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Excuse I. Excuse I. | 0:00:03 | 0:00:05 | |
Excuse I. Excuse I. Hello. | 0:00:05 | 0:00:08 | |
Yeah. Now, on the show tonight, we celebrate the return | 0:00:08 | 0:00:11 | |
of one of the most iconic British films ever. | 0:00:11 | 0:00:13 | |
Trainspotting is back! | 0:00:13 | 0:00:15 | |
They're here! | 0:00:18 | 0:00:19 | |
Hey, let's start the show! CHEERING AND APPLAUSE | 0:00:19 | 0:00:22 | |
This programme contains strong language | 0:00:26 | 0:00:35 | |
Oh! | 0:00:39 | 0:00:40 | |
Oh! | 0:00:40 | 0:00:42 | |
Thank you! | 0:00:43 | 0:00:44 | |
HE CHUCKLES | 0:00:44 | 0:00:48 | |
Too kind! | 0:00:48 | 0:00:50 | |
Hello, good evening and welcome. | 0:00:50 | 0:00:52 | |
Oh, a great show for you tonight. | 0:00:52 | 0:00:54 | |
The stars of T2 Trainspotting are here, ladies and gentlemen! | 0:00:54 | 0:00:57 | |
CHEERING AND APPLAUSE Yes! | 0:00:57 | 0:01:00 | |
Plus, joining them is the director, Danny Boyle. | 0:01:01 | 0:01:05 | |
Of course, Danny didn't just direct both Trainspotting movies. No. | 0:01:05 | 0:01:08 | |
He's done other things. | 0:01:08 | 0:01:09 | |
He directed the opening ceremony of the London Olympics. | 0:01:09 | 0:01:12 | |
Yes, ladies and gentlemen, yes. CHEERING AND APPLAUSE | 0:01:12 | 0:01:14 | |
Of course, that also featured a group of chronic drug addicts. | 0:01:14 | 0:01:17 | |
Another one of Danny's big hits was 28 Days Later, | 0:01:23 | 0:01:26 | |
where a guy wakes up in a post-apocalyptic world to find | 0:01:26 | 0:01:29 | |
the streets are completely deserted. Yeah. | 0:01:29 | 0:01:32 | |
Or as Donald Trump would call it, a very successful inauguration. | 0:01:32 | 0:01:35 | |
Good, that, wasn't it? I didn't see it coming. | 0:01:37 | 0:01:40 | |
I did not see that coming. | 0:01:40 | 0:01:42 | |
As we speak, Theresa May is visiting Donald Trump. | 0:01:44 | 0:01:47 | |
She'll be staying overnight at the White House, and has bought | 0:01:47 | 0:01:50 | |
some new pyjamas especially for the occasion. | 0:01:50 | 0:01:53 | |
It's KNIGHTWEAR! AUDIENCE GROANS | 0:01:58 | 0:02:01 | |
After taking office, | 0:02:04 | 0:02:07 | |
one of the first things Trump did was to restore | 0:02:07 | 0:02:10 | |
the Winston Churchill bust to the Oval Office. | 0:02:10 | 0:02:13 | |
Aw. He's also got plans on what to do with Theresa May's bust. | 0:02:13 | 0:02:17 | |
HORN HONKS | 0:02:17 | 0:02:19 | |
Let's get some guests on! | 0:02:19 | 0:02:20 | |
Later, we have music from rising solo star Izzy Bizu! | 0:02:22 | 0:02:25 | |
But first, let's meet the stars of T2 Trainspotting. | 0:02:27 | 0:02:31 | |
Ewen Bremner! Hey! CHEERING AND APPLAUSE | 0:02:31 | 0:02:35 | |
Hello, sir. You're very welcome. | 0:02:35 | 0:02:37 | |
Robert Carlyle! | 0:02:37 | 0:02:38 | |
CHEERING AND APPLAUSE Hello! Hello. Nice to see you. | 0:02:38 | 0:02:41 | |
Jonny Lee Miller! Oh! CHEERING AND APPLAUSE | 0:02:41 | 0:02:45 | |
Ewan McGregor! Hello. CHEERING AND APPLAUSE | 0:02:45 | 0:02:48 | |
And director Danny Boyle! CHEERING AND APPLAUSE | 0:02:49 | 0:02:52 | |
Hello! Hi! | 0:02:52 | 0:02:54 | |
Sit down. | 0:02:55 | 0:02:56 | |
This is mad. Anyway... | 0:03:03 | 0:03:06 | |
Lovely to see you all. Welcome, welcome. | 0:03:06 | 0:03:09 | |
Danny, obviously, on set you're in charge. | 0:03:09 | 0:03:12 | |
Apparently, yeah. | 0:03:12 | 0:03:13 | |
On a night like tonight, are you in charge of the sofa? | 0:03:13 | 0:03:16 | |
Just wait and see. You'll quickly find out I'm not. | 0:03:16 | 0:03:19 | |
-The answer is "no". -Yes! | 0:03:19 | 0:03:21 | |
So, er, welcome back, Trainspotting. | 0:03:21 | 0:03:24 | |
Sunday night was the big premiere in Edinburgh. | 0:03:24 | 0:03:27 | |
-Look at you all! That must have been a great night for you all. -Yeah. | 0:03:27 | 0:03:30 | |
It was fantastic. | 0:03:30 | 0:03:31 | |
The whole of Edinburgh seemed to turn out on the streets. | 0:03:31 | 0:03:33 | |
It was wonderful. | 0:03:33 | 0:03:34 | |
At least... Now, Jonny and Ewan, can you remember this one now? | 0:03:34 | 0:03:37 | |
-This one we remember, I think, yeah. -It was only on Sunday, in fairness. | 0:03:37 | 0:03:41 | |
Bits of it. | 0:03:42 | 0:03:44 | |
We've got the last one. This is you 20 years ago. | 0:03:44 | 0:03:47 | |
You guys don't remember this one? | 0:03:47 | 0:03:49 | |
-Bits. -Not really. | 0:03:49 | 0:03:51 | |
Not really at all. I don't remember it. | 0:03:52 | 0:03:54 | |
I don't remember what... | 0:03:54 | 0:03:56 | |
You all look so happy and lovely. | 0:03:56 | 0:03:57 | |
You're scanning across, and then you get to Robert Carlyle... | 0:03:57 | 0:04:00 | |
Did no-one give you the dress code? | 0:04:00 | 0:04:02 | |
Was it "come as you are"? | 0:04:04 | 0:04:06 | |
You see, I DO remember it, because I'd been filming | 0:04:06 | 0:04:09 | |
in Nicaragua, in actual fact. | 0:04:09 | 0:04:12 | |
And, of course, there was no... | 0:04:12 | 0:04:13 | |
This was the days before real internet. | 0:04:13 | 0:04:15 | |
So we'd no idea that any of the build-up to the first film | 0:04:15 | 0:04:18 | |
was happening. So I came across the very night of the premiere. | 0:04:18 | 0:04:23 | |
I landed at Heathrow and I seen his face in all these magazines. | 0:04:23 | 0:04:27 | |
I thought, "This is... Something's happening here. | 0:04:27 | 0:04:30 | |
"This is bizarre." | 0:04:30 | 0:04:31 | |
-"I'll get my sheepskin jacket." -Exactly. | 0:04:31 | 0:04:34 | |
LAUGHTER DROWNS SPEECH | 0:04:34 | 0:04:36 | |
"This is a special night." | 0:04:36 | 0:04:38 | |
That's what I was wearing when I came off the plane. | 0:04:38 | 0:04:40 | |
It's all changed now. All changed now. | 0:04:43 | 0:04:46 | |
The person I must say hello to is Ewen. | 0:04:46 | 0:04:49 | |
Cos Spud was such a kind of strong visual look. | 0:04:49 | 0:04:53 | |
Like, so, people... | 0:04:53 | 0:04:55 | |
Even now, it's used as a kind of reference. Do you know... | 0:04:55 | 0:04:58 | |
Are you aware of what happened in Utah? Do you know this? | 0:04:58 | 0:05:00 | |
Ooh! Your researcher told me about this. | 0:05:00 | 0:05:03 | |
It does ring a bell, yes. | 0:05:03 | 0:05:05 | |
Basically, someone in Utah - | 0:05:05 | 0:05:07 | |
this was only a couple of years ago - committed a crime, OK? | 0:05:07 | 0:05:10 | |
And they didn't have a photograph of the criminal they were looking for. | 0:05:10 | 0:05:14 | |
So this is the genuine "wanted" poster. | 0:05:14 | 0:05:17 | |
"It's something like that. | 0:05:25 | 0:05:27 | |
"He probably looks like this." | 0:05:29 | 0:05:31 | |
Did they ever catch him, Graham? | 0:05:32 | 0:05:34 | |
"Don't go to Utah" would be my advice. | 0:05:34 | 0:05:36 | |
APPLAUSE | 0:05:39 | 0:05:41 | |
Oh, dear. | 0:05:44 | 0:05:45 | |
Listen, we're here to celebrate the release of T2 Trainspotting, | 0:05:45 | 0:05:49 | |
which opens everywhere tonight. | 0:05:49 | 0:05:51 | |
Let's start with a taste of what to expect. | 0:05:51 | 0:05:54 | |
'Choose life. | 0:05:56 | 0:05:57 | |
'Choose Facebook, Twitter, Instagram, | 0:05:57 | 0:06:00 | |
'and hope that someone, somewhere, cares.' | 0:06:00 | 0:06:02 | |
Missed you, man. | 0:06:02 | 0:06:03 | |
I missed you too, Spud. | 0:06:03 | 0:06:05 | |
'Choose looking up old flames, | 0:06:05 | 0:06:06 | |
'wishing you'd done it all differently.' | 0:06:06 | 0:06:08 | |
-Do you still take heroin? -No. | 0:06:08 | 0:06:11 | |
'And choose watching history repeat itself.' | 0:06:11 | 0:06:13 | |
-Hello, Franco. -Simon. | 0:06:17 | 0:06:20 | |
I'm home. | 0:06:20 | 0:06:21 | |
'Choose your future.' | 0:06:24 | 0:06:25 | |
-Call the police. -What shall I say? | 0:06:25 | 0:06:27 | |
Just tell them we're dead. | 0:06:27 | 0:06:28 | |
'Choose reality TV, slut shaming, revenge porn. | 0:06:28 | 0:06:32 | |
'Choose a zero-hour contract, a two-hour journey to work, | 0:06:32 | 0:06:35 | |
'and choose the same for your kids, only worse. | 0:06:35 | 0:06:37 | |
