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Hello, I'm Jodie Foster and I'm so pleased | 0:00:02 | 0:00:03 | |
to be on the Graham Norton Show tonight. | 0:00:03 | 0:00:05 | |
And I just hope that they don't do some lame Silence Of The Lambs bit. | 0:00:05 | 0:00:10 | |
LAUGHTER | 0:00:10 | 0:00:13 | |
LAUGHTER AND APPLAUSE | 0:00:13 | 0:00:15 | |
All right, let's start the show! | 0:00:15 | 0:00:18 | |
This programme contains some strong language. | 0:00:23 | 0:00:30 | |
Oh! Oh! Oh! | 0:00:34 | 0:00:38 | |
Oh! | 0:00:38 | 0:00:40 | |
This is it, ladies and gentlemen! | 0:00:40 | 0:00:42 | |
This is it! | 0:00:42 | 0:00:44 | |
Welcome, all. It's Friday night! | 0:00:44 | 0:00:46 | |
Oh! | 0:00:46 | 0:00:48 | |
Oh, what a week. I've just got back from Eurovision. | 0:00:50 | 0:00:54 | |
Yay! | 0:00:54 | 0:00:56 | |
Looks like next year I get to go to Ukraine! | 0:00:56 | 0:00:58 | |
Yay... | 0:00:58 | 0:01:00 | |
LAUGHTER | 0:01:00 | 0:01:02 | |
Russia didn't win. | 0:01:02 | 0:01:03 | |
No! I think Vladimir Putin was OK with that. | 0:01:03 | 0:01:06 | |
Here he is chatting to the judges afterwards. | 0:01:06 | 0:01:08 | |
LAUGHTER | 0:01:08 | 0:01:10 | |
Now, we have a packed show for you tonight. | 0:01:10 | 0:01:13 | |
Really, really packed. | 0:01:13 | 0:01:15 | |
Not just Jodie Foster, a host of stars of film, comedy and music. | 0:01:15 | 0:01:18 | |
And joining us later is Olympic diving star Tom Daley. | 0:01:18 | 0:01:22 | |
-Woo! -Yes! He's here, as well. | 0:01:22 | 0:01:24 | |
Tom's preparing for the Rio Olympics. | 0:01:24 | 0:01:27 | |
Not long now until the Olympics - | 0:01:27 | 0:01:29 | |
the two weeks every four years where we all pretend to like cycling. | 0:01:29 | 0:01:32 | |
Yeah. | 0:01:32 | 0:01:33 | |
Lot of fears that the water used for the Olympic events will be polluted. | 0:01:33 | 0:01:38 | |
But just to reassure Tom, | 0:01:38 | 0:01:39 | |
the Olympic pool has already been tested. | 0:01:39 | 0:01:42 | |
Perfect! Let's get some guests on! | 0:01:42 | 0:01:44 | |
CHEERING AND APPLAUSE | 0:01:44 | 0:01:47 | |
Later, we'll have music from Bright Light Bright Light | 0:01:47 | 0:01:49 | |
featuring Sir Elton John. | 0:01:49 | 0:01:51 | |
But first, he's a giant of UK comedy who's made us laugh | 0:01:51 | 0:01:54 | |
since his breakout role as Mr Gilbert in The Inbetweeners. | 0:01:54 | 0:01:57 | |
Now returning in the hit series Man Down, | 0:01:57 | 0:01:59 | |
it's the hilarious Greg Davies. | 0:01:59 | 0:02:01 | |
CHEERING AND APPLAUSE | 0:02:01 | 0:02:04 | |
-Hello, how are you? Lovely to see you. -How are you doing? | 0:02:05 | 0:02:08 | |
Lovely to see you. Have a seat. | 0:02:08 | 0:02:09 | |
-What am I doing here? -I know! | 0:02:09 | 0:02:11 | |
This Hollywood star has been breaking hearts in hit films | 0:02:11 | 0:02:15 | |
from The Notebook to Drive and Crazy Stupid Love. | 0:02:15 | 0:02:18 | |
Now he's getting rave reviews | 0:02:18 | 0:02:20 | |
in the new '70s crime comedy The Nice Guys, | 0:02:20 | 0:02:22 | |
it's Ryan Gosling. | 0:02:22 | 0:02:24 | |
SCREECHING AND APPLAUSE | 0:02:24 | 0:02:28 | |
Lovely to meet you. Come in, sit down. | 0:02:28 | 0:02:30 | |
Ryan Gosling, everyone! | 0:02:30 | 0:02:31 | |
Starring with Ryan in The Nice Guys, | 0:02:33 | 0:02:36 | |
this Hollywood Oscar-winner has wowed us in blockbusters | 0:02:36 | 0:02:38 | |
like Les Mis, A Beautiful Mind, Robin Hood and Gladiator. | 0:02:38 | 0:02:41 | |
Welcome back the great Russell Crowe. | 0:02:41 | 0:02:44 | |
CHEERING AND APPLAUSE | 0:02:44 | 0:02:47 | |
Hello, sir. Really nice to see you. Thank you so much for coming back. | 0:02:47 | 0:02:52 | |
Russell Crowe! | 0:02:52 | 0:02:54 | |
And this double Oscar-winning actress | 0:02:54 | 0:02:56 | |
has been in the movie business for over 50 years | 0:02:56 | 0:02:59 | |
and starred in films like Taxi Driver, | 0:02:59 | 0:03:01 | |
The Accused and Silence of the Lambs. | 0:03:01 | 0:03:02 | |
Now she's directed George Clooney and Julia Roberts in Money Monster. | 0:03:02 | 0:03:05 | |
Please welcome, for the first time to the show, | 0:03:05 | 0:03:07 | |
Jodie Foster, everybody! | 0:03:07 | 0:03:09 | |
CHEERING AND APPLAUSE | 0:03:09 | 0:03:13 | |
Hello. Thank you so much. | 0:03:13 | 0:03:15 | |
Come in. Sit down, everybody. Sit down! | 0:03:15 | 0:03:19 | |
Oh! | 0:03:19 | 0:03:20 | |
Welcome, all. Welcome, all. | 0:03:21 | 0:03:24 | |
Ryan, you've never been here before. | 0:03:24 | 0:03:25 | |
-Jodie's never been here before. -That's right. | 0:03:25 | 0:03:27 | |
Russell, have you been poisoning their minds about the show? | 0:03:27 | 0:03:31 | |
No, I thought I'd leave the virgins to you, Graham! | 0:03:31 | 0:03:33 | |
-Thank you, Russell. -No problem. | 0:03:33 | 0:03:36 | |
What I liked, Graham, is when Ryan sat down, he undid his button. | 0:03:36 | 0:03:41 | |
I can't actually do mine up! | 0:03:41 | 0:03:42 | |
-You may do by the end of the show. -That's true. | 0:03:46 | 0:03:48 | |
I am starting to sweat, Jodie. You're right. | 0:03:48 | 0:03:52 | |
Now, Ryan and Russell, you've been... | 0:03:52 | 0:03:54 | |
Is this the end of your publicity tour? | 0:03:54 | 0:03:56 | |
Thank God. Yeah. | 0:03:56 | 0:03:57 | |
-LAUGHTER -We've got a couple of cities to go. | 0:03:57 | 0:03:59 | |
Oh, you still? OK. | 0:03:59 | 0:04:01 | |
I've been having a great time on this press tour. Yeah. | 0:04:01 | 0:04:04 | |
Because Ryan attracts a lot of young women. | 0:04:04 | 0:04:07 | |
-AUDIENCE: -Woo! | 0:04:07 | 0:04:08 | |
But he's in a committed relationship so, you know... | 0:04:08 | 0:04:11 | |
LAUGHTER | 0:04:11 | 0:04:13 | |
If they need a shoulder to cry on, they need a father figure. | 0:04:13 | 0:04:17 | |
I'm just glad Jodie's here, honestly, | 0:04:19 | 0:04:20 | |
cos we need a little feminine energy up in this situation. | 0:04:20 | 0:04:24 | |
It's been my job to provide that and I don't... | 0:04:24 | 0:04:26 | |
You know, I've been doing my best, but the well only goes so deep. | 0:04:26 | 0:04:31 | |
We've been through therapy, it's been a long run. | 0:04:31 | 0:04:34 | |
But we're doing all right now, aren't we, pal? | 0:04:34 | 0:04:36 | |
Can I touch you? Sorry. | 0:04:36 | 0:04:38 | |
Russell doesn't like direct eye contact. | 0:04:40 | 0:04:42 | |
He takes it as a sign of aggression. | 0:04:42 | 0:04:44 | |
LAUGHTER | 0:04:44 | 0:04:47 | |
Jodie and Russell, you haven't worked together, | 0:04:47 | 0:04:50 | |
but you nearly worked together? | 0:04:50 | 0:04:51 | |
No, I asked Jodie to be my date at the Golden Globes. | 0:04:52 | 0:04:55 | |
I'd never been to the Golden Globes before | 0:04:55 | 0:04:57 | |
and I wanted... You know, I was talking to her | 0:04:57 | 0:04:59 | |
and it came up and I said, "Do you want to be my date?" | 0:04:59 | 0:05:01 | |
And she very kindly said yes. | 0:05:01 | 0:05:03 | |
So I arrived in Los Angeles to my hotel | 0:05:03 | 0:05:05 | |
and I go into the hotel room and it was a fancy penthouse. | 0:05:05 | 0:05:08 | |
I was kind of like, "Whoa! Things have changed!" | 0:05:08 | 0:05:11 | |
