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Graham Norton! | 0:00:04 | 0:00:06 | |
Hear, hear! | 0:00:06 | 0:00:08 | |
Thank you, thank you, Mr Speaker. | 0:00:08 | 0:00:10 | |
On tonight's show, | 0:00:10 | 0:00:12 | |
in addition to some luminescent stars of stage and screen... | 0:00:12 | 0:00:16 | |
Hear, hear! | 0:00:16 | 0:00:18 | |
..stage and screen, we will also be welcoming our longest-serving | 0:00:18 | 0:00:23 | |
female Member of Parliament. | 0:00:23 | 0:00:24 | |
-Hear, hear! -Order! Order! | 0:00:24 | 0:00:28 | |
I put it to the House - let's start the show! | 0:00:28 | 0:00:30 | |
CHEERING | 0:00:30 | 0:00:32 | |
APPLAUSE AND CHEERING | 0:00:37 | 0:00:40 | |
APPLAUSE AND CHEERING Oh! Oh! | 0:00:49 | 0:00:52 | |
Hello! | 0:00:54 | 0:00:56 | |
Hello! Hello! | 0:00:56 | 0:00:58 | |
Welcome, welcome. Welcome, all. | 0:01:01 | 0:01:04 | |
Yes, yes, there's a definite whiff of politics in the air tonight. | 0:01:04 | 0:01:10 | |
And why not? It's been another rollercoaster week. | 0:01:10 | 0:01:13 | |
The big news - Prime Minister Theresa May | 0:01:13 | 0:01:15 | |
went to Washington. Yeah! | 0:01:15 | 0:01:17 | |
The first world leader to meet with President Trump. | 0:01:17 | 0:01:20 | |
Here she is holding Trump's hand. | 0:01:20 | 0:01:23 | |
Still, so long as she's grabbing that, it's not grabbing something else. | 0:01:24 | 0:01:28 | |
It was a very tender moment when they held hands, | 0:01:29 | 0:01:31 | |
and I think we've got a picture of Theresa May just afterwards. | 0:01:31 | 0:01:34 | |
HE GROANS AND RETCHES | 0:01:34 | 0:01:37 | |
President Trump has been signing a flurry of executive orders. | 0:01:40 | 0:01:44 | |
Now, I don't want to get TOO political with Trump's | 0:01:44 | 0:01:47 | |
immigration policy, but if there are any Mexican Muslims watching, | 0:01:47 | 0:01:51 | |
I wouldn't promise the kids Disney World this year. | 0:01:51 | 0:01:54 | |
Meanwhile, nearly two million people have now signed an online petition | 0:01:56 | 0:01:59 | |
to cancel Trump's planned state visit to Britain. | 0:01:59 | 0:02:03 | |
Apparently, you can register your disapproval just by clicking | 0:02:03 | 0:02:06 | |
a button on your iPad. | 0:02:06 | 0:02:07 | |
Let's get some guests on. | 0:02:09 | 0:02:11 | |
APPLAUSE AND CHEERING | 0:02:11 | 0:02:13 | |
Later, we'll have music from the mighty Elbow. | 0:02:13 | 0:02:16 | |
APPLAUSE AND CHEERING | 0:02:16 | 0:02:18 | |
But first, since the age of eight, this young British star | 0:02:18 | 0:02:22 | |
has worked with the likes of Martin Scorsese and Tim Burton, | 0:02:22 | 0:02:24 | |
and now he's taking on his first adult role in The Space Between Us. | 0:02:24 | 0:02:27 | |
Please welcome Asa Butterfield! | 0:02:27 | 0:02:30 | |
APPLAUSE AND CHEERING | 0:02:30 | 0:02:32 | |
Hello, Asa Butterfield! | 0:02:32 | 0:02:34 | |
-Lovely to see you! Have a seat. -Thank you. | 0:02:34 | 0:02:36 | |
She has been at the heart of Labour politics for over 30 years, | 0:02:38 | 0:02:42 | |
and is the UK's longest-serving female MP. | 0:02:42 | 0:02:44 | |
Her new memoir is called A Woman's Work. Please welcome Harriet Harman. | 0:02:44 | 0:02:48 | |
APPLAUSE AND CHEERING Yes! | 0:02:48 | 0:02:51 | |
Look at you! Hello! | 0:02:51 | 0:02:52 | |
-I've realised you should be Prime Minister! -Sit, sit, sit! | 0:02:55 | 0:02:59 | |
She's a four-time Oscar nominee who's starred in classic films | 0:02:59 | 0:03:03 | |
such as American Beauty, The Grifters, The American President | 0:03:03 | 0:03:06 | |
and The Kids Are All Right. | 0:03:06 | 0:03:07 | |
Now she gives another stellar performance in the comedy drama | 0:03:07 | 0:03:10 | |
20th Century Women. | 0:03:10 | 0:03:12 | |
It's the great Annette Bening, everybody. | 0:03:12 | 0:03:14 | |
APPLAUSE AND CHEERING | 0:03:14 | 0:03:16 | |
Oh, showbiz shoulder! | 0:03:16 | 0:03:19 | |
-Hello, hi! Come in! -Hi! | 0:03:19 | 0:03:21 | |
And this British actor has appeared in films like The Social Network, | 0:03:24 | 0:03:27 | |
The Amazing Spider-Man and Martin Scorsese's Silence. | 0:03:27 | 0:03:30 | |
He's just been Oscar nominated for his performance in Hacksaw Ridge. | 0:03:30 | 0:03:34 | |
Now returning to the stage with Angels In America - welcome back, Andrew Garfield! | 0:03:34 | 0:03:39 | |
APPLAUSE AND CHEERING | 0:03:39 | 0:03:41 | |
Hello! Oh, a hug! Come in, sit down. | 0:03:41 | 0:03:45 | |
Whoo! | 0:03:50 | 0:03:52 | |
Yep, in for the wine! | 0:03:52 | 0:03:54 | |
-As quick as possible! -It's welcome back to Andrew, first time for Asa, Miss Bening. | 0:03:54 | 0:04:00 | |
Now, Asa, people turning on the television... | 0:04:00 | 0:04:03 | |
because you do look much younger than your actual years. | 0:04:03 | 0:04:07 | |
-I do. -How old are you, actually? | 0:04:07 | 0:04:09 | |
-I'm 19. -You can drink and swear, all sorts, it's good. | 0:04:09 | 0:04:12 | |
I wanted to clarify, cos I would turn on the television, going, | 0:04:13 | 0:04:16 | |
"But there's a very young person on the couch - | 0:04:16 | 0:04:19 | |
"what are they talking about?!" | 0:04:19 | 0:04:20 | |
-Now, Harriet Harman, you've never done a show like this before. -No. | 0:04:20 | 0:04:25 | |
But when I saw you doing Prime Minister's Questions, I had | 0:04:25 | 0:04:28 | |
a moment of revelation, I realised that you should be Prime Minister. | 0:04:28 | 0:04:33 | |
CHEERING AND APPLAUSE | 0:04:33 | 0:04:35 | |
-I think that a lot! -This is what we've been waiting for. | 0:04:35 | 0:04:39 | |
You know? | 0:04:39 | 0:04:41 | |
Next time there's a vacancy in Tower Hamlets, I'm in. | 0:04:41 | 0:04:44 | |
Annette, have I seen you on a British talk show before? | 0:04:45 | 0:04:48 | |
-I'm not sure that you have. -But in America, you must do. -I do, yeah. | 0:04:48 | 0:04:53 | |
-Yeah? -Yeah, I do. I'm just shy, that's all. -OK. Get that down you! | 0:04:53 | 0:04:59 | |
I find it a bit of a cure-all. | 0:05:01 | 0:05:04 | |
And, Andrew Garfield, how lovely to have you at this time. | 0:05:04 | 0:05:08 | |
-So happy to be here. -A big congratulations on your Oscar nomination. -Thank you. | 0:05:08 | 0:05:12 | |
CHEERING AND APPLAUSE | 0:05:12 | 0:05:14 | |
Oscars this month, I have heard you - | 0:05:18 | 0:05:21 | |
you have threatened to recreate your beautiful Golden Globes moment, | 0:05:21 | 0:05:25 | |
which you must be so regretting cos you have to talk about it | 0:05:25 | 0:05:28 | |
everywhere you go. I'm sure you guys saw this. | 0:05:28 | 0:05:30 | |
-Ryan Gosling was on the show a couple of weeks ago. -Yes. | 0:05:30 | 0:05:34 | |
Ryan Gosling is getting his award. Annette, you're here somewhere. | 0:05:34 | 0:05:38 | |
-Oh, there you are. Is that you? -Oh, yeah. -I think you're over there. | 0:05:38 | 0:05:42 | |
Over here, stealing the thunder is Andrew Garfield and Ryan Reynolds. | 0:05:42 | 0:05:48 | |
