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Hey, I'm Whoopi Goldberg, and this is the Graham Norton Show. | 0:00:02 | 0:00:04 | |
CHEERING | 0:00:04 | 0:00:06 | |
Oh! Oh! Hello! | 0:00:22 | 0:00:26 | |
Hello, everybody! Hello! | 0:00:26 | 0:00:28 | |
Hello! Hi! Hi! Oh! | 0:00:28 | 0:00:31 | |
Hello, everybody! | 0:00:31 | 0:00:33 | |
And welcome! You're very welcome. | 0:00:33 | 0:00:37 | |
We've got a great show for you tonight. | 0:00:37 | 0:00:39 | |
Look at you all out there. | 0:00:39 | 0:00:40 | |
Everyone looking forward to Valentine's Day? | 0:00:40 | 0:00:43 | |
WHOOPING Are you? Are you? | 0:00:43 | 0:00:45 | |
Have you all got plans for taking your loved one | 0:00:45 | 0:00:47 | |
somewhere nice and exclusive? | 0:00:47 | 0:00:49 | |
GROANING | 0:00:49 | 0:00:50 | |
Look at you thinking, "This is it. It's happening now." | 0:00:50 | 0:00:55 | |
Now, I wonder, are there are any single women in the audience? | 0:00:55 | 0:00:58 | |
CHEERING | 0:00:58 | 0:00:59 | |
I think you may enjoy the couch. | 0:00:59 | 0:01:01 | |
You single women, so lucky. | 0:01:03 | 0:01:05 | |
With no relationship ties on Valentine's night, | 0:01:05 | 0:01:07 | |
you can stay in and have a threesome with Ben & Jerry. | 0:01:07 | 0:01:10 | |
VOICE BREAKING: I'm enjoying my me time. | 0:01:12 | 0:01:15 | |
Ice cream with a salty tear sauce. | 0:01:15 | 0:01:18 | |
Classic. | 0:01:18 | 0:01:19 | |
Music, of course, very important for setting the mood | 0:01:19 | 0:01:21 | |
on Valentine's night. | 0:01:21 | 0:01:22 | |
Anything will do, you know, CD player, MP3 player, | 0:01:22 | 0:01:24 | |
just make sure you don't have one of those annoying little speakers. | 0:01:24 | 0:01:27 | |
You know. Yeah. | 0:01:27 | 0:01:29 | |
Now, speaking of romance, ladies and gentlemen, | 0:01:31 | 0:01:34 | |
Nigel Farage has been in the news again. I know. | 0:01:34 | 0:01:37 | |
This time, Nigel has denied he's having a relationship | 0:01:37 | 0:01:41 | |
with a French woman who's been living in his house. | 0:01:41 | 0:01:44 | |
Now, Nigel's wife said | 0:01:45 | 0:01:47 | |
they have in fact been living apart for a while. | 0:01:47 | 0:01:50 | |
And as she reminded Nigel, "Leave does mean leave." | 0:01:50 | 0:01:53 | |
CHEERING AND APPLAUSE | 0:01:56 | 0:01:58 | |
I'm imagining for Nigel it was quite a soft exit. | 0:02:01 | 0:02:04 | |
Let's get the guests on! | 0:02:04 | 0:02:06 | |
Later we'll be joined by Hollywood superstar Denzel Washington. | 0:02:07 | 0:02:12 | |
And British Blues singer Rag'n'Bone Man | 0:02:14 | 0:02:16 | |
will be performing his huge hit, Human. | 0:02:16 | 0:02:19 | |
But first, he sent shivers down our spine in The Fall, | 0:02:19 | 0:02:23 | |
and now he's back as seductive billionaire Christian Grey | 0:02:23 | 0:02:26 | |
in Fifty Shades Darker, it's Jamie Dornan. | 0:02:26 | 0:02:28 | |
Oh! Oh! | 0:02:28 | 0:02:31 | |
-Hello, sir. -Hello. -Lovely to see you. | 0:02:31 | 0:02:34 | |
-Yes, hugging, hugging. -Hugging. -Showbiz hugging. | 0:02:34 | 0:02:37 | |
Sit yourself down. | 0:02:37 | 0:02:38 | |
This man has been one of Hollywood's biggest stars for over 30 years, | 0:02:38 | 0:02:42 | |
in Bill & Ted, Speed, The Matrix. | 0:02:42 | 0:02:44 | |
Now he returns as hit man John Wick. It's only the fabulous Keanu Reeves. | 0:02:44 | 0:02:49 | |
Hello. | 0:02:54 | 0:02:57 | |
Have a seat, do. | 0:02:57 | 0:02:58 | |
And with an Oscar, a Grammy, | 0:02:58 | 0:03:02 | |
three Emmys and a Tony to her name, | 0:03:02 | 0:03:04 | |
she's quite simply a Hollywood legend. | 0:03:04 | 0:03:06 | |
Ladies and gentlemen, please welcome Whoopi Goldberg! | 0:03:06 | 0:03:10 | |
Hello. | 0:03:15 | 0:03:17 | |
-So good to see you. -And you. Thank you. | 0:03:17 | 0:03:20 | |
Lovely to see you all. Welcome, welcome. | 0:03:24 | 0:03:27 | |
Now, welcome back, all. | 0:03:27 | 0:03:28 | |
You've all been... I say welcome back. | 0:03:28 | 0:03:30 | |
Whoopi, you've never done the show in this country. | 0:03:30 | 0:03:33 | |
-Not in this country, no. -No, in America, you were on. | 0:03:33 | 0:03:36 | |
Yes, well, you always come over. You used to come over. | 0:03:36 | 0:03:38 | |
-No more. No, no. -Now you're not doing it any more. | 0:03:38 | 0:03:41 | |
Well, the pound is so weak. | 0:03:41 | 0:03:43 | |
I am just... | 0:03:45 | 0:03:46 | |
Well, it's a very exotic sofa, because, you know, the names. | 0:03:46 | 0:03:49 | |
AIRILY: Whoopi Goldberg. Keanu Reeves. | 0:03:49 | 0:03:52 | |
ABRUPTLY: Jamie Dornan. | 0:03:52 | 0:03:54 | |
Yeah... | 0:03:56 | 0:03:57 | |
No, cos Whoopi is not... Whoopi isn't... | 0:03:57 | 0:04:00 | |
I mean, nobody christened you Whoopi. | 0:04:00 | 0:04:01 | |
No, no-one did. | 0:04:01 | 0:04:03 | |
What were you actually called? Caryn? | 0:04:03 | 0:04:05 | |
-Caryn, yeah. -Caryn? Why the Whoopi, then? | 0:04:05 | 0:04:08 | |
Because I was a bit of a farter. | 0:04:08 | 0:04:11 | |
I always thought that was a joke. Is that real? | 0:04:13 | 0:04:15 | |
I rarely lie. | 0:04:15 | 0:04:18 | |
Rarely. | 0:04:18 | 0:04:20 | |
No, you know, the theatres I worked in were so small, | 0:04:20 | 0:04:24 | |
they didn't have a lot of backstage room, so if you were gassier... | 0:04:24 | 0:04:27 | |
all the way through. | 0:04:27 | 0:04:29 | |
People would say, "You are like a Whoopee Cushion." | 0:04:29 | 0:04:33 | |
-So that's how... That's what it was, that's what it became. -Oh. -Yes. | 0:04:33 | 0:04:37 | |
So are you one of those walkers and farters? | 0:04:37 | 0:04:40 | |
Well, I was a skipper and farter. | 0:04:40 | 0:04:43 | |
Keanu is such an exotic name, but that is your real name. | 0:04:45 | 0:04:48 | |
Yes, sir. That is my name. | 0:04:48 | 0:04:50 | |
Yes. | 0:04:50 | 0:04:52 | |
What does it mean, now? Is it from Hawaii? | 0:04:52 | 0:04:54 | |
Yes, it's a Hawaiian name and it means | 0:04:54 | 0:04:56 | |
"Cool breeze over the mountains." | 0:04:56 | 0:04:58 | |
-Ooh. -Remind you of anything? | 0:04:58 | 0:05:00 | |
Yeah. | 0:05:00 | 0:05:02 | |
My little brother right here, Cool Breeze. | 0:05:05 | 0:05:08 | |
APPLAUSE | 0:05:10 | 0:05:11 | |
Jamie Dornan, isn't it true that you can spot a Fifty Shades fan now? | 0:05:11 | 0:05:16 | |
Oh, yeah, of course. | 0:05:16 | 0:05:19 | |
Well, over fans of The Fall, I don't think... | 0:05:19 | 0:05:22 | |
I mean, there's a crossover, | 0:05:22 | 0:05:23 | |
but Fifty Shades fans are... | 0:05:23 | 0:05:26 | |
their own kind of, um, thing. | 0:05:26 | 0:05:29 | |
So, when you're walking down the street with your wife, | 0:05:29 | 0:05:32 | |
does she go, "There's one coming. I see her. She's coming." | 0:05:32 | 0:05:35 | |
No, you know, there's a sort of a look in their eyes | 0:05:35 | 0:05:40 | |