I walk in, I go into the bathroom and it had a big, round spa tub | 0:05:11 | 0:05:15 | |
and the entire tub was full of Fosters beer cans and... | 0:05:15 | 0:05:20 | |
It was like 120 cans or something to fill up the tub | 0:05:22 | 0:05:24 | |
and I just thought that was the sweetest present. | 0:05:24 | 0:05:26 | |
That's a good gift! | 0:05:26 | 0:05:27 | |
I didn't want him to forget me! | 0:05:27 | 0:05:29 | |
Greg, you mustn't be left out | 0:05:29 | 0:05:31 | |
because we go to glamorous things, too. | 0:05:31 | 0:05:33 | |
-Don't we? -Only recently we were at a BBC party. | 0:05:33 | 0:05:36 | |
-We shared that glass of wine. It was fun. -Yeah. Between us! | 0:05:36 | 0:05:41 | |
And we met that lovely lady. | 0:05:43 | 0:05:45 | |
Oh... | 0:05:45 | 0:05:47 | |
I'm surprised you're bringing that lady up. | 0:05:47 | 0:05:49 | |
Are we allowed to bring that lady up? | 0:05:49 | 0:05:51 | |
-Well, you tell me. It's your show. -It happened to you, not me. | 0:05:51 | 0:05:54 | |
So, you tell them. | 0:05:54 | 0:05:56 | |
W-w-what bit of it...? | 0:05:56 | 0:05:58 | |
OK, so this lady came up to us. | 0:05:58 | 0:06:00 | |
We were at a BBC party, she came up to the two... We were chatting. | 0:06:00 | 0:06:03 | |
Sharing our wine with straws and she went, | 0:06:03 | 0:06:06 | |
"I do disability at the BBC," | 0:06:06 | 0:06:08 | |
whatever that means. | 0:06:08 | 0:06:10 | |
And then she looked at him and what did she say to you? | 0:06:10 | 0:06:13 | |
She said that I qualify. | 0:06:13 | 0:06:15 | |
LAUGHTER AND APPLAUSE | 0:06:15 | 0:06:19 | |
It was the height thing. Not the... | 0:06:19 | 0:06:22 | |
-What a charmer. -Do you know what, Graham? | 0:06:26 | 0:06:28 | |
Since we had that meeting when the lady told me that I was technically, | 0:06:28 | 0:06:32 | |
as far as the BBC is concerned, disabled, | 0:06:32 | 0:06:35 | |
I've had a member of a council, I won't name where, | 0:06:35 | 0:06:38 | |
tell me I could get a parking badge. | 0:06:38 | 0:06:41 | |
LAUGHTER | 0:06:41 | 0:06:46 | |
The rest of the couch is so jealous right now. | 0:06:46 | 0:06:49 | |
"Parking badge?" | 0:06:49 | 0:06:50 | |
Up top. | 0:06:50 | 0:06:52 | |
Thanks for that! | 0:06:52 | 0:06:53 | |
LAUGHTER AND APPLAUSE | 0:06:53 | 0:06:57 | |
I won't forget the day that Ryan Gosling high-fived me | 0:06:57 | 0:07:02 | |
because I'm officially disabled. | 0:07:02 | 0:07:05 | |
LAUGHTER | 0:07:05 | 0:07:09 | |
Oh, dear. Now, it's great to have you here. | 0:07:09 | 0:07:12 | |
It's great to have you back in our lives, Jodie. | 0:07:12 | 0:07:14 | |
And you're back directing a big crowd-pleasing thriller, | 0:07:14 | 0:07:18 | |
Money Monster. It open next Friday, May 27th. | 0:07:18 | 0:07:20 | |
It's a film essentially about the modern financial world | 0:07:20 | 0:07:24 | |
and how it affects people. | 0:07:24 | 0:07:26 | |
Yes, the backdrop is the financial world | 0:07:26 | 0:07:29 | |
and also the world of high-speed technology that we live in | 0:07:29 | 0:07:32 | |
and also the world of broadcast | 0:07:32 | 0:07:34 | |
live television. | 0:07:34 | 0:07:37 | |
It's about a young man who has lost everything, | 0:07:37 | 0:07:39 | |
was given a tip by this broadcasting guy, by this presenter. | 0:07:39 | 0:07:43 | |
And he loses all of his money in one day, in nine minutes, | 0:07:43 | 0:07:47 | |
and he comes on the show and has a bomb and a gun and says, | 0:07:47 | 0:07:51 | |
"Tell me where my money went." | 0:07:51 | 0:07:52 | |
And what an... Like, it is amazing. Julia Roberts and George Clooney. | 0:07:52 | 0:07:55 | |
-I mean, there's no messing. -Yeah, amazing, the two of them. | 0:07:55 | 0:07:58 | |
They have a real history, a real interesting dynamic together. | 0:07:58 | 0:08:00 | |
A little bit of magic. | 0:08:00 | 0:08:02 | |
And he... They're mostly virtually on-screen together | 0:08:02 | 0:08:07 | |
because she speaks in his earpiece | 0:08:07 | 0:08:09 | |
and he looks down the barrel of the camera to see her in the monitor. | 0:08:09 | 0:08:14 | |
And, strangely, they feel closer than they ever have in a movie. | 0:08:14 | 0:08:18 | |
Listen, we've got a clip from Money Monster. | 0:08:18 | 0:08:20 | |
This is... I was saying, this is such a good clip. | 0:08:20 | 0:08:23 | |
-It's Julia Roberts' character, she's the producer. -Yes. | 0:08:23 | 0:08:26 | |
Warning George Clooney that the plot to end the siege | 0:08:26 | 0:08:31 | |
is getting quite serious. | 0:08:31 | 0:08:33 | |
Benson, let me know when the control room is ready. | 0:08:33 | 0:08:36 | |
This is Eagle 1. Target is in position. | 0:08:36 | 0:08:38 | |
Where did everybody go? | 0:08:38 | 0:08:41 | |
Where did they go? | 0:08:43 | 0:08:44 | |
Dammit! | 0:08:47 | 0:08:50 | |
I knew that this would happen! | 0:08:50 | 0:08:52 | |
-Do you have a clean shot? -I don't. | 0:08:52 | 0:08:55 | |
Lee, look at me. | 0:08:55 | 0:08:58 | |
Don't look up, look at me. | 0:08:58 | 0:09:00 | |
There is a sniper on the catwalk, at your one o'clock. | 0:09:00 | 0:09:04 | |
Where did they go? | 0:09:04 | 0:09:06 | |
There is a receiver on your vest. | 0:09:06 | 0:09:09 | |
If he shoots it out, it disables the trigger. | 0:09:09 | 0:09:12 | |
-Get out of there right now! -Come on. -Got a shot? | 0:09:12 | 0:09:15 | |
-Are you green or red? -Green. | 0:09:15 | 0:09:17 | |
Take the shot! | 0:09:17 | 0:09:19 | |
GUNSHOT | 0:09:19 | 0:09:21 | |
That's good. | 0:09:21 | 0:09:22 | |
INAUDIBLE SPEECH | 0:09:22 | 0:09:24 | |
Are you OK? | 0:09:24 | 0:09:25 | |
That is a good clip, right? | 0:09:28 | 0:09:31 | |
You want to see that film, that is great. | 0:09:31 | 0:09:33 | |
Maybe they'd show a clip of ours after that. | 0:09:33 | 0:09:35 | |
No, yours is a good clip, too. | 0:09:37 | 0:09:38 | |
You'll be pleased. You'll be pleased. | 0:09:38 | 0:09:40 | |
-Two good films. -How's my clip? | 0:09:40 | 0:09:42 | |
-Actually, yours is good too! -Yeah? | 0:09:43 | 0:09:45 | |
-Yes! Three good clips. -Thanks. | 0:09:45 | 0:09:47 | |
And I did the stunts in mine, boys, so... | 0:09:48 | 0:09:50 | |
Now, in this movie, you're directing people like Julia Roberts | 0:09:50 | 0:09:53 | |
and, you know, George Clooney, | 0:09:53 | 0:09:55 | |
-who's been Oscar-nominated as a director himself. -Yes. -Do you...? | 0:09:55 | 0:09:58 | |
Can you direct those people or do you just go, "That was excellent, well done?" | 0:09:58 | 0:10:02 | |
No, I don't think there is anybody better to work with | 0:10:02 | 0:10:06 | |
than an actor who has directed before. | 0:10:06 | 0:10:08 | |
They know where the excisions are, they know what the problems are going to be, | 0:10:08 | 0:10:11 | |
they want to work with the camera, they love the camera. And, um... | 0:10:11 | 0:10:14 | |
They are excited to do it less times. | 0:10:14 | 0:10:16 | |
I think the nice thing about actors that are experienced is they | 0:10:16 | 0:10:20 | |
want to get it right so they can do it as few times as possible. | 0:10:20 | 0:10:22 | |
Cos your first scene with George Clooney was sort of... | 0:10:22 | 0:10:25 | |