'And smother the pain with an unknown dose of an unknown drug | 0:06:37 | 0:06:39 | |
'made in somebody's kitchen. And then take a deep breath.' | 0:06:39 | 0:06:42 | |
CHEERING AND APPLAUSE | 0:06:44 | 0:06:47 | |
That's so good. | 0:06:47 | 0:06:48 | |
So, we were... | 0:06:48 | 0:06:50 | |
So, when we were filming that, | 0:06:52 | 0:06:53 | |
that bit at the end where he's on the tower block... | 0:06:53 | 0:06:55 | |
-Spud? -When Spud's on the tower block. | 0:06:55 | 0:06:57 | |
We were up there... It took, like, a morning. | 0:06:57 | 0:06:59 | |
And there was a guy watching us from the other tower block. | 0:06:59 | 0:07:02 | |
He was at the window of the other tower block and he was watching what we were doing, | 0:07:02 | 0:07:05 | |
and he's looking over at us. And eventually, he... | 0:07:05 | 0:07:07 | |
There was a lot of anticipation around Edinburgh | 0:07:07 | 0:07:10 | |
about what we were doing and eventually he looked at me, | 0:07:10 | 0:07:13 | |
caught my eye, and he pointed, and he said to me, | 0:07:13 | 0:07:16 | |
"This better not be shite, Danny." | 0:07:16 | 0:07:17 | |
And that's the biggest anxiety that you have, | 0:07:20 | 0:07:22 | |
is obviously that you follow up a really great success with shite. | 0:07:22 | 0:07:27 | |
Yes. And also, I think it's everyone's kind of... | 0:07:27 | 0:07:30 | |
I was saying to you backstage, I loved it. I loved it. | 0:07:30 | 0:07:33 | |
All those things you worry about - have you left it too long? | 0:07:33 | 0:07:36 | |
But, actually, the point is that it's 20 years later, isn't it? | 0:07:36 | 0:07:40 | |
It's kind of like our special effect, isn't it, age? | 0:07:40 | 0:07:43 | |
It's almost like... | 0:07:43 | 0:07:44 | |
our big-money special effect. | 0:07:44 | 0:07:49 | |
It's like watching children act - "What a convincing six-year-old." | 0:07:49 | 0:07:52 | |
But you all look 20 years older - it's excellent. | 0:07:52 | 0:07:54 | |
-Thank you. -It's amazing. | 0:07:56 | 0:07:58 | |
Put a lot of work into it. | 0:07:59 | 0:08:01 | |
-REALLY worked on it. -Really hard, yeah. | 0:08:01 | 0:08:04 | |
So at the end of the first film, Renton, you walked off | 0:08:04 | 0:08:07 | |
with all the money, 16 grand. | 0:08:07 | 0:08:08 | |
So, 20 years later, where are we now? | 0:08:08 | 0:08:10 | |
Where's Spud as the movie begins? | 0:08:10 | 0:08:12 | |
Spud is really not in a good place. | 0:08:12 | 0:08:14 | |
He's been trying his best, | 0:08:14 | 0:08:15 | |
struggling through the last 20 years to be a better man, | 0:08:15 | 0:08:20 | |
the man that his wife and child need him to be. | 0:08:20 | 0:08:23 | |
And it's devastating for him that he is crippled | 0:08:23 | 0:08:28 | |
with his addictions and is unable to break free of them. | 0:08:28 | 0:08:34 | |
Great for you, but it is kind of amazing he's still alive. | 0:08:34 | 0:08:37 | |
It is, it is amazing, but there's plenty of people | 0:08:37 | 0:08:40 | |
you could say that about. | 0:08:40 | 0:08:41 | |
Rock and roll's littered with those cats that | 0:08:41 | 0:08:43 | |
are still remarkably sprightly, you know, | 0:08:43 | 0:08:48 | |
in their 60s and 70s right now, so... | 0:08:48 | 0:08:50 | |
I think there's life in the old Spud yet. | 0:08:50 | 0:08:53 | |
And Begbie - what's happened to Begbie? | 0:08:55 | 0:08:57 | |
Begbie's exactly where you expect him to be - he's in the nick. | 0:08:57 | 0:09:01 | |
He's been there for the last 20 years, festering, | 0:09:01 | 0:09:04 | |
thinking about this guy and the day he can meet him and kill him. | 0:09:04 | 0:09:08 | |
I suppose, at the beginning, | 0:09:10 | 0:09:11 | |
Sick Boy is the most, kind of, surprising, | 0:09:11 | 0:09:13 | |
what's happened to him in the 20 years. | 0:09:13 | 0:09:15 | |
Yeah, I mean... | 0:09:15 | 0:09:17 | |
I kind of, like, was not that surprised that he's sort of | 0:09:17 | 0:09:20 | |
stuck in a rut, cos that's one thing I really loved | 0:09:20 | 0:09:23 | |
about where he is in the new film. He's... | 0:09:23 | 0:09:27 | |
His powers have waned. | 0:09:27 | 0:09:28 | |
People used to think Sick Boy was such a cool character | 0:09:28 | 0:09:30 | |
and I thought it was interesting to look at him, the fact he's stuck | 0:09:30 | 0:09:35 | |
in the same circles of behaviour, he's sort of struggling in life | 0:09:35 | 0:09:38 | |
and he thinks he's winning, and still a chancer, | 0:09:38 | 0:09:40 | |
but he's really making bad decisions | 0:09:40 | 0:09:43 | |
and that's led to a lot of frustration and bitterness. | 0:09:43 | 0:09:46 | |
So there are no parallels with my own life at all. | 0:09:46 | 0:09:50 | |
-Phew! -Difficult. | 0:09:50 | 0:09:51 | |
Were you worried about the movie, | 0:09:52 | 0:09:54 | |
going back and doing a Scottish accent again? | 0:09:54 | 0:09:57 | |
Er, yes. I mean, not worried, but I approached it differently. | 0:09:57 | 0:10:00 | |
I kept up the accent the whole time filming the first one, | 0:10:00 | 0:10:03 | |
cos no-one knew who we were. | 0:10:03 | 0:10:05 | |
I could go to a pub in Glasgow and just wing it. | 0:10:05 | 0:10:08 | |
And if you can get away with it in a pub in Glasgow, | 0:10:08 | 0:10:10 | |
-you can get away with it anywhere, right? -Have you ever done? | 0:10:10 | 0:10:13 | |
As I was saying... | 0:10:17 | 0:10:20 | |
Yeah, so I worked with a dialect coach this time round. | 0:10:23 | 0:10:26 | |
-Cos I... -Cos you don't drink any more. | 0:10:26 | 0:10:28 | |
"Just practising my fucking accent." | 0:10:37 | 0:10:39 | |
"I can't do Scottish any more!" | 0:10:41 | 0:10:43 | |
And, Ewan, the story was kicked off by Renton. Renton kind of... | 0:10:46 | 0:10:50 | |
We find him in Amsterdam, where he's been for the last 20 years. | 0:10:50 | 0:10:54 | |
And he has a medical emergency, | 0:10:54 | 0:10:59 | |
has a cardiac issue, | 0:10:59 | 0:11:01 | |
which causes him to rethink his life and come home for the first time. | 0:11:01 | 0:11:05 | |
And when he comes home, we realise he hasn't even been home | 0:11:05 | 0:11:08 | |
for his mother's funeral, | 0:11:08 | 0:11:09 | |
and this is his coming back to face his mates again | 0:11:09 | 0:11:13 | |
and find out what he's going to do with his life. | 0:11:13 | 0:11:16 | |
And there's a lot of that feeling in the movie - | 0:11:16 | 0:11:18 | |
that sort of, er, search for the future through the past. | 0:11:18 | 0:11:23 | |
There's a nostalgia in it that I think you're right in saying | 0:11:23 | 0:11:26 | |
earlier wouldn't have existed if we'd made the film earlier. | 0:11:26 | 0:11:28 | |
You know, it's taken 20 years to have this beautiful weight | 0:11:28 | 0:11:33 | |
of looking back at our youth through these characters. | 0:11:33 | 0:11:36 | |
And, as people who played them, looking at our own, | 0:11:36 | 0:11:39 | |
which seems quite far away now. You know, sadly. | 0:11:39 | 0:11:42 | |
It's odd, cos you kind of think Trainspotting wasn't that long ago. | 0:11:42 | 0:11:45 | |
But you do all look like children in the flashbacks. | 0:11:45 | 0:11:49 | |
How much did you want this to stand alone, | 0:11:49 | 0:11:53 | |
and how much did you... | 0:11:53 | 0:11:55 | |
Cos it's a delicate balance, how self-referential it would be. | 0:11:55 | 0:11:58 | |
You can't just repeat it. In fact, if you're going to do that, you do one straightaway, | 0:11:58 | 0:12:02 | |
which is the tradition with a sequel. | 0:12:02 | 0:12:04 | |
You've got to let the 20 years that has passed stand for | 0:12:04 | 0:12:07 | |
the main element of the film, really. And the catch-up. | 0:12:07 | 0:12:10 | |
And I think it... | 0:12:10 | 0:12:11 | |
It does this weird thing. I mean, you know this as well - | 0:12:11 | 0:12:14 | |
if you look back at you | 0:12:14 | 0:12:15 | |
beginning this show compared to what you look like now... | 0:12:15 | 0:12:18 | |
All right, I'm a lot older. Thank you. | 0:12:18 | 0:12:21 | |
