Browse content similar to Episode 6. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
-Tonight on the show, Ant-Man actor Paul Rudd. Hi, Paul. -Hi, Graham. | 0:00:02 | 0:00:05 | |
Hey, so can you transform yourself down to ant size whenever you want? | 0:00:05 | 0:00:08 | |
I certainly can. | 0:00:08 | 0:00:10 | |
Wow! | 0:00:11 | 0:00:12 | |
That's amazing. | 0:00:12 | 0:00:14 | |
Aw, look at that. Hey, everyone, it's Ant-Man. | 0:00:14 | 0:00:17 | |
Yay! CHEERING | 0:00:17 | 0:00:19 | |
Let's start the show. | 0:00:21 | 0:00:22 | |
This programme contains some strong language. | 0:00:28 | 0:00:32 | |
CHEERING AND APPLAUSE Oh! | 0:00:39 | 0:00:42 | |
Oh! Oh! | 0:00:42 | 0:00:44 | |
Hello. | 0:00:44 | 0:00:46 | |
Hello. | 0:00:46 | 0:00:47 | |
Hello-oh! | 0:00:47 | 0:00:49 | |
Oh. Oh. | 0:00:51 | 0:00:53 | |
What an amazing welcome. | 0:00:53 | 0:00:56 | |
A-A-Are there more people here than normal? | 0:00:56 | 0:00:58 | |
That's... LAUGHTER | 0:00:58 | 0:01:00 | |
That is a crazy welcome. Thank you very much. | 0:01:00 | 0:01:03 | |
Hey, everyone, it's Friday night! | 0:01:03 | 0:01:05 | |
CHEERING | 0:01:05 | 0:01:06 | |
Are you all looking forward to the bank holiday weekend? | 0:01:07 | 0:01:10 | |
-Are you? AUDIENCE: -Yes! -Yes. | 0:01:10 | 0:01:12 | |
Bank holiday Monday - DIY, spring cleaning, seeing the family... | 0:01:12 | 0:01:16 | |
Just some of the things I won't be doing. | 0:01:16 | 0:01:19 | |
I'll be sitting around in my pants watching Judge Rinder. Yay! | 0:01:19 | 0:01:22 | |
Got a packed show for you tonight. | 0:01:22 | 0:01:24 | |
I'll tell you - we've got superheroes, ladies and gentlemen. | 0:01:24 | 0:01:27 | |
CHEERING Yes. | 0:01:27 | 0:01:29 | |
We've got gross-out comedy. | 0:01:29 | 0:01:30 | |
CHEERING Yes. | 0:01:30 | 0:01:32 | |
And we've got Shakespeare. | 0:01:32 | 0:01:35 | |
-AUDIENCE: -Ooh! | 0:01:35 | 0:01:37 | |
"Now you're talking." | 0:01:37 | 0:01:39 | |
"Did he say Shakespeare?" | 0:01:40 | 0:01:41 | |
Yes, I did. | 0:01:41 | 0:01:42 | |
Let's get some guests on. | 0:01:42 | 0:01:44 | |
CHEERING | 0:01:44 | 0:01:45 | |
Later, we'll have music from Birdy. | 0:01:45 | 0:01:48 | |
But first, this amazingly versatile British actress has played | 0:01:48 | 0:01:51 | |
everything from Twinkle in Dinnerladies | 0:01:51 | 0:01:53 | |
to a sterling performance as Myra Hindley. | 0:01:53 | 0:01:55 | |
Her TV hits include Shameless, Silk, and The Village. | 0:01:55 | 0:01:57 | |
Please welcome, for the first time, to the show, | 0:01:57 | 0:02:00 | |
Maxine Peake, everybody. | 0:02:00 | 0:02:01 | |
CHEERING I can't walk. | 0:02:01 | 0:02:03 | |
APPLAUSE DROWNS SPEECH | 0:02:06 | 0:02:08 | |
Hello, darling. | 0:02:10 | 0:02:11 | |
Have a seat, have a seat, do. | 0:02:11 | 0:02:13 | |
He went from The Office to Sherlock | 0:02:15 | 0:02:17 | |
before his starring role as The Hobbit. | 0:02:17 | 0:02:19 | |
Now, he joins the world of the Avengers. | 0:02:19 | 0:02:22 | |
Please welcome Martin Freeman, everybody. | 0:02:22 | 0:02:24 | |
-CHEERING -Hello. | 0:02:24 | 0:02:26 | |
Very suave. Hello again. | 0:02:28 | 0:02:29 | |
Maxine, Martin. | 0:02:29 | 0:02:31 | |
Anchorman, Role Models, the 40-Year-Old Virgin - | 0:02:33 | 0:02:36 | |
he has starred in some of the biggest comedies, | 0:02:36 | 0:02:38 | |
but now he's turned fully-fledged action star, | 0:02:38 | 0:02:40 | |
playing in the world's smallest superhero, Ant-Man. | 0:02:40 | 0:02:42 | |
Please welcome back to the show Paul Rudd. | 0:02:42 | 0:02:45 | |
CHEERING | 0:02:45 | 0:02:46 | |
Oh! Oh! | 0:02:46 | 0:02:48 | |
-They love Paul Rudd. Hello, come in, sit down. -Hi, Graham. | 0:02:49 | 0:02:52 | |
Hello. | 0:02:52 | 0:02:54 | |
And this man started his comedy career at just 13 years old. | 0:02:54 | 0:02:57 | |
He's the star of Pineapple Express, Knocked Up and Superbad. | 0:02:57 | 0:03:01 | |
Now, he's back on the block in Bad Neighbours 2. | 0:03:01 | 0:03:04 | |
Please welcome Seth Rogen, everybody. | 0:03:04 | 0:03:06 | |
CHEERING | 0:03:06 | 0:03:08 | |
Nice to see you. Come in, sit down. | 0:03:11 | 0:03:13 | |
-Yeah! Yeah! -Yay(!) | 0:03:16 | 0:03:18 | |
Yay for us(!) | 0:03:19 | 0:03:20 | |
-Good evening, gentlemen and lady. -Hello. | 0:03:23 | 0:03:26 | |
You all right there, Maxine? Very good. | 0:03:26 | 0:03:28 | |
-You guys, you've been in a few films... -Yes. | 0:03:28 | 0:03:31 | |
..Seth and Paul, together. | 0:03:31 | 0:03:32 | |
So are you friends in life, or is it just a work thing? | 0:03:32 | 0:03:35 | |
-We are very intimate in life. -OK. | 0:03:35 | 0:03:37 | |
Very good friends, yes. Very good friends in real life. | 0:03:39 | 0:03:41 | |
-Good, good. -Yes. | 0:03:41 | 0:03:42 | |
-Feels weird to be sitting here... -On a talk show with you. | 0:03:42 | 0:03:45 | |
..yet I have nothing... | 0:03:45 | 0:03:46 | |
We have nothing to do with each other's film. | 0:03:46 | 0:03:48 | |
We have nothing to do with each other... | 0:03:48 | 0:03:50 | |
I specifically want his movie to fail. | 0:03:50 | 0:03:51 | |
-It's war. -It is. There's no business here. | 0:03:52 | 0:03:55 | |
-It won't fail. -I don't think it will. -I don't think it will. -It's OK. | 0:03:55 | 0:03:58 | |
Because, Paul and Martin, you're in the film together, | 0:03:58 | 0:04:00 | |
so presumably you know each other? | 0:04:00 | 0:04:02 | |
-No. -LAUGHTER | 0:04:02 | 0:04:04 | |
I've been a big fan of Martin's for many years... | 0:04:04 | 0:04:07 | |
-Bless you. -..and I was so excited to meet you. | 0:04:07 | 0:04:09 | |
But it's very strange because I'm meeting you now | 0:04:09 | 0:04:11 | |
-for the very first time... -Very first time. | 0:04:11 | 0:04:13 | |
..sitting next to you on this show. | 0:04:13 | 0:04:14 | |
Apparently we're in the same film. | 0:04:14 | 0:04:17 | |
You wouldn't necessarily know that. | 0:04:17 | 0:04:18 | |
Was the shoot so long that your paths never crossed, or...? | 0:04:18 | 0:04:21 | |
Yeah. I mean, my path didn't cross with | 0:04:21 | 0:04:23 | |
an awful lot of people in that film. | 0:04:23 | 0:04:26 | |
I saw it for the first time today, and... | 0:04:26 | 0:04:28 | |
Would you two listen, or...? | 0:04:28 | 0:04:30 | |
LAUGHTER | 0:04:30 | 0:04:31 | |
Sorry about that. Very sorry. | 0:04:31 | 0:04:33 | |
They were distracted by booze. | 0:04:33 | 0:04:35 | |
CHEERING AND APPLAUSE | 0:04:35 | 0:04:37 | |
They were like, "Oh, there's a beer here." | 0:04:37 | 0:04:39 | |
-Or a Jameson? -I know this story. | 0:04:40 | 0:04:42 | |
I-I just... | 0:04:42 | 0:04:43 | |
We welcome you into our country... | 0:04:44 | 0:04:46 | |
As you were saying? | 0:04:49 | 0:04:51 | |
"This will help me sleep." | 0:04:51 | 0:04:53 | |
Now, Seth and Paul, you may not know where Maxine's from, | 0:04:55 | 0:04:59 | |
-but it is generally accepted to be the Hollywood of the north. -Ooh. | 0:04:59 | 0:05:03 | |
Bolton. | 0:05:03 | 0:05:05 | |
CHEERING You grew up with stars. | 0:05:05 | 0:05:08 | |
Oh, I did, yes. | 0:05:08 | 0:05:09 | |
I was a lifeguard with Paddy McGuinness, | 0:05:09 | 0:05:11 | |
who I'm sure you've heard of(!) | 0:05:11 | 0:05:13 | |
And Peter Kay was the projectionist at the local cinema. | 0:05:14 | 0:05:18 | |
-Is that true? -That's true, yeah. | 0:05:18 | 0:05:21 | |
Vernon Kay used to stack shelves at a well-known superstore. | 0:05:21 | 0:05:24 | |
Well, he's built for it, isn't he? | 0:05:24 | 0:05:26 | |
Yeah, it's a place to be. | 0:05:27 | 0:05:29 | |
All the stars. | 0:05:29 | 0:05:31 | |
And Maxine, when it comes to, you know, red carpets and things, | 0:05:31 | 0:05:33 | |
do you like all of that? | 0:05:33 | 0:05:35 | |
Not really. | 0:05:35 | 0:05:36 | |
-I never get invited to any, to be honest. -Oh, you do. | 0:05:36 | 0:05:39 | |