I mean, did you know him well when you were directing the first scene? | 0:10:25 | 0:10:28 | |
I didn't know him at all, no, and it was his first day of shooting and... | 0:10:28 | 0:10:31 | |
He had a good attitude about it. | 0:10:31 | 0:10:32 | |
His first scene, we're above him and he's just sitting on a toilet. Yeah. | 0:10:32 | 0:10:36 | |
With his pants down, his underwear and his ankles. | 0:10:36 | 0:10:40 | |
And, uh... He was into it. I don't really know why, but he was. | 0:10:40 | 0:10:43 | |
LAUGHTER | 0:10:43 | 0:10:45 | |
-But do you direct...? -You know George. | 0:10:45 | 0:10:47 | |
I'm sure you have some wisdom about why he would like that. I have no idea. | 0:10:47 | 0:10:51 | |
RYAN CLEARS THROAT | 0:10:51 | 0:10:52 | |
But Ryan, you have worked with him and wasn't there a thing where | 0:10:53 | 0:10:57 | |
he would come up and give you notes, like, really serious notes? | 0:10:57 | 0:11:00 | |
Yeah, and then he would just throw water on my crotch. | 0:11:00 | 0:11:03 | |
I mean, I think it was a practical joke, although it might have just been an accident. | 0:11:05 | 0:11:09 | |
-I'm going to take it as a practical joke. -Did he do it every day? | 0:11:09 | 0:11:11 | |
-What's that? -Did he throw water on your crotch everyday? | 0:11:11 | 0:11:14 | |
I'm going to take a pass on that one. | 0:11:14 | 0:11:17 | |
LAUGHTER | 0:11:17 | 0:11:18 | |
Talking of pranking, Russell Crowe, | 0:11:18 | 0:11:20 | |
what was the thing with Michael Jackson? | 0:11:20 | 0:11:23 | |
-This is such an odd story. -What? | 0:11:23 | 0:11:25 | |
Oh, he just got into the habit of wherever I was staying, | 0:11:26 | 0:11:29 | |
he'd just call the hotel and ask for my room and put on funny voices. | 0:11:29 | 0:11:33 | |
And... I'd actually... Yeah, I know. | 0:11:33 | 0:11:35 | |
And... I didn't...I'd never met him, you know? | 0:11:35 | 0:11:37 | |
LAUGHTER | 0:11:37 | 0:11:39 | |
And the thing is, the first couple of people that I said it to, | 0:11:39 | 0:11:42 | |
I was like...I didn't want to sound like I was insane, right? But... | 0:11:42 | 0:11:45 | |
"Michael, you know, prank-called me today." | 0:11:45 | 0:11:48 | |
But when I started talking to people who knew him well, they go, "Man, he does it all the time." | 0:11:49 | 0:11:54 | |
But it was like, yeah... I used to do that when I was, like, 11 and 12. | 0:11:54 | 0:11:57 | |
I used to pretend I was a radio announcer and, like, | 0:11:58 | 0:12:01 | |
give people prizes on the phone. | 0:12:01 | 0:12:03 | |
Trips to Fiji and all that sort of stuff. They would get so excited. You know? | 0:12:03 | 0:12:06 | |
And then I would just hang up and go, | 0:12:06 | 0:12:08 | |
"Well, that was a good job well done. I've made that person's day." | 0:12:08 | 0:12:11 | |
-But, yeah... -Who did Michael Jackson pretend to be? | 0:12:11 | 0:12:14 | |
He would...always start off being, kind of, gruff like he was the hotel management | 0:12:14 | 0:12:19 | |
and there was some kind of problem, you know? | 0:12:19 | 0:12:21 | |
I have to say that's less surprising than saying you're Michael Jackson. | 0:12:21 | 0:12:25 | |
Then if I got kind of irritated, he'd go, "Oh... | 0:12:25 | 0:12:28 | |
-IMPERSONATION: -Don't worry, Russ, it's only Michael. | 0:12:30 | 0:12:32 | |
LAUGHTER | 0:12:32 | 0:12:34 | |
APPLAUSE | 0:12:34 | 0:12:37 | |
That's bizarre! | 0:12:37 | 0:12:39 | |
And did you ever meet him? | 0:12:40 | 0:12:42 | |
Never. | 0:12:42 | 0:12:43 | |
-No, he... -Are we sure it was Michael Jackson? | 0:12:44 | 0:12:46 | |
-A double prank. -Are you sure it wasn't George Clooney? | 0:12:46 | 0:12:50 | |
-Cos that's the kind of thing he does. -Is it? | 0:12:50 | 0:12:51 | |
-It could have been George. -No, it was Michael. | 0:12:51 | 0:12:54 | |
Every time I hear... I get this flashback every time I hear Russell speak. | 0:12:54 | 0:12:57 | |
I once almost drowned, Graham. | 0:12:57 | 0:13:00 | |
And I was swimming and I got swept out to sea in Cornwall. | 0:13:00 | 0:13:03 | |
And I realised I was struggling. | 0:13:05 | 0:13:06 | |
There was a surfer and I called over to the surfer, | 0:13:06 | 0:13:08 | |
"I'm really struggling here, mate." | 0:13:08 | 0:13:10 | |
-And the surfer went... -BABBLES | 0:13:10 | 0:13:12 | |
And I realised he was drowning too. | 0:13:12 | 0:13:14 | |
So, in the end, I was on, like, a boogie board. | 0:13:15 | 0:13:18 | |
In the end I had to ride a wave to a cliff. | 0:13:18 | 0:13:21 | |
And cling onto the cliff and it was really jagged | 0:13:22 | 0:13:24 | |
and I really cut my hands. | 0:13:24 | 0:13:26 | |
And I sort of climbed off the cliff and I thought, "Oh, my God." | 0:13:26 | 0:13:28 | |
And the waves were... It was awful. | 0:13:28 | 0:13:30 | |
And then I saw this lifeguard coming out on, like, a canoe. | 0:13:30 | 0:13:35 | |
He was really powerful and he turned out to be Australian. | 0:13:35 | 0:13:37 | |
And I thought, "Oh, thank God!" | 0:13:37 | 0:13:39 | |
There was literally blood, and I thought, "Thank God, I'm saved. I'm saved." | 0:13:39 | 0:13:43 | |
And he came right up to me and turned round and he went, | 0:13:43 | 0:13:46 | |
"Oi, mate. Stop fucking around." | 0:13:46 | 0:13:47 | |
LAUGHTER | 0:13:47 | 0:13:49 | |
APPLAUSE | 0:13:49 | 0:13:51 | |
Was it... Was it him? | 0:13:53 | 0:13:54 | |
Was it Russell Crowe? | 0:13:56 | 0:13:57 | |
It could have been him. | 0:13:57 | 0:13:59 | |
-That's something he would say. -Well... | 0:13:59 | 0:14:01 | |
It's definitely something I would say. | 0:14:01 | 0:14:03 | |
LAUGHTER | 0:14:03 | 0:14:05 | |
Now, The Nice Guys, The Nice Guys. | 0:14:06 | 0:14:08 | |
A really funny, really funny kind of crime comedy set in the '70s. | 0:14:08 | 0:14:12 | |
It opens here on 3rd June, so, Russell, Ryan, tell us | 0:14:12 | 0:14:17 | |
who are you in it? What happens? | 0:14:17 | 0:14:19 | |
You're so good at this. | 0:14:21 | 0:14:23 | |
-At what? Making you answer the questions? -Yeah. | 0:14:23 | 0:14:25 | |
It's hard following that. | 0:14:27 | 0:14:29 | |
Money Monster. | 0:14:29 | 0:14:31 | |
But, you know, our film is, you know, it's... | 0:14:31 | 0:14:34 | |
It's a detective film in the '70s. | 0:14:34 | 0:14:36 | |
-It's, um, got... We've got a lot going on. -Yeah. | 0:14:36 | 0:14:39 | |
We've got mermaids, we've got talking bees. | 0:14:39 | 0:14:42 | |
You know, you don't got that. | 0:14:42 | 0:14:43 | |
Richard Nixon makes a cameo. | 0:14:45 | 0:14:47 | |
-I thought you said I was going to tell the story. -Sorry. -LAUGHTER | 0:14:47 | 0:14:50 | |
Come on, now. You were Best Couple. | 0:14:50 | 0:14:52 | |
-You were very clear about me telling the story and then... -You're Best Couple. | 0:14:52 | 0:14:55 | |
I've learnt a lot from Russell. | 0:14:55 | 0:14:56 | |
You know, he's taught me to ignore all my instincts, which is good. | 0:14:56 | 0:14:59 | |
LAUGHTER | 0:14:59 | 0:15:00 | |
Look, it's Shane Black, so, you know, I grew up on Shane's movies, | 0:15:02 | 0:15:05 | |
The Monster Squad being the first movie I probably ever quoted. | 0:15:05 | 0:15:08 | |
And then, you know, Joel Silver produced it | 0:15:08 | 0:15:10 | |