But television has that... | 0:12:22 | 0:12:25 | |
He's a guest! | 0:12:25 | 0:12:26 | |
Television has that amazing... | 0:12:28 | 0:12:29 | |
Film, television - it freezes you in time, | 0:12:29 | 0:12:32 | |
and people have an image... "I remember Graham on his first show." | 0:12:32 | 0:12:34 | |
-They have that image in their mind. And they meet you in the street... -Yes. | 0:12:34 | 0:12:38 | |
..and they're like, "No, I don't want him to look like that." | 0:12:39 | 0:12:41 | |
LAUGHTER | 0:12:41 | 0:12:45 | |
What did I do to deserve this? | 0:12:45 | 0:12:46 | |
No, I meant... | 0:12:48 | 0:12:50 | |
All right, I've melted. I've melted, Danny! | 0:12:51 | 0:12:54 | |
Sh! | 0:12:54 | 0:12:55 | |
-But you know what I mean. -Oh, I... | 0:12:57 | 0:12:59 | |
Yes, we've established - I understand I'm much older! | 0:13:01 | 0:13:05 | |
And then you unfreeze them in time | 0:13:05 | 0:13:07 | |
and bring them next door to each other like this and people can see them. | 0:13:07 | 0:13:10 | |
And you do see these occasional glimpses of them | 0:13:10 | 0:13:12 | |
back in the original film and it's very moving, | 0:13:12 | 0:13:15 | |
and it returns these guys to the common pool, | 0:13:15 | 0:13:17 | |
-cos it's something we all face. -Yeah. | 0:13:17 | 0:13:20 | |
Whether we're aware of it or not yet, | 0:13:20 | 0:13:22 | |
it's in the post for everyone, this ageing thing. | 0:13:22 | 0:13:24 | |
Also the bonds of shared history. I was talking to you backstage - | 0:13:24 | 0:13:27 | |
that idea that those bonds of shared history, as you get older, | 0:13:27 | 0:13:30 | |
-take on an importance they never had. -Absolutely, yeah. | 0:13:30 | 0:13:33 | |
You talk about the time being right now, but I suppose | 0:13:33 | 0:13:36 | |
one of the things about coming back was... | 0:13:36 | 0:13:38 | |
One of the problems about all of this was that you guys... | 0:13:38 | 0:13:40 | |
How many years did you not talk for? | 0:13:40 | 0:13:42 | |
-Yeah, quite a bit. -A long time, yeah. -Sadly, yeah. | 0:13:42 | 0:13:45 | |
I don't mean to trivialise it, because it's an awful thing. | 0:13:45 | 0:13:48 | |
You know, you really liked each other, | 0:13:48 | 0:13:50 | |
you loved working together, and then it... | 0:13:50 | 0:13:52 | |
What was it? Was it one bust-up, or was it a dribbling apart? | 0:13:52 | 0:13:56 | |
It was just over a film that was a misunderstanding | 0:13:56 | 0:14:00 | |
and a mishandling of... | 0:14:00 | 0:14:02 | |
-It was just over a film that I... -This was The Beach. | 0:14:02 | 0:14:06 | |
It's a big regret of mine that it went on for so very long. | 0:14:06 | 0:14:10 | |
-It's a shame we didn't work together all those years, cos... -Yeah. | 0:14:10 | 0:14:13 | |
Not because of any particular film. | 0:14:13 | 0:14:14 | |
It didn't really matter about The Beach. | 0:14:14 | 0:14:16 | |
It was never about The Beach - it was about our friendship | 0:14:16 | 0:14:19 | |
and how much I felt like Danny's... | 0:14:19 | 0:14:22 | |
I was in the first three movies, you know - | 0:14:22 | 0:14:25 | |
Shallow Grave, Trainspotting, then A Life Less Ordinary - | 0:14:25 | 0:14:27 | |
and then I wasn't in the fourth and I was a bit... | 0:14:27 | 0:14:29 | |
It made me a bit rudderless. I didn't quite get it. | 0:14:29 | 0:14:32 | |
And, er... | 0:14:32 | 0:14:34 | |
Yeah, we didn't speak for a long time, which was such a waste. | 0:14:34 | 0:14:37 | |
It began with a lunch? | 0:14:37 | 0:14:40 | |
Is the lunch when you told him he wasn't going to be in The Beach? | 0:14:40 | 0:14:43 | |
-Yeah, and I think we han... -I -handled it very, very badly | 0:14:43 | 0:14:46 | |
and I have apologised to Ewan | 0:14:46 | 0:14:48 | |
and I kind of feel a shame about it that's very difficult... | 0:14:48 | 0:14:52 | |
You know, it's one of the things, weirdly, that the film is about, | 0:14:52 | 0:14:55 | |
trying to express emotions. | 0:14:55 | 0:14:57 | |
And I felt a great shame about it, really. | 0:14:57 | 0:14:59 | |
I was not proud of the way I handled it. | 0:14:59 | 0:15:02 | |
And he, actually, handled it with enormous grace. | 0:15:02 | 0:15:05 | |
Cos, you know, you see these actors and they do big things | 0:15:05 | 0:15:09 | |
and you hear the stories about them, | 0:15:09 | 0:15:11 | |
and he handles all his world with enormous grace | 0:15:11 | 0:15:14 | |
and courage, actually. | 0:15:14 | 0:15:15 | |
Which is the definition of grace. | 0:15:15 | 0:15:18 | |
They say courage is grace under pressure, | 0:15:18 | 0:15:19 | |
which he showed enormously. So... | 0:15:19 | 0:15:22 | |
And we had this thing, | 0:15:22 | 0:15:23 | |
we had this film, this Slumdog Millionaire, | 0:15:23 | 0:15:25 | |
which was doing amazing, picking up all these amazing things, | 0:15:25 | 0:15:28 | |
and somebody asked him. They didn't tell me but somebody asked him | 0:15:28 | 0:15:31 | |
whether he'd present this kind of promotional award to me, | 0:15:31 | 0:15:34 | |
which is one of the things you do on the route to the Oscars | 0:15:34 | 0:15:37 | |
and stuff like that. | 0:15:37 | 0:15:39 | |
And he did and he stood up on stage and he made this amazing speech. | 0:15:39 | 0:15:42 | |
And I was in tears backstage. | 0:15:42 | 0:15:44 | |
It was like, "Oh, God!" | 0:15:44 | 0:15:45 | |
So, yeah... | 0:15:45 | 0:15:47 | |
I'm very grateful to him. | 0:15:47 | 0:15:49 | |
And when this happens in my life... If, friends of mine, this happens... | 0:15:49 | 0:15:52 | |
I always really unsuccessfully try to interfere and broker a peace. | 0:15:52 | 0:15:56 | |
Did any of you try to get involved? | 0:15:56 | 0:15:59 | |
Or did you just go, "Whoa, I'm leaving that alone!"? | 0:15:59 | 0:16:03 | |
We had our own feuds going on! | 0:16:03 | 0:16:04 | |
No-one spoke to Ewan for 15 years! | 0:16:07 | 0:16:09 | |
Yeah, I was really upset about it. | 0:16:09 | 0:16:11 | |
So upset I actually did The Beach with Danny! | 0:16:11 | 0:16:14 | |
Hashtag Team Danny! | 0:16:21 | 0:16:22 | |
But very quickly, I was reading... | 0:16:23 | 0:16:25 | |
Because they were coming on, I was reading about this... | 0:16:25 | 0:16:27 | |
Who's Danny's actor now?! | 0:16:27 | 0:16:29 | |
I was reading about this. There's a story... | 0:16:31 | 0:16:33 | |
I don't know who told the story or how it ended up in the papers... | 0:16:33 | 0:16:36 | |
I'm reading this story and I'm thinking, | 0:16:36 | 0:16:38 | |
"Aw, this is obviously the lovely moment | 0:16:38 | 0:16:41 | |
"when they buried the hatchet and came together." | 0:16:41 | 0:16:43 | |
Talk us through the flight back from... Was it Shanghai? | 0:16:43 | 0:16:46 | |
-God! -Oh, dear! -Was it a 15-hour flight? | 0:16:46 | 0:16:49 | |
I'm on the plane to Shanghai to promote a movie and someone says, | 0:16:49 | 0:16:52 | |
"You know who the head of the jury is?" | 0:16:52 | 0:16:53 | |
And I went, "No," and they went, "Danny Boyle," | 0:16:53 | 0:16:56 | |
thinking I'd be delighted and I was like, | 0:16:56 | 0:16:58 | |
"Oh my God! What are we going to say?" | 0:16:58 | 0:17:00 | |
And we bumped into each other at things and it was a bit awkward. | 0:17:00 | 0:17:06 | |
Anyway, then we come back home and cos we're all showbiz celebrities, | 0:17:06 | 0:17:10 | |
-we were flying first class. -Of course. | 0:17:10 | 0:17:11 | |
And there was only three of us in first class - | 0:17:11 | 0:17:13 | |
Danny, me and my wife Eve - | 0:17:13 | 0:17:16 | |
and we were flying back and we were scattered around, | 0:17:16 | 0:17:20 | |
and then Eve falls asleep and her light goes off. | 0:17:20 | 0:17:23 | |
And I'm sitting there | 0:17:23 | 0:17:25 | |
and Danny's light's on and my light's on and I'm thinking, | 0:17:25 | 0:17:30 | |
"This is it, this is the moment!" | 0:17:30 | 0:17:33 | |
And I'm slightly behind, so I can see Danny... | 0:17:33 | 0:17:36 | |