You know, glamorous opening nights, when you do an opening night, | 0:05:39 | 0:05:42 | |
-you have to pop a frock on? -See, I'm the opposite. I'd rather just not, you know... | 0:05:42 | 0:05:45 | |
You saw - I couldn't even manage to get up the stairs in these shoes. | 0:05:45 | 0:05:48 | |
-No, jeans and a pair of trainers. -Yeah, but you always wear nice jeans and trainers. | 0:05:48 | 0:05:52 | |
-Thank you. -You've got an eye for what you wear. | 0:05:52 | 0:05:55 | |
Yeah, but it's... It's comfy. Comfy-casual. | 0:05:55 | 0:05:58 | |
Well, you should have just worn trainers. | 0:05:58 | 0:06:00 | |
I was trying to make an effort. I was trying to look | 0:06:00 | 0:06:02 | |
slightly sophisticated, and not so northern. | 0:06:02 | 0:06:05 | |
LAUGHTER | 0:06:05 | 0:06:06 | |
-Well, you're sitting now, we won't ask you to stand again. -Please don't. | 0:06:09 | 0:06:12 | |
Just sit, put your hand... Look lovely. | 0:06:12 | 0:06:14 | |
I can't even pick that up. | 0:06:14 | 0:06:15 | |
-Oh! -Would you like me to pass it? | 0:06:15 | 0:06:17 | |
-Well, I'm far too nervous. -I'll wait till one of these fuckers is talking. | 0:06:17 | 0:06:20 | |
I get nothing from it. | 0:06:23 | 0:06:24 | |
-Thank you. -You're welcome. -There you go. | 0:06:26 | 0:06:27 | |
That was no good moment. | 0:06:29 | 0:06:30 | |
There was no good moment. | 0:06:32 | 0:06:34 | |
-Right. Seth... -Yes? -Seth is currently starring in | 0:06:35 | 0:06:38 | |
Bad Neighbours 2 - Sorority Rising, which is out next Friday. | 0:06:38 | 0:06:41 | |
-This is all true, it's your film? -It is true. | 0:06:43 | 0:06:46 | |
Here's an extraordinary truth - Bad Neighbours - | 0:06:46 | 0:06:49 | |
the first Bad Neighbours - | 0:06:49 | 0:06:51 | |
took 270 million. | 0:06:51 | 0:06:53 | |
-Yeah. -No surprise they made another one. -Yeah. | 0:06:53 | 0:06:56 | |
LAUGHTER | 0:06:56 | 0:06:57 | |
So obviously, most people saw the first Bad Neighbours, | 0:06:57 | 0:07:00 | |
where you were living next door to Zac Efron | 0:07:00 | 0:07:02 | |
and the fraternity. So what happens this time? Who are your neighbours this time? | 0:07:02 | 0:07:05 | |
A group of 18-year-old girls are our neighbours, | 0:07:05 | 0:07:08 | |
who are trying to start a sorority, | 0:07:08 | 0:07:09 | |
which is kind of the female version of a fraternity, | 0:07:09 | 0:07:12 | |
which they don't have here. | 0:07:12 | 0:07:14 | |
18-year-old girls are frightening - they scare me a lot. | 0:07:14 | 0:07:16 | |
I'm very uncomfortable around them. I don't know what to say about them. | 0:07:16 | 0:07:20 | |
So it was a horrifying experience, overall, for me. | 0:07:20 | 0:07:23 | |
Because you do have long scenes | 0:07:23 | 0:07:24 | |
-where they're just in wet bikinis and things... -Yes. | 0:07:24 | 0:07:27 | |
-It's hard... I mean, I shouldn't... -LAUGHTER | 0:07:27 | 0:07:30 | |
It was. It was difficult. | 0:07:32 | 0:07:34 | |
LAUGHTER | 0:07:36 | 0:07:37 | |
APPLAUSE | 0:07:39 | 0:07:40 | |
-ALL: -Cheers. | 0:07:42 | 0:07:43 | |
"It was difficult"? | 0:07:45 | 0:07:46 | |
It was difficult. | 0:07:46 | 0:07:49 | |
-WHINES: -You don't get it, acting's hard. | 0:07:49 | 0:07:51 | |
But the last time, when you... | 0:07:53 | 0:07:55 | |
I think you were here to talk about the first one. | 0:07:55 | 0:07:58 | |
It's so embarrassing to do press in front of someone you know. | 0:07:58 | 0:08:02 | |
The last time you were here, you were talking about the first one, where you had a baby, | 0:08:03 | 0:08:07 | |
played by twins, obviously, but there was only one baby. | 0:08:07 | 0:08:10 | |
And it's got to see terrible things, and hear terrible language. | 0:08:10 | 0:08:13 | |
We thought, "Oh, baby won't get it." But this time, it's a toddler. | 0:08:13 | 0:08:16 | |
Yes, this time I think she got it. | 0:08:16 | 0:08:18 | |
But who are the parents? Who's letting this happen? | 0:08:18 | 0:08:21 | |
Her parents are very nice, well-paid people, who... | 0:08:21 | 0:08:23 | |
Yeah, there's a running joke in the movie | 0:08:25 | 0:08:27 | |
where our daughter plays with a pink dildo, essentially. | 0:08:27 | 0:08:29 | |
Yeah, there she is holding a dildo. | 0:08:31 | 0:08:33 | |
Yeah, and... | 0:08:34 | 0:08:36 | |
Martin's like, "Wow, how much did they pay those parents?" | 0:08:37 | 0:08:41 | |
They can afford therapy for their daughter one day, | 0:08:42 | 0:08:45 | |
which, erm, is a good thing, cos she'll probably need it. | 0:08:45 | 0:08:47 | |
-And is she twins? -She... That one is not twins. | 0:08:47 | 0:08:51 | |
-She is one of twins. -One of twins? -Yeah, yeah, yeah. | 0:08:51 | 0:08:53 | |
I mean, how old is that little girl? | 0:08:53 | 0:08:55 | |
They're three-and-a-half or something? | 0:08:55 | 0:08:57 | |
I never talked to them, ever. | 0:08:57 | 0:08:59 | |
-I was very mean to them. -You don't want your name coming up in therapy. | 0:08:59 | 0:09:02 | |
I said, "This is Hollywood, kid." | 0:09:02 | 0:09:04 | |
"You don't talk to number one." | 0:09:05 | 0:09:07 | |
"You hold your dildo, and you sit there." | 0:09:10 | 0:09:12 | |
APPLAUSE | 0:09:15 | 0:09:16 | |
Now, we've got a clip. | 0:09:19 | 0:09:21 | |
This is the former bad neighbour, | 0:09:21 | 0:09:23 | |
-Zac Efron, who's also in the film. -Yes. | 0:09:23 | 0:09:25 | |
-This is him becoming a force for good. -Yeah. | 0:09:25 | 0:09:27 | |
I want to help you guys stop that sorority before it gets too late. | 0:09:27 | 0:09:31 | |
-Really? -That's right.... | 0:09:31 | 0:09:33 | |
I'm switching sides. | 0:09:33 | 0:09:34 | |
-Nice. -Yes! -That's awesome. -Yes! -Cool. | 0:09:34 | 0:09:36 | |
They have 15 individuals - | 0:09:36 | 0:09:38 | |
they're not a cohesive unit. | 0:09:38 | 0:09:40 | |
They don't understand the most important rule of sisterhood - | 0:09:40 | 0:09:43 | |
"There's no I in sorority." | 0:09:43 | 0:09:45 | |
-Yeah, there is. There's two, actually. -No, actually, there's just one. | 0:09:45 | 0:09:48 | |
-No, that's a Y. -No, in the middle. -That's an O. | 0:09:48 | 0:09:50 | |
Two I's straddling the Y. | 0:09:50 | 0:09:53 | |
-S-O-R-R-I-A-Y-O-RITY. -LAUGHTER | 0:09:53 | 0:09:56 | |
-What?! -There's a U in there that you guys are all missing. | 0:09:56 | 0:09:59 | |
S-O-R-R-I-R-O-I-T...I-T-Y. | 0:09:59 | 0:10:04 | |
Sorori-titty? | 0:10:04 | 0:10:06 | |
-The T's silent. -You think the titty is silent? | 0:10:06 | 0:10:08 | |
That's wordplay. | 0:10:11 | 0:10:13 | |
You're very happy in your heterosexuality, | 0:10:16 | 0:10:19 | |
but even you could appreciate Zac Efron's body. | 0:10:19 | 0:10:22 | |
Oh, it's freakish. It is truly unbelievable. | 0:10:22 | 0:10:25 | |
CHEERING | 0:10:25 | 0:10:26 | |
He's even better-looking now - that's the first movie. | 0:10:26 | 0:10:29 | |
That's an old picture. | 0:10:29 | 0:10:30 | |
That's garbage compared to what he looks like now. | 0:10:30 | 0:10:33 | |
Did you say, "How did you have time to make a film? | 0:10:33 | 0:10:35 | |
"Because you must be in the gym all the time." | 0:10:35 | 0:10:37 | |
He's in a constant state of exercising. | 0:10:37 | 0:10:39 | |
I'm sure you've seen this on the Marvel movies, where it's like | 0:10:39 | 0:10:41 | |
there's a constant exercising happening. | 0:10:41 | 0:10:43 | |
Like, at all moments, he's exercising. | 0:10:43 | 0:10:46 | |
And I do the equal thing for NOT exercising. | 0:10:46 | 0:10:49 | |
I'm the inverse ratio of that, yeah. | 0:10:51 | 0:10:53 | |
You went for the easy option in the film, you just did that... | 0:10:53 | 0:10:56 | |
-LAUGHTER -Exactly. | 0:10:56 | 0:10:58 | |
That's how they all do it. | 0:10:58 | 0:11:00 | |
That 300 movie? That's all they do. | 0:11:00 | 0:11:02 | |
-He looks like Homer Simpson. -Yeah, I do. | 0:11:02 | 0:11:05 | |