Are you going to do it at the Oscars? | 0:05:48 | 0:05:51 | |
No! No! | 0:05:51 | 0:05:53 | |
It was a ridiculous thing. It was ridiculous. | 0:05:53 | 0:05:57 | |
I said to Ryan Reynolds, "If you win, kiss me instead of your wife." | 0:05:57 | 0:06:03 | |
And he said, "Yeah, that's great!" | 0:06:05 | 0:06:07 | |
And the plan was that he would kind of move towards his wife and | 0:06:07 | 0:06:10 | |
then kind of last-minute move towards me. | 0:06:10 | 0:06:14 | |
And then he didn't win, much to our disappointment, and I said, | 0:06:14 | 0:06:18 | |
"We could still just do it!" | 0:06:18 | 0:06:19 | |
And he was game. | 0:06:21 | 0:06:23 | |
And I love the fact it was so deep in the background | 0:06:23 | 0:06:25 | |
so you kind of have to look to see if it was actually... | 0:06:25 | 0:06:29 | |
-Ryan Gosling was unaware of it. -I know. -Were you aware of it, Annette? | 0:06:31 | 0:06:36 | |
No! | 0:06:36 | 0:06:37 | |
That night, | 0:06:39 | 0:06:42 | |
the big moment was Meryl making her amazing speech that night. | 0:06:42 | 0:06:45 | |
-And I presume that the Oscars are going to be similar. -I imagine so. | 0:06:45 | 0:06:50 | |
I'd imagine so. | 0:06:50 | 0:06:52 | |
-Annette, you are famously a long-time Democrat. -Yes. | 0:06:52 | 0:06:56 | |
Democrat supporter. But I heard, before the inauguration, you were kind of saying, | 0:06:56 | 0:07:01 | |
"Calm down, everyone..." | 0:07:01 | 0:07:02 | |
How are you feeling now? | 0:07:04 | 0:07:06 | |
I don't remember saying, "Calm down, everyone." | 0:07:06 | 0:07:10 | |
Well, I am... I respect very much the public servants, like you, | 0:07:10 | 0:07:17 | |
people who put themselves up to help run our country, | 0:07:17 | 0:07:20 | |
especially the Democrats, I am a Democrat. | 0:07:20 | 0:07:23 | |
And I also very much right now applaud the Republicans | 0:07:23 | 0:07:28 | |
who are standing up to Trump. | 0:07:28 | 0:07:30 | |
We very much need them and so his attack on the press, | 0:07:30 | 0:07:34 | |
I think is very unfortunate, I think we need the press, obviously. | 0:07:34 | 0:07:38 | |
Harriet's going, "Do we, do we really? Are you sure we need the press?" | 0:07:39 | 0:07:43 | |
I am feeling sorry for them in the States, | 0:07:43 | 0:07:46 | |
I mean, they are really important. | 0:07:46 | 0:07:48 | |
-Incredibly important. -And his spokespeople have said | 0:07:48 | 0:07:51 | |
and he has said they are the opposition party, the press. | 0:07:51 | 0:07:55 | |
-Yeah. -It takes a while for things to sort themselves out. | 0:07:55 | 0:07:58 | |
I wonder, though, Harriet Harman, Theresa May | 0:07:58 | 0:08:01 | |
went to Washington and is getting a lot of flak for that. | 0:08:01 | 0:08:04 | |
I feel for her because we can't sever all ties with America, | 0:08:04 | 0:08:09 | |
we need America. | 0:08:09 | 0:08:11 | |
I suppose it's an easy question for you because you don't have to do it, | 0:08:11 | 0:08:14 | |
but what WOULD be your approach to it? | 0:08:14 | 0:08:16 | |
Well, I think that she's got to look | 0:08:16 | 0:08:18 | |
as though she's a strong Prime Minister | 0:08:18 | 0:08:21 | |
of a strong, self-confident country and not look as though | 0:08:21 | 0:08:25 | |
she's going there begging for a trade deal on any terms whatsoever. | 0:08:25 | 0:08:29 | |
That is why that handholding thing was so disastrous | 0:08:29 | 0:08:33 | |
because it looked like he was sort of leading her along. | 0:08:33 | 0:08:36 | |
And isn't that a particular problem for a female politician, | 0:08:36 | 0:08:39 | |
cos he couldn't have done that to a man, robbing her of her power? | 0:08:39 | 0:08:43 | |
Definitely. | 0:08:43 | 0:08:44 | |
There's all sorts of rumours about why he did it, | 0:08:44 | 0:08:46 | |
but she should have had in her briefing, | 0:08:46 | 0:08:49 | |
"This man is an identified groper, stand well away!" | 0:08:49 | 0:08:54 | |
-APPLAUSE -That should have been in her briefing. | 0:08:54 | 0:08:57 | |
Harriet, in your time you have also encountered the problems | 0:09:02 | 0:09:05 | |
of body language. | 0:09:05 | 0:09:07 | |
There's that famous picture of you with Ed Balls. | 0:09:07 | 0:09:09 | |
You don't look like you were inviting a kiss there! | 0:09:12 | 0:09:15 | |
Actually, I absolutely love Ed Balls. | 0:09:15 | 0:09:18 | |
You do appear to have eaten your own lips! | 0:09:18 | 0:09:21 | |
I think... It's like politicians kissing in public. | 0:09:23 | 0:09:27 | |
But Trump said apparently that he has got this thing called bathmophobia | 0:09:27 | 0:09:32 | |
which is like, he is saying, I had to hold her hand | 0:09:32 | 0:09:35 | |
because I've got this phobia, which is a fear of slopes. | 0:09:35 | 0:09:39 | |
Now, I know men seize various parts of women's bodies for all sorts | 0:09:39 | 0:09:44 | |
of reasons, but that is the first time I have heard bathmophobia! | 0:09:44 | 0:09:49 | |
It's like, "I'm sorry, I've got to grab your bum | 0:09:49 | 0:09:52 | |
"because I really feel giddy on this slope!" | 0:09:52 | 0:09:54 | |
No! | 0:09:56 | 0:09:57 | |
Anyway, he might have that phobia, but certainly I have got | 0:09:57 | 0:10:00 | |
Trumpaphobia and I think lots of other people have as well. | 0:10:00 | 0:10:04 | |
APPLAUSE Listen to that. | 0:10:04 | 0:10:06 | |
It's like Question Time, it's good. I'm loving it. Yes! | 0:10:07 | 0:10:10 | |
Man in the pink tie. Yes. | 0:10:12 | 0:10:15 | |
Very good. | 0:10:15 | 0:10:17 | |
Now, we mentioned already the Oscar nomination, | 0:10:17 | 0:10:20 | |
but it is currently in UK cinemas, Hacksaw Ridge, | 0:10:20 | 0:10:24 | |
directed by Mel Gibson, and it is an extraordinary true story. | 0:10:24 | 0:10:28 | |
I love when films do this - they pick up a story that fell through the cracks of history. | 0:10:28 | 0:10:33 | |
Tell us about who you play. | 0:10:33 | 0:10:35 | |
Desmond Doss is the guy's name. | 0:10:35 | 0:10:37 | |
And he was a real person. | 0:10:37 | 0:10:40 | |
And he served in World War II | 0:10:40 | 0:10:43 | |
as an army medic. | 0:10:43 | 0:10:45 | |
But the difference is that he was a pacifist. | 0:10:45 | 0:10:48 | |
And all medics had to be armed, but he refused. | 0:10:48 | 0:10:51 | |
He refused to even go near a weapon. | 0:10:51 | 0:10:54 | |
That unto itself, what a beautiful act, | 0:10:54 | 0:10:58 | |
but legally he was obligated to carry one, so his own army | 0:10:58 | 0:11:02 | |
tried to get him kicked out and railroaded and put in prison | 0:11:02 | 0:11:05 | |
and he managed to finally find a legal loophole | 0:11:05 | 0:11:08 | |
and ultimately serve, but he was ostracised by his own men. | 0:11:08 | 0:11:11 | |
But then he did these miraculous things on the battlefield. | 0:11:11 | 0:11:16 | |
He didn't only treat and save the lives of his own men - | 0:11:16 | 0:11:20 | |
75 in one night, lowered down off a 400ft tall ridge. | 0:11:20 | 0:11:26 | |
