0:46:48 | 0:46:50 | |
Lovely to see you. | 0:46:53 | 0:46:55 | |
Meghan Trainor! | 0:46:55 | 0:46:58 | |
Come here. Have a seat. | 0:46:58 | 0:47:01 | |
You sit down there, lovely. | 0:47:01 | 0:47:03 | |
That's Meghan Trainor, that's everybody else. | 0:47:03 | 0:47:05 | |
Waving, waving, waving. | 0:47:05 | 0:47:07 | |
Now, I have a bit of paper here. Oh, yes, I have. | 0:47:07 | 0:47:10 | |
-So that is the new single, No. -Right. | 0:47:10 | 0:47:13 | |
-And that is out now? -Right now. | 0:47:13 | 0:47:16 | |
But the album is out on May the 13th? | 0:47:16 | 0:47:19 | |
You can preorder and get that song and another one, what! | 0:47:19 | 0:47:22 | |
LAUGHTER | 0:47:22 | 0:47:23 | |
-She's on it. -I'm good at this. | 0:47:23 | 0:47:26 | |
-Are you exhausted after that? -Yeah, I am so not in shape. | 0:47:26 | 0:47:30 | |
I really didn't do anything. Hi. What's up? | 0:47:30 | 0:47:34 | |
-I am in shape. -LAUGHTER | 0:47:34 | 0:47:37 | |
This is the shape that I like. | 0:47:37 | 0:47:40 | |
Yeah. | 0:47:40 | 0:47:42 | |
All right, that's enough of that, put it away. | 0:47:44 | 0:47:47 | |
Thank you very much for coming to see us. I'm sorry we can't chat more | 0:47:47 | 0:47:50 | |
but we are out of time. It has been an epic chat tonight. | 0:47:50 | 0:47:54 | |
That is it, I'm afraid. No time for red chairs, either. | 0:47:54 | 0:47:57 | |
-AUDIENCE: -Aww! -Shut up! | 0:47:57 | 0:47:59 | |
That's mainly why we come on! | 0:48:01 | 0:48:04 | |
"We didn't want to see them, | 0:48:04 | 0:48:06 | |
"we wanted to see a woman from Slough in a chair!" | 0:48:06 | 0:48:09 | |
LAUGHTER | 0:48:09 | 0:48:11 | |
Please say a huge thank you to my guests - | 0:48:11 | 0:48:16 | |
Meghan Trainor... | 0:48:16 | 0:48:18 | |
Ricky Gervais... | 0:48:18 | 0:48:21 | |
Eric Bana... | 0:48:21 | 0:48:24 | |
Ewan McGregor... | 0:48:24 | 0:48:26 | |
Dame Helen Mirren | 0:48:26 | 0:48:29 | |
and Kevin Costner. | 0:48:29 | 0:48:30 | |
CHEERING AND APPLAUSE | 0:48:30 | 0:48:33 | |
Join me next week with Eurovision hopefuls Joe and Jake, | 0:48:33 | 0:48:36 | |
actress Keeley Hawes, the charming Hugh Grant | 0:48:36 | 0:48:38 | |
and the great Meryl Streep. I will see you then. | 0:48:38 | 0:48:40 | |
Good night, everybody, bye-bye! | 0:48:40 | 0:48:42 | |
CHEERING AND APPLAUSE | 0:48:42 | 0:48:46 |