It looks like Homer's face. | 0:11:05 | 0:11:06 | |
Looks like Homer and a lobster lying on my body. | 0:11:06 | 0:11:09 | |
No, cos, Martin, did you have a similar thing with Love Actually, | 0:11:10 | 0:11:13 | |
where suddenly, people were going, "Oh!" | 0:11:13 | 0:11:15 | |
Not with that face, no. | 0:11:18 | 0:11:20 | |
Going "oh!" | 0:11:20 | 0:11:21 | |
"I see. I never knew that was what was beneath | 0:11:21 | 0:11:23 | |
"those T-shirts and jeans." | 0:11:23 | 0:11:25 | |
No, I guess the point with Love Actually, | 0:11:26 | 0:11:28 | |
it was not meant to be sexy. | 0:11:28 | 0:11:30 | |
It was meant to be kind of innocent. It wasn't that... | 0:11:30 | 0:11:32 | |
When you do sex scenes that are where you are, giving THAT... | 0:11:32 | 0:11:36 | |
When you're acting THAT, that's a little bit more vulnerable-making. | 0:11:36 | 0:11:40 | |
It's a bit more vulnerable... | 0:11:40 | 0:11:42 | |
Inevitably, you're kind of giving away some of your own state secrets, you know? | 0:11:42 | 0:11:46 | |
-Whereas, I wasn't... -Wow. -In Love Actually, it was dialogue. | 0:11:47 | 0:11:50 | |
The funny bit about it was that it was two very ordinary people. | 0:11:50 | 0:11:53 | |
-It wasn't meant to be turning anyone on. -OK. | 0:11:53 | 0:11:56 | |
So if it did, shame on you. | 0:11:56 | 0:11:58 | |
Sorry, you blew it, man. | 0:12:01 | 0:12:02 | |
I think we've got a picture of you in it. | 0:12:04 | 0:12:07 | |
Oh. Oh. | 0:12:07 | 0:12:08 | |
CHEERING | 0:12:09 | 0:12:11 | |
That's... | 0:12:11 | 0:12:13 | |
I wasn't expecting to see that. | 0:12:13 | 0:12:15 | |
-I'm naked at other parts. -Yeah? -Yeah. | 0:12:15 | 0:12:17 | |
Well, not fully naked - you get a little purse. | 0:12:17 | 0:12:19 | |
-You do, though, you get a little purse. -A change purse, yeah. | 0:12:21 | 0:12:23 | |
-Yeah, and it's more humiliating. -LAUGHS: -Sorry! | 0:12:23 | 0:12:26 | |
Oh, is that what you call it? | 0:12:27 | 0:12:29 | |
And the woman gets a strip. | 0:12:31 | 0:12:33 | |
-Maybe. Sometimes. -Depends who you're working for. (Saying nothing.) | 0:12:33 | 0:12:37 | |
Maxine Peake - in terms of fitness, oddly, | 0:12:37 | 0:12:40 | |
It was the late, great Victoria Wood... | 0:12:40 | 0:12:43 | |
-Wonderful Victoria Wood, yeah. -..who encouraged you to get fit? | 0:12:43 | 0:12:46 | |
Look at that. | 0:12:46 | 0:12:48 | |
No, she... | 0:12:54 | 0:12:56 | |
At school, I was quite a large teenager, | 0:12:56 | 0:13:00 | |
and we sort of had a little chat. | 0:13:00 | 0:13:02 | |
She was so amazing. | 0:13:02 | 0:13:03 | |
She said to me, "Look, you're fat, you're blonde, you're northern, | 0:13:03 | 0:13:07 | |
"you're going to get typecast." She was being really honest, | 0:13:07 | 0:13:10 | |
cos it says what she felt she'd experienced. | 0:13:10 | 0:13:13 | |
So you know... I'd been told at drama school, | 0:13:13 | 0:13:15 | |
"If you don't lay off the chips, you'll never play Juliet." | 0:13:15 | 0:13:17 | |
To which, "I don't want t'play Juliet." | 0:13:17 | 0:13:20 | |
"Have you tasted chips?" | 0:13:21 | 0:13:22 | |
But when somebody like Victoria Wood says that to you, you take notice. | 0:13:25 | 0:13:29 | |
So I did, but I did it a bit too quick and I lost it between... | 0:13:29 | 0:13:33 | |
Between the two series of Dinnerladies, | 0:13:33 | 0:13:35 | |
which, I should have probably waited. | 0:13:35 | 0:13:38 | |
But, yeah. But, yeah. | 0:13:38 | 0:13:39 | |
How long had you...? Sorry. | 0:13:39 | 0:13:41 | |
-Please, Martin. -No, can you shut up? | 0:13:41 | 0:13:43 | |
-This'll be a good question. -Mate, there's a time and a place to interrupt. | 0:13:43 | 0:13:46 | |
How long had you been out of drama school before you did Dinnerladies? | 0:13:46 | 0:13:49 | |
-I was still at drama school. -Oh, were you? -Yeah. Yeah. | 0:13:49 | 0:13:52 | |
-I'd just... -So that was a very good early doors kind of thing? -It was amazing. | 0:13:52 | 0:13:56 | |
-You're sort of spoiled to work with somebody the calibre of Victoria. -Amazing. | 0:13:56 | 0:14:00 | |
She's... Yeah, it's been such sad, sad news, you know. | 0:14:00 | 0:14:02 | |
She was such an inspiration, even from working with her, | 0:14:02 | 0:14:05 | |
-but even as a youngster growing up... -Of course. -That's who I wanted... | 0:14:05 | 0:14:08 | |
Woods and Walters were who I wanted to be. | 0:14:08 | 0:14:10 | |
That was the career you wanted to emulate. | 0:14:10 | 0:14:12 | |
I do like that you took her advice, but then you had to wear a fat suit for series two. | 0:14:12 | 0:14:16 | |
They got me a fat suit, yeah. | 0:14:16 | 0:14:18 | |
She was a bit like, "Whoa a minute. | 0:14:18 | 0:14:20 | |
"I've just written a second series | 0:14:20 | 0:14:22 | |
"that we think you might be pregnant because you've got fatter. | 0:14:22 | 0:14:25 | |
"And you're 4st lighter." | 0:14:25 | 0:14:27 | |
-So they made me a fat suit. -Paul? You... | 0:14:27 | 0:14:31 | |
Honestly, it is weird - you don't seem to age. | 0:14:31 | 0:14:33 | |
CHEERING Does he? | 0:14:35 | 0:14:36 | |
Thank you. | 0:14:38 | 0:14:39 | |
I feel awful on the inside. | 0:14:40 | 0:14:42 | |
-Greatly. -When we first met, I looked younger. | 0:14:44 | 0:14:47 | |
Now, I've surpassed... I think I could be his father. | 0:14:47 | 0:14:49 | |
To be fair, though, Seth, when we met you were 15 | 0:14:51 | 0:14:53 | |
-and you looked like you were 37. -I did, yeah. | 0:14:53 | 0:14:56 | |
I was about 20 years older. | 0:14:56 | 0:14:57 | |
Often, when people grow beards... | 0:14:58 | 0:15:00 | |
Well, clearly I do, but they are grey, or have grey in them. | 0:15:00 | 0:15:02 | |
But even yours - beautiful, beautiful beard. | 0:15:02 | 0:15:05 | |
Thank you, thank you. Well it's starting... | 0:15:05 | 0:15:07 | |
-Starting to come in a little bit right there on the chin. -Oh, please. | 0:15:07 | 0:15:10 | |
Actually we've got a picture of you at Kansas University. | 0:15:10 | 0:15:13 | |
-I don't know how old you were here. -Ah, '88. Yeah. | 0:15:13 | 0:15:15 | |
But look how beautiful you are. | 0:15:15 | 0:15:17 | |
As you can see, I don't just grow hair on my face. | 0:15:17 | 0:15:20 | |
Look how happy you are. | 0:15:20 | 0:15:22 | |
I remember taking that picture and I worked on my hair. | 0:15:22 | 0:15:26 | |
I worked on that. | 0:15:26 | 0:15:28 | |
I was greatly inspired by Michael Hutchence | 0:15:28 | 0:15:32 | |
who was my hero at the time. | 0:15:32 | 0:15:33 | |
And I think I tried to blow it dry and it came off | 0:15:33 | 0:15:35 | |
looking a little more Bon Jovi than I had anticipated. | 0:15:35 | 0:15:39 | |
There's a whiff of Julia Roberts off you, really. | 0:15:39 | 0:15:42 | |
You're just beautiful. | 0:15:42 | 0:15:44 | |
Just beautiful in that picture. | 0:15:44 | 0:15:45 | |
-Big toothy smile. -Yeah. | 0:15:45 | 0:15:48 | |
Hey, but he's a superhero now, ladies and gentleman. | 0:15:48 | 0:15:50 | |
Yes, Ant-Man. AUDIENCE WHOOP | 0:15:50 | 0:15:52 | |
Ant-Man. Paul Rudd is in Captain America: Civil War, | 0:15:52 | 0:15:55 | |
alongside Martin. It opens tonight. | 0:15:55 | 0:15:58 | |
So, why there's a Civil War? Who are both of you? | 0:15:58 | 0:16:01 | |
-What? -Who are you in this film? Why is it a Civil War? | 0:16:01 | 0:16:05 | |
Well, I need a little bit more introduction than Paul, | 0:16:05 | 0:16:08 | |
because Paul is actually a superhero. | 0:16:08 | 0:16:09 | |
But I am Everett Ross. And he works for the government. | 0:16:09 | 0:16:12 | |
And part of his remit is to kind of keep the superheroes in check | 0:16:12 | 0:16:16 | |
-a little bit. Yeah. -OK. Yeah. -When did you stop listening? | 0:16:16 | 0:16:19 | |
LAUGHTER | 0:16:19 | 0:16:21 | |
No. No. Well, I wasn't listening very hard because I knew. | 0:16:21 | 0:16:23 | |