and so it's all of these, you know, all the Lethal Weapons | 0:15:10 | 0:15:13 | |
and, uh...Xanadu too. So... | 0:15:13 | 0:15:16 | |
-Legend. -And in these... | 0:15:16 | 0:15:19 | |
In a buddy movie, like... | 0:15:19 | 0:15:22 | |
Were you friends before this film? | 0:15:22 | 0:15:23 | |
We'd... We met. | 0:15:24 | 0:15:26 | |
We had a conversation. | 0:15:27 | 0:15:28 | |
I was in this, sort of... | 0:15:28 | 0:15:30 | |
You know, I've seen a few of his movies in a row and I thought... | 0:15:30 | 0:15:34 | |
I thought he was something special, so I called him up about a project, you know? | 0:15:36 | 0:15:39 | |
And... | 0:15:39 | 0:15:41 | |
I kind of said, "Look, you know, can we maybe meet and have some dinner? | 0:15:41 | 0:15:45 | |
"Me and the wife, you and your girl and, you know, | 0:15:45 | 0:15:48 | |
"just an intimate, little thing." And he said, "Yeah, cool." | 0:15:48 | 0:15:51 | |
We set a time and a date, so I told the ex-wife, you know, | 0:15:51 | 0:15:54 | |
that's what we're going to do. | 0:15:54 | 0:15:55 | |
On this date, you know. She didn't really say that much, you know. | 0:15:55 | 0:15:58 | |
When it came round to the day, I said, "I'll remind you, eight o'clock tonight, | 0:15:58 | 0:16:01 | |
"we're having dinner with Ryan and Eva", you know? | 0:16:01 | 0:16:04 | |
And she goes, "Yeah, yeah, cos I've invited this, this," | 0:16:04 | 0:16:07 | |
and she started listed all her girlfriends that she'd invited. | 0:16:07 | 0:16:09 | |
"No, no..." And her mum. | 0:16:09 | 0:16:11 | |
"No, this is supposed to be this small, little, intimate thing. | 0:16:13 | 0:16:16 | |
She goes, "Oh, he won't mind." | 0:16:16 | 0:16:17 | |
It's like, "You've got like a dozen girlfriends and your mother coming. He's going to notice!" | 0:16:17 | 0:16:21 | |
So, I started trying to even the table up, | 0:16:23 | 0:16:25 | |
and I'm getting on the phone and calling all these blokes, so, | 0:16:25 | 0:16:27 | |
by the time he arrives for an intimate dinner for four, there's 30 people there. | 0:16:27 | 0:16:31 | |
I couldn't tell him. I couldn't just, you know, | 0:16:31 | 0:16:33 | |
because you've got to be, you know, be loyal to your spouse, you know? | 0:16:33 | 0:16:36 | |
Now that I'm separated, I can just tell the story. | 0:16:36 | 0:16:39 | |
LAUGHTER | 0:16:39 | 0:16:41 | |
Yeah, so, that was a bit of a strange first meeting. | 0:16:42 | 0:16:45 | |
Listen, we've got a clip from The Nice Guys. | 0:16:45 | 0:16:47 | |
It's good, it's a good clip. It is a good bit. | 0:16:47 | 0:16:49 | |
This is Russell's character essentially trying to build bridges with Ryan's character. | 0:16:49 | 0:16:54 | |
March. Jack Healy. Don't get upset. I'm not here to hurt you. | 0:16:54 | 0:16:58 | |
I just want to ask you a question. | 0:16:58 | 0:16:59 | |
Hey. No. | 0:17:00 | 0:17:02 | |
How stupid do you think I am? | 0:17:02 | 0:17:03 | |
Ever since your little visit the other day, | 0:17:03 | 0:17:05 | |
this little baby's going to stay right here. | 0:17:05 | 0:17:07 | |
Look away. | 0:17:20 | 0:17:21 | |
You know there's a mirror here, right? | 0:17:24 | 0:17:26 | |
Close your eyes. | 0:17:26 | 0:17:27 | |
CHEERING AND APPLAUSE | 0:17:28 | 0:17:30 | |
-It's funny. -Yeah. -So, given you've had the experience, who looks better on the toilet, George or...? | 0:17:34 | 0:17:38 | |
-I don't know. That's a good question. -We're going to have to... | 0:17:40 | 0:17:42 | |
People will have to go and see both films and decide. Yeah. | 0:17:42 | 0:17:45 | |
GRAHAM LAUGHS | 0:17:46 | 0:17:48 | |
When you were making this...this movie, where did the dog...? | 0:17:48 | 0:17:52 | |
-The dog isn't in the film? -What dog? -You had a dog, didn't you? | 0:17:52 | 0:17:55 | |
Oh, no, I found a dog on the... | 0:17:56 | 0:17:58 | |
-On the film. -OK. | 0:17:58 | 0:18:00 | |
Would you like me to tell that story? | 0:18:01 | 0:18:03 | |
-Yeah. -OK. | 0:18:03 | 0:18:04 | |
LAUGHTER | 0:18:04 | 0:18:06 | |
I can give it a go if you want. | 0:18:06 | 0:18:08 | |
LAUGHTER | 0:18:08 | 0:18:09 | |
Big, old dog it was, guys. | 0:18:12 | 0:18:14 | |
Big, old dog. | 0:18:14 | 0:18:16 | |
Three legs, stank. | 0:18:16 | 0:18:17 | |
-Right? -Yeah, that's about right. | 0:18:18 | 0:18:21 | |
No, the... | 0:18:21 | 0:18:23 | |
So, I was staying at this sort of go-to movie guy house | 0:18:23 | 0:18:25 | |
in Atlanta where, you know, | 0:18:25 | 0:18:27 | |
when they showed me the house, they were like, | 0:18:27 | 0:18:29 | |
"You know, Liam Hemsworth and Miley Cyrus just stayed here, so..." | 0:18:29 | 0:18:33 | |
And they gave me one of these, you know? Thought that was untoward. | 0:18:33 | 0:18:37 | |
But it was...they were very precious about the house. | 0:18:39 | 0:18:42 | |
What I didn't realise was that there was a strict no dogs policy | 0:18:42 | 0:18:44 | |
and then I was going to work one morning and there's a little dog. | 0:18:44 | 0:18:47 | |
It's minus... It's below zero and I thought, "Oh, what harm can it do?" | 0:18:47 | 0:18:51 | |
And I let it in the house. | 0:18:52 | 0:18:54 | |
When I came back from work, it was like a faecal Jackson Pollock. | 0:18:54 | 0:18:58 | |
LAUGHTER | 0:18:58 | 0:19:00 | |
It was just... It was everywhere. | 0:19:00 | 0:19:02 | |
-It was like, "Did he have help?" -LAUGHTER | 0:19:04 | 0:19:08 | |
I was, like, looking up, like, "Did he get a ladder?" | 0:19:08 | 0:19:10 | |
How does he...? How is he still alive? | 0:19:11 | 0:19:13 | |
And... | 0:19:15 | 0:19:16 | |
So, then I had to clean it all up and then I had to hide the dog | 0:19:16 | 0:19:18 | |
and I spent, like, two weeks hiding this dog. | 0:19:18 | 0:19:21 | |
And, you know, when it was over, the last day, | 0:19:21 | 0:19:23 | |
I didn't know what I was going to do with it. Actually, your driver Bo... | 0:19:23 | 0:19:27 | |
-Mm-hmm? -..said that his, erm... | 0:19:27 | 0:19:28 | |
His father had just lost his dog of 16 years | 0:19:28 | 0:19:31 | |
and so Bo took this little dog and he went and lived on a lake | 0:19:31 | 0:19:34 | |
with 100 acres and he went to, you know, literally a dog... | 0:19:34 | 0:19:37 | |
-EVERYONE: Aw! -That's a nice story. | 0:19:37 | 0:19:39 | |
-That's a lovely story. -Yeah, it is. | 0:19:39 | 0:19:40 | |
APPLAUSE | 0:19:40 | 0:19:42 | |
Did he kill it? Did he kill him? | 0:19:42 | 0:19:44 | |
That's euphemistic for "killed it?" | 0:19:44 | 0:19:47 | |
-That's what they told him. -Living on 100 acres now with Bo's dad! | 0:19:47 | 0:19:51 | |
So dead, that dog. LAUGHTER | 0:19:51 | 0:19:54 | |
He died after the shit incident, didn't he? | 0:19:57 | 0:20:00 | |
LAUGHTER | 0:20:00 | 0:20:02 | |
End of dog story. | 0:20:02 | 0:20:04 | |
I think, on a movie like this, | 0:20:04 | 0:20:05 | |
you're spending all this time together, | 0:20:05 | 0:20:07 | |
you have to get on, you are buddies, but on Silence Of The Lambs, | 0:20:07 | 0:20:11 | |
is it true... Did you never speak to Anthony Hopkins? | 0:20:11 | 0:20:14 | |
No, never spoke to him. He was scary. | 0:20:14 | 0:20:18 | |
I mean, the first day, we had a reading, | 0:20:18 | 0:20:20 | |
