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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
Tonight on the show, the star of the hit BBC drama The Night Manager | 0:00:04 | 0:00:07 | |
and one of the hottest men around. OK, just get ready. | 0:00:07 | 0:00:10 | |
Yes, ladies and gentlemen, here he is, it's Tom Hiddleston! | 0:00:10 | 0:00:13 | |
CHEERING | 0:00:13 | 0:00:15 | |
Let's start the show! | 0:00:15 | 0:00:18 | |
Hello! Oh! Thank you very much. | 0:00:35 | 0:00:38 | |
Thank you! Thank you! | 0:00:38 | 0:00:42 | |
I know, I know, I'm not Tom, I'm not Tom! | 0:00:43 | 0:00:47 | |
Hello and welcome. We've got a great show tonight. | 0:00:47 | 0:00:49 | |
I tell you, I couldn't be more excited | 0:00:49 | 0:00:52 | |
than if I was a Leicester City supporter. | 0:00:52 | 0:00:54 | |
APPLAUSE Yes, even I know about this! | 0:00:54 | 0:00:56 | |
Even I! LAUGHTER | 0:00:56 | 0:00:58 | |
Well done, Leicester. Isn't it great? It's lovely! | 0:00:58 | 0:01:01 | |
APPLAUSE | 0:01:01 | 0:01:04 | |
It is a fabulous, fabulous story. | 0:01:04 | 0:01:06 | |
From the Thai owners to the Italian manager, | 0:01:06 | 0:01:09 | |
it's a fantastic example of British talent coming through. | 0:01:09 | 0:01:12 | |
LAUGHTER | 0:01:12 | 0:01:14 | |
The names, of course, of the players are going to be legendary, | 0:01:14 | 0:01:17 | |
Jamie Vardy... | 0:01:17 | 0:01:20 | |
..the others. LAUGHTER | 0:01:20 | 0:01:22 | |
Hey! And on the subject of unfancied outsiders winning big, | 0:01:22 | 0:01:26 | |
it looks like Donald Trump | 0:01:26 | 0:01:27 | |
will be running for American president. | 0:01:27 | 0:01:30 | |
I know, it's going to happen! AUDIENCE HISS AND JEER | 0:01:30 | 0:01:33 | |
Of course, in this country a "trump" is an unpleasant smell | 0:01:33 | 0:01:36 | |
that comes from an anus. | 0:01:36 | 0:01:38 | |
Same way as it is in America. | 0:01:38 | 0:01:39 | |
Hey! Let's get some guests on! | 0:01:39 | 0:01:42 | |
CHEERING | 0:01:42 | 0:01:44 | |
Later we'll have music from CHVRCHES. | 0:01:44 | 0:01:47 | |
But first, this woman is a star of Live At The Apollo, | 0:01:47 | 0:01:50 | |
QI, Mock The Week and W1A. | 0:01:50 | 0:01:52 | |
She's one of the UK's brightest comedians, | 0:01:52 | 0:01:54 | |
now turned author, | 0:01:54 | 0:01:55 | |
please welcome, for the first time, it's Sara Pascoe! | 0:01:55 | 0:01:58 | |
APPLAUSE Hello, Sara Pascoe! | 0:01:58 | 0:02:02 | |
Mmm! Kissing, showbiz kissing! Come in, sit down! | 0:02:03 | 0:02:07 | |
Hello, thank you! | 0:02:07 | 0:02:09 | |
From action in Con Air, drama in Dangerous Liaisons, | 0:02:09 | 0:02:13 | |
and the surreal in Being John Malkovich, | 0:02:13 | 0:02:15 | |
this man is one of the world's most versatile actors | 0:02:15 | 0:02:18 | |
of stage and screen. | 0:02:18 | 0:02:19 | |
Please welcome John Malkovich, everybody! | 0:02:19 | 0:02:22 | |
CHEERING | 0:02:22 | 0:02:25 | |
Hello, sir. | 0:02:25 | 0:02:27 | |
Lovely to see you. Have a seat. | 0:02:27 | 0:02:29 | |
Pulp Fiction, Star Wars and The Avengers, | 0:02:32 | 0:02:34 | |
this man has been in over 150 films | 0:02:34 | 0:02:36 | |
and has taken an incredible 4 billion at the box office. | 0:02:36 | 0:02:39 | |
Please welcome the King Of Cool, Samuel L Jackson! | 0:02:39 | 0:02:42 | |
CHEERING | 0:02:42 | 0:02:45 | |
Whoo! | 0:02:45 | 0:02:48 | |
How are you? Nice to see you. Come in and sit down. | 0:02:50 | 0:02:54 | |
He rose to fame as Marvel's villainous Loki | 0:02:54 | 0:02:57 | |
and recently wowed us in the BBC hit drama The Night Manager. | 0:02:57 | 0:03:00 | |
Now he brings us a virtuoso performance | 0:03:00 | 0:03:03 | |
as Hank Williams in I Saw The Light, | 0:03:03 | 0:03:04 | |
please welcome Mr Tom Hiddleston. | 0:03:04 | 0:03:07 | |
CHEERING | 0:03:07 | 0:03:10 | |
Hello. Lovely to see you. Sit down, sit down, sit down. | 0:03:12 | 0:03:15 | |
So, welcome, all. | 0:03:21 | 0:03:22 | |
-It is a warm, first welcome to Sara. Hi. -Hello. | 0:03:22 | 0:03:24 | |
Everyone else has been on before. | 0:03:24 | 0:03:27 | |
Tom, have you recovered from your last appearance? | 0:03:27 | 0:03:29 | |
Erm... Just about, yeah! | 0:03:29 | 0:03:32 | |
Have you told the others about what happened last time? | 0:03:32 | 0:03:34 | |
-I don't think I have. -You were halfway through telling me | 0:03:34 | 0:03:36 | |
and then we had to come out here. | 0:03:36 | 0:03:38 | |
Oh! Well, you will listen with interest now! | 0:03:38 | 0:03:41 | |
LAUGHTER | 0:03:41 | 0:03:42 | |
I was sitting in your position | 0:03:42 | 0:03:44 | |
and in my position was sat the great American actor | 0:03:44 | 0:03:47 | |
Robert De Niro. | 0:03:47 | 0:03:49 | |
And I was challenged, requested... Required? | 0:03:49 | 0:03:53 | |
Suggested, I think! LAUGHTER | 0:03:53 | 0:03:56 | |
..by Graham, to do an impersonation of Robert De Niro | 0:03:56 | 0:03:59 | |
in front of Robert De Niro. | 0:03:59 | 0:04:01 | |
To this day, I still don't know why I did that! | 0:04:02 | 0:04:06 | |
LAUGHTER We have got a still. | 0:04:06 | 0:04:09 | |
A still of the moment. There you are with your De Niro face. | 0:04:09 | 0:04:12 | |
LAUGHTER | 0:04:12 | 0:04:14 | |
The face is good. | 0:04:14 | 0:04:15 | |
And there you have Robert De Niro down the other end, just going, | 0:04:15 | 0:04:18 | |
"You mean this face?" | 0:04:18 | 0:04:21 | |
Now, here's a thing. | 0:04:21 | 0:04:23 | |
John Malkovich, I was saying this to you in the corridor, | 0:04:23 | 0:04:26 | |
you've never been in a film with Samuel L Jackson. | 0:04:26 | 0:04:28 | |
-No. -Cos you've both been in a lot of films. | 0:04:28 | 0:04:32 | |
It is weird there is no Venn diagram where you are both in there. | 0:04:32 | 0:04:35 | |
None of my movies are serious and he is a serious actor. | 0:04:35 | 0:04:38 | |
-No, no, I was in Con Air! -LAUGHTER AND APPLAUSE | 0:04:38 | 0:04:42 | |
If that's serious, I'm an astronaut. | 0:04:49 | 0:04:52 | |
I wanted to be in that movie! | 0:04:52 | 0:04:55 | |
-Sara Pascoe, I'm saying "Sarah" - it is SAY-RAH? -It is SAY-RAH. | 0:04:55 | 0:04:59 | |
-Cos there is no "h". -No. It is spelt without an "h". | 0:04:59 | 0:05:01 | |
Sometime's people think it is SA-RA, but it's not. | 0:05:01 | 0:05:04 | |
But it worked out in my favour, actually, | 0:05:04 | 0:05:07 | |
cos there is a woman who is called Sarah Pascoe, with an "h". | 0:05:07 | 0:05:10 | |
And for ages... You know, people, comics especially, | 0:05:10 | 0:05:12 | |
they always talk about getting abuse on Twitter and stuff, | 0:05:12 | 0:05:15 | |
and I was always kind of backstage, being very sympathetic, | 0:05:15 | 0:05:17 | |
but thinking, "I'm just universally loved." | 0:05:17 | 0:05:21 | |
And then I got an e-mail from a woman, through my website, | 0:05:21 | 0:05:24 | |