and a sort of desire beyond the normal person | 0:05:40 | 0:05:46 | |
who's just going to pass you in the street, I'll say that. | 0:05:46 | 0:05:49 | |
Have you seen the first one, Whoopi? | 0:05:49 | 0:05:51 | |
-Yes, I have. -Oh. | 0:05:51 | 0:05:53 | |
It's weird meeting Jamie now, isn't it? | 0:05:53 | 0:05:56 | |
No, you know, at one point, you know, it would have - | 0:05:56 | 0:06:00 | |
if it was ten years ago, it probably would have been weird. | 0:06:00 | 0:06:03 | |
But now, you know, I look and I see just a really great kid, | 0:06:03 | 0:06:06 | |
a great actor. | 0:06:06 | 0:06:07 | |
It's, like, you can't go after this. | 0:06:07 | 0:06:10 | |
You can't go after this. | 0:06:12 | 0:06:14 | |
You can't flirt, you've got to just kind of be old. | 0:06:14 | 0:06:18 | |
-Have you seen it, Keanu? -Yeah. | 0:06:23 | 0:06:25 | |
I'll leave it there. | 0:06:25 | 0:06:26 | |
-Now, Whoopi Goldberg, ladies and gentlemen, returns! -Uh-oh. | 0:06:28 | 0:06:31 | |
You were last on the London stage seven years ago, | 0:06:31 | 0:06:33 | |
and now you're back at the Palladium doing a one-woman show. | 0:06:33 | 0:06:36 | |
It's tomorrow night. | 0:06:36 | 0:06:37 | |
It's already sold out, so they're doing a second later show. | 0:06:37 | 0:06:42 | |
-What time does it start? -Oh... About 10.30, 11. | 0:06:42 | 0:06:48 | |
-I think it's 11. -Might be 11. -Have you met British people at 11? | 0:06:48 | 0:06:53 | |
Why do you think I came back? | 0:06:53 | 0:06:56 | |
Yeah. | 0:06:56 | 0:06:58 | |
-That's going to be quite a show. -I think so. I think so. | 0:06:58 | 0:07:02 | |
-I'm so ready for it. You know... -They'll be really ready for it. | 0:07:02 | 0:07:07 | |
You bring a Guinness, I'll bring a Guinness, we'll all party together. | 0:07:07 | 0:07:10 | |
So what can people expect in the show? | 0:07:10 | 0:07:13 | |
It's more you than characters, it's more like stand-up. | 0:07:13 | 0:07:16 | |
It's my version. It's about, you know... | 0:07:16 | 0:07:19 | |
It's about what happens when you don't realise | 0:07:19 | 0:07:22 | |
that you have gotten older. | 0:07:22 | 0:07:24 | |
I tell you, I went to a Steely Dan concert recently. | 0:07:24 | 0:07:29 | |
I was looking around, I thought, | 0:07:29 | 0:07:31 | |
"Damn, there's some old people at this concert." | 0:07:31 | 0:07:34 | |
There were all these old hippies and stuff. | 0:07:34 | 0:07:39 | |
"Do they know how old...?" | 0:07:39 | 0:07:41 | |
And then I passed a mirror. | 0:07:41 | 0:07:43 | |
I was like, "Oh, shit! | 0:07:45 | 0:07:47 | |
"Me too!" | 0:07:47 | 0:07:49 | |
So it's about waking up and realising | 0:07:49 | 0:07:52 | |
you're not the youngest thing in the room any more, | 0:07:52 | 0:07:55 | |
but all the things that that entails, | 0:07:55 | 0:07:57 | |
cos everything is on the floor, you're picking it up, | 0:07:57 | 0:08:00 | |
you're putting it on your head. | 0:08:00 | 0:08:02 | |
It's a whole thing. | 0:08:02 | 0:08:03 | |
Guys, all the stuff that happens to y'all. | 0:08:03 | 0:08:07 | |
WHOOPI CHUCKLES | 0:08:07 | 0:08:08 | |
-LAUGHTER -You know... -What happens to us?! | 0:08:08 | 0:08:13 | |
Come to the show, I'll tell you everything. | 0:08:13 | 0:08:16 | |
Weren't you talking about the mysterious hair loss for women? | 0:08:17 | 0:08:21 | |
You mean the balding pudenda? | 0:08:21 | 0:08:23 | |
-That's what I mean. Yes. -What? | 0:08:23 | 0:08:25 | |
-The balding pudenda. -Pudenda? | 0:08:25 | 0:08:28 | |
-Yes. -Pudenda. -Yeah, I've got you. | 0:08:28 | 0:08:29 | |
What is that? | 0:08:29 | 0:08:31 | |
-Well, in one's youth... -Wait, do I want to know what this is? | 0:08:31 | 0:08:34 | |
I don't know, I don't know if you do. | 0:08:34 | 0:08:36 | |
-But I will just put it this way. -Let's hear it. | 0:08:36 | 0:08:38 | |
There was once a time where.... | 0:08:38 | 0:08:41 | |
I don't even know if I should tell it. | 0:08:45 | 0:08:47 | |
-I'm really scared! -Tell it, tell it. | 0:08:47 | 0:08:49 | |
I can't believe you don't know what a pudenda is. | 0:08:49 | 0:08:52 | |
Can you say pubic hair? I can say pubic hair? | 0:08:52 | 0:08:54 | |
Pubic hair? Yes! | 0:08:54 | 0:08:56 | |
AUDIENCE EXCLAIMS | 0:08:56 | 0:08:59 | |
You're not a doctor, but we'll still let you. | 0:08:59 | 0:09:03 | |
-Once where there was an afro... -Right. | 0:09:03 | 0:09:06 | |
..that I could put beads on and braid... | 0:09:06 | 0:09:09 | |
LAUGHTER | 0:09:09 | 0:09:11 | |
-Wow! -Yeah. | 0:09:13 | 0:09:15 | |
..there is now Paul Shaffer's head. | 0:09:15 | 0:09:18 | |
Paul... Oh, OK. OK. | 0:09:18 | 0:09:19 | |
OK, empty bald. There we go. | 0:09:19 | 0:09:22 | |
But there's more to it, but you have to come. | 0:09:22 | 0:09:25 | |
You have to... | 0:09:25 | 0:09:27 | |
LAUGHTER AND APPLAUSE | 0:09:27 | 0:09:29 | |
They seem willing, they seem willing. | 0:09:32 | 0:09:34 | |
They do seem willing. | 0:09:34 | 0:09:35 | |
Here's the thing, ladies and gentlemen, Whoopi Goldberg, | 0:09:35 | 0:09:38 | |
your first big film role, | 0:09:38 | 0:09:40 | |
-your first Oscar nomination, The Color Purple. -Yes. | 0:09:40 | 0:09:43 | |
The audition for that, for Steven Spielberg, | 0:09:43 | 0:09:45 | |
did you do, like, a whole show for him? | 0:09:45 | 0:09:48 | |
Yeah, I'd been doing my show in New York. | 0:09:48 | 0:09:51 | |
When we were just about finished, my manager said, | 0:09:51 | 0:09:56 | |
"Oh, Steven Spielberg can't make it to the show in New York. | 0:09:56 | 0:10:01 | |
"He'd like you to come to LA and do your show at Amblin Studios", | 0:10:01 | 0:10:07 | |
which is his studio. | 0:10:07 | 0:10:10 | |
I was like, "What?!" | 0:10:10 | 0:10:13 | |
They said, "He wants you to come." I said, "But why?" | 0:10:13 | 0:10:16 | |
"Cos he wants to see the show." | 0:10:16 | 0:10:19 | |
I said, "Oh, OK." Cos I thought they were kidding. | 0:10:19 | 0:10:24 | |
So when I got to Los Angeles and got to the studio I thought, | 0:10:24 | 0:10:30 | |
"Oh, maybe this is real." So I go in. | 0:10:30 | 0:10:34 | |
His secretary comes and he comes and gets me. | 0:10:36 | 0:10:39 | |
All I can think of is, "Oh, shit." | 0:10:39 | 0:10:43 | |
Wait, wait, there's, like, no other people there? | 0:10:43 | 0:10:46 | |
-No, it's just... -There wasn't like a sound stage and...? -No. | 0:10:46 | 0:10:51 | |
-No, they took me right into his office. -He's sitting there. | 0:10:51 | 0:10:54 | |
He's sitting there and he's smiling at me. | 0:10:54 | 0:10:57 | |
-He said, "I want to see your show." -Come on! | 0:10:57 | 0:11:00 | |
-I swear to God. -Come on! | 0:11:00 | 0:11:03 | |
So I did the show and he laughed a lot. He liked it. | 0:11:03 | 0:11:07 | |
Then he said, "More." | 0:11:07 | 0:11:08 | |