we had like a little read-through and we... | 0:20:20 | 0:20:22 | |
I got there early and then I went to the bathroom, I came back, | 0:20:22 | 0:20:24 | |
everybody was sitting down, we did the read-through of the film | 0:20:24 | 0:20:27 | |
and by the end of it, I never wanted to talk to him again. | 0:20:27 | 0:20:30 | |
I was petrified. | 0:20:30 | 0:20:32 | |
And so then we did the whole movie, he was always behind those glass | 0:20:32 | 0:20:35 | |
partitions, or he was in his cell, and because the scenes were | 0:20:35 | 0:20:38 | |
so long, they'd kind of lock him in at the beginning of the day | 0:20:38 | 0:20:41 | |
and he'd go there and then the next day, he'd be on the other side | 0:20:41 | 0:20:44 | |
and I'd be on this side, and we got to the end of the movie | 0:20:44 | 0:20:47 | |
and really had never had a conversation. | 0:20:47 | 0:20:50 | |
-But you never passed backstage, in a corridor...? -No, I avoided him. | 0:20:50 | 0:20:54 | |
As much as I could. | 0:20:54 | 0:20:56 | |
I really avoided him and then, I was eating a tuna fish sandwich, | 0:20:56 | 0:20:59 | |
it was the last day and he came up to me, | 0:20:59 | 0:21:01 | |
I guess he sidled up to me and I said, I don't know, I sort of had | 0:21:01 | 0:21:04 | |
a tear in my eye, I was like, "I was really scared of you." | 0:21:04 | 0:21:07 | |
And he said, "I was scared of you!" | 0:21:07 | 0:21:09 | |
Which I think is funny because why would anyone be scared of me? | 0:21:09 | 0:21:13 | |
-So, when you were filming the... -GREG SLURPS RAPIDLY | 0:21:13 | 0:21:16 | |
The scene... You know, I'm available. | 0:21:16 | 0:21:18 | |
Could you do that again? | 0:21:18 | 0:21:21 | |
When you were filming the scenes when he was behind the partition, | 0:21:21 | 0:21:24 | |
when they reset cameras, you just sat there? | 0:21:24 | 0:21:27 | |
Well, yeah, because he was screwed in. | 0:21:27 | 0:21:29 | |
-I couldn't get to him, he was behind the glass. -Did he stare at you? | 0:21:29 | 0:21:32 | |
Erm...sometimes he did. | 0:21:32 | 0:21:36 | |
I don't have an Anthony Hopkins story, but I would like to | 0:21:36 | 0:21:39 | |
take the opportunity, | 0:21:39 | 0:21:40 | |
I taught a child called Gary Hopkins, who was... | 0:21:40 | 0:21:44 | |
LAUGHTER AND APPLAUSE | 0:21:44 | 0:21:46 | |
And I'd very much like to take the opportunity to say he was a prick. | 0:21:48 | 0:21:51 | |
LAUGHTER | 0:21:51 | 0:21:54 | |
CHEERING AND APPLAUSE | 0:21:56 | 0:21:58 | |
Now... | 0:22:00 | 0:22:02 | |
Russell Crowe, I've heard about how you like challenges and stuff, | 0:22:02 | 0:22:05 | |
and one of the shows that Greg's doing is a new series of Taskmaster. | 0:22:05 | 0:22:10 | |
It's on Dave and it is that sort of thing, | 0:22:10 | 0:22:12 | |
-you set challenges for kind of celebrities and comedians. -Yeah. | 0:22:12 | 0:22:16 | |
But they're quite... They're kind of bonkers, the challenges. | 0:22:16 | 0:22:19 | |
They're ridiculous, yeah. | 0:22:19 | 0:22:21 | |
They have to collect as many tears in an eggcup as they can | 0:22:21 | 0:22:24 | |
in a minute. | 0:22:24 | 0:22:26 | |
They had to buy me the best present they could and one of them | 0:22:26 | 0:22:29 | |
had my name tattooed on his foot. | 0:22:29 | 0:22:31 | |
-Josh Widdicombe. You know Josh Widdicombe? -You're kidding! -Yeah. | 0:22:31 | 0:22:35 | |
Who can hide a pineapple on their person. | 0:22:35 | 0:22:37 | |
And I think my favourite from the upcoming series is who can | 0:22:40 | 0:22:43 | |
impress a mayor. They were just put in a room with a local mayor... | 0:22:43 | 0:22:47 | |
-..and told to impress him. -A MAYOR or a MARE? -A mayor, yeah. | 0:22:49 | 0:22:54 | |
-A mayor. Not a horse. -Not a horse. | 0:22:54 | 0:22:57 | |
Because THAT would be stupid. | 0:22:57 | 0:22:59 | |
A different show. | 0:22:59 | 0:23:02 | |
-And we've got to mention the new series of Man Down. -Please. | 0:23:02 | 0:23:05 | |
Man Down is coming up on Channel 4 in July. | 0:23:05 | 0:23:08 | |
-Are you still living with your mother in it? -I am, sadly, yes. | 0:23:08 | 0:23:12 | |
And tragically, this is based on your life. I mean, this is things... | 0:23:12 | 0:23:15 | |
Yeah, but... I mean... | 0:23:15 | 0:23:19 | |
Loosely, Graham! | 0:23:19 | 0:23:21 | |
No, but things like... Isn't the washing machine, | 0:23:21 | 0:23:23 | |
-that happened to you? -What? -The washing. | 0:23:23 | 0:23:27 | |
-You were very hungover... -Oh. Yeah. | 0:23:27 | 0:23:31 | |
Go on, tell Jodie Foster that story! | 0:23:32 | 0:23:35 | |
All their stories are really cool though, Graham. | 0:23:35 | 0:23:38 | |
When I was teaching, which is what this show is based on, | 0:23:38 | 0:23:43 | |
I went home one weekend and I was in my 30s. | 0:23:43 | 0:23:45 | |
I was probably 33 years of age. | 0:23:45 | 0:23:48 | |
I went home to see my mother and then I went back, and while I was | 0:23:48 | 0:23:52 | |
at home, my mother did my washing for me, because I was only 33. | 0:23:52 | 0:23:56 | |
And then I went back and on the Sunday night, | 0:23:56 | 0:24:00 | |
I got really drunk and then I went for a curry. | 0:24:00 | 0:24:05 | |
And then the next day, I went into school... | 0:24:05 | 0:24:07 | |
LAUGHTER | 0:24:07 | 0:24:09 | |
I'm going to. | 0:24:09 | 0:24:11 | |
I went into school and it was a school in Slough | 0:24:11 | 0:24:13 | |
and it was quite a rough school, | 0:24:13 | 0:24:14 | |
but they had a really brilliant hearing-impaired department, | 0:24:14 | 0:24:17 | |
so there were hearing-impaired kids who, you know, struggled. | 0:24:17 | 0:24:21 | |
They were really looked after in the school. | 0:24:21 | 0:24:23 | |
Anyway, I was really hung over, I went there and about break time, | 0:24:23 | 0:24:26 | |
I felt really uncomfortable, I thought, "Something's not right," | 0:24:26 | 0:24:29 | |
you know? So I went to the toilet | 0:24:29 | 0:24:32 | |
and I pulled my trousers down | 0:24:32 | 0:24:34 | |
and some of my mother's knickers had got... | 0:24:34 | 0:24:38 | |
had got mixed up in the washing and I was wearing my mother's underwear. | 0:24:38 | 0:24:44 | |
And I went, "Oh, God! Oh, no! Oh!" I remember going, "Oh, you loser! | 0:24:44 | 0:24:48 | |
"This is such a low point! You fucking loser!" | 0:24:48 | 0:24:54 | |
And then... | 0:24:54 | 0:24:56 | |
And then the curry and the booze kicked in from the night before, | 0:24:56 | 0:25:02 | |
so I, I did like a faecal Jackson Pollock. | 0:25:02 | 0:25:06 | |
LAUGHTER AND APPLAUSE | 0:25:06 | 0:25:09 | |
And I started... I started going, | 0:25:09 | 0:25:13 | |
"Oh, God! Not this! Not this as well! | 0:25:13 | 0:25:16 | |
"Oh, Jesus!" | 0:25:16 | 0:25:17 | |
So I cleaned myself up and I pulled my mother's pants back up, | 0:25:17 | 0:25:21 | |
and I went back into the classroom | 0:25:21 | 0:25:25 | |
and I saw one of the hearing-impaired kids just | 0:25:25 | 0:25:27 | |
looking at me like this, and that's when I remembered that | 0:25:27 | 0:25:30 | |
I had a microphone directly... | 0:25:30 | 0:25:32 | |
LAUGHTER AND APPLAUSE | 0:25:32 | 0:25:34 | |