who says, "Can you warn me the next time you're on television? | 0:05:24 | 0:05:27 | |
"Because I'm getting a lot of messages | 0:05:27 | 0:05:29 | |
"saying that I'm a fat bitch!" | 0:05:29 | 0:05:31 | |
-And, so... Sorry, Sarah Pascoe! -With an "h"! | 0:05:33 | 0:05:37 | |
And I am sorry, because I recently checked back | 0:05:37 | 0:05:39 | |
to see if she was still on Twitter | 0:05:39 | 0:05:41 | |
and she has changed her little bio to | 0:05:41 | 0:05:43 | |
"Not the one who was shit on Live At The Apollo." | 0:05:43 | 0:05:45 | |
AUDIENCE: Aaaw! | 0:05:45 | 0:05:47 | |
Ooh! Everyone is a critic. LAUGHTER | 0:05:47 | 0:05:50 | |
Tom Hiddleston, have you ever had any bad reviews? No. | 0:05:50 | 0:05:55 | |
Ahhh... You make a man feel good, Graham! | 0:05:55 | 0:06:01 | |
No, I was in a play, | 0:06:01 | 0:06:03 | |
I had never, ever been professionally reviewed. | 0:06:03 | 0:06:05 | |
And in the paper the next day was a British theatre critic | 0:06:05 | 0:06:08 | |
who said I was completely out of place, | 0:06:08 | 0:06:11 | |
too young, too RADA... | 0:06:11 | 0:06:14 | |
..and projecting about as much masculinity...as Graham Norton. | 0:06:15 | 0:06:20 | |
LAUGHTER AND APPLAUSE Wow! | 0:06:20 | 0:06:23 | |
That's good! That's good! | 0:06:25 | 0:06:29 | |
I've been dragged into your bad review! | 0:06:29 | 0:06:32 | |
-I'm sorry! -No, don't apologise! | 0:06:32 | 0:06:33 | |
I've been dragged into your bad review! | 0:06:33 | 0:06:36 | |
I wasn't even there! | 0:06:36 | 0:06:40 | |
-Like it's your fault! -Yes! | 0:06:40 | 0:06:42 | |
As I sit across from you now I think how terrifically butch you are. | 0:06:42 | 0:06:46 | |
I know! I've really made an effort tonight! | 0:06:46 | 0:06:49 | |
LAUGHTER Oh, dear! | 0:06:49 | 0:06:51 | |
Now, Tom Hiddleston, you bring us a new biopic | 0:06:51 | 0:06:54 | |
telling the life story of the country and western star | 0:06:54 | 0:06:56 | |
Hank Williams. | 0:06:56 | 0:06:57 | |
It's called I Saw The Light, it opens tonight. | 0:06:57 | 0:07:00 | |
Hank Williams, it's a name that... | 0:07:00 | 0:07:01 | |
Particularly British people, we know the name, | 0:07:01 | 0:07:04 | |
but we're not quite sure | 0:07:04 | 0:07:06 | |
of where he is in the country and western pantheon, | 0:07:06 | 0:07:10 | |
what his songs are, why his life is interesting. | 0:07:10 | 0:07:13 | |
Basically, he is considered as one of the godfathers of American music, | 0:07:13 | 0:07:18 | |
he was almost the first guy doing a particular thing. | 0:07:18 | 0:07:21 | |
He was from Mount Olive, Alabama, he was born in 1923, | 0:07:21 | 0:07:26 | |
and he became a huge star | 0:07:26 | 0:07:29 | |
and he wrote some of the most recognisable songs | 0:07:29 | 0:07:32 | |
in the American song book. | 0:07:32 | 0:07:34 | |
Just to help people, name some of the hits. | 0:07:34 | 0:07:36 | |
Hey Good Looking is one of them. | 0:07:36 | 0:07:38 | |
# What ya got cooking? # | 0:07:38 | 0:07:39 | |
-"What ya got cooking?" -LAUGHTER | 0:07:39 | 0:07:42 | |
Erm... Move It On Over, Lovesick Blues, | 0:07:42 | 0:07:44 | |
Why Don't You Love Me? | 0:07:44 | 0:07:46 | |
I'm So Lonesome I Could Cry, Cold, Cold Heart... | 0:07:46 | 0:07:50 | |
-Are you still naming songs? -LAUGHTER | 0:07:50 | 0:07:54 | |
He's having a breakdown! | 0:07:54 | 0:07:58 | |
LAUGHTER | 0:07:58 | 0:08:00 | |
And for you, obviously, it is a big acting challenge | 0:08:00 | 0:08:03 | |
because it's a real person, it's a specific accent, | 0:08:03 | 0:08:06 | |
but what's really phenomenal is the music that you perform. | 0:08:06 | 0:08:11 | |
-Thank you. -And you hadn't done this. | 0:08:11 | 0:08:15 | |
Never. I was never in a band, never in the choir. | 0:08:15 | 0:08:18 | |
Singing was exclusively for an audience of one in the shower - me. | 0:08:18 | 0:08:22 | |
-Badly. -Thanks for pointing that out! | 0:08:22 | 0:08:25 | |
LAUGHTER | 0:08:25 | 0:08:26 | |
-Just in case anybody got any ideas! -Hiding in hotel rooms! | 0:08:26 | 0:08:31 | |
You didn't play the guitar before, and you play it in this? | 0:08:31 | 0:08:34 | |
-I play in this. I play everything... -And you'd never played? | 0:08:34 | 0:08:37 | |
I had noodled around. I noodled around as a student, | 0:08:37 | 0:08:40 | |
I learnt Knocking On Heaven's Door, and Simple Twist of Fate... | 0:08:40 | 0:08:43 | |
What was the...? Because, you know, it's not just singing. | 0:08:43 | 0:08:47 | |
It is very specific singing, the yodelling and everything. | 0:08:47 | 0:08:49 | |
Presumably not everyone can do that. | 0:08:49 | 0:08:51 | |
-No. -So if you had discovered you couldn't do it, | 0:08:51 | 0:08:53 | |
were they going to fire you, | 0:08:53 | 0:08:54 | |
or were they going to dub Hank Williams? | 0:08:54 | 0:08:57 | |
-What was going to happen? -I honestly don't know. | 0:08:57 | 0:08:59 | |
-Can you yodel as Robert De Niro? -LAUGHTER | 0:08:59 | 0:09:04 | |
It's one of your talents! | 0:09:04 | 0:09:08 | |
Uh... Let me check. | 0:09:08 | 0:09:10 | |
No! | 0:09:10 | 0:09:11 | |
-Give us a little yodel. -It goes a little something like this... | 0:09:11 | 0:09:15 | |
Erm... Oh, God. Here we go. | 0:09:15 | 0:09:18 | |
CLICKS FINGERS TO BEAT | 0:09:21 | 0:09:23 | |
YODELLING # She's long gone | 0:09:23 | 0:09:27 | |
# And I am | 0:09:27 | 0:09:29 | |
# A lonesome blue. # | 0:09:29 | 0:09:31 | |
Lovely. CHEERING AND APPLAUSE | 0:09:31 | 0:09:36 | |
Let's look at a clip. This is you as Hank Williams | 0:09:38 | 0:09:41 | |
performing with Hank's wife and mother looking on. | 0:09:41 | 0:09:44 | |
-OK. -Here we go. | 0:09:44 | 0:09:46 | |
# When you are sad and lonely | 0:09:52 | 0:09:55 | |
# And have no place to go | 0:09:55 | 0:09:58 | |
# Come to see me, baby | 0:09:58 | 0:10:00 | |
# And bring home some dough | 0:10:00 | 0:10:03 | |
# And we'll go honky tonkin' Honky tonkin' | 0:10:03 | 0:10:07 | |
# Honky tonkin', honey, baby | 0:10:07 | 0:10:10 | |
# We'll go honky tonkin' around this town... # | 0:10:10 | 0:10:16 | |
How much you got there? | 0:10:16 | 0:10:18 | |
I'm under no obligation to you. | 0:10:18 | 0:10:21 | |
That goes both ways, huh? | 0:10:21 | 0:10:23 | |
Keep drinking like a fish. | 0:10:27 | 0:10:29 | |
You think so? | 0:10:29 | 0:10:32 | |
# Honky tonkin', honey, baby | 0:10:32 | 0:10:33 | |
# We'll go honky tonkin' around this town... # | 0:10:33 | 0:10:38 | |
APPLAUSE | 0:10:40 | 0:10:43 | |
Thank you. | 0:10:43 | 0:10:45 | |
What was the performance...? | 0:10:47 | 0:10:49 | |
Was that the performance they made you do considerably more than once? | 0:10:49 | 0:10:53 | |
No, that song was in my wheelhouse, actually. | 0:10:53 | 0:10:56 | |
Lovesick Blues, which is the song that made him a star, | 0:10:56 | 0:11:00 | |