-I've seen the film. -Oh, right, OK. | 0:16:23 | 0:16:25 | |
So, there's a civil war between The Avengers. | 0:16:25 | 0:16:28 | |
Discuss. | 0:16:28 | 0:16:30 | |
Well, when you read the script, what do you think? | 0:16:32 | 0:16:35 | |
Was it like their...? | 0:16:35 | 0:16:36 | |
It becomes... That state of affairs comes around within the film. | 0:16:36 | 0:16:41 | |
And I saw it today. | 0:16:41 | 0:16:43 | |
I saw it today for the first time. | 0:16:43 | 0:16:45 | |
-Yes. -And it's a really good film, isn't it? -It's great. | 0:16:45 | 0:16:48 | |
And I don't... That's not meant to sound, that's... But it was so... | 0:16:48 | 0:16:51 | |
You are invested in the characters, | 0:16:51 | 0:16:53 | |
the action of course is amazing, as you would expect. | 0:16:53 | 0:16:55 | |
But I really got it. | 0:16:55 | 0:16:56 | |
I really understand everyone's motivation. | 0:16:56 | 0:16:59 | |
-And good jokes, good jokes. -Some good jokes. | 0:16:59 | 0:17:01 | |
But proper high stakes, eh? | 0:17:01 | 0:17:02 | |
Yeah, and there are two kind of... | 0:17:02 | 0:17:05 | |
Two camps with differing opinions about how they should move forward. | 0:17:05 | 0:17:09 | |
Should these groups of superheroes be regulated? | 0:17:09 | 0:17:11 | |
Because there's a lot of collateral damage from saving the world. | 0:17:11 | 0:17:14 | |
And then there's another side | 0:17:14 | 0:17:15 | |
that feels they shouldn't have any kind of government supervision. | 0:17:15 | 0:17:19 | |
You understand both sides of the argument | 0:17:19 | 0:17:21 | |
and I think that makes it interesting. | 0:17:21 | 0:17:24 | |
And as we said earlier, you didn't meet making the film. | 0:17:24 | 0:17:27 | |
And that becomes obvious as we watch this clip that Martin's not in. | 0:17:27 | 0:17:31 | |
There's a lot of those. | 0:17:32 | 0:17:34 | |
But Paul is. | 0:17:34 | 0:17:35 | |
-Yep. -One of you's in it, so, hey. | 0:17:35 | 0:17:37 | |
This is Paul Rudd as Ant-Man | 0:17:39 | 0:17:41 | |
meeting the other members of his team. | 0:17:41 | 0:17:44 | |
How about our other recruit? | 0:17:44 | 0:17:45 | |
He's raring to go. | 0:17:45 | 0:17:48 | |
Had to put a little coffee in him, but... | 0:17:48 | 0:17:49 | |
-DOOR BANGS OPEN -..we should be good. | 0:17:49 | 0:17:51 | |
What time zone is this? | 0:17:54 | 0:17:56 | |
Come on. Come on. | 0:17:56 | 0:17:57 | |
-Captain America. -Mr Lang. | 0:18:01 | 0:18:02 | |
It's an honour. | 0:18:04 | 0:18:05 | |
I'm shaking your hand too long. | 0:18:05 | 0:18:07 | |
Oh, this is awesome. Captain America. | 0:18:07 | 0:18:09 | |
I know you too, you're great. | 0:18:09 | 0:18:11 | |
Jeez. | 0:18:14 | 0:18:15 | |
Look, I want to say, I know you know a lot of super people, | 0:18:15 | 0:18:19 | |
so thinks for thanking of me. | 0:18:19 | 0:18:21 | |
-Hey, man. -What's up, Tic Tac? | 0:18:22 | 0:18:24 | |
Erm, good to see you. Look, what happened last time... | 0:18:24 | 0:18:27 | |
It was a great audition, but it'll... It'll never happen again. | 0:18:27 | 0:18:30 | |
Did they tell you what we're up against? | 0:18:30 | 0:18:32 | |
Something about some psycho assassins. | 0:18:32 | 0:18:36 | |
We're outside the law on this one. | 0:18:36 | 0:18:38 | |
-So, if you come with us, you're a wanted man. -Yeah, well. | 0:18:38 | 0:18:41 | |
What else is new? | 0:18:41 | 0:18:42 | |
Yeah, yeah, agreed. | 0:18:44 | 0:18:46 | |
I heard you talking, Paul, about... | 0:18:49 | 0:18:50 | |
That actually when you got to set you were a bit like that. | 0:18:50 | 0:18:53 | |
-You were kind of fan-girling around The Avengers. -Yeah, yeah. | 0:18:53 | 0:18:56 | |
You know, after we shot Ant-Man... | 0:18:56 | 0:18:59 | |
But I was alone on that, it was like working in a bubble, pretty much. | 0:18:59 | 0:19:03 | |
And then all of a sudden I'm standing around | 0:19:03 | 0:19:05 | |
and seeing Robert Downey Jr and the Iron Man suit. | 0:19:05 | 0:19:09 | |
And seeing Chris Evans, and they're all there. | 0:19:09 | 0:19:11 | |
I've seen the movies, and I felt like I was ten years old. | 0:19:11 | 0:19:15 | |
It was crazy. | 0:19:15 | 0:19:16 | |
-It was pretty cool. -Did you really do the touching the arm thing? | 0:19:16 | 0:19:19 | |
Yeah, yeah. I saw... | 0:19:19 | 0:19:21 | |
I saw Sebastian Stan getting his arm, the silver arm, on. | 0:19:21 | 0:19:27 | |
And it was weird. It was like I was watching somebody bathing. | 0:19:27 | 0:19:31 | |
"I'm not supposed to see this." | 0:19:31 | 0:19:33 | |
But I did, I went over and I just kind of felt the arm. | 0:19:33 | 0:19:38 | |
Chris Evans had to run to the bathroom really quick, | 0:19:38 | 0:19:40 | |
so he asked the prop guy, "Could you just hold this?" | 0:19:40 | 0:19:43 | |
He was holding his shield. | 0:19:43 | 0:19:44 | |
He ran off and I said, ("Can I?") | 0:19:44 | 0:19:48 | |
Run around with it. | 0:19:48 | 0:19:49 | |
I was like, "Wow." | 0:19:49 | 0:19:51 | |
It's heavier than I imagined. | 0:19:51 | 0:19:52 | |
But you know it's made of vibranium, of course it's going to be heavy. | 0:19:52 | 0:19:55 | |
Yeah, of course. Yes. Yes. | 0:19:55 | 0:19:57 | |
No, it was pretty cool, I must say. | 0:19:57 | 0:19:59 | |
Now, we've got a picture of Martin in his costume. | 0:19:59 | 0:20:03 | |
Here we go. | 0:20:03 | 0:20:04 | |
AUDIENCE CHEER | 0:20:08 | 0:20:10 | |
Thank you. | 0:20:11 | 0:20:13 | |
Erm, but I... | 0:20:13 | 0:20:15 | |
As you were saying... But you're now being fed into the universe. | 0:20:15 | 0:20:18 | |
You're going to be in some more of these adventure movies. | 0:20:18 | 0:20:21 | |
Yes, please, God. Yeah. Yes, that's the plan. | 0:20:21 | 0:20:23 | |
-Yeah. -Yeah, that's the plan. -But your team... -It's a fairly... | 0:20:23 | 0:20:26 | |
-AUDIENCE WHOOPING -Thank you. Thank you. | 0:20:26 | 0:20:27 | |
Thank you, Mum. But it's a fairly small... | 0:20:27 | 0:20:29 | |
It is a fairly small role, at this stage. | 0:20:29 | 0:20:31 | |
And listen, we must just very quickly mention Sherlock | 0:20:31 | 0:20:33 | |
because you're back filming that right now, aren't you? | 0:20:33 | 0:20:36 | |
-Yes, I am. Yeah. -Yeah. AUDIENCE CHEER | 0:20:36 | 0:20:39 | |
-Thank you. Thank you. -They like Sherlock. | 0:20:40 | 0:20:43 | |
Yeah, thank you. | 0:20:43 | 0:20:44 | |
Thank you. | 0:20:44 | 0:20:47 | |
See, that response, lovely in a studio, | 0:20:47 | 0:20:49 | |
-but when you're out and about filming Sherlock... -Yes. | 0:20:49 | 0:20:52 | |
-..is it like that all the time? -No, it has occasionally been. | 0:20:52 | 0:20:55 | |
Like, when we do our exteriors | 0:20:55 | 0:20:57 | |
for what our fake Baker Street is, in the West End, | 0:20:57 | 0:21:01 | |
it can be a little bit like that. | 0:21:01 | 0:21:03 | |
But we've tried to sort of say to them in the most respectful, | 0:21:03 | 0:21:07 | |
loving way that, you know, we need... | 0:21:07 | 0:21:09 | |
This is not a kind of live gig. Do you know what I mean? | 0:21:09 | 0:21:12 | |
It sort of needs to be quite small and focused. | 0:21:12 | 0:21:15 | |
But you're doing that in front of hundreds of people over the road. | 0:21:15 | 0:21:19 | |
You're getting people go, "Can't hear you!" | 0:21:19 | 0:21:21 | |
Yeah. So, it's a funny one. It's like... | 0:21:22 | 0:21:25 | |
It's almost sometimes like a cross between doing film and theatre. | 0:21:25 | 0:21:28 | |
-And how many are you doing this time? -Same amount. Three. -Three. | 0:21:28 | 0:21:31 | |
And when will they be out? | 0:21:31 | 0:21:32 | |
Erm, 2029. | 0:21:32 | 0:21:34 | |
-LAUGHTER -Probably. | 0:21:34 | 0:21:36 | |
No, next year. I imagine January or Christmas. | 0:21:36 | 0:21:39 | |
-OK, excellent. -Yeah, yeah. -Now. | 0:21:39 | 0:21:41 | |