I'm thinking, "This is it, this is..." | 0:17:36 | 0:17:37 | |
HE EXHALES | 0:17:37 | 0:17:39 | |
"This is when we just get it all out. | 0:17:39 | 0:17:41 | |
"I'll say 'I'm sorry' and he'll say 'I'm sorry' and we'll get on with it." | 0:17:41 | 0:17:44 | |
And we couldn't. We just sat there with our lights burning... | 0:17:44 | 0:17:47 | |
till, eventually, Danny's went off and mine went off! | 0:17:47 | 0:17:51 | |
But you're back together now. It's all good now. Very good. | 0:17:53 | 0:17:56 | |
CHEERING AND APPLAUSE | 0:17:56 | 0:17:59 | |
It's... Hindsight's an amazing thing. | 0:18:04 | 0:18:07 | |
Now you look back and go, | 0:18:07 | 0:18:08 | |
"Of course Trainspotting was going to be a big hit." | 0:18:08 | 0:18:10 | |
Ewen, when you were in it, did you think, "Oh, this is a job," | 0:18:10 | 0:18:13 | |
or did you kind of know, | 0:18:13 | 0:18:14 | |
"This is a good film. This is a really good film"? | 0:18:14 | 0:18:17 | |
Well, I had been working on the stage play, originally, | 0:18:17 | 0:18:22 | |
playing Ewan McGregor's part in the stage play. | 0:18:22 | 0:18:25 | |
And every night we were getting | 0:18:25 | 0:18:26 | |
this phenomenal, immediate response from audiences. | 0:18:26 | 0:18:29 | |
So I knew the material really was hitting a nerve. | 0:18:29 | 0:18:34 | |
And I was confident that this film was going to be | 0:18:34 | 0:18:37 | |
a strong piece and people were going to respond to it, | 0:18:37 | 0:18:40 | |
because I was seeing that every night on stage. | 0:18:40 | 0:18:43 | |
But none of us had any conception of the scale, | 0:18:43 | 0:18:48 | |
the profound effect and impact it was going to make on the culture. | 0:18:48 | 0:18:52 | |
And it was kind of overwhelming for myself | 0:18:52 | 0:18:55 | |
and I think probably for all of us. | 0:18:55 | 0:18:58 | |
You had The Full Monty coming out just like clockwork, | 0:18:58 | 0:19:01 | |
just, like, the next minute, so you were riding, like, sort of, | 0:19:01 | 0:19:05 | |
a double tidal wave. | 0:19:05 | 0:19:07 | |
It's interesting you mention The Full Monty. | 0:19:07 | 0:19:10 | |
Talking about "you don't know something's a hit when you're in it", | 0:19:10 | 0:19:13 | |
you REALLY didn't see "hit" written on The Full Monty? | 0:19:13 | 0:19:16 | |
I thought it was a load of fucking pish, to be honest! | 0:19:16 | 0:19:18 | |
I know a lot about this business! | 0:19:23 | 0:19:26 | |
It was a tough shoot. The Full Monty was a tough shoot. | 0:19:27 | 0:19:29 | |
It really, really was. | 0:19:29 | 0:19:31 | |
WOLF-WHISTLE | 0:19:31 | 0:19:34 | |
You've all heard this. | 0:19:34 | 0:19:36 | |
I don't mind hearing it again! | 0:19:36 | 0:19:38 | |
-How horrible was it? -HORRIBLE horrible! | 0:19:39 | 0:19:41 | |
I tell you, it was so horrible that when the people... | 0:19:41 | 0:19:45 | |
Fox Searchlight, who made it, they saw the first cut of this thing | 0:19:45 | 0:19:49 | |
and they went, "Straight to video." | 0:19:49 | 0:19:51 | |
That's what they said. | 0:19:51 | 0:19:52 | |
-Wow! -It was just very, very tough. | 0:19:52 | 0:19:54 | |
And the producer at the time, Uberto, he kind of begged | 0:19:54 | 0:19:59 | |
Fox Searchlight and said, "Look, we've got a hundred movies here - | 0:19:59 | 0:20:02 | |
"this guy's shot the ass off this thing. | 0:20:02 | 0:20:05 | |
"So give us a chance." | 0:20:05 | 0:20:06 | |
So he and... | 0:20:06 | 0:20:08 | |
They got rid of the editor, they got rid of the director, | 0:20:08 | 0:20:11 | |
and Uberto and Nick Moore, they brought on as an editor. | 0:20:11 | 0:20:14 | |
They cut together what you saw. | 0:20:14 | 0:20:17 | |
And this thing went from almost straight to video... | 0:20:17 | 0:20:20 | |
To date it's taken about 400 million or something. | 0:20:21 | 0:20:23 | |
Well, to the Oscars! | 0:20:23 | 0:20:25 | |
-It was up against Titanic... -Astonishing. | 0:20:25 | 0:20:29 | |
-Astonishing. -Crazy, yeah. It was amazing. -Who knew? Who knew? | 0:20:29 | 0:20:31 | |
-Not you! -Not me. | 0:20:31 | 0:20:33 | |
And, Jonny, you've got that rarest of things - | 0:20:34 | 0:20:37 | |
a really successful TV drama, Elementary, in America and here. | 0:20:37 | 0:20:42 | |
But even that... You said "no" to that, originally, didn't you? | 0:20:42 | 0:20:45 | |
Yeah, I said "no" to it cos of... | 0:20:45 | 0:20:46 | |
Sherlock was a great show - IS a great show - | 0:20:48 | 0:20:50 | |
and I was a big fan of it over here. | 0:20:50 | 0:20:52 | |
Oh, so that... Was Sherlock out first? | 0:20:52 | 0:20:54 | |
Yeah. | 0:20:54 | 0:20:55 | |
And so I was, like, "Oh, another incarnation of Sherlock Holmes? | 0:20:55 | 0:21:00 | |
"I don't think the world's ready for this at the moment." | 0:21:00 | 0:21:02 | |
And I said no. | 0:21:02 | 0:21:04 | |
And then I was persuaded by the differences in the show | 0:21:04 | 0:21:08 | |
and also the opportunity. | 0:21:08 | 0:21:11 | |
Really, I felt a bit arrogant to turn down the chance | 0:21:11 | 0:21:16 | |
to play such a wonderful character | 0:21:16 | 0:21:18 | |
with a great new script and there were enough differences. | 0:21:18 | 0:21:20 | |
I thought, "Who am I to turn down the lead in a network show?" | 0:21:20 | 0:21:24 | |
-Yeah. -"At least give it a go." | 0:21:24 | 0:21:26 | |
And I'm glad I did! | 0:21:26 | 0:21:29 | |
It's such a lovely life now, cos you're settled, | 0:21:29 | 0:21:32 | |
-you're in New York... -Ah, man! | 0:21:32 | 0:21:33 | |
Yeah, you get to have... | 0:21:33 | 0:21:35 | |
It's a tough schedule but I don't have to travel, | 0:21:35 | 0:21:38 | |
so I get to be a parent without having to disappear | 0:21:38 | 0:21:41 | |
for months at a time and I really dig that. | 0:21:41 | 0:21:43 | |
We're talking about that idea of what makes a hit. | 0:21:43 | 0:21:46 | |
Danny, you've made huge films - | 0:21:46 | 0:21:49 | |
28 Days Later, 127 Hours, Trainspotting, all those things - | 0:21:49 | 0:21:52 | |
but you've made films that... | 0:21:52 | 0:21:53 | |
Less successful and, er... | 0:21:53 | 0:21:56 | |
-Which ones? -He's getting his own back now! | 0:21:56 | 0:21:58 | |
I can't name 'em! | 0:21:58 | 0:21:59 | |
I think you're looking great! | 0:21:59 | 0:22:02 | |
It's gloves off now! | 0:22:02 | 0:22:03 | |
I just wondered, as a director, what is the... | 0:22:04 | 0:22:08 | |
Maybe you never know, | 0:22:08 | 0:22:10 | |
or is there a bit in the process... | 0:22:10 | 0:22:11 | |
Is it in the edit? Is there a moment when you kind of go, "Oh..."? | 0:22:11 | 0:22:15 | |
Yeah. You... | 0:22:15 | 0:22:17 | |
You should believe in them all the time but I think, | 0:22:17 | 0:22:20 | |
deep down, you do know. | 0:22:20 | 0:22:21 | |
What's much more difficult to know is when you know | 0:22:21 | 0:22:23 | |
something's going to be a hit - no-one knows that. | 0:22:23 | 0:22:26 | |
It's like what Bobby said - you just don't know. | 0:22:26 | 0:22:28 | |
Otherwise there'd only ever be hit films. | 0:22:28 | 0:22:30 | |
Why would they release ones that wouldn't be a hit? | 0:22:30 | 0:22:32 | |
That's a very good point! | 0:22:32 | 0:22:34 | |
-And also, no-one tries to make a bad film. -No... | 0:22:34 | 0:22:36 | |
Well, I don't know, actually. Sometimes... | 0:22:36 | 0:22:38 | |
But, no, you try not to. | 0:22:39 | 0:22:41 | |
And then, I suppose, the opposite of it is Ewan, | 0:22:42 | 0:22:45 | |
where you were being asked to do something that was a sure-fire | 0:22:45 | 0:22:49 | |
big hit with Star Wars. | 0:22:49 | 0:22:52 | |
Did you think long and hard about saying yes to that? | 0:22:52 | 0:22:54 | |
Oh, yeah, cos I didn't think it was me at all. | 0:22:54 | 0:22:56 | |
I felt like this sort of urban, indie, grungy actor, you know? | 0:22:56 | 0:23:02 | |
And I took an audition for it, | 0:23:02 | 0:23:05 | |
like almost every other young actor in the country did. | 0:23:05 | 0:23:08 | |
And then I didn't even think about it. | 0:23:08 | 0:23:09 | |