it has a very technical yodel in it. | 0:11:00 | 0:11:03 | |
I love that phrase! "A very technical yodel!" | 0:11:03 | 0:11:07 | |
Not one of those easy ones you do in the shower, yeah. | 0:11:07 | 0:11:11 | |
-OK, how many takes? -56. -Wow! AUDIENCE GASP | 0:11:11 | 0:11:16 | |
-Whoa! -LAUGHTER | 0:11:16 | 0:11:20 | |
Oooh! | 0:11:20 | 0:11:22 | |
Samuel L Jackson, takes aren't a thing you're keen on? | 0:11:22 | 0:11:25 | |
I'm here to bear witness to the fact that Sam likes to move fast. | 0:11:25 | 0:11:29 | |
Very true! | 0:11:30 | 0:11:32 | |
I don't vary that much. I'm not that actor. | 0:11:33 | 0:11:36 | |
I do the same thing all the time. | 0:11:36 | 0:11:38 | |
But sometimes, and I can speak from experience, | 0:11:38 | 0:11:41 | |
Sam is so charismatic, | 0:11:41 | 0:11:43 | |
and he has been for as many years as you've been making movies. | 0:11:43 | 0:11:48 | |
Well done! | 0:11:48 | 0:11:50 | |
But sometimes you are in a scene with Sam | 0:11:50 | 0:11:52 | |
and you just kind of go out of the scene | 0:11:52 | 0:11:54 | |
and you are just watching Sam...being Sam, | 0:11:54 | 0:11:57 | |
and it's really powerful | 0:11:57 | 0:11:59 | |
and you go, "Hang on a second, what's my line?" | 0:11:59 | 0:12:01 | |
I've only had that, well... | 0:12:01 | 0:12:03 | |
I was doing a movie with Dustin Hoffman | 0:12:03 | 0:12:06 | |
and in the middle of the shot, | 0:12:06 | 0:12:07 | |
Dustin just stops and goes, "Wait. Cut, cut. | 0:12:07 | 0:12:09 | |
"Sam, I saw you." | 0:12:09 | 0:12:11 | |
I said, "You saw me what? What?" | 0:12:11 | 0:12:12 | |
And he said, "I saw you say to yourself, | 0:12:12 | 0:12:14 | |
"'Oh, my God, that's Dustin Hoffman!'" | 0:12:14 | 0:12:17 | |
LAUGHTER AND APPLAUSE | 0:12:17 | 0:12:21 | |
"I'm like, 'Shut up!'" | 0:12:21 | 0:12:24 | |
"You were amazed!" | 0:12:26 | 0:12:28 | |
"'Oh, my God, I'm acting with Dustin Hoffman.'" | 0:12:28 | 0:12:31 | |
Was it in Dangerous Liaisons, John, | 0:12:33 | 0:12:35 | |
you had the person who was coaching you on historical accuracy? | 0:12:35 | 0:12:42 | |
He was a count, the Count of something or other... | 0:12:42 | 0:12:46 | |
LAUGHTER | 0:12:46 | 0:12:48 | |
..and he came to the chateaux where we were shooting | 0:12:48 | 0:12:51 | |
and I think probably somebody involved with the film, | 0:12:51 | 0:12:57 | |
I don't know, the studio or the director, | 0:12:57 | 0:13:00 | |
or somebody, had decided that probably I might require | 0:13:00 | 0:13:07 | |
some tutoring in some of these historical notions and customs. | 0:13:07 | 0:13:14 | |
And so he watched us rehearse a scene | 0:13:14 | 0:13:18 | |
and someone came in, and I bowed, | 0:13:18 | 0:13:22 | |
and he said to me, | 0:13:22 | 0:13:24 | |
"I know 2,000 bows from this period, | 0:13:24 | 0:13:28 | |
"and that doesn't seem to me to be one of them." | 0:13:28 | 0:13:34 | |
LAUGHTER | 0:13:34 | 0:13:36 | |
Too many bows to have memorised, too many. | 0:13:36 | 0:13:39 | |
And I said, "Well, now you know 2,001!" | 0:13:39 | 0:13:41 | |
LAUGHTER | 0:13:41 | 0:13:43 | |
-Yeah. -Hey, we've got to mention The Night Manager, | 0:13:43 | 0:13:46 | |
Tom Hiddleston. | 0:13:46 | 0:13:48 | |
What a huge success that thing was. CHEERING AND APPLAUSE | 0:13:48 | 0:13:51 | |
I mean, it was really good, you were great in it. | 0:13:51 | 0:13:54 | |
It is on in America now, isn't it? | 0:13:54 | 0:13:56 | |
Yes, it just aired episode three this week. | 0:13:56 | 0:13:58 | |
-What is it on, over there? AMC? -AMC. | 0:13:58 | 0:14:01 | |
-I'm recording it. -Oh, I see, yes! -Don't tell me! -OK! | 0:14:01 | 0:14:06 | |
You have already said no more, | 0:14:06 | 0:14:09 | |
but haven't the BBC said that there is more? | 0:14:09 | 0:14:12 | |
What is the truth, Tom? | 0:14:12 | 0:14:14 | |
Erm... Goodness, OK. | 0:14:15 | 0:14:20 | |
The truth is, we have got to the end of the adaptation of the novel, | 0:14:20 | 0:14:25 | |
so The Night Manager novel by John le Carre has been adapted, | 0:14:25 | 0:14:30 | |
there is no more Night Manager to adapt. | 0:14:30 | 0:14:32 | |
No more Night to Manage, thus far! | 0:14:32 | 0:14:35 | |
Isn't it his son who has the production company that makes it? | 0:14:35 | 0:14:39 | |
-That's right, yes. -So there will be more, won't there? | 0:14:39 | 0:14:41 | |
LAUGHTER | 0:14:41 | 0:14:42 | |
He'll think of something else for that manager to do! | 0:14:42 | 0:14:45 | |
-You never know. -"He's the day manager now!" | 0:14:45 | 0:14:48 | |
LAUGHTER | 0:14:48 | 0:14:49 | |
We must ask you, James Bond, Tom Hiddleston, | 0:14:49 | 0:14:53 | |
what's the scoop, what's going on? | 0:14:53 | 0:14:55 | |
Listen to that! | 0:14:56 | 0:14:58 | |
-Listen to that. -Yes! | 0:14:58 | 0:15:00 | |
-Well, Graham, what can I tell you? -I don't know! | 0:15:00 | 0:15:04 | |
LAUGHTER | 0:15:04 | 0:15:05 | |
-Has anyone talked to you about it? -No, no-one's talked to me at all. | 0:15:05 | 0:15:08 | |
Are you allowed to talk about it if they talk to you about it, | 0:15:08 | 0:15:11 | |
or is there a non-disclosure, even in the chat? | 0:15:11 | 0:15:13 | |
I promise you, no-one's talked to me about it. | 0:15:13 | 0:15:15 | |
I think it's come about because in The Night Manager | 0:15:15 | 0:15:19 | |
I play a spy and we all know in the iconography of British culture | 0:15:19 | 0:15:24 | |
there is a spy that we all know, and his name is James Bond, | 0:15:24 | 0:15:27 | |
so people have made the link. | 0:15:27 | 0:15:29 | |
Also, I've always wanted to see him yodel. | 0:15:29 | 0:15:31 | |
LAUGHTER | 0:15:31 | 0:15:33 | |
Double-oh ho-ho! That'd be good! | 0:15:33 | 0:15:35 | |
APPLAUSE | 0:15:35 | 0:15:38 | |
Now, we must mention, Samuel L Jackson, | 0:15:42 | 0:15:44 | |
you're back as a spokesperson for One For The Boys, | 0:15:44 | 0:15:48 | |
-which raises awareness of men's cancer. -Male cancer, yes. | 0:15:48 | 0:15:52 | |
I've never asked you this, because you've been on to talk about it | 0:15:52 | 0:15:55 | |
before, but how did you get involved? | 0:15:55 | 0:15:57 | |
Have you had a scare yourself? Is it a personal thing? | 0:15:57 | 0:16:00 | |
No, actually, the young lady that does my publicity or | 0:16:00 | 0:16:05 | |
publicity bookings when I'm here in the UK, | 0:16:05 | 0:16:07 | |
Sophia Davies, had a friend who passed, | 0:16:07 | 0:16:10 | |
who never said anything. | 0:16:10 | 0:16:12 | |
All of a sudden, he was just sick and dead. Boom. | 0:16:12 | 0:16:15 | |
She was very disturbed by that, | 0:16:15 | 0:16:17 | |
and we had conversations about men | 0:16:17 | 0:16:20 | |
and why they don't talk like women do | 0:16:20 | 0:16:22 | |
or have this whole pink thing going on and check themselves. | 0:16:22 | 0:16:26 | |
So she decided we need to figure out a way to get men | 0:16:26 | 0:16:28 | |