..connected... | 0:25:34 | 0:25:36 | |
..to his hearing aid. | 0:25:37 | 0:25:40 | |
So maybe Man Down isn't that far-fetched, Graham. | 0:25:47 | 0:25:50 | |
Listen, we've got a clip. We've got a clip of you. | 0:25:50 | 0:25:53 | |
This is Greg as the teacher trying to break into your own school. | 0:25:53 | 0:25:59 | |
Oh, yeah. | 0:25:59 | 0:26:00 | |
FENCE CREAKS | 0:26:09 | 0:26:12 | |
Oh! | 0:26:12 | 0:26:14 | |
HE GASPS | 0:26:27 | 0:26:30 | |
Ah! Oh! | 0:26:34 | 0:26:37 | |
HE RETCHES | 0:26:37 | 0:26:40 | |
HE RETCHES Argh! | 0:26:46 | 0:26:50 | |
-I'm clapping my own show. -I know. -Thank you. | 0:26:57 | 0:27:00 | |
Three very good clips tonight. Three excellent clips. | 0:27:00 | 0:27:04 | |
-Very similar genres. -Yes. | 0:27:04 | 0:27:07 | |
Jodie, we must chat about how you perceived that drama! | 0:27:07 | 0:27:11 | |
Right. | 0:27:11 | 0:27:13 | |
It is time to meet my next guest. Mm, chlorine, is that what I smell? | 0:27:13 | 0:27:17 | |
This diver was one of Britain's youngest ever Olympic medallists, | 0:27:17 | 0:27:20 | |
he took London 2012 by storm and is now preparing for the Games in Rio. | 0:27:20 | 0:27:24 | |
Here he is showing us | 0:27:24 | 0:27:26 | |
how he won a gold medal at last week's European Championships. | 0:27:26 | 0:27:29 | |
Good, right? Please welcome Tom Daley! | 0:27:34 | 0:27:37 | |
-Hello! -Hello. -How are you? | 0:27:40 | 0:27:43 | |
Nice to see you. Come in and sit down. | 0:27:43 | 0:27:47 | |
You perch on the edge there. Say hello to everyone. | 0:27:47 | 0:27:51 | |
You perch down there. | 0:27:51 | 0:27:53 | |
-There's your fizzy drink. -Thank you. -Very good. | 0:27:53 | 0:27:55 | |
-That was amazing! -Thank you. -That is amazing. | 0:27:55 | 0:27:57 | |
Now, congratulations. A gold medal. | 0:27:57 | 0:27:58 | |
-Yes. -And gold medal... Did you get silvers as well? | 0:27:58 | 0:28:02 | |
-Yeah, I got two golds and a silver. -AUDIENCE: Woo! | 0:28:02 | 0:28:05 | |
Yeah. APPLAUSE | 0:28:05 | 0:28:08 | |
Now, Rio is this summer, so are you deep in training now? | 0:28:08 | 0:28:11 | |
Yeah, so after the European Championships last weekend, | 0:28:11 | 0:28:14 | |
I have had a couple of days off and then, it's back to training | 0:28:14 | 0:28:18 | |
six hours a day, six days a week and then it's the Olympic Games. | 0:28:18 | 0:28:22 | |
It's kind of terrifying | 0:28:22 | 0:28:23 | |
because you get that training moment for four years, | 0:28:23 | 0:28:26 | |
you have to train for that one moment, and it doesn't matter | 0:28:26 | 0:28:29 | |
if you're European Champion, World Champion, Olympic Champion | 0:28:29 | 0:28:32 | |
from before, in that one moment on that particular day, you have six | 0:28:32 | 0:28:36 | |
dives and if you mess one of them up, then it's over, | 0:28:36 | 0:28:38 | |
so it's a pretty cut-throat kind of thing. | 0:28:38 | 0:28:41 | |
Do people deliver your food in little Tupperware boxes and things? | 0:28:41 | 0:28:45 | |
-What? Take it like a packed lunch? -LAUGHTER | 0:28:45 | 0:28:48 | |
No, in the training, is it kind of like, you can eat this now, stop eating now? | 0:28:48 | 0:28:52 | |
You kind of get into a routine of what you're used to eating and what you wake up. | 0:28:52 | 0:28:57 | |
I'll like have a routine where I get up and have my breakfast, | 0:28:57 | 0:29:00 | |
go to training, then eat a bit more, then train some more, | 0:29:00 | 0:29:03 | |
then eat a bit more, then sleep, and that's basically what I do every single day. | 0:29:03 | 0:29:07 | |
-When do you put on the Speedos? -Mm? -When do you put on the Speedos? | 0:29:07 | 0:29:10 | |
-Oh, I basically live in them. -Oh, do you? -Yeah, quite often... -Jodie's on it! | 0:29:10 | 0:29:15 | |
-I want to know. -We've got a picture. | 0:29:15 | 0:29:17 | |
Stella McCartney has designed the Speedos. | 0:29:17 | 0:29:20 | |
Sadly, she ran out of material, money and interest. | 0:29:20 | 0:29:23 | |
LAUGHTER | 0:29:23 | 0:29:25 | |
So... | 0:29:25 | 0:29:27 | |
Those are the Speedos. | 0:29:27 | 0:29:28 | |
They sent us a pair of the Speedos and they really are quite small. | 0:29:28 | 0:29:33 | |
-Those are the ones I was wearing yesterday. -Hm. | 0:29:33 | 0:29:36 | |
Um... LAUGHTER | 0:29:36 | 0:29:38 | |
How lovely(!) | 0:29:38 | 0:29:40 | |
Yeah. | 0:29:40 | 0:29:42 | |
They're still damp. But like, they are very small, Tom. | 0:29:42 | 0:29:47 | |
-Well, everything has to stay in place. -Obviously. | 0:29:47 | 0:29:50 | |
If you're spinning around, the last thing you want to do is have | 0:29:50 | 0:29:54 | |
something come out of its place where it's meant to be. | 0:29:54 | 0:29:57 | |
And also, when you hit the water, you don't | 0:29:57 | 0:30:00 | |
want things flapping about because it would hurt. | 0:30:00 | 0:30:04 | |
So the closer you can keep it all in, the better, really. | 0:30:04 | 0:30:07 | |
You're going to ask me to put those on, aren't you? | 0:30:07 | 0:30:10 | |
LAUGHTER AND APPLAUSE I wasn't. | 0:30:10 | 0:30:12 | |
CHEERING | 0:30:12 | 0:30:15 | |
I was only joking, Russell. | 0:30:15 | 0:30:17 | |
It would look like a very ill elephant. | 0:30:17 | 0:30:20 | |
But what I would... | 0:30:20 | 0:30:23 | |
I don't want to be indelicate, but what if anything changes | 0:30:23 | 0:30:26 | |
-and you're wearing those? -Oh. | 0:30:26 | 0:30:29 | |
I mean, when you're stood on the end... | 0:30:29 | 0:30:31 | |
Have you ever stood on the end of a ten metre platform? | 0:30:31 | 0:30:33 | |
Of course I haven't. | 0:30:33 | 0:30:35 | |
So that's probably the last thing that will go through your head | 0:30:35 | 0:30:37 | |
is to have anything change down there. | 0:30:37 | 0:30:39 | |
What about when they give you the medal and you're thinking - look at me! | 0:30:39 | 0:30:43 | |
LAUGHTER Urgh! | 0:30:43 | 0:30:47 | |
Leaning in and going, "Oh, sorry." | 0:30:49 | 0:30:51 | |
You wear a little bit more on the podium. | 0:30:51 | 0:30:54 | |
-You actually wear a full-on tracksuit. -Oh, that's thoughtful. | 0:30:54 | 0:30:58 | |
-Exactly. -Is that why they wear the tracksuit? | 0:30:58 | 0:31:00 | |
I don't think that's why they give them tracksuits. | 0:31:00 | 0:31:04 | |
In case they get a boner on the podium. | 0:31:04 | 0:31:06 | |
LAUGHTER | 0:31:06 | 0:31:08 | |
I have to tell you, on this couch, there is | 0:31:08 | 0:31:12 | |
someone who has won medals for swimming. | 0:31:12 | 0:31:15 | |
-I could probably guess who that is. -Guess. -The tallest man on the sofa. | 0:31:15 | 0:31:19 | |
Thank you. | 0:31:19 | 0:31:21 | |
LAUGHTER | 0:31:21 | 0:31:23 | |
That is a swimmer's physique. | 0:31:23 | 0:31:26 | |
That's why you never trust "swimmer's body" on a personal ad. | 0:31:26 | 0:31:30 | |
Did you really win medals? | 0:31:31 | 0:31:33 | |
Yes, I did and I'm rather insulted you taking that tone with me. | 0:31:33 | 0:31:37 | |
-I swam for county, yes. -Did you really? -I don't mind telling you, | 0:31:37 | 0:31:39 | |
I cut through the water like an orca these days. | 0:31:39 | 0:31:42 | |
LAUGHTER | 0:31:42 | 0:31:44 | |