I had been instructed not to do any more than the show. | 0:11:08 | 0:11:12 | |
-So what happened? -Well... | 0:11:12 | 0:11:15 | |
I had one more piece called Bleetee, B-L-E-E-T-E-E, | 0:11:15 | 0:11:21 | |
about what would happen if ET landed in Oakland. | 0:11:21 | 0:11:27 | |
Now, Oakland, California at the time was a very... | 0:11:27 | 0:11:31 | |
You know, it was a rough area, phones didn't work, | 0:11:31 | 0:11:34 | |
so it was a whole thing. | 0:11:34 | 0:11:36 | |
So Bleetee lands, he meets these two kids, | 0:11:36 | 0:11:38 | |
they take him to the projects, he wants to phone home, no phones work. | 0:11:38 | 0:11:44 | |
He then falls in with some guys who are running prostitutes | 0:11:44 | 0:11:48 | |
and he gets a Jheri curl. | 0:11:48 | 0:11:51 | |
I don't know if you remember, Jheri curls were... | 0:11:51 | 0:11:54 | |
Black folks had this thing where we would put this stuff in our hair | 0:11:54 | 0:11:58 | |
and it made it look wet and drippy. | 0:11:58 | 0:12:00 | |
He had then a powder blue suit and he was running whores. | 0:12:00 | 0:12:05 | |
When his people came to get him, he shot 'em up, he killed them, | 0:12:05 | 0:12:09 | |
cos he... | 0:12:09 | 0:12:11 | |
He didn't recognise... he didn't recognise his people. | 0:12:12 | 0:12:16 | |
The whole point of doing Bleetee was to remind people | 0:12:16 | 0:12:20 | |
that it's OK to assimilate, but you can never forget who you are. | 0:12:20 | 0:12:24 | |
So he's on the floor and I'm thinking, "This can't be good." | 0:12:24 | 0:12:29 | |
Then he said, "I want to talk to you. | 0:12:29 | 0:12:32 | |
"I want you to play Celie in The Color Purple." | 0:12:32 | 0:12:34 | |
I said, "Come on, man, what?!" | 0:12:34 | 0:12:37 | |
He said, "Yeah." And I burst into tears. | 0:12:37 | 0:12:40 | |
I said, "I think I could really suck at this." | 0:12:40 | 0:12:43 | |
He said, "Have you sucked before?" | 0:12:43 | 0:12:46 | |
LAUGHTER | 0:12:46 | 0:12:49 | |
And I said, "I've got to tell you, yeah." | 0:12:53 | 0:12:56 | |
He said, "Well, then, this one won't bother you." | 0:12:56 | 0:12:59 | |
That's how I got to make that movie. | 0:12:59 | 0:13:02 | |
Wow, and aren't we glad? | 0:13:02 | 0:13:03 | |
APPLAUSE Yes. | 0:13:03 | 0:13:05 | |
Jamie Dornan, you had an even earlier start in showbusiness. | 0:13:08 | 0:13:12 | |
I believe it was a Christmas show. | 0:13:12 | 0:13:15 | |
Were you four in your Christmas show? | 0:13:15 | 0:13:16 | |
I was four when I got my big break. Yeah, four. | 0:13:16 | 0:13:20 | |
-Yeah. You did have problems. -Yeah, I had one line. | 0:13:20 | 0:13:25 | |
It was a nativity play, which is familiar to most of us. | 0:13:25 | 0:13:31 | |
-I was obviously one of the three wise men. -Obviously. | 0:13:31 | 0:13:35 | |
-You had a beard. -Yeah, exactly. | 0:13:35 | 0:13:38 | |
Yeah, yeah... I didn't. | 0:13:38 | 0:13:42 | |
I had to... | 0:13:42 | 0:13:43 | |
I'm from Northern Ireland, | 0:13:43 | 0:13:45 | |
which is a peculiar little place where you speak quite funny. | 0:13:45 | 0:13:50 | |
A lot of words sound the same. | 0:13:50 | 0:13:52 | |
A lot of the words, you're not sure what you said. | 0:13:52 | 0:13:55 | |
Anyway, I was the guy who brought the myrrh. | 0:13:55 | 0:13:59 | |
Which, when I say it, is just like reflective glass. | 0:14:01 | 0:14:04 | |
You know what I mean? So I was like... | 0:14:04 | 0:14:06 | |
"So what have you brought?" "The gold." "You brought?" | 0:14:06 | 0:14:09 | |
"The frankincense." | 0:14:09 | 0:14:11 | |
I was like, "Oh, my God." "What have you brought?" | 0:14:11 | 0:14:13 | |
I was like, "The MIRROR." | 0:14:13 | 0:14:14 | |
LAUGHTER | 0:14:14 | 0:14:15 | |
They asked me to repeat it. | 0:14:15 | 0:14:17 | |
"I'm sorry?" | 0:14:17 | 0:14:19 | |
I guess it's meant to sound slightly different to that. | 0:14:19 | 0:14:22 | |
They went, "Again." I went, "I brought the MYRRH?" | 0:14:22 | 0:14:26 | |
I put, like, a tiny different note on it. | 0:14:26 | 0:14:29 | |
I like that Joseph asked you again. "What?!" | 0:14:29 | 0:14:33 | |
-Wait, I'm sorry, how old were you? -Four. -Four! | 0:14:33 | 0:14:36 | |
-I know. -OK. -Yeah. | 0:14:36 | 0:14:38 | |
-That's tough. -Yeah. | 0:14:38 | 0:14:39 | |
No, but he made an adjustment to the dialogue. | 0:14:39 | 0:14:42 | |
To the manor born, you changed it. | 0:14:42 | 0:14:46 | |
You could see the star in me then, | 0:14:46 | 0:14:49 | |
is what you're trying to say. | 0:14:49 | 0:14:52 | |
MIRROR. | 0:14:52 | 0:14:54 | |
LAUGHTER | 0:14:54 | 0:14:56 | |
Talking of looking young, Keanu Reeves, you seem unchanged. | 0:14:56 | 0:15:02 | |
That's not true. | 0:15:02 | 0:15:04 | |
Well, you seem it, you seem it. Can I ask...? I know, but can I...? | 0:15:04 | 0:15:07 | |
Tell the people how old you are. | 0:15:07 | 0:15:09 | |
I'm 5-2. | 0:15:09 | 0:15:11 | |
-GASPING -Really? -Yeah. | 0:15:11 | 0:15:13 | |
I always think of you in your 30s. | 0:15:13 | 0:15:15 | |
I know! Cos he looks it! | 0:15:15 | 0:15:18 | |
-Yeah! -52! Look what happened in a year. | 0:15:18 | 0:15:21 | |
What did I do for the last 12 months? | 0:15:24 | 0:15:27 | |
What have you been doing, man? | 0:15:27 | 0:15:29 | |
I looked like that a year ago, I really did. | 0:15:29 | 0:15:31 | |
Listen, Keanu Reeves, all suited and booted, | 0:15:31 | 0:15:34 | |
ready to kick some ass in John Wick 2. | 0:15:34 | 0:15:37 | |
-Well, it's John Wick: Chapter 2, isn't that what it's called? -Yes. | 0:15:37 | 0:15:40 | |
John Wick: Chapter 2. It's out on the 17th of February. | 0:15:40 | 0:15:42 | |
Oddly, previews on Valentine's Day. | 0:15:42 | 0:15:45 | |
I mean, it's a really enjoyable film. I'm not sure it's a date film. | 0:15:45 | 0:15:48 | |
-It's really a date movie. -Yeah. | 0:15:48 | 0:15:52 | |
It is! | 0:15:52 | 0:15:54 | |
No? | 0:15:54 | 0:15:55 | |
-I'd go. -Right? -Yeah, hell yeah. -Me too. | 0:15:56 | 0:15:59 | |
If anyone isn't familiar with the character of dangerous John Wick, | 0:15:59 | 0:16:03 | |
-explain who he is and the situation he's in. -OK, sure. | 0:16:03 | 0:16:07 | |
-So I play a character named John Wick. -No. -Yeah. | 0:16:07 | 0:16:10 | |
In it I play a mythical, kind of, legendary assassin, | 0:16:11 | 0:16:19 | |
but he fell in love and he's married. | 0:16:19 | 0:16:22 | |
In the first film, John Wick, | 0:16:22 | 0:16:24 | |
his wife passes away and he wants to retire. That story goes. | 0:16:24 | 0:16:29 | |
In Chapter 2, he's trying to retire. | 0:16:29 | 0:16:34 | |
The consequences of being an assassin revisit him, | 0:16:34 | 0:16:38 | |
and I'm forced to kind of pay a debt. | 0:16:38 | 0:16:41 | |
That's the beginning of it. John Wick is fighting for his life. | 0:16:41 | 0:16:46 | |