And then I got a bit closer and closer and then I think, | 0:23:09 | 0:23:12 | |
when I got to the last recall or something, I think called round. | 0:23:12 | 0:23:17 | |
I spoke to Danny, I spoke to my uncle, | 0:23:17 | 0:23:19 | |
who'd been in all three. | 0:23:19 | 0:23:20 | |
He said, "Don't do it! | 0:23:20 | 0:23:22 | |
"If you want a career after you're 30, don't do it!" | 0:23:23 | 0:23:27 | |
Anyway... | 0:23:27 | 0:23:29 | |
Cos I thought long and hard about it, | 0:23:29 | 0:23:32 | |
cos it didn't really feel like me at all. | 0:23:32 | 0:23:33 | |
But the closer I got to it, the more I wanted to do it. | 0:23:33 | 0:23:36 | |
When you got it, didn't you celebrate with your neighbours? | 0:23:36 | 0:23:39 | |
HE CHUCKLES | 0:23:39 | 0:23:41 | |
Yes, there was a birthday party at Noel Gallagher's place | 0:23:41 | 0:23:45 | |
round the corner from me in Belsize Park. | 0:23:45 | 0:23:48 | |
He is right in saying that he gave me my first lightsaber lesson. | 0:23:48 | 0:23:53 | |
It was at eight in the morning. | 0:23:53 | 0:23:56 | |
It must've been an early party! | 0:23:56 | 0:23:58 | |
-It was a pre-breakfast-type party! -Yeah, yeah. Champagne? | 0:23:59 | 0:24:04 | |
We were in the back of the garden with plastic lightsabers, | 0:24:04 | 0:24:07 | |
having a ding-dong. It was funny. | 0:24:07 | 0:24:09 | |
Talking of Oasis, Oasis were the only one of | 0:24:09 | 0:24:14 | |
that generation of bands - they missed the Trainspotting boat. | 0:24:14 | 0:24:17 | |
Did they turn it down? Is that true, they turned it down? | 0:24:17 | 0:24:19 | |
I don't know. That's what they say. They say they didn't want | 0:24:19 | 0:24:22 | |
to get involved in a film about trainspotters! | 0:24:22 | 0:24:24 | |
I have no idea whether that's true. | 0:24:24 | 0:24:26 | |
I remember thinking, "We haven't got any Oasis on this." | 0:24:26 | 0:24:28 | |
And we couldn't fit any Oasis in. | 0:24:28 | 0:24:30 | |
So I don't know. They came to the party, anyway, | 0:24:30 | 0:24:33 | |
-which is the important thing! -Yes! | 0:24:33 | 0:24:36 | |
Actually, people forget. That soundtrack... The CD... | 0:24:36 | 0:24:39 | |
I'm telling YOU. You know. Do you remember? That CD - | 0:24:39 | 0:24:42 | |
everybody had the Trainspotting soundtrack CD. | 0:24:42 | 0:24:45 | |
And the music on it was phenomenal. | 0:24:45 | 0:24:47 | |
David Bowie played some part in the music? | 0:24:47 | 0:24:50 | |
Oh, yeah, because we'd made a very small film, Shallow Grave, | 0:24:50 | 0:24:54 | |
which had done very well. But it wasn't, like, an international film. | 0:24:54 | 0:24:57 | |
And then suddenly we were asking for all these songs, | 0:24:57 | 0:25:00 | |
like Iggy Pop - Lust for Life, Lou Reed - Perfect Day. | 0:25:00 | 0:25:03 | |
And you can't really get at these people and you don't have the money | 0:25:03 | 0:25:06 | |
in our budget to pay for it. And suddenly we heard that David Bowie | 0:25:06 | 0:25:10 | |
had seen our film, Shallow Grave, and had waved through these tracks. | 0:25:10 | 0:25:16 | |
Cos he worked regularly with Lou Reed and was instrumental | 0:25:16 | 0:25:19 | |
in Iggy Pop's career. So, in the new film, we've got a little moment - | 0:25:19 | 0:25:22 | |
we thought, "How can we pay trib...?" | 0:25:22 | 0:25:23 | |
Cos he passed away the year we were making the film and we thought, "How can we pay a tribute to him?" | 0:25:23 | 0:25:27 | |
And you think about a song, and you think, | 0:25:27 | 0:25:29 | |
"Well, how can you just use one song?" | 0:25:29 | 0:25:31 | |
And there's a little moment where Ewan goes through | 0:25:31 | 0:25:33 | |
his old record collection and actually, what we did, | 0:25:33 | 0:25:36 | |
we turned all the sound off - which you're not meant | 0:25:36 | 0:25:38 | |
to do in movies - and it's just... | 0:25:38 | 0:25:40 | |
Even the sound of his finger on the record as he flips through the record pile. | 0:25:40 | 0:25:43 | |
And you just see a couple of his records and that is our silent | 0:25:43 | 0:25:46 | |
tribute to a man who filled the world with the most amazing | 0:25:46 | 0:25:49 | |
sounds for 50 years or more. | 0:25:49 | 0:25:51 | |
What a gorgeous thing. | 0:25:51 | 0:25:52 | |
Let's have another clip from the movie, T2 Trainspotting. | 0:25:58 | 0:26:02 | |
This is Begbie, hot on the heels of Renton. | 0:26:02 | 0:26:05 | |
MUSIC: Relax by Frankie Goes To Hollywood | 0:26:19 | 0:26:22 | |
# Relax | 0:26:32 | 0:26:34 | |
# Don't do it... # | 0:26:34 | 0:26:36 | |
Go, go, go! | 0:26:36 | 0:26:38 | |
# Don't do it | 0:26:38 | 0:26:39 | |
# When you wanna come | 0:26:39 | 0:26:41 | |
# Relax | 0:26:41 | 0:26:42 | |
# Don't do it | 0:26:42 | 0:26:43 | |
# When you wanna suck to it | 0:26:43 | 0:26:44 | |
# Relax | 0:26:44 | 0:26:46 | |
# Don't do it... # | 0:26:46 | 0:26:48 | |
Come on, then, you...! Aargh! | 0:26:48 | 0:26:50 | |
HE ROARS | 0:26:54 | 0:26:55 | |
Go! Go! | 0:26:57 | 0:26:59 | |
APPLAUSE | 0:27:13 | 0:27:15 | |
Very good. | 0:27:15 | 0:27:16 | |
Now, Begbie. We must talk about Begbie. | 0:27:19 | 0:27:21 | |
Because, for you, that must have been... | 0:27:21 | 0:27:23 | |
Everyone, presumably, after that film, was just scared of you? | 0:27:23 | 0:27:27 | |
Yes! | 0:27:27 | 0:27:29 | |
They still are! | 0:27:29 | 0:27:30 | |
No, I've played quite a few... | 0:27:31 | 0:27:33 | |
It was great because it gave me an awful lot of other | 0:27:33 | 0:27:36 | |
Begbie-type parts to play. It gave me a career's worth of that. | 0:27:36 | 0:27:39 | |
But anybody that knows me knows I'm absolutely nothing like that, | 0:27:39 | 0:27:43 | |
at all! At all! | 0:27:43 | 0:27:44 | |
-EWEN MOUTHS No, but... -Honestly! | 0:27:44 | 0:27:47 | |
I like that on either side of Trainspotting, | 0:27:47 | 0:27:50 | |
you were being the nicest policeman in the world. | 0:27:50 | 0:27:52 | |
You were in Hamish Macbeth with your lovely little Westie terrier! | 0:27:52 | 0:27:55 | |
CHEERING Oh, we're getting cheers for Hamish! | 0:27:55 | 0:27:57 | |
-CHEERING AND APPLAUSE -Thanks very much. | 0:27:57 | 0:27:59 | |
No, it was lovely. It was a fantastic part to play. | 0:27:59 | 0:28:02 | |
These kind of parts, these psycho parts, | 0:28:02 | 0:28:03 | |
these are the... You can lose yourself. | 0:28:03 | 0:28:06 | |
Your imagination runs riot | 0:28:06 | 0:28:08 | |
and something like Begbie's just an absolute pleasure to play. | 0:28:08 | 0:28:11 | |
But even your son is aware of Begbie? | 0:28:11 | 0:28:13 | |
Yes, he is! | 0:28:13 | 0:28:15 | |
But how old is your son? | 0:28:15 | 0:28:16 | |
He's ten! | 0:28:16 | 0:28:18 | |
They're 10 and 12. I've got two sons, 10 and 12. My daughter's 14. | 0:28:18 | 0:28:21 | |
-Has he seen the film? -No, he's not, but he... | 0:28:21 | 0:28:23 | |
He's aware of Begbie. | 0:28:23 | 0:28:25 | |
And he was certainly aware when I was shooting the film | 0:28:25 | 0:28:28 | |
last springtime. | 0:28:28 | 0:28:29 | |
Cos I didn't stay at home when I was playing the part. | 0:28:29 | 0:28:32 | |
Because you kinda... You've got a lot of stuff in your head | 0:28:32 | 0:28:35 | |
when you're playing a part like that. | 0:28:35 | 0:28:37 | |
And you don't necessarily... | 0:28:37 | 0:28:38 | |
You don't want to let it go every day when you go home, | 0:28:38 | 0:28:41 | |
because you need to dredge it back up the next day. | 0:28:41 | 0:28:44 | |
So it's best to stay away from the family during those moments. | 0:28:44 | 0:28:47 | |
Cos you don't want any chance of that slipping out at all. | 0:28:47 | 0:28:50 | |
But he was very aware that I was playing Begbie. | 0:28:50 | 0:28:53 | |
And he, er... | 0:28:53 | 0:28:55 | |
He dressed up accordingly when I went home one night. | 0:28:55 | 0:28:58 | |
I think we've got a little picture of him. | 0:28:58 | 0:29:00 | |
LAUGHTER | 0:29:00 | 0:29:02 | |
He disappeared up... He saw me coming in | 0:29:05 | 0:29:07 | |