One man as skinny as me, carrying men the size of Vince Vaughn, | 0:11:26 | 0:11:30 | |
but he also treated members of the opposition. | 0:11:30 | 0:11:34 | |
He treated "the enemy". | 0:11:34 | 0:11:36 | |
He didn't see skin colour, he saw...a man in need, | 0:11:36 | 0:11:40 | |
only ever a man in need, he understood the sanctity of life. | 0:11:40 | 0:11:43 | |
He... | 0:11:43 | 0:11:45 | |
The values in him, the virtues in him that | 0:11:45 | 0:11:49 | |
he embodied are incredible for us to look to now, and very awe-inspiring. | 0:11:49 | 0:11:54 | |
Our clip is exactly that, our clip is during the horrific battle - | 0:11:54 | 0:11:59 | |
those sequences are extraordinary - | 0:11:59 | 0:12:02 | |
the battle at Hacksaw Ridge, and this is you rescuing your sergeant, | 0:12:02 | 0:12:06 | |
played by Vince Vaughn. | 0:12:06 | 0:12:07 | |
-You're like gum on a shoe. -Give me this. | 0:12:07 | 0:12:10 | |
It's a bit late for target practice now, don't you think? | 0:12:10 | 0:12:14 | |
Jump on it. | 0:12:17 | 0:12:19 | |
-You're kidding. -No, I'm going to drag you. | 0:12:19 | 0:12:21 | |
MAN SPEAKS IN JAPANESE | 0:12:21 | 0:12:23 | |
Let's do it! | 0:12:26 | 0:12:28 | |
HE GROANS | 0:12:28 | 0:12:30 | |
-Ready? -Yeah. -Let's go. | 0:12:30 | 0:12:32 | |
GUNFIRE, SHOUTING | 0:12:34 | 0:12:37 | |
-We've got company! -Come on! | 0:12:37 | 0:12:40 | |
GRUNTING | 0:12:45 | 0:12:47 | |
APPLAUSE AND CHEERING Wow. | 0:12:47 | 0:12:49 | |
It has been really well-received, this film. | 0:12:54 | 0:12:57 | |
I mean, you got the Oscar nod, | 0:12:57 | 0:12:59 | |
but how does it happen, were you watching telly, | 0:12:59 | 0:13:01 | |
did you watch the announcement live? | 0:13:01 | 0:13:04 | |
I couldn't, I was across the street from the studio, | 0:13:04 | 0:13:07 | |
I'm rehearsing a play at the National Theatre right now. | 0:13:07 | 0:13:10 | |
And I was in rehearsals | 0:13:10 | 0:13:12 | |
for Angels In America, and we had just broken for lunch and | 0:13:12 | 0:13:16 | |
they were doing the announcement on LA time. | 0:13:16 | 0:13:20 | |
And I had bought a tuna salad in the National Theatre canteen. | 0:13:20 | 0:13:25 | |
God is in the details. | 0:13:25 | 0:13:27 | |
And I was eating said tuna salad... | 0:13:27 | 0:13:32 | |
while drinking sparkling water, | 0:13:32 | 0:13:35 | |
alone in the National Theatre canteen, | 0:13:35 | 0:13:37 | |
terrified of doing a play again cos I'm a terrible actor... | 0:13:37 | 0:13:41 | |
-AUDIENCE MEMBER: -Aw! | 0:13:41 | 0:13:42 | |
-No, no, no... -No, let him. | 0:13:42 | 0:13:45 | |
It was ironic, theatre rehearsals are tricky - | 0:13:46 | 0:13:49 | |
it's a fumbling, failing process where you are trying to figure out | 0:13:49 | 0:13:52 | |
what the hell you're doing, so you feel terrible, mostly. | 0:13:52 | 0:13:56 | |
And then, to find out in that moment that you are nominated for such | 0:13:56 | 0:14:00 | |
a prestigious award, it felt very ironic. | 0:14:00 | 0:14:04 | |
It felt very strange. I didn't quite believe it. | 0:14:04 | 0:14:06 | |
You must have gone back into the afternoon rehearsal thinking, "Hey, I've got this!" | 0:14:06 | 0:14:11 | |
I was a bit like, "Oh, maybe I was wrong about that!" | 0:14:11 | 0:14:15 | |
If anyone knows what it's like, it's Annette Bening. | 0:14:15 | 0:14:18 | |
-You've been nominated, is it four times? -Yes. -Four times! | 0:14:18 | 0:14:22 | |
Never won, obviously, but four times! | 0:14:22 | 0:14:24 | |
-LAUGHTER -You would have to bring that up! | 0:14:24 | 0:14:27 | |
-There's still time! -There's loads of time! | 0:14:27 | 0:14:30 | |
So, what is it like being nominated? | 0:14:30 | 0:14:33 | |
-What's the evening like? -Oh, it's very exciting. | 0:14:33 | 0:14:35 | |
The first time I was nominated was 26 years ago. | 0:14:35 | 0:14:39 | |
The five of us who were nominated got together in the audience before | 0:14:39 | 0:14:44 | |
the show went on the air, and we all agreed, secretly, just amongst us, | 0:14:44 | 0:14:49 | |
that we would have dinner the next week, and whoever won would pay. | 0:14:49 | 0:14:54 | |
So Whoopi Goldberg won. The next day I was working on a movie, | 0:14:55 | 0:15:00 | |
the next day in my trailer, | 0:15:00 | 0:15:01 | |
I got a beautiful big bouquet of flowers with a little note saying, | 0:15:01 | 0:15:05 | |
"Meet at such and such a restaurant next week." | 0:15:05 | 0:15:09 | |
We all met, and Whoopi gave us each a gardenia | 0:15:09 | 0:15:15 | |
and a chocolate Oscar. | 0:15:15 | 0:15:16 | |
Aw! So, look at it this way, if you lose, Andrew, | 0:15:16 | 0:15:20 | |
there might be a free dinner in it! | 0:15:20 | 0:15:21 | |
It's swings and roundabouts. | 0:15:23 | 0:15:25 | |
When you were really young, you were in Hugo and | 0:15:25 | 0:15:29 | |
The Boy In The Striped Pyjamas. | 0:15:29 | 0:15:32 | |
Were you around all the awards shows and things, | 0:15:32 | 0:15:34 | |
-were you wheeled out? -I did some. -"Were you wheeled out"?! | 0:15:34 | 0:15:38 | |
If there's a child in a movie, they LOVE bringing the child up onstage, | 0:15:38 | 0:15:43 | |
going, "Look, it's a child!" | 0:15:43 | 0:15:45 | |
I had my mum. She would get me in and it was all right. | 0:15:45 | 0:15:50 | |
When you're that age, | 0:15:50 | 0:15:51 | |
you don't really know what the hell's going on. | 0:15:51 | 0:15:55 | |
I don't either! And I'm 66! | 0:15:55 | 0:15:58 | |
Do they put you in a tiny tuxedo? | 0:15:59 | 0:16:01 | |
They do! | 0:16:01 | 0:16:03 | |
And usher you onto the carpet, and there's flashing lights, | 0:16:03 | 0:16:06 | |
and you sort of stand and smile and look cute. | 0:16:06 | 0:16:08 | |
It's fun. | 0:16:08 | 0:16:10 | |
You know the way when you put on weight, you keep your suits, | 0:16:10 | 0:16:13 | |
do you have a tiny tuxedo in the back of your wardrobe, thinking, | 0:16:13 | 0:16:16 | |
"That might come in handy for something"? | 0:16:16 | 0:16:19 | |
I do, and my mum wears it! | 0:16:19 | 0:16:22 | |
Now, Andrew, we've mentioned already you're currently rehearsing | 0:16:24 | 0:16:28 | |
Angels In America, | 0:16:28 | 0:16:30 | |
which opens at the National Theatre on the 11th of April. | 0:16:30 | 0:16:33 | |
It's unbelievable to me, the play is 25 years old. | 0:16:33 | 0:16:38 | |
But for this anniversary production they have put together an extraordinary team. | 0:16:38 | 0:16:42 | |
-Tell us who you've got. -Marianne Elliott is directing the play. | 0:16:42 | 0:16:48 | |
-Who did The Curious Incident Of The Dog In The Night-time. -And War Horse. | 0:16:48 | 0:16:52 | |
Which has 10,000 touring productions happening across the world right now. | 0:16:52 | 0:16:56 | |
She's brilliant and the cast is incredible. | 0:16:56 | 0:17:00 | |
Nathan Lane is playing Roy Cohn, the famous New York lawyer, | 0:17:00 | 0:17:04 | |
one of Donald Trump's mentors, actually. | 0:17:04 | 0:17:07 | |