He's fighting for John to just grieve and be left alone. | 0:16:46 | 0:16:51 | |
But, my God, so many assassins in this film. It terrifies you. | 0:16:51 | 0:16:55 | |
You come out of the cinema going... | 0:16:55 | 0:16:57 | |
Yeah, there's a lot of people who want him dead. It's cool. | 0:16:57 | 0:17:01 | |
The tone of John Wick, it's really great action, | 0:17:01 | 0:17:04 | |
but there's humour and there's this kind of fantastical other world, | 0:17:04 | 0:17:08 | |
hyper-reality of the underworld, of the criminal element, | 0:17:08 | 0:17:12 | |
then there's the real world. | 0:17:12 | 0:17:14 | |
So there's a really fun tone to the film. | 0:17:14 | 0:17:16 | |
But, when you get to set, when you get to set...? | 0:17:16 | 0:17:18 | |
Cos some of the people... | 0:17:18 | 0:17:20 | |
-You know, you are fighting a lot of people in this thing. -Yeah, yeah. | 0:17:20 | 0:17:23 | |
Some of the people are just, like, men mountains. | 0:17:23 | 0:17:26 | |
I mean, they're just 7'2". You must think, "Really?" | 0:17:26 | 0:17:29 | |
No, man, I'm John Wick. No, no, John Wick. | 0:17:29 | 0:17:34 | |
John Wick's got will, he's fighting for his life. | 0:17:34 | 0:17:37 | |
There's no mountain he can't climb. He'll knock them down. | 0:17:37 | 0:17:41 | |
Listen, I love this guy, I do, I do. | 0:17:41 | 0:17:43 | |
I feel like if he can beat 'em, I have a shot. | 0:17:43 | 0:17:49 | |
I've seen and I know he's confident, I go right behind him, | 0:17:51 | 0:17:55 | |
"Yeah, I'll kick... Come on." | 0:17:55 | 0:17:57 | |
-Cos he makes you believe that you could do anything. -Yes! | 0:17:57 | 0:18:01 | |
-I think so anyway. -Awesome. -Yeah. | 0:18:01 | 0:18:03 | |
Not a broken bone, a few scratches... | 0:18:03 | 0:18:06 | |
You do get hurt, though, John Wick gets hurt. | 0:18:06 | 0:18:08 | |
John Wick does get hurt, yeah. | 0:18:08 | 0:18:09 | |
The director takes quite a glee in really knock... | 0:18:09 | 0:18:13 | |
Getting hit by cars, getting thrown through windows, getting shot, | 0:18:13 | 0:18:17 | |
getting stabbed. | 0:18:17 | 0:18:19 | |
Also, you know, he mixes techniques, so there's judo, Jiu Jitsu, | 0:18:19 | 0:18:23 | |
then gun work. | 0:18:23 | 0:18:24 | |
I had a lot of great teachers. I try to do as much action as I can. | 0:18:24 | 0:18:28 | |
Well, in our clip, you're talking. | 0:18:28 | 0:18:30 | |
-This is you as a... -Laurence Fishburne! | 0:18:32 | 0:18:36 | |
Yes, with your old friend Laurence Fishburne. Here we go. | 0:18:36 | 0:18:39 | |
He's offered 7 million for your life. | 0:18:39 | 0:18:42 | |
7 million is a lot of money, Mr Wick. | 0:18:42 | 0:18:46 | |
So I guess you have a choice. | 0:18:52 | 0:18:55 | |
You want a war or do you want to just give me a gun? | 0:18:55 | 0:18:59 | |
Somebody, please, get this man a gun! | 0:19:01 | 0:19:06 | |
Let's go. | 0:19:16 | 0:19:17 | |
Now, obviously, John Wick 2. There were three Matrixes. Matrixeses. | 0:19:25 | 0:19:29 | |
-I don't know how you say that. -Sure. | 0:19:29 | 0:19:31 | |
How do you...? Is it Matrixi? | 0:19:31 | 0:19:34 | |
-It's just The Matrix. -Matrices, I've just been told in my ear, Matrices. | 0:19:34 | 0:19:38 | |
Who told you that? | 0:19:38 | 0:19:39 | |
Who told you Matrices? | 0:19:41 | 0:19:43 | |
-You know that's not right. -Yeah... | 0:19:47 | 0:19:49 | |
Yeah, he speaks, I speak. That's what happens. | 0:19:49 | 0:19:53 | |
Talking of sequels, much excitement... | 0:19:53 | 0:19:56 | |
Well, maybe, is it true? Bill & Ted 3? | 0:19:56 | 0:19:59 | |
CHEERING | 0:19:59 | 0:20:01 | |
-Oh, wow. -Please, please. -Oh, really? -Yeah, man, of course. | 0:20:01 | 0:20:04 | |
Cool. All right, Bill & Ted, still alive. | 0:20:04 | 0:20:07 | |
No, but I heard this is a thing. Haven't you talked about this? | 0:20:07 | 0:20:10 | |
Yeah, yeah. The writers had a story and we're trying to make it. Yeah. | 0:20:10 | 0:20:17 | |
So where are Bill and Ted now? They must be in their 50s now? | 0:20:17 | 0:20:21 | |
Yeah, it would be Bill and Ted in their 50s. | 0:20:21 | 0:20:25 | |
I mean, that just makes me laugh right there. | 0:20:25 | 0:20:28 | |
I mean, what happened to these guys? | 0:20:28 | 0:20:30 | |
But there's a cool story. | 0:20:30 | 0:20:33 | |
Basically they're supposed to write a song to save the world | 0:20:33 | 0:20:35 | |
and they haven't done that. | 0:20:35 | 0:20:37 | |
So...so the pressure of having to save the world, you know, | 0:20:37 | 0:20:43 | |
their marriages are falling apart, their kids are kind of mad at them. | 0:20:43 | 0:20:47 | |
But then someone comes from the future and tells them if they | 0:20:47 | 0:20:50 | |
don't write the song, it's not just the world now, it's the universe. | 0:20:50 | 0:20:54 | |
So they have to save the universe because, you know, | 0:20:54 | 0:20:57 | |
time is breaking apart. So then elements of the past are... | 0:20:57 | 0:21:02 | |
Whoopi's really into it, by the way. | 0:21:02 | 0:21:04 | |
-I must be person from the... -You're in it! | 0:21:04 | 0:21:06 | |
I have to be the person from the future, I have to be. | 0:21:06 | 0:21:09 | |
Oh, I would so love to go and see Bill & Ted 3 and you're in it... | 0:21:09 | 0:21:12 | |
-LAUGHTER -Well, yeah, why not? | 0:21:12 | 0:21:15 | |
-Yeah, there's totally a role for you. -Cos I can't get in a movie with him. | 0:21:15 | 0:21:18 | |
You know, it's just not going to happen. | 0:21:20 | 0:21:23 | |
Maybe not those movies, but, like, you know... | 0:21:23 | 0:21:25 | |
Oh, right, OK. You find someone with some clothes on, I'll come in. | 0:21:25 | 0:21:27 | |
LAUGHTER | 0:21:27 | 0:21:31 | |
APPLAUSE | 0:21:31 | 0:21:33 | |
The air guitar thing, | 0:21:36 | 0:21:37 | |
is that something, if you're ever in a bar and a guitar song comes in, | 0:21:37 | 0:21:41 | |
do people just look at you like, "He's going to, he's going to"? | 0:21:41 | 0:21:45 | |
Yeah, which is kind of cool in a way, it's still alive. | 0:21:45 | 0:21:49 | |
So the idea is you say "Excellent", and then things happen. | 0:21:49 | 0:21:51 | |
-Yeah, you do that thing, yeah. -(OK, say "Excellent", say "Excellent.") | 0:21:51 | 0:21:54 | |
-What? -(Go on.) Say "Excellent". | 0:21:54 | 0:21:56 | |
OK, I'm going to use this like I'm training. | 0:21:56 | 0:21:58 | |
You're doing the movie again, you're doing Bill & Ted 3. | 0:21:58 | 0:22:00 | |
Excellent! | 0:22:00 | 0:22:02 | |
GUITAR RIFF PLAYS | 0:22:02 | 0:22:05 | |
Bad! Bad Keanu Reeves! | 0:22:05 | 0:22:09 | |
That was terrible. | 0:22:09 | 0:22:10 | |
-Right, Jamie Dornan. -Hello. | 0:22:12 | 0:22:14 | |
Giving us another hugely anticipated sequel - Fifty Shades Darker. | 0:22:14 | 0:22:18 | |