Ryan, you are a sports fan? You're not a sports fan? | 0:31:47 | 0:31:49 | |
-Cricket, you like? -I'll pick up on this one. Ryan comes from Canada. | 0:31:49 | 0:31:53 | |
CHEERING | 0:31:53 | 0:31:55 | |
In Canada, the national sport is ice hockey. | 0:31:55 | 0:31:59 | |
And Ryan is a Canadian who doesn't focus on ice hockey. | 0:31:59 | 0:32:03 | |
And they have a descriptive phrase for that, | 0:32:03 | 0:32:06 | |
north of the American border there. | 0:32:06 | 0:32:08 | |
In Canada, if you're a Canadian who doesn't focus on ice hockey, | 0:32:08 | 0:32:12 | |
-you're called an arsehole. -LAUGHTER | 0:32:12 | 0:32:15 | |
See? That's the magic. | 0:32:16 | 0:32:19 | |
Right there. Right in the crosshairs. | 0:32:19 | 0:32:22 | |
But then, why were you having the... | 0:32:22 | 0:32:24 | |
Was it a deep tissue massage you were having? | 0:32:24 | 0:32:28 | |
Where are you going with this, Graham? | 0:32:28 | 0:32:31 | |
Weren't you having a Turkish massage or something? | 0:32:31 | 0:32:34 | |
I don't know what it has to do with what we're talking about. | 0:32:34 | 0:32:37 | |
It's a funny story, tell it. | 0:32:37 | 0:32:40 | |
I had an awful experience, having a Turkish massage, | 0:32:40 | 0:32:44 | |
where this guy's idea of massage | 0:32:44 | 0:32:49 | |
was to like take my one leg | 0:32:49 | 0:32:53 | |
and the other arm and try and connect it | 0:32:53 | 0:32:56 | |
behind my back and I was kind of like... You know, like that. | 0:32:56 | 0:33:01 | |
And then his belly went in my mouth. | 0:33:01 | 0:33:05 | |
LAUGHTER | 0:33:05 | 0:33:07 | |
It was like a Borat moment. | 0:33:07 | 0:33:09 | |
And you know when you get something weird in your mouth | 0:33:09 | 0:33:11 | |
and if you're eating something, | 0:33:11 | 0:33:14 | |
-your brain sends your tongue to figure out what it is? -LAUGHTER | 0:33:14 | 0:33:17 | |
It's not a conscious thought. It's like, is that a bone? Figure that out! | 0:33:19 | 0:33:23 | |
The tongue goes in to figure it out. My tongue was like, "What is that? | 0:33:23 | 0:33:28 | |
"It's a hairy belly!" | 0:33:28 | 0:33:30 | |
This sounds like you're heading off a newspaper. | 0:33:30 | 0:33:34 | |
Listen, Tom, good luck in Rio. | 0:33:34 | 0:33:36 | |
We wish you all the best. Tom Daley, everybody. | 0:33:36 | 0:33:38 | |
CHEERS AND APPLAUSE | 0:33:38 | 0:33:41 | |
Right. It's time for music. I am a huge fan of this performer. | 0:33:41 | 0:33:45 | |
Tonight, he is making his TV debut, | 0:33:45 | 0:33:48 | |
alongside a very special friend and mentor. | 0:33:48 | 0:33:51 | |
Performing the single All In The Name, | 0:33:51 | 0:33:53 | |
please welcome Bright Light Bright Light and Sir Elton John. | 0:33:53 | 0:33:56 | |
CHEERS AND APPLAUSE | 0:33:56 | 0:33:59 | |
# All, all in the name of being somebody | 0:34:01 | 0:34:06 | |
# Two, three, four, what? | 0:34:06 | 0:34:07 | |
# Huh | 0:34:07 | 0:34:09 | |
# You can tell me anything | 0:34:16 | 0:34:19 | |
# Something wrong or right | 0:34:19 | 0:34:22 | |
# Just pick me up and get me out of here | 0:34:22 | 0:34:26 | |
# While I've still got an appetite | 0:34:26 | 0:34:31 | |
# Tell me something funny | 0:34:31 | 0:34:35 | |
# So good I want to hear it twice | 0:34:35 | 0:34:38 | |
# Just fill me up with rhythm and a beat | 0:34:38 | 0:34:43 | |
# And take me into the night | 0:34:43 | 0:34:46 | |
# Cos I don't get to sleep these days | 0:34:46 | 0:34:51 | |
# Even when I do behave | 0:34:51 | 0:34:54 | |
# No cigarettes but in my own little way | 0:34:54 | 0:34:58 | |
# I push to the limit of the night and day | 0:34:58 | 0:35:02 | |
# And all, all in the name of being somebody | 0:35:02 | 0:35:08 | |
# That somebody cares about | 0:35:08 | 0:35:10 | |
# All, all in the name of being somebody | 0:35:10 | 0:35:15 | |
# That somebody cares about | 0:35:15 | 0:35:18 | |
# Seems we don't know anything | 0:35:22 | 0:35:25 | |
# About walking in a straight line | 0:35:25 | 0:35:29 | |
# Wave and weave through all these streets | 0:35:29 | 0:35:33 | |
# Till choice has left us almost blind | 0:35:33 | 0:35:37 | |
# To how we used to make decisions | 0:35:37 | 0:35:41 | |
# With instinct and with time | 0:35:41 | 0:35:44 | |
# Now if I blink I miss the only second | 0:35:44 | 0:35:49 | |
# I get to catch another's eye | 0:35:49 | 0:35:52 | |
# So I don't go to sleep these days | 0:35:52 | 0:35:55 | |
# Cos no-one's got the time to waste | 0:35:57 | 0:36:00 | |
# We call it being young and say | 0:36:00 | 0:36:04 | |
# That it's fun when we really wanna walk away | 0:36:04 | 0:36:08 | |
# But it's all, all in the name of being somebody | 0:36:08 | 0:36:14 | |
# That somebody cares about | 0:36:14 | 0:36:17 | |
# All, all in the name of being somebody | 0:36:17 | 0:36:22 | |
# That somebody cares about | 0:36:22 | 0:36:25 | |
# All, all in the name of | 0:36:25 | 0:36:28 | |
# I'll tell you something funny | 0:36:32 | 0:36:36 | |
# I never found one thing, nobody in the crowd | 0:36:36 | 0:36:41 | |
# Who can turn me on like I wish they would | 0:36:41 | 0:36:44 | |
# But keep on pushing just in case they could | 0:36:44 | 0:36:48 | |
# It's all, all in the name of being somebody | 0:36:48 | 0:36:54 | |
# That somebody cares about | 0:36:54 | 0:36:56 | |
# All, all in the name of being somebody | 0:36:56 | 0:37:00 | |
# That somebody cares about | 0:37:00 | 0:37:03 | |
# All, all in the name of being somebody | 0:37:03 | 0:37:09 | |
# That somebody cares about | 0:37:09 | 0:37:11 | |
# All, all in the name of being somebody | 0:37:11 | 0:37:16 | |
# That somebody cares about | 0:37:16 | 0:37:19 | |
# All, all in the name of being somebody | 0:37:19 | 0:37:24 | |
# That somebody cares about. # | 0:37:24 | 0:37:27 | |
CHEERS AND APPLAUSE | 0:37:27 | 0:37:31 | |
Bright Light Bright Light and Elton John, come on in. | 0:37:33 | 0:37:38 | |
Well done, sir. Oh, well done! Congratulations. | 0:37:38 | 0:37:42 | |
-Thank you very much. -Well done. | 0:37:42 | 0:37:44 | |
In you go. | 0:37:44 | 0:37:46 | |
APPLAUSE | 0:37:46 | 0:37:48 | |
Say hi to everybody. Elton John, everybody. | 0:37:48 | 0:37:51 | |
This is Rod. Are we calling you Rod? | 0:37:51 | 0:37:55 | |
I know that's your name. | 0:37:55 | 0:37:58 | |
But I'm not calling you Bright Light Bright Light. | 0:37:58 | 0:38:01 | |
APPLAUSE DROWNS OUT SPEECH | 0:38:01 | 0:38:05 | |
This is Bright Light Bright Light, but we can call you Rod. | 0:38:05 | 0:38:10 | |
You can, yes. | 0:38:10 | 0:38:12 | |
OK, good. So, how did this happen? How do you become...? | 0:38:12 | 0:38:15 | |
-How do you meet? -I have a management company. | 0:38:15 | 0:38:18 | |
I manage Ed Sheeran and various people like that. | 0:38:18 | 0:38:21 | |
And Rod was signed to us initially, | 0:38:21 | 0:38:22 | |
but he was a singer-songwriter with a guitar and it didn't quite fit | 0:38:22 | 0:38:26 | |
and he wanted to leave and find his own way of doing stuff. | 0:38:26 | 0:38:31 | |
And he left and became a kind of electronic singer-songwriter | 0:38:31 | 0:38:35 | |
and we remained friends. And he does everything on his own. | 0:38:35 | 0:38:40 | |