and he disappeared upstairs and came back down with a moustache, going... | 0:29:07 | 0:29:12 | |
LAUGHTER AND APPLAUSE | 0:29:12 | 0:29:14 | |
Now...Danny Boyle is here and we can't have you on the show | 0:29:16 | 0:29:19 | |
without mentioning the London Olympics 2012 | 0:29:19 | 0:29:22 | |
and that incredible opening ceremony. Yes! | 0:29:22 | 0:29:25 | |
CHEERING AND APPLAUSE | 0:29:25 | 0:29:28 | |
It's funny cos, actually, talking about the soundtrack, | 0:29:32 | 0:29:35 | |
I think people are nostalgic for IT because it was a moment when... | 0:29:35 | 0:29:38 | |
It did its job so brilliantly. | 0:29:38 | 0:29:40 | |
It made the UK love the UK and made us proud of being in the UK. | 0:29:40 | 0:29:45 | |
It was a massive privilege to do it and people were surprised that | 0:29:45 | 0:29:48 | |
I would want to do it because, you know, | 0:29:48 | 0:29:51 | |
the Beijing Olympics had been a huge thing and I thought, | 0:29:51 | 0:29:53 | |
"No, this is... We are amazing." | 0:29:53 | 0:29:56 | |
And we don't tell each other that very often | 0:29:56 | 0:29:59 | |
and that's a good thing, generally. | 0:29:59 | 0:30:01 | |
But occasionally we should take stock and say, | 0:30:01 | 0:30:03 | |
"We are absolutely amazing." | 0:30:03 | 0:30:04 | |
So we wanted to do that and we wanted to build it | 0:30:04 | 0:30:06 | |
round the volunteers, who came in their thousands | 0:30:06 | 0:30:10 | |
from everywhere, all over the country. | 0:30:10 | 0:30:12 | |
Everybody... These guys drove down from Glasgow. | 0:30:12 | 0:30:14 | |
They drove down through the night, | 0:30:14 | 0:30:16 | |
and then go back to work in hospitals in Glasgow. | 0:30:16 | 0:30:19 | |
It was an extraordinary kind of coming together of people. | 0:30:19 | 0:30:21 | |
It was really amazing. | 0:30:21 | 0:30:22 | |
And while we loved it, it sounds like it was an absolute | 0:30:22 | 0:30:26 | |
nightmare for you, though, to try to corral this thing | 0:30:26 | 0:30:29 | |
-and try to force it on. -Well, I don't... | 0:30:29 | 0:30:31 | |
As these guys hopefully might testify, | 0:30:31 | 0:30:33 | |
I don't behave very kind of, like, dominantly as a... | 0:30:33 | 0:30:37 | |
-GRAHAM CHUCKLES -as a director, | 0:30:37 | 0:30:39 | |
but occasionally on that thing, I had to. | 0:30:39 | 0:30:43 | |
In the worst kind of foot-stamping, screaming, | 0:30:43 | 0:30:45 | |
throwing-things-around kind of way, where you beat people over the head | 0:30:45 | 0:30:49 | |
with your awards and... | 0:30:49 | 0:30:50 | |
Anything you can muster to get your own way, you will do it. | 0:30:50 | 0:30:54 | |
Showing up with an Oscar. | 0:30:54 | 0:30:56 | |
Literally saying, "I will just... I'll go straight to the newspaper. | 0:30:56 | 0:30:59 | |
"I'll resign and go straight to the newspapers." | 0:30:59 | 0:31:01 | |
You'll do anything to get your way, you know, cos you have to kind of... | 0:31:01 | 0:31:04 | |
Cos there's this terrible sense of them trying to make it | 0:31:04 | 0:31:07 | |
the same as the last one and not letting our beauty shine through. | 0:31:07 | 0:31:12 | |
And we must just mention the Queen, cos you didn't think | 0:31:12 | 0:31:16 | |
the Queen was going to be in it, did you? | 0:31:16 | 0:31:17 | |
No, we had this idea, you know, the idea you saw in it, | 0:31:17 | 0:31:20 | |
but we thought, obviously, we should just tell her, | 0:31:20 | 0:31:22 | |
because it's a courtesy to say that we'll be impersonating her and, | 0:31:22 | 0:31:25 | |
you know, having this fun scene with James Bond and everything. | 0:31:25 | 0:31:28 | |
And then we got word through. | 0:31:28 | 0:31:30 | |
We were expecting, like, "Ooh, no," | 0:31:30 | 0:31:31 | |
and, "We want to audition the double," or whatever, | 0:31:31 | 0:31:34 | |
"to make sure that it's tasteful." | 0:31:34 | 0:31:36 | |
And she said, no, she wanted to do it herself. | 0:31:36 | 0:31:38 | |
-Which was an astonishing moment, you know. -Showbiz! | 0:31:38 | 0:31:41 | |
So I went to meet her, and I'm one of the few people | 0:31:42 | 0:31:44 | |
who've been in her private quarters, you know. | 0:31:44 | 0:31:46 | |
Well, there was that guy who jumped in Buckingham Palace. | 0:31:46 | 0:31:49 | |
Shouldn't really mention that. | 0:31:49 | 0:31:51 | |
Michael Fagan - good trivia question. | 0:31:51 | 0:31:54 | |
I didn't know it once - I've always known it since. | 0:31:54 | 0:31:57 | |
Michael Fagan. | 0:31:57 | 0:31:58 | |
Anyway, so I went in, cos we were setting up filming the sequence. | 0:31:58 | 0:32:01 | |
I went in and she said... She said, | 0:32:01 | 0:32:03 | |
"I'm not in a very good mood - I've just been to the dentist." | 0:32:03 | 0:32:06 | |
I thought, "Oh, right, OK." | 0:32:06 | 0:32:08 | |
She said, "What do you want me to do?" | 0:32:08 | 0:32:10 | |
And so we described the sequence, and then when we got on the set | 0:32:10 | 0:32:13 | |
and started doing it with Daniel Craig she said, | 0:32:13 | 0:32:16 | |
"I should say something, shouldn't I? | 0:32:16 | 0:32:17 | |
"Shouldn't I say something at this point?" | 0:32:17 | 0:32:19 | |
"Well, if you like." | 0:32:19 | 0:32:21 | |
So she said... Yeah, yeah, yeah, | 0:32:22 | 0:32:24 | |
so she said her line in the thing - that's her line. She improvised it. | 0:32:24 | 0:32:27 | |
And she's very sharp. Because you know, when you turn around... | 0:32:27 | 0:32:29 | |
You know this. When you turn round when you're filming and do it from | 0:32:29 | 0:32:32 | |
the other way, there's always a half-hour delay. | 0:32:32 | 0:32:34 | |
She remembered everything exactly like that. | 0:32:34 | 0:32:36 | |
You know, there were no continuity errors, guys. Like... | 0:32:36 | 0:32:40 | |
Wow! Cannot let it go. | 0:32:43 | 0:32:45 | |
And very... Yet, you did turn down the knighthood. | 0:32:48 | 0:32:51 | |
Lots of people walked away from that whole thing with honours. | 0:32:51 | 0:32:55 | |
No-one would have begrudged you a knighthood. | 0:32:55 | 0:32:58 | |
You know, I feel like you deserve to be Sir Danny Boyle after that. | 0:32:58 | 0:33:01 | |
It's just not my cup of tea. My dad would have spun in his grave. | 0:33:01 | 0:33:04 | |
He'd just been... Just, like, no. | 0:33:04 | 0:33:06 | |
So it just wasn't my cup of tea. I'm fine. | 0:33:06 | 0:33:09 | |
I'm very, very fortunate in what I do. | 0:33:09 | 0:33:11 | |
I already have plenty of rewards, like working with these guys. | 0:33:11 | 0:33:15 | |
Yeah, yeah, yeah. | 0:33:15 | 0:33:16 | |
Even they're not buying it. And it's them. | 0:33:17 | 0:33:20 | |
Just before we finish tonight, there's one thing we haven't | 0:33:21 | 0:33:25 | |
talked about tonight. | 0:33:25 | 0:33:27 | |
That is that iconic poster, the 1996 publicity campaign. | 0:33:27 | 0:33:31 | |
Because, again, it broke the mould - | 0:33:31 | 0:33:33 | |
that isn't what a film poster looked like. | 0:33:33 | 0:33:37 | |
Is it true this was the day after... | 0:33:37 | 0:33:39 | |
Was it the wrap party? | 0:33:39 | 0:33:40 | |
-You're asking us like we would remember. -Asking the wrong guys! | 0:33:41 | 0:33:45 | |
The story... The legend is that you weren't | 0:33:45 | 0:33:47 | |
feeling the best for this. | 0:33:47 | 0:33:49 | |
I think that's right. I think me... | 0:33:49 | 0:33:51 | |
I remember travelling in a taxi with you at, like, | 0:33:51 | 0:33:53 | |
5am in the morning to go to Glasgow Airport after the wrap party, | 0:33:53 | 0:33:59 | |
so that we could go down and do this shoot in London. | 0:33:59 | 0:34:01 | |
Is that when I blinded you with my Cockney accent? | 0:34:01 | 0:34:04 | |
Yeah, and then he started... | 0:34:04 | 0:34:05 | |
I'd only known Jonny, for the entire shoot, as a Scotsman, | 0:34:05 | 0:34:08 | |
and then in the taxi after the wrap party, he started talking | 0:34:08 | 0:34:12 | |
to me in his own accent and I was really disorientated and | 0:34:12 | 0:34:14 | |