-Uh-huh. -WHOOPING | 0:22:18 | 0:22:19 | |
It's out tonight. WHOOPI CHUCKLES | 0:22:19 | 0:22:23 | |
Come on, Whoopi. | 0:22:23 | 0:22:24 | |
Give us a break. | 0:22:25 | 0:22:26 | |
No, no, cos every time I hear Fifty Shades Darker, I think, | 0:22:26 | 0:22:31 | |
"Who do I know?" | 0:22:31 | 0:22:33 | |
You know, cos in the sun, that's what happens to me. | 0:22:34 | 0:22:37 | |
You'll get it later. | 0:22:38 | 0:22:40 | |
The first one was such a massive success. | 0:22:42 | 0:22:45 | |
Is it true it caused a bit of a mini population explosion, | 0:22:45 | 0:22:49 | |
-the first movie? -It apparently did, yeah. | 0:22:49 | 0:22:51 | |
Yeah, there was a bit of a baby boom. | 0:22:51 | 0:22:54 | |
-Yeah, which is a lovely thing. -That is nice. | 0:22:56 | 0:23:00 | |
But, actually, something really lovely happened to me in a lift... | 0:23:00 | 0:23:05 | |
Oh, yes? LAUGHTER | 0:23:05 | 0:23:07 | |
I was in a lift. You can't really get away when you're in a lift. | 0:23:09 | 0:23:13 | |
There's nowhere to go. | 0:23:13 | 0:23:15 | |
I got recognised by a very lovely woman who said, "Oh, you're..." | 0:23:15 | 0:23:21 | |
She was more animated than what I'm doing. | 0:23:21 | 0:23:23 | |
She was like, "Oh, my God, you're Jamie Dornan." | 0:23:23 | 0:23:26 | |
I said, "Oh, yeah, thanks. Yeah, that's right" | 0:23:26 | 0:23:29 | |
I was like, "What floor are we going to?" | 0:23:29 | 0:23:31 | |
Just trying to change the subject. | 0:23:31 | 0:23:33 | |
She said, "You know what? | 0:23:33 | 0:23:35 | |
"For years, my husband and I struggled to conceive. | 0:23:35 | 0:23:40 | |
"We thought we were going to do IVF | 0:23:40 | 0:23:43 | |
"and were starting to look at other channels, | 0:23:43 | 0:23:46 | |
"then after your movie came out, we made a baby naturally." | 0:23:46 | 0:23:52 | |
Yeah, isn't that nice? | 0:23:52 | 0:23:54 | |
-Wow. -I know. | 0:23:54 | 0:23:56 | |
It is so hard to know how to respond to something like that. | 0:23:56 | 0:24:00 | |
Got it. Thank you. | 0:24:00 | 0:24:02 | |
Yeah. | 0:24:03 | 0:24:05 | |
It was, um... Yeah, it was a nice moment. | 0:24:05 | 0:24:07 | |
But you want to inspire people with your work. | 0:24:07 | 0:24:10 | |
-Whatever it takes. -Yeah, hey, he put the work in. | 0:24:10 | 0:24:15 | |
Fifty Shades Darker, but, actually, this isn't darker. | 0:24:15 | 0:24:18 | |
It's more romantic, I would say. | 0:24:18 | 0:24:19 | |
Yeah, I think that's probably true, yeah. | 0:24:19 | 0:24:22 | |
Yes. There's probably more sex in it... | 0:24:22 | 0:24:26 | |
GIGGLING | 0:24:26 | 0:24:27 | |
LAUGHTER | 0:24:27 | 0:24:29 | |
More sex?! Jamie doesn't speak. | 0:24:29 | 0:24:32 | |
No. | 0:24:32 | 0:24:33 | |
I make noises. | 0:24:34 | 0:24:36 | |
I make, like...American-accented noises throughout. | 0:24:38 | 0:24:43 | |
Yeah, that's actually a question, though - do they let you do that? | 0:24:43 | 0:24:46 | |
When you're doing the scenes, does the director say, | 0:24:46 | 0:24:50 | |
"More vocalisation" or do they say less? | 0:24:50 | 0:24:54 | |
There's often stuff... | 0:24:54 | 0:24:56 | |
JAMIE CHUCKLES | 0:24:56 | 0:24:58 | |
-It's like... -KEANU SCREAMS | 0:24:58 | 0:25:00 | |
-They're like, "No, that's not good." -No-one comes like that. | 0:25:00 | 0:25:04 | |
LAUGHTER AND APPLAUSE | 0:25:04 | 0:25:07 | |
Yeah, they do. | 0:25:07 | 0:25:08 | |
Yeah, they do, man. | 0:25:08 | 0:25:10 | |
There are some scenes where they will play music, maybe... | 0:25:10 | 0:25:16 | |
If it's a wide shot and it's not all... | 0:25:16 | 0:25:19 | |
It's the closest we get to sort of, kind of, | 0:25:19 | 0:25:22 | |
just going for it in one piece. They'll play music or something. | 0:25:22 | 0:25:27 | |
My temptation is always just to try to make Dakota laugh. | 0:25:27 | 0:25:30 | |
Sometimes I'll do things like... | 0:25:30 | 0:25:32 | |
When there's a moment where I'm meant to, you know, orgasm, | 0:25:32 | 0:25:36 | |
I'll be like... | 0:25:36 | 0:25:37 | |
# Doodle-do do-do-do! # | 0:25:37 | 0:25:38 | |
LAUGHTER | 0:25:38 | 0:25:41 | |
See, people do that. | 0:25:41 | 0:25:43 | |
Which, by the way, if they don't, they should. | 0:25:43 | 0:25:47 | |
It's like a Ryanair flight when a Ryanair flight lands, | 0:25:47 | 0:25:50 | |
# Doodle-do do-do-do. # | 0:25:50 | 0:25:52 | |
Was it nicer for you this time? | 0:25:59 | 0:26:01 | |
Because last time it was you and everyone else was a woman - | 0:26:01 | 0:26:05 | |
the director and everybody. | 0:26:05 | 0:26:07 | |
-This time, it's a man directing. -It is. | 0:26:07 | 0:26:09 | |
Did that make a difference? | 0:26:09 | 0:26:10 | |
Och, no, not really, to be honest. I mean, I think whoever is tasked | 0:26:10 | 0:26:14 | |
with directing those kind of scenes... | 0:26:14 | 0:26:17 | |
I mean, these guys know, sex scenes are awkward anyway. | 0:26:17 | 0:26:21 | |
It just needs a very... | 0:26:21 | 0:26:23 | |
This is why I love him. | 0:26:23 | 0:26:26 | |
Cos he includes me. | 0:26:26 | 0:26:28 | |
"These guys know, sex scenes are just really hard." | 0:26:28 | 0:26:31 | |
It's like, "No, babe." | 0:26:31 | 0:26:33 | |
-Have you never done a sex scene? -No... | 0:26:33 | 0:26:36 | |
-What? -But you've been in so many films. | 0:26:36 | 0:26:39 | |
-Surely somebody at some point...? -No. No, no, no, no. | 0:26:39 | 0:26:42 | |
-Not in Back In The Habit? -No. | 0:26:42 | 0:26:46 | |
There might have been a couple of people under that habit, | 0:26:46 | 0:26:49 | |
but nothing that anybody would see. No, no, no. No. | 0:26:49 | 0:26:52 | |
-Was that your decision? -No. | 0:26:52 | 0:26:56 | |
No. | 0:26:57 | 0:26:59 | |
There's still time for that kind of thing. | 0:26:59 | 0:27:02 | |
Well, I don't know. | 0:27:02 | 0:27:04 | |
But it's fun to watch other people kind of get it on. | 0:27:04 | 0:27:08 | |
-Yeah. -Yeah. -Yeah. -Mm-hmm. | 0:27:09 | 0:27:11 | |
Hey, let's watch a clip. | 0:27:11 | 0:27:12 | |
This is you talking. | 0:27:15 | 0:27:16 | |
-This is you and Dakota Johnson at an auction. -Great. | 0:27:18 | 0:27:23 | |
-This is going at 10,000. -10,000. | 0:27:23 | 0:27:26 | |
Thank you, ma'am. 10,000. | 0:27:26 | 0:27:28 | |
I didn't know you had a place in Aspen. | 0:27:28 | 0:27:29 | |
I have a lot of places. | 0:27:29 | 0:27:31 | |
We have some ski lovers in the room tonight. | 0:27:31 | 0:27:34 | |
-19. -19,000. Thank you, sir. | 0:27:34 | 0:27:36 | |
-A week of luxury in America's finest ski resort. -24,000. | 0:27:36 | 0:27:41 | |
New blood. 24,000, I am bid. Do I hear 25,000? | 0:27:41 | 0:27:47 | |
That money was for you. | 0:27:47 | 0:27:48 | |
Now it'll go to someone who needs it. | 0:27:48 | 0:27:50 | |
I don't know whether to worship at your feet or spank you. | 0:27:50 | 0:27:54 | |