He makes his own records. Get gets them printed, he gets them pressed. | 0:38:40 | 0:38:44 | |
-He's a one-man machine. -And Choreography is the album. | 0:38:44 | 0:38:47 | |
-Yes. -And you can pre-order it now. People love to do that. | 0:38:47 | 0:38:52 | |
Just in case all the MP3s run out. | 0:38:52 | 0:38:55 | |
There's a rush on! And July 15th, it's actually... | 0:38:55 | 0:38:58 | |
Yeah, comes out July 15th and the song that we just sang is out | 0:38:58 | 0:39:01 | |
today and you get it free when you pre-order that on iTunes. | 0:39:01 | 0:39:05 | |
You're good at this. Very good. Yeah. | 0:39:05 | 0:39:08 | |
It's a great sound and people can see you, | 0:39:08 | 0:39:10 | |
you are performing live around the country. | 0:39:10 | 0:39:12 | |
Yeah, I'm doing some little preview shows in May | 0:39:12 | 0:39:15 | |
and then I've got a UK tour in July. | 0:39:15 | 0:39:17 | |
OK, now, Elton, every time you come on this show, you always say, | 0:39:17 | 0:39:21 | |
"Oh, I'm winding down, I'm cutting back." | 0:39:21 | 0:39:24 | |
You're starting a tour on the 26th of May, | 0:39:24 | 0:39:29 | |
which ends February 2017. | 0:39:29 | 0:39:32 | |
No, I have seven weeks off in the summer. | 0:39:32 | 0:39:36 | |
LAUGHTER Is this...? | 0:39:36 | 0:39:39 | |
I know you're not calling it a farewell tour, | 0:39:39 | 0:39:42 | |
but if people want to see you, should they go see this tour? | 0:39:42 | 0:39:45 | |
-No, not necessarily. -You've got to encourage them. | 0:39:45 | 0:39:48 | |
LAUGHTER | 0:39:48 | 0:39:50 | |
Fuck you all. Don't come and see it. I don't care. | 0:39:50 | 0:39:54 | |
But by 2017, won't both the kids be in school | 0:39:54 | 0:39:59 | |
and then your life will be more limited? | 0:39:59 | 0:40:02 | |
Yeah. But I just like playing and I'm a working musician. | 0:40:02 | 0:40:05 | |
I love to do it. | 0:40:05 | 0:40:07 | |
I like it more than I've ever done and | 0:40:07 | 0:40:09 | |
if you're still feeling fresh and energetic then do it while you can. | 0:40:09 | 0:40:14 | |
I'm not going to be doing it forever, I can tell you that, | 0:40:14 | 0:40:17 | |
-cos I want to see my boys grow up. -Yeah, yeah, yeah. | 0:40:17 | 0:40:19 | |
And what I love about having you on the show is | 0:40:19 | 0:40:21 | |
we have you on the coach with people like this and before you | 0:40:21 | 0:40:24 | |
came on, everyone was going, "Oh, we're on with Sir Elton John?" | 0:40:24 | 0:40:28 | |
-You were like a fan of Sir Elton John. -Oh, yeah. | 0:40:28 | 0:40:31 | |
-I was you for Halloween. -LAUGHTER | 0:40:31 | 0:40:34 | |
I wish we had a picture of that. | 0:40:36 | 0:40:37 | |
Apart from the music and that, all these many records | 0:40:39 | 0:40:42 | |
and songs that remain with you and in your heart, | 0:40:42 | 0:40:45 | |
one of the kindest men on the planet. | 0:40:45 | 0:40:47 | |
I agree. Yes. CHEERS AND APPLAUSE | 0:40:47 | 0:40:51 | |
Listen, thank you very much for coming in to see us, | 0:40:52 | 0:40:56 | |
but we now come to Russell's favourite part of the show. | 0:40:56 | 0:40:59 | |
-Are you going to let me do it again? -Yes, if you want to. | 0:40:59 | 0:41:03 | |
CHEERS AND APPLAUSE | 0:41:03 | 0:41:05 | |
-I pity... -Are we all right here, or should I...? -Move it a little bit. | 0:41:05 | 0:41:09 | |
Yes, there you go. OK. | 0:41:09 | 0:41:10 | |
Yeah, that's good. | 0:41:10 | 0:41:12 | |
You might want to drape some Speedos on it. | 0:41:14 | 0:41:17 | |
LAUGHTER | 0:41:17 | 0:41:20 | |
Sorry. | 0:41:20 | 0:41:21 | |
All right. It is time to visit the Big Red Chair. Here we go. | 0:41:21 | 0:41:24 | |
Who is up for it? I pity these people. | 0:41:24 | 0:41:27 | |
-Hello. -Hey. -Hi, what's your name? -George. | 0:41:27 | 0:41:29 | |
-George. And where do you live, George? -Well, live in London. | 0:41:29 | 0:41:32 | |
OK. LAUGHTER | 0:41:32 | 0:41:34 | |
He's travelled not far to see us. | 0:41:34 | 0:41:37 | |
-And what do you do, George? -I work for a visual effects company. | 0:41:37 | 0:41:40 | |
-For what? -A visual effects company. | 0:41:40 | 0:41:42 | |
-Oh, visual effects company. -3D CGI. -OK. | 0:41:42 | 0:41:45 | |
OK, good for you. You are clinging on for dear life. Well done, George. | 0:41:45 | 0:41:48 | |
Off you go with your story. | 0:41:48 | 0:41:50 | |
We recently finished work on The Nice Guys and it was late one night, | 0:41:50 | 0:41:55 | |
fancied a beer, went downstairs... | 0:41:55 | 0:41:58 | |
LAUGHTER AND APPLAUSE | 0:41:58 | 0:42:00 | |
APPLAUSE DROWNS OUT SPEECH | 0:42:03 | 0:42:05 | |
-OK, let's go for another one. Hello. -Hello. -Hi. | 0:42:05 | 0:42:08 | |
-What's your name? -I'm Gemma. | 0:42:08 | 0:42:10 | |
-Gemma, lovely. And where are you from, Gemma? -I'm from Wimbledon. | 0:42:10 | 0:42:13 | |
Wimbledon. CHEERS | 0:42:13 | 0:42:15 | |
They love you. | 0:42:15 | 0:42:16 | |
-Do you have a job, Gemma? -I do. I'm a project manager. -For? | 0:42:16 | 0:42:20 | |
-A renewable energy company. -Well... I'm no wiser. | 0:42:20 | 0:42:24 | |
LAUGHTER | 0:42:24 | 0:42:26 | |
-Off you go with your story. -OK. | 0:42:26 | 0:42:28 | |
So I was on a third date with this guy, it was going quite well. | 0:42:28 | 0:42:32 | |
We had been out for a nice dinner and then we went back to his place. | 0:42:32 | 0:42:36 | |
We had a few drinks | 0:42:36 | 0:42:38 | |
and we got on to the topic of what our favourite movie moments were. | 0:42:38 | 0:42:42 | |
Mine, naturally, was the moment from Crazy Stupid Love with Ryan | 0:42:42 | 0:42:46 | |
and Emma Stone and Ryan has his top off. | 0:42:46 | 0:42:50 | |
And they do the famous move from Dirty Dancing | 0:42:50 | 0:42:54 | |
and he suggested that we gave it a go. | 0:42:54 | 0:42:57 | |
So I agreed to it and launched myself at him. | 0:42:57 | 0:43:03 | |
We then collapsed in a heap and he knocked his head | 0:43:03 | 0:43:06 | |
and suffered from concussion for two days. | 0:43:06 | 0:43:09 | |
LAUGHTER AND APPLAUSE | 0:43:09 | 0:43:12 | |
Oh! | 0:43:15 | 0:43:16 | |
Oh! | 0:43:16 | 0:43:19 | |
If you would like to join us on the show and have a go | 0:43:19 | 0:43:22 | |
on the Red Chair, you can contact us via our website and this address. | 0:43:22 | 0:43:25 | |
That is it for tonight. Please say a huge thank you | 0:43:25 | 0:43:27 | |
to my guests tonight, Bright Light Bright Light. CHEERS AND APPLAUSE | 0:43:27 | 0:43:32 | |
Sir Elton John. CHEERS AND APPLAUSE | 0:43:32 | 0:43:35 | |
Greg Davies. CHEERS AND APPLAUSE | 0:43:35 | 0:43:38 | |
Ryan Gosling. CHEERS AND APPLAUSE | 0:43:38 | 0:43:40 | |
Jodie Foster. CHEERS AND APPLAUSE | 0:43:40 | 0:43:43 | |
Tom Daley. CHEERS AND APPLAUSE | 0:43:43 | 0:43:45 | |
Russell Crowe. CHEERS AND APPLAUSE | 0:43:45 | 0:43:48 | |
Uncle Tom Cobley and all. | 0:43:48 | 0:43:51 | |
Join me next week for music from Corinne Bailey Rae, | 0:43:51 | 0:43:54 | |
actors Kate Beckingsale and Dominic Cooper, Game of Thrones star | 0:43:54 | 0:43:57 | |
Emilia Clarke, and the new face of Top Gear, Matt LeBlanc. | 0:43:57 | 0:44:01 | |
I'll see you then. Good night, everybody. Goodbye. CHEERS AND APPLAUSE | 0:44:01 | 0:44:05 |