a bit stunned, you know? | 0:34:14 | 0:34:17 | |
As a special treat... I notice... | 0:34:21 | 0:34:23 | |
I see Kelly, obviously not here. Diane, not here. | 0:34:23 | 0:34:26 | |
So I thought, just as a treat, if... | 0:34:26 | 0:34:29 | |
I... I could be Kelly. | 0:34:29 | 0:34:32 | |
If we could recreate this very, very quickly... | 0:34:33 | 0:34:35 | |
So if you stand up and get out... | 0:34:35 | 0:34:39 | |
Just to there. | 0:34:40 | 0:34:42 | |
So, in what order... | 0:34:42 | 0:34:43 | |
So, you're down this end. You're down this end, Robert. | 0:34:43 | 0:34:46 | |
Then what is it? It's... | 0:34:46 | 0:34:48 | |
Robert? Then I'd be in the gap. Then who's next? | 0:34:48 | 0:34:51 | |
You're at the end. OK. | 0:34:51 | 0:34:53 | |
Now, I do have some props. | 0:34:53 | 0:34:55 | |
I need to see this a bit clearer. | 0:34:55 | 0:34:57 | |
Embarrassingly, I'm dressed almost exactly the same way. | 0:34:57 | 0:35:00 | |
Oh, that's right! | 0:35:00 | 0:35:02 | |
Did you know we were doing this, Ewan? | 0:35:02 | 0:35:04 | |
Like, "I've shaved my head specially for this." | 0:35:04 | 0:35:06 | |
Yeah, I did. | 0:35:06 | 0:35:08 | |
That's for you, a little moustache and a cigarette. | 0:35:08 | 0:35:11 | |
Thank you very much. | 0:35:11 | 0:35:12 | |
-They are Spud's glasses. -Wicked! | 0:35:12 | 0:35:15 | |
Now, Jonny, if you want to go... Do you want to go full blonde? | 0:35:15 | 0:35:19 | |
How can I not? | 0:35:19 | 0:35:20 | |
OK, do it, do it, do it! | 0:35:20 | 0:35:22 | |
CHEERING AND APPLAUSE | 0:35:22 | 0:35:25 | |
I've got my Kelly wig. | 0:35:26 | 0:35:29 | |
OK. You're doing very well. | 0:35:29 | 0:35:30 | |
OK, now... Now... | 0:35:30 | 0:35:32 | |
We'll put up the graphics. | 0:35:32 | 0:35:34 | |
Move you that way... That way... | 0:35:36 | 0:35:38 | |
I'm this way, so you're there. | 0:35:38 | 0:35:42 | |
Yeah, you're good. OK. | 0:35:42 | 0:35:44 | |
And we're all doing it to that camera. | 0:35:44 | 0:35:46 | |
So, which one am I leaning against? | 0:35:46 | 0:35:48 | |
-I'm leaning towards you, aren't I? -Seductively. | 0:35:48 | 0:35:50 | |
Are we all doing it? Are we all doing it? | 0:35:52 | 0:35:54 | |
-Yeah... -CHEERING | 0:35:54 | 0:35:56 | |
We did it. Very good. Excellent. | 0:35:58 | 0:36:00 | |
Beautifully done. Thank you very much. | 0:36:00 | 0:36:02 | |
Thank you very much. Have a seat, do. | 0:36:02 | 0:36:04 | |
That was amazing. | 0:36:07 | 0:36:08 | |
Nicely done, nicely done. | 0:36:08 | 0:36:11 | |
We won't compare them. | 0:36:11 | 0:36:13 | |
Listen, good luck with the film. | 0:36:13 | 0:36:14 | |
I must say... Trainspotting Three. | 0:36:14 | 0:36:17 | |
Now, people are already talking about Trainspotting Three. | 0:36:17 | 0:36:19 | |
Will we all be here in 20 years talking about that? | 0:36:19 | 0:36:23 | |
I hope not. | 0:36:23 | 0:36:24 | |
Not for the film - I'd love to see the film, I just... | 0:36:26 | 0:36:29 | |
That sounded rude - it wasn't meant to be. | 0:36:29 | 0:36:31 | |
I just can't imagine being here in 20 years. | 0:36:31 | 0:36:34 | |
Still going, "What was it like?" | 0:36:36 | 0:36:38 | |
This is your own private torment, Graham. | 0:36:41 | 0:36:43 | |
Imagine looking at old clips then! Jesus! | 0:36:46 | 0:36:49 | |
Well, the idea came from... | 0:36:50 | 0:36:53 | |
Scotch accent. | 0:36:57 | 0:36:59 | |
Ewan actually had a great idea about that, | 0:37:00 | 0:37:02 | |
for it to be a rest home for the junkies, called Skagdale. | 0:37:02 | 0:37:06 | |
Lying aboot. | 0:37:07 | 0:37:08 | |
T3, right there. Hey, it's time for music. | 0:37:08 | 0:37:11 | |
This singer-songwriter was last year crowned | 0:37:11 | 0:37:14 | |
the BBC's Introducing Artist Of The Year | 0:37:14 | 0:37:16 | |
and is tipped for the top in 2017. | 0:37:16 | 0:37:18 | |
Here performing Talking To You, it's Izzy Bizu. | 0:37:18 | 0:37:21 | |
CHEERING AND APPLAUSE | 0:37:21 | 0:37:24 | |
# Yeah, I'm talking to you | 0:37:24 | 0:37:26 | |
# Yeah, I'm talking to you | 0:37:27 | 0:37:30 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:37:31 | 0:37:37 | |
# Yeah, I'm talking to you | 0:37:39 | 0:37:41 | |
# Just for what was you waiting? | 0:37:41 | 0:37:45 | |
# Let me see and feel your hesitating | 0:37:45 | 0:37:49 | |
# I'll be there when you wake up, darling | 0:37:49 | 0:37:53 | |
# Yeah, I'm talking to you | 0:37:54 | 0:37:56 | |
# God knows just how you're feeling | 0:37:56 | 0:38:00 | |
# What a shot | 0:38:00 | 0:38:01 | |
# Did your system overload? | 0:38:01 | 0:38:04 | |
# I'll be there when you wake up, darling | 0:38:04 | 0:38:08 | |
# Yeah, I'm talking to you | 0:38:09 | 0:38:11 | |
# Yeah, I'm talking to you | 0:38:13 | 0:38:16 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:38:17 | 0:38:23 | |
# Yeah, I'm talking to you | 0:38:24 | 0:38:26 | |
# Just the tears | 0:38:26 | 0:38:27 | |
# The pressure's building up | 0:38:27 | 0:38:30 | |
# I can't stand you wasting and giving up | 0:38:30 | 0:38:33 | |
# I'll be there when you wake up, darling | 0:38:33 | 0:38:38 | |
# Yeah, I'm talking to you | 0:38:40 | 0:38:41 | |
# Sometimes they don't know the answer | 0:38:41 | 0:38:45 | |
# She said there's nothing they can give you | 0:38:45 | 0:38:48 | |
# Oh, I'll be there when you wake up, darling | 0:38:48 | 0:38:53 | |
# Yeah, I'm talking to you | 0:38:55 | 0:38:57 | |
# Yeah, I'm talking to you | 0:38:58 | 0:39:01 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:39:02 | 0:39:09 | |
# Yeah, I'm talking to you | 0:39:10 | 0:39:11 | |
# Like a needle right through your chest | 0:39:12 | 0:39:16 | |
# And if you just can't forget | 0:39:16 | 0:39:20 | |
# I'll be your pain relief | 0:39:20 | 0:39:22 | |
# Baby, the burn reliever | 0:39:22 | 0:39:25 | |
# Yeah, I'm talking to you | 0:39:25 | 0:39:28 | |
# And if you feel like it gets too much | 0:39:28 | 0:39:31 | |
# And if it just gets too rough | 0:39:31 | 0:39:35 | |
# I'll be there when you wake | 0:39:35 | 0:39:37 | |
# Just another day | 0:39:37 | 0:39:40 | |
# Yeah, I'm talking to you | 0:39:40 | 0:39:42 | |
# Yeah, I'm talking to you | 0:39:44 | 0:39:46 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:39:48 | 0:39:53 | |
# Yeah, I'm talking to you | 0:39:55 | 0:39:57 | |
# Yeah, I'm talking to you | 0:39:59 | 0:40:01 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:40:03 | 0:40:09 | |
# Yeah, I'm talking to you | 0:40:10 | 0:40:12 | |
# Yeah, I'm talking to you | 0:40:14 | 0:40:16 | |
# Yeah, I'm talking to you-oo-oo-ooh | 0:40:18 | 0:40:24 | |
# Yeah, I'm talking to you | 0:40:25 | 0:40:27 | |
# Just the tears | 0:40:27 | 0:40:29 | |
# The pressure's building up | 0:40:29 | 0:40:31 | |
# I can't stand you wasting and giving up | 0:40:31 | 0:40:35 | |
# I'll be there when you wake up, darling. # | 0:40:35 | 0:40:39 | |
CHEERING AND APPLAUSE Thank you. | 0:40:43 | 0:40:46 | |
Izzy Bizu, everybody. Come and join me, do. | 0:40:49 | 0:40:52 | |
-That was gorgeous! -Thank you. -Thank you so much. Come here. | 0:40:52 | 0:40:56 | |
That's the cast of Trainspotting. | 0:40:58 | 0:40:59 | |
There you go. | 0:40:59 | 0:41:01 | |
There you go. Lovely. | 0:41:03 | 0:41:05 | |
APPLAUSE DROWNS SPEECH | 0:41:05 | 0:41:08 | |
Aw, thank you so much. | 0:41:08 | 0:41:09 | |
Have a seat there. | 0:41:09 | 0:41:11 | |
-Hey, Izzy! -Hi! | 0:41:12 | 0:41:14 | |
How old were you when the first Trainspotting movie came out? | 0:41:14 | 0:41:17 | |
Er, I think I was two. | 0:41:17 | 0:41:18 | |
There you go! In your face, Danny Boyle. | 0:41:18 | 0:41:21 | |
Thank you, Graham. | 0:41:21 | 0:41:22 | |
But you've seen it, haven't you? | 0:41:24 | 0:41:25 | |
Er, yeah. I'm not going to lie - I saw it two days ago. | 0:41:25 | 0:41:28 | |
I'm really late on the bandwagon, but it's so amazing. | 0:41:28 | 0:41:31 | |
-It's really, really good - blew my mind. -OK. | 0:41:31 | 0:41:33 | |