-It all comes back! -It's set in the '80s in New York City. | 0:17:07 | 0:17:13 | |
It's set in the AIDS crisis, where AIDS was at its peak | 0:17:13 | 0:17:18 | |
and no-one really knew where it had come from or how to stop it. | 0:17:18 | 0:17:25 | |
It was spreading like an awful wildfire that was just taking lives. | 0:17:25 | 0:17:31 | |
And it's actually a comedy, we're discovering in rehearsals. | 0:17:31 | 0:17:35 | |
It's weird, it's a very, very funny play that Tony has written. | 0:17:35 | 0:17:38 | |
It's incredibly tragic but incredibly funny. | 0:17:38 | 0:17:40 | |
It's basically about how the six or seven main characters | 0:17:40 | 0:17:43 | |
are attempting to make sense of this modern plague. | 0:17:43 | 0:17:47 | |
-There's massive excitement about this production. -Yeah. | 0:17:47 | 0:17:50 | |
If you don't live in London, can't get to London, | 0:17:50 | 0:17:53 | |
it is going to be beamed to cinemas around the world through one | 0:17:53 | 0:17:55 | |
of those NT Live things. | 0:17:55 | 0:17:57 | |
20th of July, so you've got plenty of time to get ready. | 0:17:57 | 0:18:00 | |
And then a week later, 27th of July is the second part. | 0:18:00 | 0:18:04 | |
Not to put people off, but altogether, it's about seven hours long, you think? | 0:18:04 | 0:18:09 | |
-I don't know how long it is. -Speak quicker! | 0:18:09 | 0:18:11 | |
They're going to cut a lot! | 0:18:13 | 0:18:14 | |
It's absolutely going to be worth your time. | 0:18:14 | 0:18:18 | |
Wait! I take that back, I'm not sure if it is yet! | 0:18:18 | 0:18:21 | |
Oh, say it is! Sell, sell, sell! | 0:18:21 | 0:18:24 | |
You're Oscar nominated, how bad can you be?! | 0:18:24 | 0:18:27 | |
The play itself is absolutely worth your time, I swear to you, | 0:18:28 | 0:18:32 | |
it's a life-changing experience in the theatre. | 0:18:32 | 0:18:35 | |
Annette, you must have seen this the first time around? | 0:18:35 | 0:18:38 | |
Indeed. In fact, it was done the first time in Los Angeles. | 0:18:38 | 0:18:41 | |
It was the first time I had been in LA | 0:18:41 | 0:18:44 | |
when a theatre piece really became an event. | 0:18:44 | 0:18:47 | |
So it was done at the Mark Taper Forum, downtown. You would go for the day. | 0:18:47 | 0:18:51 | |
You would go to the matinee, just like I'm sure people will do here. | 0:18:51 | 0:18:54 | |
You would go to the matinee, you have a bite to eat | 0:18:54 | 0:18:57 | |
and then you see the evening performance. | 0:18:57 | 0:18:59 | |
Then it went to New York, it was a huge event. Yes, it's incredible. | 0:18:59 | 0:19:04 | |
Yeah. Now, it's a chat show, so I'm very excited to tell you | 0:19:04 | 0:19:08 | |
that on our couch tonight we have a record holder. Yes, we do. | 0:19:08 | 0:19:13 | |
That record holder is Asa Butterfield. | 0:19:13 | 0:19:16 | |
No, you ARE a record holder, aren't you?! | 0:19:16 | 0:19:18 | |
Yeah, I guess. | 0:19:18 | 0:19:20 | |
-That's what I've been told! -I hold a record, yeah. | 0:19:20 | 0:19:24 | |
He's very fast at doing something. Any guesses, Andrew? | 0:19:24 | 0:19:27 | |
How old are you? | 0:19:28 | 0:19:30 | |
He's 19! | 0:19:30 | 0:19:31 | |
I'll stop you! | 0:19:34 | 0:19:36 | |
What are the things you're very fast at? | 0:19:36 | 0:19:38 | |
Neither of them are at all useful. | 0:19:38 | 0:19:41 | |
I can clap very fast. | 0:19:42 | 0:19:44 | |
Take that, audience! | 0:19:44 | 0:19:47 | |
Somebody on the couch has said, "I'm better at clapping than the audience!" | 0:19:47 | 0:19:51 | |
And then I can type the alphabet very fast as well. | 0:19:51 | 0:19:55 | |
It came about, really weirdly. | 0:19:55 | 0:19:57 | |
But when you say very fast, tell us, what is your best time? | 0:19:57 | 0:20:01 | |
-My best time for typing the alphabet is 1.97 seconds. -Wow! | 0:20:01 | 0:20:05 | |
-And what's the world record? -I think it's under one second. | 0:20:07 | 0:20:10 | |
Oh, is it? Oh, so you're NOT a record holder at all? | 0:20:10 | 0:20:12 | |
No. | 0:20:12 | 0:20:14 | |
What a waste of time this has been! | 0:20:15 | 0:20:17 | |
Oh, I know! It's a record ATTEMPT, we're going for a record attempt! | 0:20:17 | 0:20:22 | |
They have set, there's a website, they've set this up where there is | 0:20:22 | 0:20:27 | |
a clock, the alphabet, | 0:20:27 | 0:20:29 | |
and as you type the thing, the alphabet lights up. | 0:20:29 | 0:20:32 | |
-I had one, my brother showed me it. -Can you show us on this? -I can. | 0:20:32 | 0:20:36 | |
-Is it the same one? -I don't know. | 0:20:36 | 0:20:39 | |
I like that you're bringing your drink with you! | 0:20:39 | 0:20:42 | |
-Type the alphabet. -It's all there. | 0:20:42 | 0:20:45 | |
OK. So, basically, you start typing and the clock starts, OK? | 0:20:45 | 0:20:50 | |
Jeez. When I did this, the game was called Finger Frenzy. | 0:20:50 | 0:20:54 | |
OK! | 0:20:54 | 0:20:56 | |
LAUGHTER | 0:20:56 | 0:20:57 | |
Maybe that's what you were googling when you found it! | 0:20:58 | 0:21:02 | |
-I'm going to give it a go. -Honestly, this is good. Watch this, watch this. | 0:21:04 | 0:21:08 | |
Come on, come on! | 0:21:08 | 0:21:10 | |
For the record! CHEERING | 0:21:10 | 0:21:12 | |
Here we go, here we go... | 0:21:12 | 0:21:14 | |
-Oh! Try it again! Reset! -Where's the mouse? -Reset. | 0:21:19 | 0:21:23 | |
-Reset. The first try. -OK. It was nerves! | 0:21:23 | 0:21:27 | |
-It's a different keyboard layout. -It's the best of 20! | 0:21:27 | 0:21:32 | |
Yes, yes... | 0:21:35 | 0:21:36 | |
It's this game! I need Finger Frenzy! | 0:21:36 | 0:21:40 | |
-APPLAUSE -I need Finger Frenzy! | 0:21:40 | 0:21:42 | |
-Anybody else want a go? -No! | 0:21:45 | 0:21:47 | |
-Harriet Harman, no? -No! | 0:21:47 | 0:21:49 | |
All right, well, let's try fast clapping, then! | 0:21:51 | 0:21:53 | |
LAUGHTER DROWNS OUT SPEECH | 0:21:55 | 0:21:57 | |
I have no idea what this is... | 0:21:57 | 0:21:59 | |
I watched a video on YouTube of someone who holds the world record. | 0:21:59 | 0:22:03 | |
I'm getting all of these things off YouTube, it's amazing. | 0:22:03 | 0:22:05 | |
So, there's a technique. Most people clap like this. | 0:22:05 | 0:22:08 | |
It's the usual thing. | 0:22:08 | 0:22:10 | |
But if you sort of flex like this, | 0:22:10 | 0:22:14 | |
then it starts to speed up. | 0:22:14 | 0:22:17 | |
Wow, that's very impressive! | 0:22:19 | 0:22:21 | |
I would just say, enjoy this time, because now you can legally drink, | 0:22:27 | 0:22:30 | |
these games are over for you! | 0:22:30 | 0:22:32 | |
There will be far less time on YouTube learning how to clap fast, | 0:22:33 | 0:22:36 | |
I promise you! Very impressive. | 0:22:36 | 0:22:38 | |
Right, Annette Bening, you bring us a fabulous film - | 0:22:38 | 0:22:42 | |
20th Century Women - it opens next Friday. | 0:22:42 | 0:22:45 | |
I LOVE films like this. | 0:22:45 | 0:22:47 | |
-Thank you. -It's just got a great ensemble cast, and it's | 0:22:47 | 0:22:51 | |