Paul Rudd, is this the first time your children are going to be | 0:21:41 | 0:21:44 | |
able to see one of your films? | 0:21:44 | 0:21:46 | |
Yes. Ant-Man was the very first one that they got to see. | 0:21:46 | 0:21:51 | |
And they're excited about seeing Civil War, which is weird. | 0:21:51 | 0:21:54 | |
They knew that I was an actor in theory. | 0:21:54 | 0:21:55 | |
They've never shown any interest. | 0:21:55 | 0:21:57 | |
-Yeah. -In anything that I've done. I'll be honest with you, | 0:21:57 | 0:22:01 | |
they're showing a little bit of interest in this. | 0:22:01 | 0:22:03 | |
But, yeah, it was the first thing. | 0:22:03 | 0:22:05 | |
-Cos how many kids have you got? Two? -Two. | 0:22:05 | 0:22:08 | |
And being a parent, it's difficult. | 0:22:08 | 0:22:10 | |
And I believe there's been times where you haven't | 0:22:10 | 0:22:13 | |
pitched things correctly. You've got things slightly wrong. | 0:22:13 | 0:22:16 | |
That's true. Yeah. | 0:22:16 | 0:22:17 | |
Just recently I thought, "You know what? | 0:22:17 | 0:22:20 | |
"I'm going to really do the family thing. | 0:22:20 | 0:22:22 | |
"I'm going to surprise my kids with a trip to Disney World." | 0:22:22 | 0:22:25 | |
-Lovely. -Which was great. | 0:22:25 | 0:22:27 | |
But I thought, "Oh, this is going to be really fun." | 0:22:27 | 0:22:29 | |
And I sat them down and I was very serious and I said, | 0:22:29 | 0:22:32 | |
"You know, guys, | 0:22:32 | 0:22:34 | |
"you're not going to be able to go to school next Wednesday. | 0:22:34 | 0:22:38 | |
"Mom and I are going to take you out of school. | 0:22:38 | 0:22:41 | |
"Because...we are going...to Disney World." | 0:22:41 | 0:22:47 | |
And they were so freaked out by my tone that they were not excited. | 0:22:47 | 0:22:54 | |
My daughter started crying out of relief and my son said, "Oh, my God! | 0:22:56 | 0:23:01 | |
"I thought you were going to tell us that somebody had passed on." | 0:23:01 | 0:23:07 | |
And so there was... I was so excited about the joyous reaction | 0:23:07 | 0:23:12 | |
and I realised, "Oh, yes. | 0:23:12 | 0:23:14 | |
"That's a parental lesson right there. | 0:23:14 | 0:23:16 | |
"Don't make it about me." | 0:23:16 | 0:23:19 | |
Cos, Maxine, some of the parts you've played over the years | 0:23:19 | 0:23:22 | |
didn't thrill your family. | 0:23:22 | 0:23:25 | |
-No. -Cos Shameless. | 0:23:25 | 0:23:27 | |
-Shameless was quite out there. -Yeah, yeah. | 0:23:27 | 0:23:29 | |
AUDIENCE WHOOP | 0:23:29 | 0:23:30 | |
Yeah, I know. Shameless. Everyone loves Shameless. | 0:23:30 | 0:23:33 | |
Was it your mum that had the problem with Shameless? | 0:23:33 | 0:23:35 | |
Yeah, she didn't... When people used to say, "Oh, what have you been in?" | 0:23:35 | 0:23:38 | |
She'd go, "Dinnerladies." And that was it. | 0:23:38 | 0:23:41 | |
That was all she was proud of. | 0:23:41 | 0:23:42 | |
Shameless was a little bit too much. | 0:23:42 | 0:23:45 | |
You know, topless ironing and... Yeah. For anybody. | 0:23:45 | 0:23:49 | |
Anybody's mum, not even mine, would've been traumatised. | 0:23:49 | 0:23:52 | |
Other people's mothers. | 0:23:52 | 0:23:54 | |
Yeah. Traumatic. So, yeah. | 0:23:54 | 0:23:56 | |
-Because, Seth Rogen... -Yes. | 0:23:56 | 0:23:58 | |
-Your parents... No, it's lovely. They're very supportive. -They are. | 0:23:58 | 0:24:01 | |
I think we've got a picture of your mum, Sandy. | 0:24:01 | 0:24:04 | |
That's my mom. | 0:24:04 | 0:24:05 | |
Now, is she Mrs Rogen? | 0:24:05 | 0:24:07 | |
She is. Yeah. Mrs Sandy Rogen, yeah. | 0:24:07 | 0:24:10 | |
And now this is cool. | 0:24:10 | 0:24:11 | |
Like, what a cool mother she is, because you tweeted this, | 0:24:11 | 0:24:14 | |
a link to a video you did. You tweeted this thing... | 0:24:14 | 0:24:17 | |
-You did do this. -I taught people how to roll joints. | 0:24:21 | 0:24:24 | |
As a... It's community service, technically. | 0:24:24 | 0:24:26 | |
So, yeah. That's good. | 0:24:26 | 0:24:28 | |
-You care too much. -Exactly. | 0:24:28 | 0:24:29 | |
And knocked a few hours off my sentence. | 0:24:29 | 0:24:32 | |
So, that, erm... | 0:24:32 | 0:24:33 | |
And very sweetly, Mrs Rogen, your mom, tweeted this. | 0:24:33 | 0:24:36 | |
"That's so great..." | 0:24:36 | 0:24:38 | |
LAUGHTER | 0:24:41 | 0:24:42 | |
"So proud of your great abilities!" | 0:24:42 | 0:24:44 | |
She's proud of me. | 0:24:49 | 0:24:50 | |
Please, but please tell me, is this tattoo fake? | 0:24:50 | 0:24:53 | |
This is a picture of your mum. | 0:24:53 | 0:24:55 | |
Oh, this is horrific. | 0:24:55 | 0:24:56 | |
Yes. Thank God, that is fake. | 0:24:59 | 0:25:01 | |
I genuinely do not like looking at that picture. | 0:25:01 | 0:25:04 | |
There's something so weird... | 0:25:06 | 0:25:08 | |
That was made on Knocked Up, right? | 0:25:08 | 0:25:10 | |
No, it was... I don't know what it's from. | 0:25:10 | 0:25:12 | |
Wasn't it on Knocked Up? Cos we all had them. | 0:25:12 | 0:25:14 | |
-I think it might be, yeah... -Really? | 0:25:14 | 0:25:16 | |
There was a point where that was a thing, I guess. | 0:25:16 | 0:25:18 | |
But my mum put it on her upper breast, which is horrific to say, | 0:25:18 | 0:25:22 | |
and it's horrible. | 0:25:22 | 0:25:24 | |
It looks like something a prisoner would send me. | 0:25:25 | 0:25:28 | |
LAUGHTER | 0:25:28 | 0:25:31 | |
"What happened, Mom?!" | 0:25:31 | 0:25:33 | |
-"Why, Mom?" -Now, your mum seems... | 0:25:33 | 0:25:35 | |
-You know, she tweets, she's good at technology. -She does. | 0:25:35 | 0:25:37 | |
But lots of examples out there of parents not quite | 0:25:37 | 0:25:40 | |
getting the hang of texting. I don't know if these are real, | 0:25:40 | 0:25:44 | |
but they're out there and they're quite funny. | 0:25:44 | 0:25:46 | |
So here are some of them. So here's a mother texting somebody. | 0:25:46 | 0:25:49 | |
LAUGHTER | 0:25:55 | 0:25:58 | |
Now, so many parents do this one. | 0:25:58 | 0:26:00 | |
This is somebody texting their mum... | 0:26:00 | 0:26:02 | |
-It should be. -Those are good, but then this is so sweet. | 0:26:14 | 0:26:18 | |
So a mum... | 0:26:18 | 0:26:20 | |
I didn't know for a long time how to use emojis. | 0:26:20 | 0:26:22 | |
But the mother's found emojis and she's delighted with herself. | 0:26:22 | 0:26:26 | |
Off she goes... | 0:26:26 | 0:26:27 | |
And then the dreaded predictive text, which... That... | 0:26:39 | 0:26:42 | |
I mean, that's not just parents, that's the bane of all our lives. | 0:26:42 | 0:26:45 | |
This is from... To a father... | 0:26:45 | 0:26:47 | |
LAUGHTER | 0:27:04 | 0:27:06 | |
Well done, the parents! Very good! | 0:27:06 | 0:27:08 | |
But now, ladies and gentlemen, it is time for some culture | 0:27:13 | 0:27:16 | |
on this show because Maxine Peake brings us | 0:27:16 | 0:27:18 | |
A Midsummer Night's Dream by William Shakespeare. | 0:27:18 | 0:27:20 | |
It's out next month on BBC One as part of their Shakespeare season | 0:27:20 | 0:27:24 | |
and it's a... I mean, it's proper BBC One. | 0:27:24 | 0:27:27 | |
It's a big, accessible version of the play, isn't it? | 0:27:27 | 0:27:30 | |
Yes, Russell T Davies has done the adaptation... | 0:27:30 | 0:27:33 | |
-CHEERING -..so it's fantastic, | 0:27:33 | 0:27:35 | |
and as you would imagine from Russell, | 0:27:35 | 0:27:36 | |
it's fun, it's irreverent, it's, you know, quite anarchic. | 0:27:36 | 0:27:40 | |
And, yeah, it's the Doctor Who studio, | 0:27:40 | 0:27:42 | |
so there's lots of special effects and... | 0:27:42 | 0:27:45 | |
-And you're Titania. -I'm Titania, yes. | 0:27:45 | 0:27:47 | |
-Oh, there you are as Titania. AUDIENCE: -Ooh! -Yes. | 0:27:47 | 0:27:50 | |
-And it's... You came to set with that look, I hear. -Well, not... | 0:27:50 | 0:27:54 | |
Just driving by, "Hi, model's own." | 0:27:54 | 0:27:58 | |