Now, your album is out now - that's A Moment Of Madness. | 0:41:33 | 0:41:36 | |
-And the single is also out now. -Mm-hm, yeah. | 0:41:36 | 0:41:39 | |
-But separately. -Yes. | 0:41:39 | 0:41:40 | |
That is correct. OK, I'm just checking. | 0:41:40 | 0:41:43 | |
And so, when the BBC Introducing thing happened, | 0:41:43 | 0:41:46 | |
where had you been before that? | 0:41:46 | 0:41:48 | |
How did they find you? | 0:41:48 | 0:41:49 | |
I was literally, like, writing in my bedroom | 0:41:49 | 0:41:52 | |
with my guitarist, and we did, like, White Tiger there. | 0:41:52 | 0:41:55 | |
And then we decided to put the song up on the BBC Introducing website | 0:41:55 | 0:41:59 | |
and they picked it up and started playing it. | 0:41:59 | 0:42:01 | |
They've been really cool ever since, so... | 0:42:01 | 0:42:03 | |
That is fantastic. It's great that you CAN do it without reality, | 0:42:03 | 0:42:06 | |
-you can do it without all those things. -Yeah, it's nice. | 0:42:06 | 0:42:09 | |
And I love that song. I think it's on the A list on Radio 2, | 0:42:09 | 0:42:12 | |
so we're playing it all the time. | 0:42:12 | 0:42:14 | |
-Oh, well... -Congratulations. -Thank you. -Izzy Bizu, everybody! | 0:42:14 | 0:42:17 | |
CHEERING AND APPLAUSE | 0:42:17 | 0:42:19 | |
Nearly time to go, but I believe | 0:42:21 | 0:42:25 | |
we can have a visit to the big red chair before that. | 0:42:25 | 0:42:28 | |
Who's there? Hello. | 0:42:28 | 0:42:29 | |
-Hi. -Hello. -Hi. What's your name? | 0:42:29 | 0:42:31 | |
-My name's Pam. -Pam? Lovely, Pam. | 0:42:31 | 0:42:34 | |
What do you do, Pam? | 0:42:34 | 0:42:35 | |
I just retired, just before Christmas. I was an administrator. | 0:42:35 | 0:42:38 | |
An administrator. What did you administrate? | 0:42:38 | 0:42:42 | |
Yes, well, I was PA to a managing partner of a financial team. | 0:42:42 | 0:42:46 | |
-You must be so glad to be not doing that any more. -I am. | 0:42:46 | 0:42:50 | |
Off you go with your story. | 0:42:50 | 0:42:51 | |
OK, well, I was going to take minutes at a very important | 0:42:51 | 0:42:55 | |
board meeting and my boss said, | 0:42:55 | 0:42:58 | |
"It's going to be an all-day meeting." | 0:42:58 | 0:42:59 | |
I said, "Well, that's fine, but can I bring my dog in? | 0:42:59 | 0:43:03 | |
"She won't be any problem." | 0:43:03 | 0:43:05 | |
I said, "Because I'm not going to be able to get home." | 0:43:05 | 0:43:07 | |
And he said, "Yes, but, Pam, you've got to realise | 0:43:07 | 0:43:09 | |
"it's a very important meeting and she's really got to be quiet. | 0:43:09 | 0:43:13 | |
I said, "You won't know she's here. | 0:43:13 | 0:43:15 | |
"She'll just sit by the telephone exchange and she'll be with Monica." | 0:43:15 | 0:43:19 | |
So I brought Woofer in and I put her... | 0:43:19 | 0:43:21 | |
-LAUGHTER -..underneath the telephone... | 0:43:21 | 0:43:24 | |
Can I just say... | 0:43:24 | 0:43:27 | |
I can't imagine who you meet in the park shouting that! But... | 0:43:27 | 0:43:31 | |
We had to change it! We had to change it. | 0:43:31 | 0:43:34 | |
"Woofer!" The trees all part. | 0:43:34 | 0:43:36 | |
-Sorry, Pam. -We used to call her Woof but when we were in the woods | 0:43:39 | 0:43:42 | |
going, "Woof, Woof, Woof, Woof," when she disappeared, | 0:43:42 | 0:43:45 | |
it did look a bit silly. | 0:43:45 | 0:43:47 | |
Anyway, so I put Woofer by Monica, and I said, | 0:43:47 | 0:43:50 | |
"She won't do anything. She'll be fine." | 0:43:50 | 0:43:52 | |
Went in to take the minutes. | 0:43:52 | 0:43:54 | |
Halfway through a very heated meeting and big debate, | 0:43:54 | 0:43:57 | |
all of a sudden, there was this agonising, hair-raising howl. | 0:43:57 | 0:44:02 | |
It was just awful. | 0:44:02 | 0:44:04 | |
I didn't know what had happened. | 0:44:04 | 0:44:06 | |
I looked at my boss and he looked at me | 0:44:06 | 0:44:08 | |
and all of us ran out to reception. | 0:44:08 | 0:44:11 | |
We looked at Woofer and she was lying there going, | 0:44:11 | 0:44:14 | |
"Ah-ya-ya-ya-ya! Ah-ya-ya-ya-ya!" | 0:44:14 | 0:44:16 | |
Because she'd actually bitten through the telephone cables | 0:44:16 | 0:44:20 | |
on the telephone exchange, | 0:44:20 | 0:44:21 | |
and I looked at my boss and I thought, "Oh, my God." | 0:44:21 | 0:44:24 | |
I picked her up but as I picked her up, I didn't know what to do. | 0:44:24 | 0:44:29 | |
Her bodily functions just worked like a machinegun. | 0:44:29 | 0:44:32 | |
I was looking at my boss and it was just... | 0:44:33 | 0:44:36 | |
SHE IMITATES MACHINEGUN | 0:44:36 | 0:44:38 | |
All over him. I don't know why I did this | 0:44:38 | 0:44:40 | |
but, in slow motion, I just carried on looking at everybody else. | 0:44:40 | 0:44:45 | |
And everybody was just... | 0:44:45 | 0:44:47 | |
"Oh, my God, this is disgusting!" | 0:44:47 | 0:44:49 | |
And I was so horrified. | 0:44:49 | 0:44:50 | |
And then after Woofer got over her trauma, | 0:44:50 | 0:44:53 | |
I was still holding her and I looked at my boss and said, | 0:44:53 | 0:44:56 | |
"Shall we carry on with the minutes? | 0:44:56 | 0:44:58 | |
"Do you want to do any other business?" | 0:44:58 | 0:45:02 | |
-And that's my story. -Good story, Pam! | 0:45:03 | 0:45:06 | |
That was a good one. A stunt dog! | 0:45:06 | 0:45:08 | |
-You can walk. Sorry, you can walk. -Oh, OK. | 0:45:11 | 0:45:14 | |
APPLAUSE DROWNS SPEECH | 0:45:17 | 0:45:20 | |
Time for one more? Oh, go on. | 0:45:20 | 0:45:22 | |
-What's your name? -Rosana. | 0:45:22 | 0:45:24 | |
-Where are you from? -Spain. | 0:45:24 | 0:45:26 | |
-What do you do? -I study a Masters in biomedical engineering. | 0:45:26 | 0:45:30 | |
Great! Er... | 0:45:30 | 0:45:31 | |
Best of luck with that. | 0:45:34 | 0:45:36 | |
Off you go with your story. | 0:45:36 | 0:45:38 | |
So, in Year Seven, when I was, like, 12 years old, my parents thought | 0:45:38 | 0:45:42 | |
it would be a great idea for me to learn English to come to the UK | 0:45:42 | 0:45:45 | |
in a boarding school. | 0:45:45 | 0:45:46 | |
At first, I knew no English at all. | 0:45:46 | 0:45:49 | |
So, one day, there wasn't a pillow on my bed, | 0:45:49 | 0:45:51 | |
so I asked a roommate how that was said, | 0:45:51 | 0:45:53 | |
so I could ask for one. | 0:45:53 | 0:45:54 | |
And she told me it was called a dildo. | 0:45:54 | 0:45:57 | |
-So... -LAUGHTER | 0:45:57 | 0:46:00 | |
-I didn't... -I like her! | 0:46:00 | 0:46:03 | |
Yeah, I loved her from that moment on! | 0:46:03 | 0:46:05 | |
So I didn't know, so I was going to ask the matron | 0:46:05 | 0:46:09 | |
but that night, the headmaster of the school came | 0:46:09 | 0:46:12 | |
to switch off the lights. | 0:46:12 | 0:46:14 | |
So me, innocently and as polite as I could, | 0:46:14 | 0:46:17 | |
went there to ask for a dildo so I could sleep. | 0:46:17 | 0:46:20 | |
That was a good story. You can walk. | 0:46:23 | 0:46:26 | |
Well done, everyone. | 0:46:29 | 0:46:31 | |
If you'd like to join us on the show and have a go in the red chair, | 0:46:31 | 0:46:33 | |
you can join in via the website at this very address... | 0:46:33 | 0:46:35 | |
That is it for tonight. Please say a huge thank you to my guests... | 0:46:35 | 0:46:38 | |
Izzy Bizu! CHEERING AND APPLAUSE | 0:46:38 | 0:46:41 | |
Ewen Bremner! CHEERING AND APPLAUSE | 0:46:41 | 0:46:43 | |
Robert Carlyle! CHEERING AND APPLAUSE | 0:46:43 | 0:46:46 | |
Jonny Lee Miller! CHEERING AND APPLAUSE | 0:46:46 | 0:46:48 | |
Ewan McGregor! CHEERING AND APPLAUSE | 0:46:48 | 0:46:51 | |
And Sir Danny Boyle! CHEERING AND APPLAUSE | 0:46:51 | 0:46:53 | |
There you go. It's happening. It's happening. | 0:46:53 | 0:46:56 | |
Join me next week with musical guests Elbow, | 0:46:56 | 0:47:00 | |
rising star Asa Butterfield, | 0:47:00 | 0:47:02 | |
Oscar-nominated Andrew Garfield, | 0:47:02 | 0:47:04 | |
and Hollywood great Annette Bening. | 0:47:04 | 0:47:05 | |
I'll see you then. Goodnight, everybody. Bye-bye. | 0:47:05 | 0:47:08 |