a particular sort of American film that you guys are so good at making. | 0:22:51 | 0:22:55 | |
Tell us about it. | 0:22:55 | 0:22:56 | |
Mike Mills wrote and directed it, it's 1979, Santa Barbara, | 0:22:56 | 0:23:00 | |
so this is pre-digital, which is kind of an interesting thing now, | 0:23:00 | 0:23:04 | |
to look back at a time before we had the digital age. | 0:23:04 | 0:23:07 | |
And I'm playing the mom who's trying to figure out | 0:23:07 | 0:23:12 | |
my own life and raise my son, | 0:23:12 | 0:23:15 | |
and I've got the son and he's trying to grow up and figure out me. | 0:23:15 | 0:23:18 | |
And we've got a group of people living in the house, | 0:23:18 | 0:23:21 | |
we've got Greta Gerwig, who's a punk artist, kind of wild woman, | 0:23:21 | 0:23:25 | |
but who also has problems and has an illness. And we have | 0:23:25 | 0:23:29 | |
Elle Fanning, who plays his friend, | 0:23:29 | 0:23:32 | |
who is a bad-ass teenage girl, amazing. | 0:23:32 | 0:23:35 | |
And Billy Crudup. | 0:23:35 | 0:23:36 | |
And it's based on the director's mother. | 0:23:36 | 0:23:40 | |
-Own life, yes. -I found her a really sympathetic character. | 0:23:40 | 0:23:43 | |
Cos she's trying SO hard to be the best mother she can be. | 0:23:43 | 0:23:47 | |
Right, but I like her because she's not an idealised mom, | 0:23:47 | 0:23:51 | |
she just is a real human being. | 0:23:51 | 0:23:53 | |
-Oh, no, she's failing constantly! -Exactly! -We've got a clip. | 0:23:53 | 0:23:57 | |
This is your character presiding, | 0:23:57 | 0:23:59 | |
you know, you're trying to be liberal, lovely mom. | 0:23:59 | 0:24:03 | |
-Yes. -At a dinner party. | 0:24:03 | 0:24:05 | |
Jamie, would you please wake up Abbie? | 0:24:05 | 0:24:07 | |
-Er, Abbie? -Stop it, I'm menstruating. | 0:24:09 | 0:24:12 | |
Abbie, you know what, you're menstruating, OK, | 0:24:14 | 0:24:17 | |
but do you have to say it? | 0:24:17 | 0:24:19 | |
And do we really need to know everything that's going on with you? | 0:24:19 | 0:24:22 | |
What? I'm menstruating! | 0:24:22 | 0:24:25 | |
-Why is that a big deal? -We don't need to hear about that, | 0:24:25 | 0:24:28 | |
thank you. | 0:24:28 | 0:24:29 | |
If you ever want to have an adult relationship with a woman, | 0:24:29 | 0:24:33 | |
like if you want to have sex with a woman's vagina, you need to | 0:24:33 | 0:24:36 | |
be comfortable with the fact that the vagina menstruates. | 0:24:36 | 0:24:40 | |
Just say menstruation, it's not a big deal. | 0:24:40 | 0:24:42 | |
So start saying it now. Menstruation. | 0:24:42 | 0:24:45 | |
-No. -Yes. Menstruation. | 0:24:46 | 0:24:49 | |
-Menstr...uation. -Jamie, no, you don't have to. | 0:24:50 | 0:24:53 | |
-You're saying it like you're scared. -Abbie. | 0:24:53 | 0:24:56 | |
Say it like it's normal. | 0:24:56 | 0:24:57 | |
-Menstruation. -Menstruation. Not bad. | 0:24:57 | 0:25:00 | |
APPLAUSE AND CHEERING | 0:25:00 | 0:25:02 | |
Asa nearly did his quick clapping there, he liked it so much! | 0:25:08 | 0:25:11 | |
Next time! | 0:25:11 | 0:25:13 | |
-You've got... Is it four children you've got? -I do. | 0:25:13 | 0:25:18 | |
I mean, those scenes must have resonated with you? | 0:25:18 | 0:25:21 | |
And she ad-libbed a lot of that scene. It was very, very funny. | 0:25:21 | 0:25:26 | |
And then Billy at the end says, you know, | 0:25:26 | 0:25:29 | |
"You can't have sex with just part of the woman and just the vagina, | 0:25:29 | 0:25:35 | |
"you have to have sex with the whole woman." | 0:25:35 | 0:25:38 | |
And Greta says, "Yes, but that's slightly off topic!" | 0:25:38 | 0:25:41 | |
-And that was all improvised. -It's a terrific film, it really is. | 0:25:43 | 0:25:47 | |
And also we should say, in terms of your own life, congratulations. | 0:25:47 | 0:25:51 | |
-Next month, is it 25 years you've been married? -Yes. -Well done! | 0:25:51 | 0:25:55 | |
APPLAUSE AND CHEERING | 0:25:55 | 0:25:56 | |
I suppose 25 years is a huge achievement anywhere. | 0:26:01 | 0:26:05 | |
But in Hollywood it seems like it's sort of extraordinary. | 0:26:05 | 0:26:09 | |
I don't know, we're given more credit. | 0:26:09 | 0:26:10 | |
I don't know if it is more unusual in Hollywood or not. | 0:26:10 | 0:26:13 | |
I think there is a lot of divorce everywhere. | 0:26:13 | 0:26:15 | |
I guess we read about yours - that would be the difference! | 0:26:15 | 0:26:20 | |
I suppose - I don't think I'm... | 0:26:20 | 0:26:24 | |
But Warren Beatty had a certain reputation before you. | 0:26:24 | 0:26:28 | |
LAUGHTER | 0:26:28 | 0:26:29 | |
Was there a lot of, "it will never last, are you out of your mind"? | 0:26:29 | 0:26:33 | |
I suppose there were people, I guess people didn't say it to me, | 0:26:33 | 0:26:37 | |
but I suppose people thought that. | 0:26:37 | 0:26:39 | |
-They said it to your parents! -Perhaps, yes. | 0:26:39 | 0:26:42 | |
25 years, can you beat that, Harriet Harman? | 0:26:43 | 0:26:47 | |
Er, yes! | 0:26:47 | 0:26:48 | |
Can I just say, though, in 20th Century Women, that face, | 0:26:50 | 0:26:56 | |
that face - any mum looking at that knows that they've had that face! | 0:26:56 | 0:27:00 | |
It's all deteriorating all around, and... It's just so brilliant, | 0:27:00 | 0:27:06 | |
-I can't wait to see it, I can't wait. -It's a great film. | 0:27:06 | 0:27:08 | |
30 years, 30 years is contained within Harriet Harman's new book, | 0:27:08 | 0:27:13 | |
A Woman's Work, here it is. | 0:27:13 | 0:27:15 | |
And it's sort of...it's your life, | 0:27:15 | 0:27:19 | |
but it's also a story of the women's movement and your career. | 0:27:19 | 0:27:23 | |
A solicitor, the longest-serving female MP, Deputy Leader | 0:27:23 | 0:27:26 | |
of the Labour Party, twice Acting Leader of the Labour Party, | 0:27:26 | 0:27:29 | |
all of that, it's all in here. | 0:27:29 | 0:27:31 | |
What is the big thing, | 0:27:31 | 0:27:34 | |
what's the thing that you're proudest of at this point? | 0:27:34 | 0:27:37 | |
Well, I guess it's being part of that movement of women. | 0:27:37 | 0:27:40 | |
I mean, I was born and brought up at a time when the most | 0:27:40 | 0:27:43 | |
important thing for a woman was to kind of get a man, | 0:27:43 | 0:27:48 | |
and the summit of your ambition was to get a decent man to marry. | 0:27:48 | 0:27:54 | |
And then after that, your great honour and privilege was to, | 0:27:54 | 0:27:58 | |
like, be a housewife and to look after him. | 0:27:58 | 0:28:01 | |
And we were like, "Well, no, we don't think we are second-class | 0:28:01 | 0:28:05 | |
"citizens, we don't think we should be subordinate to men. | 0:28:05 | 0:28:08 | |
"We're just going to get out there and absolutely change everything." | 0:28:08 | 0:28:11 | |
So it was such a kind of time of transition and | 0:28:11 | 0:28:15 | |
a feeling of revolution, really. | 0:28:15 | 0:28:17 | |
So the only problem was that we couldn't do anything unless | 0:28:17 | 0:28:21 | |