I'd been doing a play in Manchester, The Striker by Caryl Churchill, | 0:27:58 | 0:28:01 | |
and I was playing this malevolent fairy and I had shaved... | 0:28:01 | 0:28:05 | |
It was a very attractive look. I had shaved hair and a nice mullet. | 0:28:05 | 0:28:09 | |
I looked like I should have worked on the waltzers, you know? | 0:28:09 | 0:28:11 | |
And so Russell came to see it | 0:28:11 | 0:28:13 | |
and offered me the part and then, "Oh, keep the hair." | 0:28:13 | 0:28:15 | |
And I was like, "Oh, you're joking?!" So for ages | 0:28:15 | 0:28:18 | |
I had this slightly horrendous haircut | 0:28:18 | 0:28:19 | |
that they used to wet shave every morning. | 0:28:19 | 0:28:21 | |
People used to go, "Oh, is your head cold?" | 0:28:21 | 0:28:23 | |
I'd go, "No, it's absolutely boiling." I don't know... | 0:28:23 | 0:28:25 | |
When you have it that close shaven it was just... | 0:28:25 | 0:28:28 | |
The heat emitting from having... | 0:28:28 | 0:28:29 | |
I don't know, maybe not. Maybe she was just doing it really badly. | 0:28:29 | 0:28:33 | |
Maybe she'd put a bit of Deep Heat on it first. | 0:28:33 | 0:28:35 | |
LAUGHTER It wasn't shaving foam. | 0:28:35 | 0:28:38 | |
So, yeah, it's a good introduction to people who wouldn't normally turn | 0:28:38 | 0:28:42 | |
on to Shakespeare or youngsters, just to get with the spirit of it. | 0:28:42 | 0:28:46 | |
And it's quick and it's economic and it's fun. | 0:28:46 | 0:28:48 | |
-And lots of famous faces. -Yeah. | 0:28:48 | 0:28:50 | |
-Matt Lucas is your Bottom. -Matt is my Bottom. | 0:28:50 | 0:28:53 | |
-There he is, yes. -I get to slip him the tongue. | 0:28:53 | 0:28:56 | |
You do, don't you? | 0:28:56 | 0:28:57 | |
I think he said I'm the first... | 0:28:57 | 0:28:59 | |
It's the first sort of roll around he's had on set | 0:28:59 | 0:29:02 | |
with a lady. I think it was his first on-screen... | 0:29:02 | 0:29:05 | |
I could be wrong... I'm sure he was saying that he'd never... | 0:29:05 | 0:29:08 | |
-I don't think he'd done a sex scene before. -Really? | 0:29:08 | 0:29:10 | |
I said, "Well, I've done loads of them, sweetheart." | 0:29:10 | 0:29:13 | |
"Just put your hand there and we'll all be happy!" | 0:29:14 | 0:29:17 | |
Yeah, "Mind my strip." | 0:29:17 | 0:29:19 | |
Yeah, he was lovely. He was, yeah. | 0:29:20 | 0:29:24 | |
-Well, look, we've got a clip. -Oh! | 0:29:24 | 0:29:27 | |
This is, basically, the famous scene. | 0:29:27 | 0:29:29 | |
-Your first... Titania's first appearance. -OK. | 0:29:29 | 0:29:31 | |
Ill met by moonlight, proud Titania. | 0:29:41 | 0:29:44 | |
My jealous Oberon! | 0:29:45 | 0:29:47 | |
Fairies, skip hence - I have forsworn his bed and company. | 0:29:47 | 0:29:50 | |
Tarry, rash wanton. Am not I thy lord? | 0:29:50 | 0:29:54 | |
Oh, then I must be thy lady! | 0:29:56 | 0:29:59 | |
CACKLING | 0:29:59 | 0:30:02 | |
But I know when thou has stolen away from Fairyland | 0:30:05 | 0:30:09 | |
and in the shape of Corin sat all day | 0:30:09 | 0:30:11 | |
playing on pipes of corn and versing love to amorous Phillida. | 0:30:11 | 0:30:15 | |
How canst thou thus for shame, Titania, | 0:30:15 | 0:30:18 | |
glance at my critic with fair Phillida, | 0:30:18 | 0:30:21 | |
knowing I know thy love to Hippolyta? | 0:30:21 | 0:30:24 | |
These are the forgeries of jealousy! | 0:30:24 | 0:30:27 | |
The bouncing Amazon. | 0:30:27 | 0:30:28 | |
Your buskin'd mistress and your warrior love | 0:30:28 | 0:30:32 | |
to Theseus must be wedded! | 0:30:32 | 0:30:35 | |
SCREAMING | 0:30:35 | 0:30:37 | |
APPLAUSE AND CHEERING | 0:30:39 | 0:30:42 | |
APPLAUSE DROWNS OUT SPEECH | 0:30:42 | 0:30:45 | |
It's good. | 0:30:47 | 0:30:49 | |
You're very kind. | 0:30:49 | 0:30:51 | |
They're loving it, loving it! Yeah. | 0:30:56 | 0:30:58 | |
Was that a real forest? That was a real forest. | 0:30:58 | 0:31:00 | |
-You can see your breath and everything. -It was cold. | 0:31:00 | 0:31:02 | |
It was about five o'clock in the morning | 0:31:02 | 0:31:04 | |
somewhere outside of Bristol. But, yeah, we did... | 0:31:04 | 0:31:06 | |
It was beautiful, actually. It was one of those forests that you arrived and it felt like... | 0:31:06 | 0:31:10 | |
It was so sort of perfect, it could have been a set. | 0:31:10 | 0:31:13 | |
-But the majority of it was in... We filmed at Cardiff. -OK. -Yes. | 0:31:13 | 0:31:16 | |
Yeah, less idyllic, but lovely, I'm sure. | 0:31:16 | 0:31:18 | |
-And, Paul, you have done Shakespeare. -Yeah, yeah, I have. | 0:31:19 | 0:31:23 | |
I was in the movie Romeo and Juliet with Leonardo DiCaprio. | 0:31:23 | 0:31:28 | |
CHEERING | 0:31:28 | 0:31:30 | |
And I did Twelfth Night at Lincoln Centre in New York. | 0:31:30 | 0:31:34 | |
Now, is that the picture with... | 0:31:34 | 0:31:35 | |
Because I feel bad but it is... It's just you and some purple pants, | 0:31:35 | 0:31:39 | |
-but is that you in Twelfth Night? -Mm-hm, yes. -Ah! | 0:31:39 | 0:31:42 | |
LAUGHTER | 0:31:42 | 0:31:43 | |
Yeah. | 0:31:43 | 0:31:45 | |
CHEERING | 0:31:45 | 0:31:47 | |
Just as the Bard intended it. | 0:31:50 | 0:31:52 | |
"I hope he's wearing purple Speedos." | 0:31:52 | 0:31:55 | |
That was a production Sir Nicholas Hytner directed | 0:31:55 | 0:31:59 | |
and that's with Helen Hunt. | 0:31:59 | 0:32:00 | |
Oh, is she over there, not looking? | 0:32:00 | 0:32:02 | |
-Yeah, not looking! -Not... | 0:32:02 | 0:32:04 | |
..shielding her eyes. | 0:32:04 | 0:32:06 | |
So, Maxine, in this you... | 0:32:08 | 0:32:10 | |
Obviously you're acting with the donkey in the woods and everything. | 0:32:10 | 0:32:14 | |
Yes, yes... Oh, yes, I'm sorry. | 0:32:14 | 0:32:16 | |
Remember that bit? Yeah, donkey, yeah. | 0:32:16 | 0:32:18 | |
But, Seth Rogen, you've worked with an actual tiger. | 0:32:18 | 0:32:21 | |
-I did, yeah. -But, like, a real, real tiger? | 0:32:21 | 0:32:25 | |
A real tiger, yeah. It was very counterintuitive, I'll be honest. | 0:32:25 | 0:32:29 | |
Yeah, I made a movie called The Interview that almost started a war, | 0:32:29 | 0:32:32 | |
you might have heard of it. | 0:32:32 | 0:32:33 | |
CHEERING | 0:32:33 | 0:32:35 | |
That must been have been the oddest time for you. | 0:32:35 | 0:32:37 | |
It was a horrible experience, yes. | 0:32:37 | 0:32:39 | |
It's bad to be blamed for almost starting a war. | 0:32:39 | 0:32:41 | |
-It's not fun. -Yeah. -Yeah. It's super weird. | 0:32:42 | 0:32:45 | |
No, you must have just been getting on with your life and, | 0:32:45 | 0:32:48 | |
"Hey, we've made this silly comedy..." | 0:32:48 | 0:32:50 | |
Yeah, and then the president was talking about it. | 0:32:50 | 0:32:52 | |
A lot. Yeah, it was really bizarre. | 0:32:52 | 0:32:55 | |
I had personal security and then one day they just went away. | 0:32:55 | 0:32:58 | |
I was like, "I guess I'm safe now." | 0:32:58 | 0:33:01 | |
-Yeah, but there was a tiger...? -In your house and everything? | 0:33:02 | 0:33:05 | |
Well, the studio provided the film-makers with security in case | 0:33:05 | 0:33:09 | |
someone from North Korea was going to kill us, I guess. | 0:33:09 | 0:33:12 | |
And then, literally, one day they were just gone. | 0:33:12 | 0:33:15 | |
We didn't... And I called everyone else and was like, | 0:33:15 | 0:33:18 | |
"Is your guy still there?" And they were like, "No, my guy's gone." | 0:33:18 | 0:33:21 | |
I was like, "Maybe this is it!" | 0:33:21 | 0:33:23 | |
"This is the attack." But it wasn't. | 0:33:24 | 0:33:27 | |
The studio just didn't want to pay for security any more. | 0:33:27 | 0:33:30 | |
So no-one rang you to say, "We're leaving"? | 0:33:30 | 0:33:32 | |
No, it was just morning I came out and was like, "Hey, G..." | 0:33:32 | 0:33:35 | |
"Oh, no, he's not there any more." | 0:33:35 | 0:33:38 | |