talking about cancer and let them know that a lot of men | 0:16:28 | 0:16:31 | |
in this country die from cancer. | 0:16:31 | 0:16:33 | |
That's what it's about, trying to get men to understand | 0:16:33 | 0:16:36 | |
that they get the same kinds of cancer that women do. | 0:16:36 | 0:16:38 | |
Men get breast cancer, skin cancer, | 0:16:38 | 0:16:41 | |
we have testicular cancer, they have uterine cancer. | 0:16:41 | 0:16:44 | |
But all this stuff is... A body is a body. | 0:16:44 | 0:16:46 | |
We want guys to know that if you feel something, | 0:16:46 | 0:16:49 | |
say something to somebody, go get checked. | 0:16:49 | 0:16:52 | |
Early detection, 90% of the time you get taken care of and safe, | 0:16:52 | 0:16:56 | |
you don't have to go through misery. | 0:16:56 | 0:16:58 | |
Years before, we've always done things that are light-hearted, | 0:16:58 | 0:17:01 | |
we have a golf tournament, the fashion ball every year | 0:17:01 | 0:17:04 | |
that's connected to Men's Fashion Week. | 0:17:04 | 0:17:07 | |
This year, for a change, we have another film - | 0:17:07 | 0:17:10 | |
we make a film every year, about men's cancer. | 0:17:10 | 0:17:13 | |
They're usually light-hearted and fun and we make people laugh | 0:17:13 | 0:17:15 | |
in the seriousness of the moment. | 0:17:15 | 0:17:17 | |
But this year we decided to do something a little more heavy. | 0:17:17 | 0:17:20 | |
Let's have a look at the film. | 0:17:20 | 0:17:22 | |
You can't turn back the clock. | 0:17:47 | 0:17:50 | |
Cancer waits for no man. | 0:17:50 | 0:17:53 | |
Acting early could mean the difference between death and life. | 0:17:54 | 0:18:01 | |
There are people waiting to help you, | 0:18:01 | 0:18:03 | |
and getting their help early could stop a little worry | 0:18:03 | 0:18:06 | |
from becoming a big problem. | 0:18:06 | 0:18:09 | |
You may save a life today. | 0:18:09 | 0:18:12 | |
Your own. | 0:18:13 | 0:18:14 | |
APPLAUSE | 0:18:16 | 0:18:19 | |
You know, it's a serious subject, a dark subject, | 0:18:23 | 0:18:27 | |
-but in the end there is hope for people if they do act early. -Yeah. | 0:18:27 | 0:18:31 | |
There's lots to be done. | 0:18:31 | 0:18:33 | |
-Very much so. -Why do you think it is | 0:18:33 | 0:18:35 | |
that men don't talk about their health as much, then? | 0:18:35 | 0:18:38 | |
Because we're always taught to be tough. It's a sign of weakness. | 0:18:38 | 0:18:42 | |
We just don't do it. | 0:18:42 | 0:18:45 | |
As actors, we go to the doctor more than everybody, | 0:18:45 | 0:18:48 | |
because every time you do a movie | 0:18:48 | 0:18:49 | |
everybody wants you to get a physical. | 0:18:49 | 0:18:52 | |
You know. I don't care... | 0:18:52 | 0:18:54 | |
I bitch out every year about how many times do I have to do this? | 0:18:54 | 0:18:57 | |
Don't they have a database? | 0:18:57 | 0:19:00 | |
Every insurance company wants their own physical, | 0:19:00 | 0:19:02 | |
so we get checked a lot. | 0:19:02 | 0:19:04 | |
Now, Sara Pascoe - talking of charity - | 0:19:04 | 0:19:07 | |
you have had a charity idea. | 0:19:07 | 0:19:10 | |
-Yes... -It's not in the same vein, but I still think very good. | 0:19:10 | 0:19:13 | |
Kind of. It's going to seem very flippant | 0:19:13 | 0:19:15 | |
after what we've just been talking about. | 0:19:15 | 0:19:17 | |
In my defence, before I start. | 0:19:17 | 0:19:19 | |
But I'm very worried about myself, when I get older, | 0:19:19 | 0:19:22 | |
I have quite a hairy face, I've got polycystic ovaries. | 0:19:22 | 0:19:26 | |
And I'm worried about what happens | 0:19:26 | 0:19:29 | |
when I'm a really old lady in hospital. | 0:19:29 | 0:19:32 | |
And without anybody to perhaps check me with some tweezers. | 0:19:32 | 0:19:37 | |
So this is my charity idea - I'm looking for volunteers. | 0:19:37 | 0:19:42 | |
Basically, what happened is young women go into hospital wards | 0:19:42 | 0:19:47 | |
and just pluck the chins and faces of older women for them. | 0:19:47 | 0:19:53 | |
So they can be ill respectfully. | 0:19:53 | 0:19:56 | |
And it's going to be called Digni-tash... | 0:19:56 | 0:19:58 | |
LAUGHTER | 0:19:58 | 0:20:00 | |
..and we're looking for your support. | 0:20:00 | 0:20:03 | |
APPLAUSE It's good! I like it. | 0:20:03 | 0:20:05 | |
I don't want to be indelicate, but, Samuel, | 0:20:08 | 0:20:12 | |
you have recently lost your title | 0:20:12 | 0:20:15 | |
-as the highest-grossing actor of all time. -Yeah. | 0:20:15 | 0:20:19 | |
LAUGHTER | 0:20:19 | 0:20:21 | |
-I've been displaced. -By...? | 0:20:21 | 0:20:24 | |
Harrison Ford. Again. | 0:20:24 | 0:20:25 | |
I displaced him, he displaced me, but hey - it's only 70 mil. | 0:20:25 | 0:20:28 | |
Pfft! | 0:20:28 | 0:20:29 | |
LAUGHTER | 0:20:29 | 0:20:32 | |
I got him covered in July. | 0:20:32 | 0:20:34 | |
He's lucky I'm not in Captain America 3 now. | 0:20:36 | 0:20:39 | |
-Have you seen the new Star Wars? -Yeah. -OK. | 0:20:41 | 0:20:44 | |
All right! | 0:20:44 | 0:20:46 | |
LAUGHTER | 0:20:46 | 0:20:47 | |
It would have been better with you in it. | 0:20:48 | 0:20:51 | |
-That's the bottom line. -Or more popular, anyway. | 0:20:51 | 0:20:55 | |
It couldn't be more popular. | 0:20:55 | 0:20:57 | |
Yes, it could! | 0:20:57 | 0:20:58 | |
I haven't seen it and I would have watched it if you were in. | 0:21:01 | 0:21:03 | |
You see? Right there, right there. | 0:21:03 | 0:21:05 | |
-But you do watch all your films, is this right? -Yes, I do. | 0:21:05 | 0:21:09 | |
Religiously. | 0:21:09 | 0:21:11 | |
I do, I watch them at home, I go to the theatre. | 0:21:11 | 0:21:14 | |
I know when I have a movie that's opening, | 0:21:14 | 0:21:17 | |
I know it's going to make at least 1,000 that weekend | 0:21:17 | 0:21:20 | |
because I buy 1,000 worth of tickets. | 0:21:20 | 0:21:24 | |
And I give them to the church, | 0:21:24 | 0:21:25 | |
or I give them to somebody and their kids go. | 0:21:25 | 0:21:28 | |
But I go to the movie after the movie's been open for a moment, | 0:21:28 | 0:21:32 | |
to see what normal people are saying or doing | 0:21:32 | 0:21:36 | |
while they're watching the film, to see how they react to it. | 0:21:36 | 0:21:39 | |
You go to a premiere, everybody is there to kiss your ass, come on. | 0:21:39 | 0:21:43 | |
"I loved the movie! Oh, my God, you were amazing!" You know? | 0:21:43 | 0:21:45 | |
You go with some regular people and they go, "This movie sucked!" | 0:21:45 | 0:21:49 | |
"But that Sam Jackson was the shit! He's always the shit!" | 0:21:51 | 0:21:55 | |
So, yeah, I go, I like it. | 0:21:55 | 0:21:56 | |
And if I'm sitting at home... | 0:21:56 | 0:21:58 | |
APPLAUSE | 0:21:58 | 0:22:01 | |
If I'm channel surfing and there's nothing else on, | 0:22:02 | 0:22:06 | |