24,000 going once... | 0:27:54 | 0:27:57 | |
I think I'll take option two. | 0:27:58 | 0:28:01 | |
Sold to the young lady in silver. | 0:28:01 | 0:28:04 | |
Oh! | 0:28:04 | 0:28:05 | |
Very good. OK, it's time to meet my next guest. | 0:28:10 | 0:28:13 | |
Just listen to these films. | 0:28:13 | 0:28:15 | |
Malcolm X, Training Day, | 0:28:15 | 0:28:16 | |
Philadelphia, American Gangster, Man On Fire - | 0:28:16 | 0:28:19 | |
he's starred in them all and more. | 0:28:19 | 0:28:20 | |
It's always a pleasure to welcome back to the show | 0:28:20 | 0:28:23 | |
the great Denzel Washington! | 0:28:23 | 0:28:24 | |
CHEERING AND APPLAUSE | 0:28:24 | 0:28:28 | |
Hello! | 0:28:28 | 0:28:29 | |
Really lovely to see you. | 0:28:29 | 0:28:31 | |
Good to see you, brother. How are you doing? | 0:28:36 | 0:28:39 | |
How are you doing? Nice to meet you. | 0:28:39 | 0:28:40 | |
Shove down a little, tiny bit. Denzel Washington. | 0:28:40 | 0:28:43 | |
CHEERING Listen to that. | 0:28:43 | 0:28:46 | |
All the love. The love, the love. | 0:28:46 | 0:28:49 | |
-Welcome back, sir, lovely to see you. -Good to be seen by you. | 0:28:49 | 0:28:52 | |
Now, you know the guys. You've worked with Keanu. | 0:28:52 | 0:28:54 | |
- I haven't seen you in how long? - I don't know. | 0:28:54 | 0:28:56 | |
We've passed each other once in a while, here and there, but, yeah. | 0:28:56 | 0:28:59 | |
Did you work in Britain? Did you make Much Ado About Nothing here? | 0:28:59 | 0:29:02 | |
No. Greve. | 0:29:02 | 0:29:03 | |
- Greve! - Greve, outside of Florence. | 0:29:03 | 0:29:04 | |
Oh, posh. | 0:29:04 | 0:29:05 | |
Whoopi Goldberg, of course, was it you gave Whoopi her Oscar? | 0:29:07 | 0:29:12 | |
Yes. Yes, you did. | 0:29:12 | 0:29:14 | |
Did you see this picture? We look like four-year-olds. Look at that. | 0:29:16 | 0:29:20 | |
-You know why I was so skinny? I was working on Ricochet. -Oh. | 0:29:20 | 0:29:23 | |
While we were doing the Oscars, around that time. | 0:29:23 | 0:29:26 | |
-You're still skinny. -Black, black is the key. Black. | 0:29:26 | 0:29:29 | |
Legs crossed, black. | 0:29:29 | 0:29:31 | |
So, your new movie is fabulous. It's Fences. | 0:29:34 | 0:29:37 | |
It's in selected cinemas tonight, then it's everywhere next Friday. | 0:29:37 | 0:29:42 | |
This is the first time the famous August Wilson play | 0:29:42 | 0:29:45 | |
has been filmed, and you star in it and you directed it. | 0:29:45 | 0:29:48 | |
Congratulations, Oscar-nominated. | 0:29:48 | 0:29:51 | |
CHEERING AND APPLAUSE | 0:29:51 | 0:29:53 | |
Alongside Viola Davis, who's... | 0:29:56 | 0:29:58 | |
Viola Davis, is that like... You know that people say, | 0:29:58 | 0:30:01 | |
"Oh, if you play tennis against a good person, you get better"? | 0:30:01 | 0:30:03 | |
-Mm-hmm. -Acting with her must be a joy. | 0:30:03 | 0:30:06 | |
If you play tennis against a good person, you lose, | 0:30:06 | 0:30:09 | |
and then you get better. | 0:30:09 | 0:30:11 | |
You know, 16, 17 years ago, I directed my first film. | 0:30:11 | 0:30:16 | |
She was one of the first people I hired. I knew how good she was then. | 0:30:16 | 0:30:20 | |
When I decided to do the play, five or six years ago, | 0:30:20 | 0:30:24 | |
Scott Rudin and I produced it... Well, he produced it, | 0:30:24 | 0:30:27 | |
but the first person we decided to hire was Viola for the play. | 0:30:27 | 0:30:31 | |
She kills it. I mean, she's great in this movie. | 0:30:31 | 0:30:35 | |
I mean, in fairness, you all are. | 0:30:35 | 0:30:37 | |
Now, if people don't know the play, tell us about it. | 0:30:37 | 0:30:40 | |
It's about a family. | 0:30:40 | 0:30:42 | |
I play a man who was frustrated | 0:30:42 | 0:30:44 | |
because he didn't make it to the major leagues | 0:30:44 | 0:30:47 | |
because he was too old and because he was black. | 0:30:47 | 0:30:49 | |
That's what HE thinks. | 0:30:49 | 0:30:51 | |
His frustration and anger, if you will, is sort of... | 0:30:51 | 0:30:57 | |
Without giving it all away. | 0:30:57 | 0:30:58 | |
It's about fathers and sons, and husbands and wives... | 0:30:58 | 0:31:04 | |
and other women. | 0:31:04 | 0:31:06 | |
DENZEL CHUCKLES | 0:31:06 | 0:31:08 | |
It won the Pulitzer Prize as a play, multiple Tony Awards. | 0:31:11 | 0:31:16 | |
We revived it in 2010. | 0:31:16 | 0:31:19 | |
It actually broke the record for the most nominations for any play | 0:31:19 | 0:31:22 | |
in the history of the Tony Awards. | 0:31:22 | 0:31:24 | |
Viola won, I won, Best Revival, all of that. | 0:31:24 | 0:31:28 | |
So here we are now, six years after the play, and I directed the film. | 0:31:28 | 0:31:33 | |
We're up for Best Picture and Actor and Actress, and Adapted Screenplay. | 0:31:33 | 0:31:37 | |
August Wilson is up, I'm really happy about that. | 0:31:37 | 0:31:40 | |
Wow. It's a stunning, stunning film. | 0:31:40 | 0:31:41 | |
Your character is interesting, because you feel for him, | 0:31:41 | 0:31:44 | |
-and yet he is, really, quite unsympathetic. -Yeah. | 0:31:44 | 0:31:47 | |
Well, he writes... | 0:31:47 | 0:31:49 | |
August Wilson writes ordinary, real people, warts and all. | 0:31:49 | 0:31:53 | |
Nobody is perfect, it's like life. And he's unapologetic. | 0:31:53 | 0:31:58 | |
You know, again, without giving it away, Troy is brutally honest. | 0:31:58 | 0:32:04 | |
OK, we've got a clip. | 0:32:04 | 0:32:06 | |
-This is yourself and Viola Davis discussing one of your sons. -Uh-oh. | 0:32:06 | 0:32:11 | |
Why don't you go ahead and let the boy play football, Troy? | 0:32:11 | 0:32:14 | |
He just wants to be like you with the sports. | 0:32:14 | 0:32:16 | |
I don't want him to be like me. | 0:32:16 | 0:32:18 | |
I want him to get as far away from my life as he possibly can get. | 0:32:18 | 0:32:20 | |
You're the only decent thing that ever happened to me, Rose. | 0:32:20 | 0:32:23 | |
I wish him that. But I don't wish him nothing else from my life. | 0:32:23 | 0:32:27 | |
I decided 17 years ago that boy wasn't going to get involved | 0:32:29 | 0:32:32 | |
in no sports. Not after what they did to me in the sports. | 0:32:32 | 0:32:34 | |
Why don't you just admit you were too old for the major leagues? | 0:32:34 | 0:32:37 | |
-For once, why don't you just admit that? -Telling me I was too old. | 0:32:37 | 0:32:40 | |
I just wasn't the right colour. | 0:32:40 | 0:32:42 | |
Hell, I'm 53 years old and can do better than Selkirk's 269 right now. | 0:32:42 | 0:32:46 | |
How were you going to play ball when you were over 40? | 0:32:46 | 0:32:49 | |
Sometimes I can't get no sense out of you. | 0:32:49 | 0:32:50 | |
I've got good sense, woman. | 0:32:50 | 0:32:51 | |
I've got sense enough not to let that boy get hurt playing no sports. | 0:32:51 | 0:32:55 | |