we could change politics. | 0:28:21 | 0:28:23 | |
So it was like the irresistible force of women's movement and the immovable object of Parliament. | 0:28:23 | 0:28:28 | |
And we had to kind of batter our way in. | 0:28:28 | 0:28:31 | |
Thankfully, lots of things have changed over the last 30 years. | 0:28:31 | 0:28:35 | |
But I do find it extraordinary that STILL women are having to have | 0:28:35 | 0:28:41 | |
a march - even if they're given rights, they're feeling that they have to protect those rights. | 0:28:41 | 0:28:45 | |
Are you saddened that things haven't moved further in those 30 years? | 0:28:46 | 0:28:51 | |
Well, I think we have come a long way, | 0:28:51 | 0:28:53 | |
but we're not equal yet, there's still a long way to go. | 0:28:53 | 0:28:56 | |
And I think you should never be complacent about rights | 0:28:56 | 0:29:00 | |
that have been really hard-won, | 0:29:00 | 0:29:01 | |
because there's always people who want to turn the clock back, | 0:29:01 | 0:29:04 | |
whether it's on tackling racism or homophobia, there will be people | 0:29:04 | 0:29:08 | |
who want to seize the opportunity to turn the clock back to the 1950s. | 0:29:08 | 0:29:14 | |
So you can't really take those rights for granted, they were hard fought-for. | 0:29:14 | 0:29:18 | |
And I think we're at that moment now, it's not your fault, Annette, | 0:29:18 | 0:29:22 | |
but Trump is sending this virus across which is legitimising | 0:29:22 | 0:29:27 | |
all those kinds of reactions. | 0:29:27 | 0:29:30 | |
I apologise on behalf of my nation. | 0:29:30 | 0:29:33 | |
I think we need her as President as well as you Prime Minister. | 0:29:33 | 0:29:37 | |
Have you ever thought of running for office? | 0:29:37 | 0:29:40 | |
-I have not. -OK! | 0:29:40 | 0:29:42 | |
Maybe once. | 0:29:43 | 0:29:45 | |
Do it again. | 0:29:45 | 0:29:47 | |
But in terms of moving things on, in terms of women, | 0:29:47 | 0:29:50 | |
how disappointed are you that it's the Conservatives who've | 0:29:50 | 0:29:54 | |
rustled up two female prime ministers? | 0:29:54 | 0:29:56 | |
This has been a bit of a paradox/torture for us. | 0:29:56 | 0:30:00 | |
The first woman Prime Minister was Margaret Thatcher | 0:30:00 | 0:30:05 | |
and we did not feel that that was a good thing to be celebrating, | 0:30:05 | 0:30:10 | |
that Margaret Thatcher was the Prime Minister, | 0:30:10 | 0:30:12 | |
so we had to do lots of marching, holding banners, | 0:30:12 | 0:30:14 | |
saying, "The First Lady puts women last," | 0:30:14 | 0:30:17 | |
and that was her, and now we've got another woman Prime Minister | 0:30:17 | 0:30:21 | |
and once again, it's a Tory. | 0:30:21 | 0:30:23 | |
We've got more Labour women MPs than all the other parties put together, | 0:30:23 | 0:30:26 | |
but at the very top level, it seems to be... I have that song in my head, | 0:30:26 | 0:30:30 | |
It's Raining Men - you know that song, and it does feel like that. | 0:30:30 | 0:30:33 | |
Oh, I know that song! | 0:30:33 | 0:30:35 | |
APPLAUSE | 0:30:36 | 0:30:38 | |
When you write a book like this, is this you saying, "I'm retiring, | 0:30:40 | 0:30:44 | |
"I'm out of here"? | 0:30:44 | 0:30:45 | |
-You know, "Harman out." -Not at all. | 0:30:45 | 0:30:47 | |
Not at all, actually, and it's funny | 0:30:47 | 0:30:50 | |
because there is a thing about women and your age. | 0:30:50 | 0:30:54 | |
It's like, when you're much younger, in politics, | 0:30:54 | 0:30:58 | |
it is like, oh, you know, young, pretty, a bit distracting, | 0:30:58 | 0:31:03 | |
a bit flaky, not to be taken seriously, whereas a young man | 0:31:03 | 0:31:06 | |
will be regarded as very thrusting with loads of promise for the future | 0:31:06 | 0:31:10 | |
and he is in his prime, whereas the woman is a bit ditzy. | 0:31:10 | 0:31:13 | |
And then, when she's having her family and she has loads of children, | 0:31:13 | 0:31:17 | |
she is like, she's just a write-off, | 0:31:17 | 0:31:20 | |
whereas he's regarded as he has got his family, reassuringly virile. | 0:31:20 | 0:31:24 | |
And then, when they are older, the man is like experienced, | 0:31:24 | 0:31:29 | |
wise, like George Clooney, attractive, | 0:31:29 | 0:31:33 | |
silver-fox type of thing and the woman, when she gets older, | 0:31:33 | 0:31:36 | |
well, she's just past it! And it's like, when is OUR prime?! | 0:31:36 | 0:31:41 | |
-APPLAUSE -Bravo! | 0:31:41 | 0:31:44 | |
That got the quick clap! | 0:31:46 | 0:31:48 | |
-I'm going to be, like, having my prime NOW. -Good for you! | 0:31:50 | 0:31:55 | |
Harriet Harman, well done! | 0:31:55 | 0:31:56 | |
No mistaking, Asa Butterfield is in his prime. Your life is changing. | 0:32:00 | 0:32:05 | |
This is the first time you did not have to study during a film, | 0:32:05 | 0:32:11 | |
there were no chaperones around. | 0:32:11 | 0:32:12 | |
-It was great! -I bet it was! | 0:32:12 | 0:32:14 | |
I was living by myself, I was in Albuquerque... | 0:32:14 | 0:32:19 | |
Less great. | 0:32:19 | 0:32:21 | |
Take it or leave it. | 0:32:21 | 0:32:23 | |
It was funny, we were making a film, part of it's set on Mars, | 0:32:25 | 0:32:28 | |
and Albuquerque's got a kind of Mars-like look to it. | 0:32:28 | 0:32:32 | |
It's a bit of a desert. So we made the most of that. | 0:32:32 | 0:32:35 | |
I didn't have to have a tutor, I wasn't in school, | 0:32:35 | 0:32:39 | |
I was a real actor. | 0:32:39 | 0:32:41 | |
-You live in your own flat now. -Yeah, I've moved out of home, last year. | 0:32:42 | 0:32:47 | |
Which is cool. | 0:32:47 | 0:32:49 | |
LAUGHTER | 0:32:49 | 0:32:50 | |
You've been in films since you were eight! Can you cook? | 0:32:50 | 0:32:55 | |
How do you know how to do anything? | 0:32:55 | 0:32:57 | |
I can cook all right. | 0:32:57 | 0:33:00 | |
Yeah. I do get an unfortunate amount of takeaway. | 0:33:00 | 0:33:05 | |
I've got this great local food shop opposite, I can walk down the stairs, takes me about 30 seconds, | 0:33:06 | 0:33:12 | |
and get loads of frozen pizza and tuna and beans, Heinz baked beans. | 0:33:12 | 0:33:17 | |
Oh, Andrew would love that! | 0:33:17 | 0:33:19 | |
I've actually become amazing at cooking beans on toast. | 0:33:19 | 0:33:23 | |
LAUGHTER | 0:33:23 | 0:33:25 | |
Your first film as an independent young man is | 0:33:25 | 0:33:28 | |
the science-fiction romance The Space Between Us. | 0:33:28 | 0:33:31 | |
It opens next Friday and here's a taste of what to expect. | 0:33:31 | 0:33:34 | |
'My name is Gardner Elliot, I was born on Mars, but I finally | 0:33:38 | 0:33:42 | |
'found a reason to go to Earth.' | 0:33:42 | 0:33:44 | |
-I could just see her, you know. -His heart can't handle our gravity. | 0:33:44 | 0:33:47 | |
-It's too risky. -It's worth it. | 0:33:47 | 0:33:50 | |
You don't realise how far away you are until there's someone you want | 0:33:50 | 0:33:53 | |
to be near. | 0:33:53 | 0:33:55 | |