I go to the search engine and go Samuel L Jackson. Boom. | 0:22:06 | 0:22:09 | |
It's the truth. | 0:22:12 | 0:22:13 | |
And I watch it. | 0:22:13 | 0:22:14 | |
Aren't you the opposite, John? You don't go to see anything. | 0:22:14 | 0:22:18 | |
Do you avoid everything? | 0:22:18 | 0:22:19 | |
Have you seen...Con Air? | 0:22:22 | 0:22:25 | |
No. | 0:22:25 | 0:22:27 | |
OK. | 0:22:27 | 0:22:28 | |
To give people an idea | 0:22:28 | 0:22:29 | |
of how much John doesn't like to see his own films, | 0:22:29 | 0:22:32 | |
you've just done a new film, and it's called 100 Years. | 0:22:32 | 0:22:36 | |
And it comes out - put it in your diaries - | 0:22:36 | 0:22:38 | |
on the 18th of November 2115. | 0:22:38 | 0:22:43 | |
LAUGHTER | 0:22:43 | 0:22:45 | |
Have you really made that film? | 0:22:48 | 0:22:51 | |
I have, Graham. Sadly, I must say, | 0:22:51 | 0:22:53 | |
it's not the first one I've made that no living person will ever see. | 0:22:53 | 0:22:59 | |
Let's be clear. | 0:22:59 | 0:23:01 | |
I have made that film with Robert Rodriguez. | 0:23:01 | 0:23:05 | |
It's a short film | 0:23:05 | 0:23:10 | |
for the French cognac company Remy Martin | 0:23:10 | 0:23:14 | |
and that cognac takes 100 years to make. | 0:23:14 | 0:23:19 | |
So they came to me with this idea | 0:23:19 | 0:23:22 | |
to do a film that wouldn't be seen for 100 years. | 0:23:22 | 0:23:28 | |
And it's actually done, it's completed, | 0:23:28 | 0:23:30 | |
it's sitting in a vault in Cognac. | 0:23:30 | 0:23:33 | |
And I have these kind of metal tickets... | 0:23:33 | 0:23:37 | |
APPLAUSE | 0:23:37 | 0:23:39 | |
LAUGHTER | 0:23:39 | 0:23:41 | |
-Cognac fans. -There's some cognac fans at the back. | 0:23:41 | 0:23:43 | |
Or just drinkers. "He said cognac!" | 0:23:43 | 0:23:46 | |
Or they're very young. | 0:23:46 | 0:23:47 | |
"We're the only people who'll still be alive in 100 years! | 0:23:47 | 0:23:50 | |
"We'll have killed everything by then!" | 0:23:50 | 0:23:52 | |
I'm sure John Malkovich fans will still be alive and waiting. | 0:23:52 | 0:23:55 | |
Because fans are such a big thing in your world. | 0:23:55 | 0:23:58 | |
Samuel L Jackson, you've had some very famous fans. | 0:23:58 | 0:24:01 | |
I'm thinking about the person - | 0:24:01 | 0:24:03 | |
was it a Michael Jackson tribute or concert? | 0:24:03 | 0:24:07 | |
Oh, yeah. Michael Jackson was doing... | 0:24:07 | 0:24:10 | |
I don't know what he was doing. | 0:24:10 | 0:24:12 | |
LAUGHTER | 0:24:12 | 0:24:14 | |
He was having a series of concerts in New York. | 0:24:14 | 0:24:18 | |
And I was there one night to introduce Whitney Houston and Usher. | 0:24:18 | 0:24:23 | |
I was standing backstage waiting to introduce them. | 0:24:23 | 0:24:26 | |
Somebody walked up behind me | 0:24:26 | 0:24:28 | |
and started reciting the Ezekiel speech, which happens a lot. | 0:24:28 | 0:24:32 | |
So I was like, who the fuck is this? | 0:24:32 | 0:24:35 | |
I turn around | 0:24:37 | 0:24:39 | |
and it's Marlon Brando! | 0:24:39 | 0:24:40 | |
Oh, wow! | 0:24:40 | 0:24:42 | |
I let him finish and I'm like, "Oh, my God, | 0:24:42 | 0:24:44 | |
"it's Marlon Brando, reciting a speech from my movie?" | 0:24:44 | 0:24:49 | |
He said, "I love that movie." | 0:24:49 | 0:24:50 | |
This was awesome. | 0:24:50 | 0:24:52 | |
So he's like, "We need to talk." He gives me his phone number, | 0:24:52 | 0:24:55 | |
and naturally when I get back home I call him. | 0:24:55 | 0:24:58 | |
And when I call the number, it's a Chinese restaurant. | 0:24:58 | 0:25:02 | |
LAUGHTER | 0:25:02 | 0:25:03 | |
I go... | 0:25:03 | 0:25:05 | |
Is Mr Brando having dinner there? They go, hold on. | 0:25:05 | 0:25:08 | |
Sure enough, he comes on the phone. | 0:25:08 | 0:25:10 | |
LAUGHTER | 0:25:10 | 0:25:12 | |
And every time I call that number, | 0:25:15 | 0:25:17 | |
it was either a Chinese restaurant or a Chinese laundry. | 0:25:17 | 0:25:20 | |
But whoever answered the phone, | 0:25:20 | 0:25:22 | |
that's how they answered the phone for him. | 0:25:22 | 0:25:24 | |
And you had to ask for him specifically to get him. | 0:25:24 | 0:25:27 | |
But also, the big thing fans have is fan art. | 0:25:27 | 0:25:30 | |
Sara Pascoe, I know you have had that accolade | 0:25:30 | 0:25:33 | |
of people sending you fan art. | 0:25:33 | 0:25:35 | |
I've got one piece and I think fan art is a strong word. | 0:25:35 | 0:25:39 | |
We've got a picture, shall we see it first? | 0:25:39 | 0:25:41 | |
OK. So, it's of me. | 0:25:41 | 0:25:44 | |
-Actually, it's worth saying that it's of you. -Yes! | 0:25:44 | 0:25:47 | |
-It's of me. -This is the fan art of Sara Pascoe. | 0:25:47 | 0:25:51 | |
The reason I think fan art is a very loose term | 0:25:53 | 0:25:56 | |
is that I was given this at a gig in lieu of payment. | 0:25:56 | 0:26:00 | |
I don't want to brag about my career. | 0:26:00 | 0:26:04 | |
That's because the guy who ran the gig | 0:26:04 | 0:26:06 | |
had spent too much at the bar to pay me. | 0:26:06 | 0:26:09 | |
So he painted that? | 0:26:09 | 0:26:11 | |
After being at the bar? | 0:26:11 | 0:26:13 | |
-What are those bits? -I just think they're free... | 0:26:13 | 0:26:17 | |
biscuits? | 0:26:17 | 0:26:19 | |
Or doughnuts or something. | 0:26:19 | 0:26:21 | |
Have you been sent pictures of people | 0:26:21 | 0:26:24 | |
who tattooed your face on their bodies? | 0:26:24 | 0:26:26 | |
Oh, no, I'm not there yet. | 0:26:26 | 0:26:29 | |
-Have you got there? -Yeah! -One day. | 0:26:29 | 0:26:31 | |
I get them in my Twitter feed all the time. | 0:26:31 | 0:26:33 | |
These guys who have their whole calves, | 0:26:33 | 0:26:35 | |
or a picture of Jules on their chest. | 0:26:35 | 0:26:38 | |
Or Nick Fury. | 0:26:38 | 0:26:40 | |
People love the Avengers. | 0:26:40 | 0:26:41 | |
And now, Tom Hiddleston, you have fan art, | 0:26:41 | 0:26:44 | |
but such specific fan art. | 0:26:44 | 0:26:46 | |
There's a lot, yeah. | 0:26:46 | 0:26:47 | |
Does it all come from this one scene? | 0:26:47 | 0:26:49 | |
Was it the first Thor movie with the spear? | 0:26:49 | 0:26:52 | |
Oh, right, right. Yeah. | 0:26:52 | 0:26:53 | |
Yes, there's a scene in the first Thor film | 0:26:53 | 0:26:57 | |
where I'm trying to attack Thor - Chris Hemsworth as Thor - | 0:26:57 | 0:27:00 | |
with a spear. | 0:27:00 | 0:27:02 | |
And I jump in the air and he dodges out of the way | 0:27:02 | 0:27:06 | |
and I bring the spear down and it wedges itself into the floor. | 0:27:06 | 0:27:10 | |
Then I use it to spin myself around and kick him in the chest. | 0:27:10 | 0:27:16 | |
Which has been interpreted by fans as a demonstration | 0:27:16 | 0:27:21 | |
of my hidden talent at pole dancing. | 0:27:21 | 0:27:24 | |
Pole dancer! | 0:27:24 | 0:27:26 | |
Seriously, there is so much of this, | 0:27:26 | 0:27:30 | |