Yeah, and I thought maybe a North Korean had taken him out | 0:33:38 | 0:33:42 | |
but, no, instead Sony just didn't want to pay for him any more! | 0:33:42 | 0:33:45 | |
But, yes, it was a weird, weird, weird experience. | 0:33:45 | 0:33:48 | |
But part of the weirdness was you actually wrote a scene... | 0:33:48 | 0:33:51 | |
-Yeah. -You wrote this... -Yeah. -..with a real tiger. | 0:33:51 | 0:33:53 | |
Yes, and we thought we'd be able to use visual effects | 0:33:53 | 0:33:56 | |
like in Life of Pi and have a computer-generated tiger | 0:33:56 | 0:33:58 | |
and then we realised that we had no money and so we had to get | 0:33:58 | 0:34:01 | |
a real tiger from Toronto. | 0:34:01 | 0:34:04 | |
-The nicer tiger. -No, I asked the guy where the tiger came from | 0:34:06 | 0:34:09 | |
and he said he got it from a stripper, which is... | 0:34:09 | 0:34:12 | |
LAUGHTER | 0:34:12 | 0:34:14 | |
-..crazy. -That's quite the act. -It was quite... That's what I said. | 0:34:14 | 0:34:17 | |
-It's hard to tip, though. -Exactly! | 0:34:17 | 0:34:19 | |
And don't touch her! | 0:34:19 | 0:34:21 | |
The tiger trainer, God bless him... If you were to make a list | 0:34:23 | 0:34:26 | |
of the things you do not want to hear a tiger trainer say, | 0:34:26 | 0:34:29 | |
he systematically ticked every single thing on that list. | 0:34:29 | 0:34:34 | |
He would be like,... We'd be like, "Is it safe?" | 0:34:34 | 0:34:36 | |
He'd be like, "Well, they are killing machines, you know?" | 0:34:36 | 0:34:39 | |
That's cool. And so we're like, "Is this going to be OK to shoot? | 0:34:39 | 0:34:42 | |
He's like, "Yeah, you don't plan on shooting this at night, do you?" | 0:34:42 | 0:34:46 | |
We're like, "Yeah, it's at night." | 0:34:46 | 0:34:47 | |
He's like, "Well, they hunt at night." | 0:34:47 | 0:34:50 | |
We're like, "Is it more dangerous at night?" | 0:34:50 | 0:34:53 | |
He's like, "It's about 30-40% more dangerous." | 0:34:53 | 0:34:55 | |
And we're like, "30-40% more than what? | 0:34:55 | 0:34:58 | |
"Like, what's our baseline tiger level of danger?" | 0:34:58 | 0:35:01 | |
He's like, "As long as it's not in a big open space." | 0:35:01 | 0:35:04 | |
And we're like, "It is in a big open space." | 0:35:04 | 0:35:07 | |
And then we're just like, "Should we not do this?" | 0:35:07 | 0:35:09 | |
"Should we just not do it?" | 0:35:09 | 0:35:10 | |
There was, I'm not joking, 15 seconds of silence | 0:35:10 | 0:35:13 | |
and he goes, "No, we can do it." | 0:35:13 | 0:35:15 | |
LAUGHTER | 0:35:15 | 0:35:18 | |
And then the trainer's son, who was 18 years old, who was the guy who | 0:35:18 | 0:35:21 | |
was training it... And we were like, | 0:35:21 | 0:35:23 | |
"Why is your 18-year-old son doing it?" | 0:35:23 | 0:35:24 | |
He's like, "He has a much better relationship with the tiger." | 0:35:24 | 0:35:27 | |
LAUGHTER | 0:35:27 | 0:35:30 | |
There was one moment when he got in a fight with his dad | 0:35:30 | 0:35:32 | |
while they're holding the tiger. He was like, | 0:35:32 | 0:35:35 | |
"Shut up, Dad, I'm doing this." | 0:35:35 | 0:35:36 | |
We're just like, "There's a fucking tiger here!" | 0:35:36 | 0:35:41 | |
-No-one got killed by the tiger. -Hooray! -Thank you. -Happy ending! | 0:35:41 | 0:35:44 | |
APPLAUSE | 0:35:44 | 0:35:46 | |
And film sets... I mean, filming's exciting in that... | 0:35:50 | 0:35:53 | |
But they can often be quite boring, all the waiting around that has to be done. | 0:35:53 | 0:35:56 | |
-Now, Martin, in The Hobbit was it you and Aidan Turner... -Oh, Christ! | 0:35:56 | 0:36:00 | |
..that you found a way to while away | 0:36:00 | 0:36:03 | |
the many hours... WOLF WHISTLE | 0:36:03 | 0:36:05 | |
..you must've spent in New Zealand? | 0:36:05 | 0:36:07 | |
-I mean, yes, I like to engender good feeling, you know? -Of course. | 0:36:07 | 0:36:12 | |
If we're waiting around, if we're hanging around. | 0:36:12 | 0:36:14 | |
One time I said to Aidan, OK, if there's a gun at your head... | 0:36:14 | 0:36:17 | |
-Shall I say this? -What? -Whatever I'm going to say? | 0:36:17 | 0:36:21 | |
LAUGHTER Do it then. | 0:36:21 | 0:36:23 | |
I had a baby with a dildo. | 0:36:23 | 0:36:24 | |
-That's true. -That's in his film. | 0:36:25 | 0:36:28 | |
It wasn't even an accident. | 0:36:28 | 0:36:30 | |
That wasn't even an anecdote, it was written in by someone. | 0:36:30 | 0:36:33 | |
No, we were hanging around and we were in a very beautiful part | 0:36:33 | 0:36:36 | |
of New Zealand where there was a mountain over there | 0:36:36 | 0:36:39 | |
and lovely big plains of lush green grass, | 0:36:39 | 0:36:42 | |
and it was like a picturesque... | 0:36:42 | 0:36:43 | |
It was like a postcard of how beautiful New Zealand can be. | 0:36:43 | 0:36:47 | |
But I said, "OK, Aidan, if there was a gun at your head, | 0:36:47 | 0:36:50 | |
"you've got to do one of these two things. | 0:36:50 | 0:36:52 | |
"You've got to either walk away from this scene, not saying anything | 0:36:52 | 0:36:55 | |
"to Peter Jackson or anybody else. | 0:36:55 | 0:36:57 | |
"You've just got to walk away and go until you reach that mountain | 0:36:57 | 0:37:01 | |
"and not say anything to anyone." | 0:37:01 | 0:37:03 | |
"And when they say, 'Where's Aidan? He's got a line', | 0:37:03 | 0:37:06 | |
"you'll just be fired." | 0:37:06 | 0:37:07 | |
"That's over, because no-one would have explained it | 0:37:07 | 0:37:10 | |
"and that'll be this job over and your name won't be..." | 0:37:10 | 0:37:13 | |
-You know, he wouldn't have done Poldark, that's for sure. -No. | 0:37:13 | 0:37:17 | |
"Or you've got to..." | 0:37:17 | 0:37:19 | |
HE EXHALES | 0:37:19 | 0:37:21 | |
"Or you've got to masturbate to completion | 0:37:21 | 0:37:24 | |
"just in front of everyone here. | 0:37:24 | 0:37:26 | |
"Don't say anything about it. | 0:37:26 | 0:37:28 | |
"There's no... There's no introduction, there is no caveat. | 0:37:28 | 0:37:33 | |
"You've got to do one of those, and if there was a gun at your head, | 0:37:33 | 0:37:35 | |
"which one would you do?" | 0:37:35 | 0:37:36 | |
And he thought about it and he chose the B - he chose B. | 0:37:36 | 0:37:39 | |
Just because he figured that he wouldn't get fired. | 0:37:39 | 0:37:42 | |
But he would get fired. | 0:37:42 | 0:37:43 | |
I don't think he's getting Poldark after that either. | 0:37:43 | 0:37:46 | |
You should be fired for that. | 0:37:46 | 0:37:48 | |
Yeah, I mean... If there's one thing I believe it's you should be | 0:37:48 | 0:37:51 | |
fired for wanking on set. I'm all against that. I'm dead against that. | 0:37:51 | 0:37:55 | |
-Were you an A or a B? -I want that on the record. -Were you A or B? | 0:37:55 | 0:37:58 | |
I think I might have chosen the mountain | 0:37:58 | 0:38:00 | |
because I don't want to masturbate on set. | 0:38:00 | 0:38:03 | |
-I don't want to. -Why not? -Well, because... | 0:38:03 | 0:38:05 | |
people look down on it. People say it's harassment and all that shit. | 0:38:05 | 0:38:09 | |
In Hollywood you're more likely to keep working | 0:38:09 | 0:38:11 | |
after masturbating on set, to be totally honest. | 0:38:11 | 0:38:14 | |
Maxine, I won't ask you, Maxine. | 0:38:14 | 0:38:16 | |
-What, about masturbating on set? -No, I won't, no. -No. | 0:38:16 | 0:38:18 | |
It's too long a story. | 0:38:18 | 0:38:21 | |
LAUGHTER AND APPLAUSE | 0:38:21 | 0:38:23 | |
How do you think she lost all that weight?! | 0:38:23 | 0:38:25 | |
Well, Paul Rudd, in the Ant-Man movie you went to | 0:38:31 | 0:38:34 | |
extraordinary lengths to amuse yourself. | 0:38:34 | 0:38:37 | |
Or were you trying to amuse other people, or just yourself? | 0:38:37 | 0:38:40 | |
-Well, this is quite close to that. -Yeah, I think this is a perfect segue. | 0:38:40 | 0:38:44 | |
What did you do?! | 0:38:44 | 0:38:46 | |