-He's running out of time. -You have to go back. | 0:33:56 | 0:34:00 | |
-What is your favourite thing about Earth? -You are, Gardner. | 0:34:06 | 0:34:10 | |
APPLAUSE | 0:34:10 | 0:34:13 | |
They make a lot of these science-fiction movies, | 0:34:17 | 0:34:21 | |
people living on Mars, but this is a really unusual take on it. | 0:34:21 | 0:34:25 | |
Explain the germ of the idea and the romance. | 0:34:26 | 0:34:29 | |
Well, it's a science-fiction film. | 0:34:29 | 0:34:33 | |
But it's got this backdrop, but I think what really drives it is these | 0:34:33 | 0:34:37 | |
relationships, and it is about this boy who has grown up on Mars for 16 years | 0:34:37 | 0:34:41 | |
so he has been totally isolated from just about anything. | 0:34:41 | 0:34:44 | |
So he's an odd guy, he's kind of weird and he's smart, but I really | 0:34:44 | 0:34:50 | |
had fun just making the most of what made him different because he comes | 0:34:50 | 0:34:53 | |
to Earth and he hasn't seen anything before, like dogs, cats... | 0:34:53 | 0:34:58 | |
Literally anything is interesting to him and he is like | 0:34:58 | 0:35:02 | |
a kid in this teenager's body. | 0:35:02 | 0:35:04 | |
One of the big things is gravity, because the gravity of Mars... | 0:35:04 | 0:35:08 | |
I know, I sound like a scientist! | 0:35:08 | 0:35:11 | |
LAUGHTER | 0:35:11 | 0:35:12 | |
But Earth's different, right? | 0:35:15 | 0:35:17 | |
Yeah, so... One of the things we were playing with, I guess, | 0:35:20 | 0:35:25 | |
to make him stand out and look like an alien, is this change in gravity, | 0:35:25 | 0:35:31 | |
so Mars is 38% of the Earth's gravity, | 0:35:31 | 0:35:34 | |
so when he comes here he feels much heavier and we wanted | 0:35:34 | 0:35:37 | |
to give him this walk which was a bit Ministry Of Funny Walks-ish, | 0:35:37 | 0:35:42 | |
but not too far. | 0:35:42 | 0:35:44 | |
I strapped weights to my ankles and sandbags so I could feel | 0:35:44 | 0:35:48 | |
what it is like to be heavier and walk around. | 0:35:48 | 0:35:51 | |
And, yeah, I had someone film me whilst I was doing it | 0:35:51 | 0:35:55 | |
and I could look at it and just really make it funny. | 0:35:55 | 0:35:59 | |
And make it good. | 0:35:59 | 0:36:01 | |
You're so consistent with it because you do heavy running as well, not just heavy walking. | 0:36:01 | 0:36:06 | |
-That's right, and heavy jumping. -Yes! | 0:36:06 | 0:36:08 | |
Everything takes much more effort. | 0:36:08 | 0:36:10 | |
-Heavy clapping. -That's right. | 0:36:10 | 0:36:14 | |
Talking about preparing for roles, you are in another film at | 0:36:14 | 0:36:18 | |
the moment, Silence, Martin Scorsese's film, | 0:36:18 | 0:36:20 | |
and you went to Wales to prepare for that? | 0:36:20 | 0:36:23 | |
-Yes, Wales. -Wales. | 0:36:23 | 0:36:24 | |
-You're a monk in the film. -A Jesuit priest. | 0:36:26 | 0:36:30 | |
So part of that preparation was myself and Adam Driver, | 0:36:30 | 0:36:36 | |
we both played Jesuit priests and... It's set in the 1600s in Japan, | 0:36:36 | 0:36:41 | |
where Christianity has been outlawed. It is an amazing film, | 0:36:41 | 0:36:45 | |
it's a Martin Scorsese film - Asa has worked with him, | 0:36:45 | 0:36:48 | |
and he's made something quite profound. | 0:36:48 | 0:36:51 | |
But one of the things that we did, we went on a silent retreat | 0:36:51 | 0:36:55 | |
in Wales, at a place called St Beuno's, | 0:36:55 | 0:36:57 | |
-which was a beautiful Christian retreat. -It is very beautiful. | 0:36:57 | 0:37:01 | |
I haven't done the retreat thing, though. Too early for that. | 0:37:01 | 0:37:06 | |
We had about eight days together in silence, me and Adam. | 0:37:08 | 0:37:11 | |
We had met each other once in New York and we had a drink and | 0:37:11 | 0:37:15 | |
we met each other again in Wales in total silence for seven days. | 0:37:15 | 0:37:19 | |
Did you say hi as you went in? | 0:37:19 | 0:37:20 | |
No! It was like a mime! It was all mime and mouthing. | 0:37:20 | 0:37:24 | |
Did you do lots of... | 0:37:24 | 0:37:25 | |
-..was there a lot of that? -Yes. It was... | 0:37:27 | 0:37:30 | |
Really? I always think a vow of silence, like, do you write notes? | 0:37:30 | 0:37:35 | |
I mean, you must speak at some point! | 0:37:35 | 0:37:38 | |
No, you really don't. Has anyone ever done a silent retreat? | 0:37:38 | 0:37:43 | |
One person! | 0:37:43 | 0:37:44 | |
They can't tell you about it! | 0:37:44 | 0:37:46 | |
I found it to be a beautiful experience. Gorgeous. | 0:37:48 | 0:37:52 | |
I very quickly got used to my own company and not having... | 0:37:52 | 0:37:57 | |
I don't know, it creates a real intimacy with yourself. | 0:37:57 | 0:38:01 | |
-What's it like when you get out, then? -We lost our minds! | 0:38:01 | 0:38:05 | |
This is the weird thing. | 0:38:05 | 0:38:08 | |
We got into a car together and we had | 0:38:08 | 0:38:10 | |
a three-hour car ride to the airport together, and it was just this | 0:38:10 | 0:38:15 | |
torrent, just this outpouring of the most vile language and imagery... | 0:38:15 | 0:38:21 | |
It was as if the devil suddenly went, | 0:38:21 | 0:38:25 | |
"Where have you been for the last seven days, you bastards?!" | 0:38:25 | 0:38:29 | |
And suddenly it was the most vile... It was really scary. | 0:38:29 | 0:38:34 | |
It was genuinely frightening. | 0:38:34 | 0:38:36 | |
And giggling and crying with laughter. | 0:38:36 | 0:38:39 | |
Anyway, we ended up having the most disgusting, wonderful conversation | 0:38:39 | 0:38:45 | |
on the way to the airport. | 0:38:45 | 0:38:47 | |
Very quickly, we are about to have music from Elbow, and we have | 0:38:47 | 0:38:50 | |
already had some speed clapping from Asa. | 0:38:50 | 0:38:52 | |
Don't worry, I'm not going to make you do anything else. | 0:38:52 | 0:38:55 | |
I can't believe I am asking four-time Oscar nominee Annette Bening this, | 0:38:55 | 0:38:58 | |
but apparently your elbows are pretty...loose? | 0:38:58 | 0:39:02 | |
It's true. I have a little elbow trick. | 0:39:04 | 0:39:08 | |
-Would you like to see my elbow trick? -You know they do! | 0:39:08 | 0:39:11 | |
APPLAUSE | 0:39:11 | 0:39:13 | |
May I hand you my bracelet? | 0:39:16 | 0:39:18 | |
-This is serious. -Everyone gets to try this. | 0:39:18 | 0:39:21 | |
CLATTER | 0:39:21 | 0:39:23 | |
-What? -Was that your elbow?! -He doesn't want to try. | 0:39:23 | 0:39:27 | |
-OK, so your hands go backwards to begin with. -Hang on. | 0:39:27 | 0:39:30 | |
So, backwards to begin with. | 0:39:30 | 0:39:32 | |
And then you bring them underneath | 0:39:32 | 0:39:36 | |
and then you open them up | 0:39:36 | 0:39:38 | |
and you put your head through. | 0:39:38 | 0:39:40 | |
Oh, my... Wow! | 0:39:40 | 0:39:42 | |
APPLAUSE | 0:39:42 | 0:39:43 | |
-I couldn't do that. Could you do it? -I can't. | 0:39:46 | 0:39:49 | |
-And I've got a flexible body. -You're 19, you're made of elastic! | 0:39:49 | 0:39:53 | |