this is just one example of Loki really going for it on the pole. | 0:27:30 | 0:27:35 | |
Oh, my God! | 0:27:35 | 0:27:37 | |
APPLAUSE | 0:27:37 | 0:27:39 | |
-JOHN: -Is that Japanese, by chance? | 0:27:42 | 0:27:44 | |
And that's what you wear in the movie? | 0:27:44 | 0:27:47 | |
Have you not seen it? Yeah, that's Loki's outfit. | 0:27:47 | 0:27:50 | |
-I've not seen that one. -Oh, really? | 0:27:50 | 0:27:52 | |
We'll print it out, you can take it home. | 0:27:52 | 0:27:55 | |
It's a broad church tonight, | 0:27:55 | 0:27:57 | |
because John Malkovich is directing a play called Good Canary. | 0:27:57 | 0:28:01 | |
It's on at the Rose Theatre, down in Kingston. | 0:28:01 | 0:28:03 | |
It's from the 16th of September until the 8th of October. | 0:28:03 | 0:28:06 | |
Is this the third time you've directed this film? | 0:28:06 | 0:28:09 | |
-It is. -Or play. -Play. -Play! | 0:28:09 | 0:28:11 | |
Play, I'm all over it. Play, play. | 0:28:11 | 0:28:13 | |
-Play. -Play. | 0:28:13 | 0:28:14 | |
But this is the first time in English? | 0:28:14 | 0:28:16 | |
First time in English, yeah. | 0:28:16 | 0:28:18 | |
But it was written in English? | 0:28:18 | 0:28:20 | |
It was written in English. | 0:28:20 | 0:28:22 | |
And in 2007, I had it translated. | 0:28:22 | 0:28:26 | |
And we did it in Paris. | 0:28:26 | 0:28:28 | |
And then, 2009, had it translated into Spanish in that case, | 0:28:28 | 0:28:34 | |
and did it in Mexico City. | 0:28:34 | 0:28:37 | |
And then it toured around in Mexico and toured around in France also. | 0:28:37 | 0:28:41 | |
And this will be the first production in English. | 0:28:41 | 0:28:43 | |
And basically, what is the story, what is it about? | 0:28:43 | 0:28:47 | |
Part of the story I can't really tell, | 0:28:47 | 0:28:50 | |
because that's what happens in the play. | 0:28:50 | 0:28:54 | |
Which would be quite a spoiler. | 0:28:54 | 0:28:57 | |
But it's essentially about a young couple, | 0:28:57 | 0:29:03 | |
the male of the couple has just had his first novel | 0:29:03 | 0:29:09 | |
published and reviewed, which has become an enormous success. | 0:29:09 | 0:29:16 | |
And he's married to a quite difficult, | 0:29:16 | 0:29:23 | |
fantastic character. | 0:29:23 | 0:29:27 | |
Speed addict. | 0:29:27 | 0:29:29 | |
And general lunatic. | 0:29:29 | 0:29:32 | |
The Rose gets all these big, huge names now. | 0:29:34 | 0:29:37 | |
-Yeah. -My ex-boyfriend works there. | 0:29:37 | 0:29:41 | |
If you see Kieron, say hello. | 0:29:41 | 0:29:43 | |
What does he do? | 0:29:45 | 0:29:47 | |
Actually, I shouldn't have said that because that's true! | 0:29:47 | 0:29:50 | |
Shh! Shut up! | 0:29:50 | 0:29:52 | |
Half a glass of champagne. | 0:29:52 | 0:29:54 | |
"That bastard!" | 0:29:54 | 0:29:55 | |
If you want somebody to play the speed addict, | 0:29:57 | 0:30:00 | |
keep me in mind! | 0:30:00 | 0:30:01 | |
LAUGHTER | 0:30:01 | 0:30:03 | |
That's enough now! | 0:30:06 | 0:30:07 | |
Now, Sara Pascoe has published an autobiography called Animal. | 0:30:09 | 0:30:13 | |
I say it's an autobiography, it's sort of the story of your life... | 0:30:13 | 0:30:16 | |
It's got some autobiographical details, | 0:30:16 | 0:30:18 | |
but it's not an autobiography per se. | 0:30:18 | 0:30:20 | |
It's a kind of very light-hearted science book | 0:30:20 | 0:30:22 | |
about how the female body evolved. | 0:30:22 | 0:30:25 | |
That sounds like a joke, but it is. That is what it is. | 0:30:25 | 0:30:28 | |
And you did lots of research, you lived as a woman. | 0:30:28 | 0:30:30 | |
I have. Almost since I was born. And... | 0:30:30 | 0:30:34 | |
Yeah... So it kind of worked its way out of an Edinburgh show, | 0:30:34 | 0:30:38 | |
so in 2014, I'd been researching for an Edinburgh show and I wanted to | 0:30:38 | 0:30:41 | |
talk about female sexuality and I found out about kamikaze sperm. | 0:30:41 | 0:30:46 | |
Do you know what I mean by that? No. No. Let me tell you. | 0:30:47 | 0:30:50 | |
So, basically, men have two kinds of sperm - | 0:30:50 | 0:30:54 | |
kamikaze and egg-getters - and kamikaze can't fertilise an egg. | 0:30:54 | 0:30:59 | |
What they do is they fight other men's sperm | 0:30:59 | 0:31:01 | |
when they're mixed together, so they have a fight or they block... | 0:31:01 | 0:31:04 | |
-And how do they get mixed together? -Well, this is the next question. | 0:31:04 | 0:31:07 | |
-This is the next logical question. -I think I can answer that, John. | 0:31:07 | 0:31:11 | |
LAUGHTER AND APPLAUSE | 0:31:11 | 0:31:13 | |
Just checking. | 0:31:15 | 0:31:17 | |
Whenever anyone talks about this, | 0:31:17 | 0:31:19 | |
and it is the generation I think I grew up in, all I can think about is | 0:31:19 | 0:31:24 | |
the opening sequence of Look Who's Talking with Bruce Willis | 0:31:24 | 0:31:29 | |
and you can hear Bruce Willis saying, "Hey, man, let me through!" | 0:31:29 | 0:31:32 | |
For ages, for ages, I thought | 0:31:33 | 0:31:35 | |
I could remember being in the womb because of the beginning | 0:31:35 | 0:31:38 | |
of that film and my memory was actually being those guys. | 0:31:38 | 0:31:41 | |
But the book, it also... | 0:31:43 | 0:31:45 | |
We should say there are some serious things in the book and there's | 0:31:45 | 0:31:48 | |
a lot of really honest, brutally honest stuff about your own life in the book. | 0:31:48 | 0:31:52 | |
Yes. I didn't really realise how honest it was until other | 0:31:52 | 0:31:55 | |
people responded to it like, "Oh, I can't believe you've told everyone," | 0:31:55 | 0:31:58 | |
but I'm a bit like that after a wine. I can't help it. | 0:31:58 | 0:32:01 | |
I tell everyone else's secrets. | 0:32:01 | 0:32:03 | |
I keep going, "I'm a Gemini, I'm a communicator." | 0:32:03 | 0:32:07 | |
Not an excuse. | 0:32:07 | 0:32:08 | |
But on stage, I mean, it does seem like that you | 0:32:08 | 0:32:12 | |
and your boyfriend, in different comedy clubs, on any night | 0:32:12 | 0:32:15 | |
of the week, are workshopping your relationship in front of strangers. | 0:32:15 | 0:32:20 | |
That's a nice way of putting it! | 0:32:20 | 0:32:22 | |
You did a thing about his body shape he didn't like. | 0:32:22 | 0:32:25 | |
The thing is I love my boyfriend's body | 0:32:25 | 0:32:26 | |
and so it was with complete affection I talked about it. | 0:32:26 | 0:32:29 | |
He's a 34-year-old man, he's got very thin arms and legs | 0:32:29 | 0:32:34 | |
and a massive belly, and I was doing stand-up, | 0:32:34 | 0:32:37 | |
because I loved that belly. | 0:32:37 | 0:32:39 | |
He looks pregnant, I love to stroke it and imagine it's our child. | 0:32:39 | 0:32:43 | |
And, erm... Complimentary! | 0:32:43 | 0:32:45 | |
And then he heard me saying it and he went on a diet | 0:32:45 | 0:32:49 | |