You're mothering the boy too much, | 0:32:55 | 0:32:56 | |
worrying about whether people like him or not. | 0:32:56 | 0:32:58 | |
Everything that boy do, he do for you. | 0:32:58 | 0:33:01 | |
He wants you to say, "Good job, son." That's all. | 0:33:01 | 0:33:04 | |
I ain't got time for that, Rose. He's alive, he's healthy. | 0:33:04 | 0:33:07 | |
He's got to make his own way, I made mine. | 0:33:07 | 0:33:10 | |
Ain't nobody going to hold his hand when he get out there in the world. | 0:33:10 | 0:33:13 | |
Times are changed, Troy. People change. | 0:33:13 | 0:33:17 | |
The world changing and you can't even see it. | 0:33:17 | 0:33:20 | |
-Thank you. That's actually one of the quieter scenes. -Yeah... | 0:33:26 | 0:33:31 | |
There's a lot of... | 0:33:31 | 0:33:32 | |
-Those two-handers you have are sensational. -Sensational. | 0:33:32 | 0:33:36 | |
But apparently on Broadway, like, people got involved. | 0:33:36 | 0:33:40 | |
In the film too. Our first screening in Westwood, and women... | 0:33:40 | 0:33:45 | |
Black, white, yellow, green and blue, started talking back. | 0:33:45 | 0:33:49 | |
It was interesting. We were cutting the film. | 0:33:49 | 0:33:52 | |
Vin Diesel was cutting his film up there too. | 0:33:52 | 0:33:54 | |
He came by, and his sister is his producing partner. | 0:33:54 | 0:33:59 | |
So I showed him the scene where Viola starts telling the truth | 0:33:59 | 0:34:04 | |
in a big way. He's sitting, like, where you are, | 0:34:04 | 0:34:07 | |
and his sister was sitting over there. Screen's up here. | 0:34:07 | 0:34:09 | |
I just started the scene, "Oh, just watch this." | 0:34:09 | 0:34:11 | |
She starts going in, and I start hearing, "Mm-hmm." | 0:34:11 | 0:34:15 | |
I look, and she was... It was like she'd left the room. | 0:34:15 | 0:34:18 | |
"That's right. Mm-hmm." | 0:34:18 | 0:34:21 | |
She just started building... I mean... There's... | 0:34:24 | 0:34:28 | |
It's so real, I guess, and honest, people get involved. | 0:34:28 | 0:34:33 | |
People literally sometimes get up | 0:34:33 | 0:34:35 | |
and start talking back to the screen. | 0:34:35 | 0:34:37 | |
Didn't that happen when you were on stage too? | 0:34:37 | 0:34:39 | |
Oh, yeah, in the play, forget it. | 0:34:39 | 0:34:41 | |
-Oh, forget it! -You would hear somebody saying, | 0:34:41 | 0:34:44 | |
-"She ain't treating him right." -"I'll take him." -"I'll take him." | 0:34:44 | 0:34:48 | |
I won't give it... | 0:34:50 | 0:34:52 | |
I can't give it away, but he walks in with a little one, | 0:34:52 | 0:34:56 | |
and the women went, "Oh, Denzel." | 0:34:56 | 0:34:58 | |
LAUGHTER | 0:34:58 | 0:35:01 | |
"Hey, look, let me just go do this..." | 0:35:01 | 0:35:05 | |
But people get involved. Before they know it, they're in it. | 0:35:05 | 0:35:08 | |
I mean, it's a testament to how great a write August Wilson is. | 0:35:08 | 0:35:12 | |
Also, apparently, it was very different, | 0:35:12 | 0:35:14 | |
cos you filmed on location in Pittsburgh, | 0:35:14 | 0:35:16 | |
so it's quite different from an LA location or a New York location. | 0:35:16 | 0:35:19 | |
It was the best, because we were right there where he lives. | 0:35:19 | 0:35:22 | |
We were right there where August Wilson lived. | 0:35:22 | 0:35:24 | |
We were right there where a lot of people got involved. | 0:35:24 | 0:35:28 | |
There was a man who lived behind us, Mr Greenly. | 0:35:28 | 0:35:30 | |
He couldn't hear well, and he would come out every day and ask if | 0:35:30 | 0:35:33 | |
I wanted coffee, during the scene, or any time. | 0:35:33 | 0:35:35 | |
"Denzel, how are you?" "We're shooting now." "Huh?" | 0:35:35 | 0:35:39 | |
"We're shooting now, Mr Greenly." "You want some coffee?" | 0:35:39 | 0:35:43 | |
"Nah, we're going to go ahead and shoot." "Huh? | 0:35:43 | 0:35:46 | |
"Go on, make the movie. Go and make the movie. | 0:35:46 | 0:35:48 | |
"I'll be in the house." | 0:35:48 | 0:35:50 | |
He'd just come out. | 0:35:51 | 0:35:52 | |
He'd get a chair and sit, like he was watching a movie. | 0:35:52 | 0:35:56 | |
It was like he was watching the movie. | 0:35:56 | 0:35:58 | |
The movie was in his back yard. | 0:35:58 | 0:36:00 | |
I'm not going to see it, I've seen it. | 0:36:00 | 0:36:02 | |
-Know what was sweet? Sorry, I didn't mean to cut you off. -No, no. | 0:36:02 | 0:36:05 | |
We had a screening in Pittsburgh, | 0:36:05 | 0:36:08 | |
and he came in a suit and tie and just proud. | 0:36:08 | 0:36:10 | |
He still couldn't hear, so he had a guy whisper in his ear | 0:36:10 | 0:36:13 | |
to tell him what we were saying, you know? | 0:36:13 | 0:36:16 | |
But he was so proud... He was, he was... | 0:36:16 | 0:36:18 | |
Well, he wasn't in the movie, but he was a part of it. | 0:36:18 | 0:36:21 | |
-It's like he made it. Yeah. -Yeah, he really directed it. | 0:36:21 | 0:36:25 | |
Listen, good luck with the film. Good luck on the 26th at the Oscars. | 0:36:25 | 0:36:29 | |
-Thank you. -Presumably your lovely wife will be going with you. | 0:36:29 | 0:36:33 | |
-My wife is right back there. -Oh, really? Oh, wow. | 0:36:33 | 0:36:35 | |
She's back there because she wants to see some folks out here. | 0:36:35 | 0:36:39 | |
There's some folks she wants to see. | 0:36:39 | 0:36:41 | |
And my son, who's an actor, he does a show... A father's shameless plug. | 0:36:41 | 0:36:46 | |
..Ballers, which co-stars with The Rock. | 0:36:46 | 0:36:49 | |
- He loves you. - Oh, yeah? | 0:36:49 | 0:36:52 | |
So she was trying to get him on the phone so he could say hi. | 0:36:52 | 0:36:54 | |
- Oh, I'll say hi. - But at least take a picture. | 0:36:54 | 0:36:56 | |
I'll try not to keep you. LAUGHTER | 0:36:56 | 0:36:59 | |
Sorry you've got to do this boring shit. | 0:37:02 | 0:37:05 | |
There's going to be a photo out there. | 0:37:08 | 0:37:09 | |
Whoopi is having a photo with Jamie, yeah. We'll set up a photo studio. | 0:37:09 | 0:37:13 | |
It'll be lovely. | 0:37:13 | 0:37:14 | |
It's music time. This man went from the underground hip-hop scene | 0:37:14 | 0:37:18 | |
to top of the charts, and has just won the Brits Critics' Choice Award. | 0:37:18 | 0:37:22 | |
Here performing the hit single Human, it's Rag'n'Bone Man. | 0:37:22 | 0:37:25 | |
CHEERING | 0:37:25 | 0:37:28 | |