Wow, well done. Very good. | 0:39:53 | 0:39:55 | |
I don't know if that's very exciting, but there you have it. | 0:39:55 | 0:39:57 | |
We enjoyed it. | 0:39:57 | 0:39:59 | |
Right, it is time for music. | 0:39:59 | 0:40:00 | |
This award-winning British rock band | 0:40:00 | 0:40:02 | |
are back with their seventh studio album, Little Fictions. | 0:40:02 | 0:40:06 | |
Here performing Magnificent (She Says), please welcome Elbow! | 0:40:06 | 0:40:10 | |
# This is where | 0:40:18 | 0:40:20 | |
# This is where the bottle lands | 0:40:21 | 0:40:24 | |
# Where all the biggest questions meet | 0:40:27 | 0:40:31 | |
# With little feet stood in the sand | 0:40:32 | 0:40:36 | |
# This is where the echoes slow to nothing on the tide | 0:40:38 | 0:40:45 | |
# And where a tiny pair of hands | 0:40:48 | 0:40:51 | |
# Finds a sea-worn piece of glass | 0:40:53 | 0:40:56 | |
# And sets it as a sapphire in her mind | 0:40:58 | 0:41:01 | |
# And there she stands | 0:41:05 | 0:41:07 | |
# Throwing both her arms around the world | 0:41:08 | 0:41:12 | |
# A world that doesn't even know | 0:41:16 | 0:41:21 | |
# How much it needs this little girl | 0:41:21 | 0:41:26 | |
# It's all gonna be magnificent, oh | 0:41:26 | 0:41:33 | |
# She says, it's all gonna be magnificent | 0:41:33 | 0:41:40 | |
# And my heart, there defrosting in a gaze | 0:41:43 | 0:41:51 | |
# Wasn't built to be that way | 0:41:53 | 0:41:58 | |
# Suddenly I understand | 0:41:58 | 0:42:01 | |
# There on the sand | 0:42:04 | 0:42:08 | |
# Throwing both her arms around the world | 0:42:13 | 0:42:18 | |
# A world that doesn't even know | 0:42:21 | 0:42:25 | |
# How much it needs this little girl | 0:42:25 | 0:42:31 | |
# It's all gonna be magnificent, oh | 0:42:31 | 0:42:38 | |
# She says, it's all gonna be magnificent | 0:42:38 | 0:42:45 | |
# She says, it's all gonna be magnificent | 0:42:49 | 0:42:57 | |
# She says, it's all gonna be magnificent | 0:42:59 | 0:43:07 | |
# The echoes slow | 0:43:15 | 0:43:18 | |
# The bottle lands | 0:43:20 | 0:43:23 | |
# The echoes slow | 0:43:25 | 0:43:28 | |
# And there she stands. # | 0:43:30 | 0:43:33 | |
APPLAUSE | 0:43:41 | 0:43:45 | |
Elbow, everybody! | 0:43:45 | 0:43:49 | |
Beautiful. Are you coming over? | 0:43:49 | 0:43:51 | |
Thank you so much. | 0:43:54 | 0:43:56 | |
Ladies and gentlemen, what of the violinists? | 0:43:56 | 0:43:59 | |
Thank you. Guy, Asa, Harriet, Annette, Andrew. | 0:43:59 | 0:44:04 | |
There we go. | 0:44:04 | 0:44:05 | |
Sit down, you look like you've earned that. | 0:44:08 | 0:44:11 | |
The rest of the band are thinking they should have come over now. | 0:44:11 | 0:44:14 | |
I can't believe it. There was a Guinness in it and they said no. | 0:44:14 | 0:44:19 | |
That is from the album, | 0:44:19 | 0:44:21 | |
Little Fictions which is out today. | 0:44:21 | 0:44:24 | |
Look what I've got. I have got it on the vinyl. On the vinyl! I get so | 0:44:24 | 0:44:28 | |
many of these now. I'm thinking that I might buy a record player... | 0:44:28 | 0:44:32 | |
..cos I get so many of them. Thank you very much. | 0:44:34 | 0:44:37 | |
You are touring quite soon, the end of this month? | 0:44:37 | 0:44:40 | |
We are touring the UK throughout... March. | 0:44:40 | 0:44:44 | |
LAUGHTER | 0:44:44 | 0:44:46 | |
-It starts in Dublin in February, doesn't it? -Yes. | 0:44:46 | 0:44:50 | |
I'm on this. Then it ends in the UK at the end of March. | 0:44:50 | 0:44:54 | |
That's right. Thank you for that. | 0:44:54 | 0:44:57 | |
You'll need about 28 pairs of pants. | 0:44:57 | 0:44:59 | |
Thank you very much. | 0:44:59 | 0:45:01 | |
Listen, thank you very much, Guy Garvey and Elbow. Beautiful. | 0:45:01 | 0:45:04 | |
APPLAUSE | 0:45:04 | 0:45:06 | |
Right, that's nearly it. | 0:45:06 | 0:45:09 | |
But before we go, we just have time for a visit to the big red chair. | 0:45:09 | 0:45:12 | |
-Who is there? Hello. -Hi, Graham. | 0:45:12 | 0:45:15 | |
-Hi. How tall are you? -Six foot two. | 0:45:15 | 0:45:19 | |
Is that all? You look taller. | 0:45:19 | 0:45:21 | |
-What is your name, sir? -Keiron. -Where are you from? -Leixlip. | 0:45:21 | 0:45:25 | |
-Leixlip - it's a lovely part of the world. -Beautiful. | 0:45:25 | 0:45:28 | |
-Do you still live there? -No, I live in London. | 0:45:28 | 0:45:32 | |
-What do you do? -Erm, design. | 0:45:32 | 0:45:35 | |
"Who did that?" "Keiron." | 0:45:41 | 0:45:44 | |
What do you design, I'm intrigued? | 0:45:48 | 0:45:50 | |
Shoelaces. | 0:45:50 | 0:45:51 | |
LAUGHTER | 0:45:51 | 0:45:54 | |
He's gone, absolutely. | 0:45:54 | 0:45:56 | |
One more. Let's try one more. Here we go. | 0:45:58 | 0:46:01 | |
Oh, my God! Hello. | 0:46:01 | 0:46:03 | |
-Hi. -We... | 0:46:03 | 0:46:06 | |
-That's my planet. -It's your planet, it's all about the Butterfield. | 0:46:08 | 0:46:13 | |
-What's your name, sir? -Brad. | 0:46:13 | 0:46:15 | |
-Where are you from, Brad? -Seattle. -He's from Seattle. -Woo! | 0:46:15 | 0:46:19 | |
-Are you here on holiday? -I am. -Lovely. What do you do in Seattle? | 0:46:19 | 0:46:22 | |
-I work in software, sales and marketing. -Lovely. | 0:46:22 | 0:46:26 | |
Off you go with your story. | 0:46:26 | 0:46:27 | |
Sure. We were doing a global product roll-out and I was doing | 0:46:27 | 0:46:30 | |
some training in Reading and about 60 people, men and women in the | 0:46:30 | 0:46:34 | |
office there and I did some training for those folks and I led the | 0:46:34 | 0:46:37 | |
whole training exercise. | 0:46:37 | 0:46:40 | |
One group did a great job, a bunch of guys, who were British | 0:46:40 | 0:46:44 | |
and I wanted to compliment their presentation, so I said, "Boys, | 0:46:44 | 0:46:50 | |
"I really like your spunk." | 0:46:50 | 0:46:52 | |
AUDIENCE GROANS | 0:46:52 | 0:46:54 | |
I got a big laugh and I didn't quite know what it was all about. | 0:46:54 | 0:46:57 | |
-Luckily, during a break, one of the guys... -Yeah. | 0:46:57 | 0:46:59 | |
We all know what that's about. | 0:46:59 | 0:47:01 | |
Well done, Brad. Well done, everyone. | 0:47:01 | 0:47:05 | |
If you'd like to join us on the show and have a go in the red chair, | 0:47:05 | 0:47:08 | |
you can contact us via our website at this address. | 0:47:08 | 0:47:11 | |
That's it for tonight. | 0:47:11 | 0:47:13 | |
Please say thank you to my guests - Elbow! | 0:47:13 | 0:47:17 | |
Asa Butterfield! | 0:47:17 | 0:47:19 | |
Harriet Harman! | 0:47:19 | 0:47:22 | |
Annette Bening! | 0:47:22 | 0:47:24 | |
And Andrew Garfield! | 0:47:24 | 0:47:28 | |
Join me next week with musical guest Rag'n'Bone Man, | 0:47:28 | 0:47:31 | |
Fifty Shades' Jamie Dornan, | 0:47:31 | 0:47:32 | |
Hollywood star Keanu Reeves, | 0:47:32 | 0:47:34 | |
Oscar winner Denzel Washington, | 0:47:34 | 0:47:36 | |
and the one and only Whoopi Goldberg. | 0:47:36 | 0:47:39 | |
I'll see you then! Goodnight, everybody. Goodbye. | 0:47:39 | 0:47:42 |