and I felt really bad and he only lost weight from his arms and legs. | 0:32:49 | 0:32:52 | |
LAUGHTER | 0:32:52 | 0:32:53 | |
I do feel terrible about it. | 0:32:53 | 0:32:56 | |
It's horrible, isn't it? I'm a horrible girlfriend. | 0:32:56 | 0:33:00 | |
And I'm sure when he hears the reaction to that joke... | 0:33:00 | 0:33:03 | |
I know I've just made it worse. | 0:33:03 | 0:33:05 | |
Now, this... I have heard you tell a story and it is... | 0:33:05 | 0:33:09 | |
I mean, I don't know if you have limits in the things you talk about, | 0:33:09 | 0:33:12 | |
-but you did talk, in the past, about your cat... -Oh, yes. | 0:33:12 | 0:33:16 | |
And it's quite a personal story. Do you mind...? | 0:33:16 | 0:33:18 | |
-I don't mind telling you. It's two cats I had. -It's two? -Yes, and we'd gone to... | 0:33:18 | 0:33:21 | |
I don't have them any more, because I split up with that boyfriend | 0:33:21 | 0:33:24 | |
and they live now with his mum and that's another happy... | 0:33:24 | 0:33:27 | |
-Say hello to Kieran. -Is this the one at the theatre? -No, it's a different boyfriend. | 0:33:27 | 0:33:30 | |
So, basically, we got them from Battersea Cats & Dogs Home | 0:33:30 | 0:33:33 | |
and they were called Ashley and Topaz, | 0:33:33 | 0:33:35 | |
and so then I changed their names to Archie and Thelma, because | 0:33:35 | 0:33:38 | |
I didn't go to university for three years to have working-class cats. | 0:33:38 | 0:33:42 | |
And obviously, cats are brilliant, brilliant pets | 0:33:42 | 0:33:44 | |
and they're beautiful animals and I love them very much | 0:33:44 | 0:33:47 | |
and what's embarrassing about this st... | 0:33:47 | 0:33:50 | |
Basically, I got a vibrator... | 0:33:50 | 0:33:52 | |
For reasons... Let's not share those. | 0:33:52 | 0:33:54 | |
And...I got a vibrator and I couldn't enjoy it, | 0:33:54 | 0:33:59 | |
because whenever I switched it on, the cats, no matter where | 0:33:59 | 0:34:03 | |
they were in the house, they thought it was another cat purring. | 0:34:03 | 0:34:06 | |
And they rushed to make friends with it. | 0:34:09 | 0:34:11 | |
-Was that the bit you meant? -Yeah, that's the one. -That's the bit. | 0:34:13 | 0:34:16 | |
-True story. -I love that story! | 0:34:16 | 0:34:20 | |
-You had two cats and a rabbit. -LAUGHTER AND APPLAUSE | 0:34:20 | 0:34:24 | |
It's time for music. This band, they have had an incredible five years. | 0:34:30 | 0:34:33 | |
From their critically-acclaimed first album | 0:34:33 | 0:34:36 | |
to selling out venues worldwide. | 0:34:36 | 0:34:37 | |
Here performing their single Leave A Trace, please welcome CHVRCHES! | 0:34:37 | 0:34:41 | |
# I gave up on time Just like you said you would | 0:34:53 | 0:34:57 | |
# There are tiny cracks of light underneath me | 0:34:57 | 0:35:01 | |
# And you say I got it wrong | 0:35:01 | 0:35:05 | |
# But I tried hard to uncover them | 0:35:05 | 0:35:08 | |
# I have somehow got away with everything | 0:35:12 | 0:35:16 | |
# Anything you ever did was strictly by design | 0:35:16 | 0:35:20 | |
# But you got it wrong | 0:35:20 | 0:35:24 | |
# And I'll go anywhere but there | 0:35:24 | 0:35:26 | |
# And you had best believe | 0:35:30 | 0:35:33 | |
# That you cannot build what I don't need | 0:35:33 | 0:35:35 | |
# And I know I need to feel relief | 0:35:35 | 0:35:40 | |
# And I know you'll never fold | 0:35:40 | 0:35:42 | |
# But I believe nothing that I'm told | 0:35:42 | 0:35:45 | |
# And I know I need to feel relief | 0:35:45 | 0:35:50 | |
# I know I need to feel released | 0:35:50 | 0:35:54 | |
# Take care to tell it just as it was | 0:35:54 | 0:35:57 | |
# Take care to tell on me for the cause | 0:35:57 | 0:36:00 | |
# I know I need to feel released | 0:36:00 | 0:36:04 | |
# Take care to bury all that you can | 0:36:04 | 0:36:07 | |
# Take care to leave a trace of a man | 0:36:07 | 0:36:09 | |
# I will show restraint just like we said we should | 0:36:09 | 0:36:14 | |
# You think I'll apologise for things I left behind | 0:36:14 | 0:36:18 | |
# But you got it wrong | 0:36:18 | 0:36:20 | |
# And I'm as sane as I ever was | 0:36:22 | 0:36:24 | |
# You talk far too much for someone so unkind | 0:36:28 | 0:36:33 | |
# I will wipe the salt off of my skin | 0:36:33 | 0:36:36 | |
# And I'll admit that I got it wrong | 0:36:36 | 0:36:39 | |
# And there is grey between the lines | 0:36:41 | 0:36:44 | |
# And you had best believe that you cannot build what I don't need | 0:36:47 | 0:36:52 | |
# And I know I need to feel relief | 0:36:52 | 0:36:57 | |
# And I know you'll never fold but I believe nothing that I'm told | 0:36:57 | 0:37:02 | |
# And I know I need to feel relief | 0:37:02 | 0:37:06 | |
# I know I need to feel released | 0:37:06 | 0:37:11 | |
# Take care to tell it just as it was | 0:37:11 | 0:37:14 | |
# Take care to tell on me for the cause | 0:37:14 | 0:37:16 | |
# And I know I need to feel release | 0:37:16 | 0:37:21 | |
# Take care to bury all that you can | 0:37:21 | 0:37:24 | |
# Take care to leave a trace of a man | 0:37:24 | 0:37:26 | |
# I know, I know, I know, I know... | 0:37:26 | 0:37:31 | |
# ..I know I need to feel released | 0:37:35 | 0:37:40 | |
# Take care to tell it just as it was | 0:37:40 | 0:37:43 | |
# Take care to tell on me for the cause | 0:37:43 | 0:37:45 | |
# I know I need to feel released | 0:37:45 | 0:37:49 | |
# Take care to bury all that you can | 0:37:49 | 0:37:52 | |
# Take care to leave a trace of a man | 0:37:52 | 0:37:55 | |
# I know, I know, I know, I know. # | 0:38:04 | 0:38:10 | |
CHEERING AND APPLAUSE | 0:38:11 | 0:38:12 | |
CHVRCHES, everybody! | 0:38:16 | 0:38:18 | |
Come and join me, do. | 0:38:18 | 0:38:20 | |
Come on. In you come. | 0:38:20 | 0:38:22 | |
Good CHVRCHES. Good CHVRCHES. | 0:38:22 | 0:38:24 | |
Good CHVRCHES. Hello. | 0:38:24 | 0:38:26 | |
Hi. Lovely to see you. You go on there and sit down. | 0:38:26 | 0:38:28 | |
Hello, sir. Lovely to see you. | 0:38:28 | 0:38:30 | |
Hi, nice to see you. | 0:38:30 | 0:38:32 | |
Go, sit. Sit. | 0:38:32 | 0:38:35 | |
Just wave at them. Wave at them. Wave at them. | 0:38:36 | 0:38:39 | |
Wave at them. Wave at them. | 0:38:39 | 0:38:40 | |
Now, so it's Lauren, Iain and Martin, | 0:38:42 | 0:38:44 | |
and that is from the album Every Open Eye, and that's out now, man. | 0:38:44 | 0:38:49 | |
It's out. It's been out, it's happening. | 0:38:49 | 0:38:51 | |
-So five years you've been together. -Pretty much. Nearly five, yeah. | 0:38:51 | 0:38:55 | |
Now, what gives, because, Lauren, you don't | 0:38:55 | 0:38:58 | |
live on the same continent as those boys now, do you? | 0:38:58 | 0:39:00 | |
No. I was like, "There's not enough space in Glasgow for all of us." | 0:39:00 | 0:39:04 | |
How smelly were they on that tour bus? | 0:39:04 | 0:39:06 | |
It was just like, "I'm moving continents." | 0:39:06 | 0:39:09 | |