Well, I was working opposite Michael Douglas in Ant-Man | 0:38:46 | 0:38:50 | |
and, you know, he's a legend and I could never completely relax | 0:38:50 | 0:38:55 | |
in front of him, even though he was very nice and cordial and sweet. | 0:38:55 | 0:39:00 | |
Finally, it was his last day of shooting and I thought, | 0:39:02 | 0:39:04 | |
"Ah, I want to be buddy-buddy with the guy, | 0:39:04 | 0:39:07 | |
"I want him to think I'm cool." | 0:39:07 | 0:39:09 | |
And I thought it would be funny if while it was on his close-up | 0:39:09 | 0:39:12 | |
I could somehow recreate that scene from Basic Instinct... | 0:39:12 | 0:39:16 | |
LAUGHTER | 0:39:16 | 0:39:19 | |
..sitting across from him. | 0:39:22 | 0:39:24 | |
So I didn't tell him, but I also didn't tell anybody. | 0:39:24 | 0:39:26 | |
And before, you know, we filmed the scene, | 0:39:28 | 0:39:31 | |
-I unzipped my jeans and, you know... -Unfurled. -Unfurled. | 0:39:31 | 0:39:35 | |
Not much of an unfurling, but I unfurled technically. | 0:39:38 | 0:39:41 | |
And I sat down and I guess I didn't really take into account | 0:39:41 | 0:39:44 | |
when sitting in a chair everything kind of like... | 0:39:44 | 0:39:47 | |
My boxer shorts and everything... | 0:39:47 | 0:39:50 | |
So while he's doing his scene, I'm trying to re-unfurl | 0:39:50 | 0:39:56 | |
while holding my T-shirt over everything, | 0:39:56 | 0:39:59 | |
so that he wouldn't see it, | 0:39:59 | 0:40:02 | |
and as I'm doing it he's saying his line and it looked as if | 0:40:02 | 0:40:05 | |
I was doing exactly what... | 0:40:05 | 0:40:06 | |
-..Martin says he would never do on set. -Oh, God! | 0:40:08 | 0:40:11 | |
You picked option B. | 0:40:14 | 0:40:15 | |
As I'm trying to uncross my legs and it was like trying... | 0:40:15 | 0:40:19 | |
And he's such a pro - | 0:40:20 | 0:40:22 | |
he didn't... He didn't stop his, you know, monologue. | 0:40:22 | 0:40:27 | |
Er, flicked his eyes down real quick, | 0:40:27 | 0:40:30 | |
looked back at me and then just finally stopped in the middle | 0:40:30 | 0:40:33 | |
and said, "What are you, a fucking pervert?" | 0:40:33 | 0:40:36 | |
LAUGHTER | 0:40:36 | 0:40:39 | |
And in that moment I thought, | 0:40:40 | 0:40:42 | |
"This didn't play out as I'd anticipated." | 0:40:42 | 0:40:45 | |
-You sexually assaulted Michael Douglas. -I did. | 0:40:48 | 0:40:52 | |
And it was... The whole thing just, kind of, you know... | 0:40:52 | 0:40:56 | |
blew up in my face, I guess. | 0:40:56 | 0:40:59 | |
Yeah, and... | 0:40:59 | 0:41:02 | |
Right, it is time for music. | 0:41:07 | 0:41:10 | |
This Grammy-nominated singer is only 19 years old and has already | 0:41:10 | 0:41:15 | |
released three albums and sold over ten million records worldwide. | 0:41:15 | 0:41:19 | |
Here performing Wild Horses, please welcome Birdy. | 0:41:19 | 0:41:22 | |
# I'm a dreamer | 0:41:29 | 0:41:30 | |
# But it's hard to sleep when your head's not in it | 0:41:30 | 0:41:34 | |
# I've been restless cos you disappeared | 0:41:34 | 0:41:37 | |
# And there's something missing | 0:41:37 | 0:41:39 | |
# The earth is loose | 0:41:39 | 0:41:43 | |
# Under my shoes | 0:41:43 | 0:41:45 | |
# There's an angel and he's shaped like you | 0:41:45 | 0:41:49 | |
# And I thought I know him | 0:41:49 | 0:41:51 | |
# There's a window and it's dark where the light was in it | 0:41:51 | 0:41:57 | |
# This can't be love if it hurts so much | 0:41:57 | 0:42:02 | |
# I need to let go | 0:42:02 | 0:42:05 | |
# And I will survive and be the one who's stronger | 0:42:07 | 0:42:13 | |
# And I will not beg you to stay | 0:42:13 | 0:42:19 | |
# I will move on and you should know I mean it | 0:42:19 | 0:42:25 | |
# Wild horses run in me | 0:42:25 | 0:42:28 | |
# I remember how we danced so close I would stand on your feet | 0:42:31 | 0:42:37 | |
# And the phone calls that would last all night | 0:42:37 | 0:42:40 | |
# They were lifeboats to me | 0:42:40 | 0:42:42 | |
# Our fading scars | 0:42:42 | 0:42:44 | |
# Just shooting stars | 0:42:44 | 0:42:48 | |
# They're here They're gone | 0:42:48 | 0:42:53 | |
# And I will survive and be the one who's stronger | 0:42:53 | 0:42:58 | |
# And I will not beg you to stay | 0:42:58 | 0:43:04 | |
# I will move on and you should know I mean it | 0:43:04 | 0:43:10 | |
# Wild horses run in me | 0:43:10 | 0:43:14 | |
# Our human hearts forget how strong they are | 0:43:15 | 0:43:21 | |
# And they get lost along the way | 0:43:21 | 0:43:27 | |
# It's not giving up It's letting go | 0:43:27 | 0:43:32 | |
# And moving to a better place | 0:43:32 | 0:43:37 | |
# I will survive and be the one who's stronger | 0:43:38 | 0:43:43 | |
# And I will not beg you to stay | 0:43:43 | 0:43:47 | |
# I will move on and you should know I mean it | 0:43:49 | 0:43:55 | |
# Wild horses run in me | 0:43:55 | 0:43:59 | |
# Yeah | 0:43:59 | 0:44:01 | |
# I will survive and be the one who's stronger | 0:44:01 | 0:44:06 | |
# And I will not beg you to stay | 0:44:06 | 0:44:10 | |
# Yeah | 0:44:10 | 0:44:12 | |
# I will move on and you should know I mean it | 0:44:12 | 0:44:18 | |
# Wild horses run in me. # | 0:44:18 | 0:44:23 | |
APPLAUSE | 0:44:23 | 0:44:26 | |
Birdy, everybody! Great job. | 0:44:28 | 0:44:31 | |
Take a bow, take a bow. | 0:44:31 | 0:44:34 | |
Come over and see us. | 0:44:34 | 0:44:36 | |
-Well done, my dear. Hello. -Hello. | 0:44:36 | 0:44:39 | |
Have a seat beside Maxine there. You sit there. | 0:44:39 | 0:44:42 | |
-That's, everyone. Lovely. Very good. ALL: -Hello. | 0:44:42 | 0:44:45 | |
Very good. Very good. | 0:44:45 | 0:44:48 | |
Have a seat, do. Look at you in your glittery clothes. | 0:44:48 | 0:44:50 | |
-How are you? -I'm very well, thank you. | 0:44:50 | 0:44:53 | |
-Oh, excellent. Now, that is from the album Beautiful Lies. -Yes. | 0:44:53 | 0:44:57 | |
-Which is out now, I believe. -It is, yeah. -Oh, congratulations. | 0:44:57 | 0:44:59 | |
-Thank you so much. -19 and that's your third album, that seems crazy. | 0:44:59 | 0:45:03 | |
It has been a weird five years. | 0:45:03 | 0:45:05 | |
It's gone so quickly. I started when I was 14, | 0:45:05 | 0:45:08 | |
so I've literally just been travelling and... | 0:45:08 | 0:45:11 | |
Oh, successful young people... HE EXHALES | 0:45:11 | 0:45:14 | |
No, well done, I'm thrilled for you. | 0:45:14 | 0:45:17 | |
(Ten million records, she's 19 years old!) | 0:45:17 | 0:45:20 | |
No, that is fantastic. | 0:45:20 | 0:45:22 | |
-Aren't you in the middle of a tour right now? -Yes, I am. | 0:45:22 | 0:45:24 | |
I've popped home quickly. | 0:45:24 | 0:45:26 | |
And it ends... Is it the 10th of May it ends London at the Roundhouse? | 0:45:26 | 0:45:29 | |
-Yeah, at the Roundhouse. -Fantastic. Well, listen, thank you so much for | 0:45:29 | 0:45:32 | |
-coming to see us. -Thank you. -That's is a beautiful song. | 0:45:32 | 0:45:34 | |
Everybody loves it. Birdy, everybody! There you go. | 0:45:34 | 0:45:37 | |
APPLAUSE | 0:45:37 | 0:45:39 | |
Sometimes this happens, and it happened tonight - | 0:45:39 | 0:45:42 | |
-we don't have time for red chairs. AUDIENCE: -Oh! | 0:45:42 | 0:45:45 | |
I'm very sorry. Oh, be quiet! | 0:45:45 | 0:45:47 | |
So please say a huge thank you to my guests tonight - | 0:45:47 | 0:45:50 | |
Birdy, everybody! | 0:45:50 | 0:45:54 | |
Maxine Peake. | 0:45:54 | 0:45:56 | |
Martin Freeman. | 0:45:57 | 0:45:59 | |
Paul Rudd. | 0:46:00 | 0:46:01 | |
And Mr Seth Rogen! | 0:46:03 | 0:46:04 | |
Join me next week with Hollywood legend John Malkovich, | 0:46:07 | 0:46:10 | |
the king of cool Samuel L Jackson, | 0:46:10 | 0:46:12 | |
and man of the moment Tom Hiddleston. | 0:46:12 | 0:46:14 | |
I'll see you then. Goodnight, everybody, bye-bye! | 0:46:14 | 0:46:17 | |
APPLAUSE | 0:46:17 | 0:46:19 |