Yes, there's just so much fart... I had to move to an entirely | 0:39:09 | 0:39:13 | |
different continent to get away from all the tour farts. | 0:39:13 | 0:39:16 | |
But no, I guess we spend a lot of our time in America anyway, | 0:39:16 | 0:39:19 | |
so I thought I'd try it while they're stupid enough to give me a visa. | 0:39:19 | 0:39:23 | |
OK, so what's the story, you are touring | 0:39:23 | 0:39:25 | |
-but are you touring in America? -We just got done in the States. | 0:39:25 | 0:39:28 | |
We're back in Europe for a bit, we've got some festivals - | 0:39:28 | 0:39:31 | |
-Glastonbury, Reading and Leeds, Latitude, all that stuff. -OK. | 0:39:31 | 0:39:35 | |
Wow, so many places I won't be able to see you. | 0:39:35 | 0:39:38 | |
So, listen, thanks for coming. CHVRCHES. Thank you very much. | 0:39:38 | 0:39:41 | |
OK. Let's see who we've got in the big red chair. | 0:39:41 | 0:39:43 | |
-Who have we got first. -Graham, can I do this? I've always... -You can | 0:39:43 | 0:39:47 | |
-do it, but, but be gentle. -OK, OK, OK. -Be gentle, Tom. | 0:39:47 | 0:39:50 | |
-So who's up first? -Hi, I'm Mon. | 0:39:50 | 0:39:53 | |
-And where are you from? -I'm from West London. -West London. | 0:39:53 | 0:39:55 | |
-And what do you do? -I'm a HR consultant. -Ooh! | 0:39:55 | 0:39:59 | |
-For a really big company? -Yeah, you could say that. -OK, I will. | 0:39:59 | 0:40:03 | |
LAUGHTER | 0:40:03 | 0:40:04 | |
Too big for Mon. OK, off you go with your story. | 0:40:07 | 0:40:11 | |
So, basically, I was going on holiday with family and friends | 0:40:11 | 0:40:14 | |
and we got to India and our plane arrived. | 0:40:14 | 0:40:16 | |
It was the only flight that arrived at about three o'clock in the | 0:40:16 | 0:40:19 | |
morning and we are all picking up our luggage and, from a distance, | 0:40:19 | 0:40:21 | |
I noticed someone and I thought it was Tina Turner, | 0:40:21 | 0:40:24 | |
so I went up to her and I said, "Are you Tina Turner?" | 0:40:24 | 0:40:26 | |
And she goes, "Yes, I am." | 0:40:26 | 0:40:27 | |
I go, "Oh, do you mind if I can get a picture taken with you?" | 0:40:27 | 0:40:30 | |
And she goes, "No, I'm going to get mobbed here." | 0:40:30 | 0:40:32 | |
And I sort of looked over my shoulders and I go, | 0:40:32 | 0:40:35 | |
"But I'm the only one that's in front of you." | 0:40:35 | 0:40:37 | |
So I walked away, thinking, "OK, fine, fair enough," | 0:40:37 | 0:40:40 | |
and then, the next bit we got to the immigration bit. | 0:40:40 | 0:40:43 | |
She was in front of me with all of her crew and the guy that was asking | 0:40:43 | 0:40:47 | |
all the immigration questions had really broken English and he started | 0:40:47 | 0:40:50 | |
talking a little bit in Indian, or Punjabi, and she turned to me | 0:40:50 | 0:40:53 | |
and she goes, "Can you help me?" | 0:40:53 | 0:40:55 | |
And I go, "No, sorry, I'm going to get mobbed here." | 0:40:55 | 0:40:57 | |
Oh! Ohhh! | 0:40:57 | 0:41:01 | |
Oh! You can walk. | 0:41:01 | 0:41:03 | |
-You can walk. Oh! I did not see that coming. -That was good. | 0:41:03 | 0:41:07 | |
I did not see that coming. | 0:41:07 | 0:41:08 | |
-That was good. -No, because I was thinking, | 0:41:08 | 0:41:10 | |
"Oh, it wasn't really Tina Turner." | 0:41:10 | 0:41:12 | |
No, it was. Tina being a bit of a bitch. | 0:41:12 | 0:41:14 | |
LAUGHTER | 0:41:14 | 0:41:17 | |
Well, to be fair, she never said please. | 0:41:17 | 0:41:19 | |
Is that what the problem was? OK. Quickly, quickly. | 0:41:19 | 0:41:22 | |
-One more, one more. Hello! -Hello. -Hi, what's your name? -I'm Debbie. | 0:41:22 | 0:41:26 | |
-Debbie. Hi, Debbie. What do you do? -I'm a mother. That's quite enough. | 0:41:26 | 0:41:29 | |
OK. Of... Do you have many of the children? | 0:41:29 | 0:41:33 | |
-Two. -Two. OK. How old are they? -19 and eight... Ten, sorry. | 0:41:33 | 0:41:38 | |
LAUGHTER | 0:41:38 | 0:41:40 | |
-Wow. Just lost two years of her life there. -Could you start again? | 0:41:40 | 0:41:44 | |
Those were the drinking years. OK. Where are you from? | 0:41:44 | 0:41:49 | |
-South-east London. -South-east London. We'll just leave it at that. | 0:41:49 | 0:41:52 | |
All right. Off you go with your story. | 0:41:52 | 0:41:54 | |
So, I'm in bed with an ex-lover of mine | 0:41:54 | 0:41:57 | |
-and we decided we'd engage in some grown-up activities. -Yes. | 0:41:57 | 0:42:02 | |
-You know, dinner for two... -LAUGHTER | 0:42:02 | 0:42:04 | |
More than 68 but not quite 70. | 0:42:04 | 0:42:07 | |
So... Because I'm so lazy by nature, I'm on the bottom... | 0:42:09 | 0:42:14 | |
so I can't breathe through my mouth obviously because it's full... | 0:42:14 | 0:42:18 | |
so I take in a very deep breath through my nose... | 0:42:18 | 0:42:21 | |
-SHE INHALES -..at which point his... | 0:42:21 | 0:42:23 | |
testicles form a tight seal... | 0:42:23 | 0:42:28 | |
across my nostrils, so I can't breathe at all, | 0:42:28 | 0:42:32 | |
so I'm wriggling around panicking. He's thinking, obviously, | 0:42:32 | 0:42:36 | |
"Oh, she's loving this, really loving this..." | 0:42:36 | 0:42:38 | |
I'm going to do it now, yeah. | 0:42:38 | 0:42:40 | |
LAUGHTER AND APPLAUSE | 0:42:40 | 0:42:42 | |
I don't know, someone should... Maybe I need help, but... | 0:42:48 | 0:42:52 | |
I... | 0:42:52 | 0:42:54 | |
I envisaged two people, say, like this, but... | 0:42:54 | 0:43:01 | |
-if something...is in her mouth... -Yes. | 0:43:01 | 0:43:05 | |
Why would the thing below it be in her nose? | 0:43:05 | 0:43:10 | |
-Because he's going that way. -69, John. | 0:43:10 | 0:43:13 | |
-But also... -69. | 0:43:13 | 0:43:15 | |
Also... Also... | 0:43:17 | 0:43:19 | |
Can I just say, we're leaving this conversation here. | 0:43:19 | 0:43:23 | |
If you want to know more, go on the red button. This is it. | 0:43:23 | 0:43:28 | |
-No, we're done. We're done! -Why...? -No, Sara! We're done. | 0:43:28 | 0:43:31 | |
-But why would you... -Shut up! We're done! Well done, everyone! | 0:43:31 | 0:43:36 | |
If you'd like to join us after that and have a go | 0:43:36 | 0:43:38 | |
on the red chair, you can via our website at this address... | 0:43:38 | 0:43:41 | |
That's it for tonight. Please say a huge thank you to all my guests. | 0:43:41 | 0:43:44 | |
CHVRCHES! | 0:43:44 | 0:43:47 | |
Sara Pascoe! | 0:43:47 | 0:43:50 | |
John Malkovich! | 0:43:50 | 0:43:53 | |
Samuel L Jackson! | 0:43:53 | 0:43:55 | |
And Tom Hiddleston! | 0:43:55 | 0:43:58 | |
Join me next week with music from will.i.am, | 0:43:59 | 0:44:03 | |
comedian Jack Whitehall, X-Men stars James McAvoy | 0:44:03 | 0:44:06 | |
and Jennifer Lawrence, plus Hollywood legend Johnny Depp. | 0:44:06 | 0:44:09 | |
I'll see you, then. Goodnight, everybody. Bye-bye! | 0:44:09 | 0:44:11 |