# I'm only human | 0:37:32 | 0:37:34 | |
# I'm only, I'm only | 0:37:35 | 0:37:37 | |
# I'm only human | 0:37:39 | 0:37:41 | |
# Human | 0:37:41 | 0:37:42 | |
# Maybe I'm foolish | 0:37:43 | 0:37:45 | |
# Maybe I'm blind | 0:37:45 | 0:37:46 | |
# Thinking I can see through this | 0:37:46 | 0:37:48 | |
# And see what's behind | 0:37:48 | 0:37:50 | |
# Got no way to prove it | 0:37:50 | 0:37:51 | |
# So maybe I'm blind | 0:37:51 | 0:37:55 | |
# But I'm only human after all | 0:37:55 | 0:37:58 | |
# I'm only human after all | 0:37:58 | 0:38:01 | |
# Don't put the blame on me | 0:38:01 | 0:38:02 | |
# Don't put the blame on me | 0:38:04 | 0:38:06 | |
# Take a look in the mirror | 0:38:09 | 0:38:11 | |
# And what do you see? | 0:38:11 | 0:38:12 | |
# Do you see it clearer | 0:38:12 | 0:38:14 | |
# Or are you deceived | 0:38:14 | 0:38:17 | |
# In what you believe? | 0:38:17 | 0:38:19 | |
# Cos I'm only human after all | 0:38:20 | 0:38:23 | |
# And you're only human after all | 0:38:23 | 0:38:26 | |
# Don't put the blame on me | 0:38:26 | 0:38:28 | |
# Don't put the blame on me | 0:38:29 | 0:38:31 | |
# Some people got the real problems | 0:38:34 | 0:38:37 | |
# Some people out of luck | 0:38:37 | 0:38:40 | |
# Some people think I can solve them | 0:38:40 | 0:38:44 | |
# Lord heavens above | 0:38:44 | 0:38:46 | |
# I'm only human after all | 0:38:46 | 0:38:49 | |
# I'm only human after all | 0:38:49 | 0:38:52 | |
# Don't put the blame on me | 0:38:52 | 0:38:55 | |
# Don't put the blame on me | 0:38:55 | 0:38:57 | |
# Don't ask my opinion | 0:39:00 | 0:39:02 | |
# Don't ask me to lie | 0:39:02 | 0:39:03 | |
# Then beg for forgiveness | 0:39:03 | 0:39:05 | |
# For making you cry | 0:39:05 | 0:39:07 | |
# For making you cry | 0:39:08 | 0:39:11 | |
# Cos I'm only human after all | 0:39:11 | 0:39:15 | |
# You're only human after all | 0:39:15 | 0:39:17 | |
# Don't put the blame on me | 0:39:17 | 0:39:19 | |
# Don't put the blame on me | 0:39:20 | 0:39:23 | |
# Oh, some people got the real problems | 0:39:24 | 0:39:29 | |
# Some people out of luck | 0:39:29 | 0:39:31 | |
# Some people think I can solve them | 0:39:32 | 0:39:35 | |
# Lord heavens above | 0:39:35 | 0:39:37 | |
# I'm only human after all | 0:39:37 | 0:39:40 | |
# I'm only human after all | 0:39:40 | 0:39:43 | |
# Don't put the blame on me | 0:39:43 | 0:39:46 | |
# Don't put the blame on me | 0:39:46 | 0:39:48 | |
# Cos I'm only human | 0:39:50 | 0:39:51 | |
# I make mistakes | 0:39:51 | 0:39:53 | |
# I'm only human | 0:39:53 | 0:39:55 | |
# That's all it takes | 0:39:55 | 0:39:56 | |
# To put the blame on me | 0:39:56 | 0:39:59 | |
# Don't put the blame on me | 0:39:59 | 0:40:01 | |
# Cos I'm no prophet or Messiah | 0:40:04 | 0:40:08 | |
# You should go looking somewhere higher | 0:40:11 | 0:40:18 | |
# Cos I'm only human after all | 0:40:19 | 0:40:23 | |
# I'm only human after all | 0:40:23 | 0:40:26 | |
# Don't put the blame on me | 0:40:26 | 0:40:27 | |
# Don't put the blame on me | 0:40:29 | 0:40:31 | |
# Cos I'm only human | 0:40:33 | 0:40:34 | |
# I do what I can | 0:40:34 | 0:40:36 | |
# I'm just a man | 0:40:36 | 0:40:38 | |
# I do what I can | 0:40:38 | 0:40:39 | |
# Don't put your blame on me | 0:40:39 | 0:40:42 | |
# Don't put your blame on me. # | 0:40:43 | 0:40:46 | |
CHEERING AND APPLAUSE | 0:40:48 | 0:40:50 | |
Wow! | 0:40:50 | 0:40:51 | |
Beautiful! | 0:40:53 | 0:40:56 | |
Rag'n'Bone Man, great job. Come over here. | 0:40:56 | 0:40:59 | |
Come and join us. | 0:40:59 | 0:41:00 | |
That was so gorgeous. | 0:41:00 | 0:41:02 | |
Thank you very much. Come in, sit down. | 0:41:02 | 0:41:04 | |
That's Jamie Dornan, Keanu, Whoopi, Denzel, there we all are. | 0:41:04 | 0:41:10 | |
Very good. | 0:41:10 | 0:41:11 | |
Whoo! | 0:41:11 | 0:41:13 | |
-Have a seat. -I'll go for a small one. | 0:41:13 | 0:41:15 | |
-Wait, wait, wait, come on here, man. -Are you sure? -Yeah, man. -All right. | 0:41:15 | 0:41:21 | |
Because I was watching you from a distance, | 0:41:21 | 0:41:24 | |
I didn't quite understand just how big you are. | 0:41:24 | 0:41:27 | |
Well, that's very nice of you to say. | 0:41:29 | 0:41:32 | |
-You're like one of the people Keanu Reeves beats up in John Wick. -OK. | 0:41:32 | 0:41:37 | |
Right, so that is Human off the album of the same name, Human. | 0:41:37 | 0:41:43 | |
-Here we go. That is out now, isn't it? -It is. -In all formats. -Today. | 0:41:43 | 0:41:48 | |
-Today? -Yeah. -Spread the word, guys, spread the word. | 0:41:48 | 0:41:51 | |
-And it's called I'm Only Human? -It's called Human. | 0:41:51 | 0:41:53 | |
-Human. -Just Human. | 0:41:53 | 0:41:54 | |
-Just Human. -Got you. -(Human.) | 0:41:54 | 0:41:57 | |
-I should say I can call you Rory, right? -Yes. | 0:41:57 | 0:42:00 | |
That's the name my mother gave me, so... | 0:42:00 | 0:42:02 | |
-OK, let's use it. -Perfect. | 0:42:02 | 0:42:06 | |
-Here's the thing, you were bubbling along, you were doing hip-hop. -Yes. | 0:42:06 | 0:42:11 | |
And so... Did you know you could sing like that? | 0:42:11 | 0:42:14 | |
Kind of. | 0:42:14 | 0:42:15 | |
I used to sing a little bit in the shower and, you know, | 0:42:15 | 0:42:19 | |
the places that people sing. | 0:42:19 | 0:42:20 | |
But I kind of realised it was in tune, and then... | 0:42:20 | 0:42:26 | |
And then my old man said, | 0:42:26 | 0:42:28 | |
"Have a couple of beers and go and sing on stage." | 0:42:28 | 0:42:31 | |
So that's what I did. | 0:42:31 | 0:42:32 | |
Cos I was a bit nervous, you know, stage fright, a little bit. | 0:42:32 | 0:42:35 | |
But you only do it one time. You do it one time, it takes one time. | 0:42:35 | 0:42:40 | |
Well, this is the place I want to be, yeah. | 0:42:40 | 0:42:43 | |
Because you'd been working in hip-hop, doing MCing and stuff | 0:42:43 | 0:42:46 | |
on a lower level, like, are you enjoying the success? | 0:42:46 | 0:42:49 | |
Like, does it suit you? | 0:42:49 | 0:42:51 | |
Yeah. | 0:42:51 | 0:42:52 | |
LAUGHTER | 0:42:52 | 0:42:55 | |
APPLAUSE | 0:42:55 | 0:42:58 | |
Kind of, kind of. | 0:42:58 | 0:43:00 | |
Listen, good luck, cos you're up for Best Breakthrough Artist | 0:43:00 | 0:43:03 | |
-at the Brits in a couple of weeks. -I am indeed. -So you'll be there. | 0:43:03 | 0:43:06 | |
-Best of luck to you. I hope it goes well. -Thank you. | 0:43:06 | 0:43:08 | |
Thanks for doing that. It was gorgeous. Absolutely gorgeous. | 0:43:08 | 0:43:10 | |
Rag'n'Bone Man, everybody. CHEERING | 0:43:10 | 0:43:13 | |
OK. That's nearly everything. | 0:43:13 | 0:43:15 | |
We've just got time for a visit to the Big Red Chair. Who's there? | 0:43:15 | 0:43:18 | |
-Hello. -Hello. -Hi, what's your name? -My name's Anita. -Anita, lovely. | 0:43:18 | 0:43:22 | |
Where do you live, Anita? | 0:43:22 | 0:43:24 | |
I live in Manchester, and it's my birthday today. | 0:43:24 | 0:43:28 | |
LAUGHTER | 0:43:28 | 0:43:30 | |
-What?! -What does she want, a prize?! | 0:43:34 | 0:43:38 | |
We were all born! | 0:43:38 | 0:43:41 | |
-What is that? -That is cold, man, that is cold. | 0:43:43 | 0:43:46 | |
"It's my birthday", whatever! | 0:43:46 | 0:43:49 | |
But you're only human, though, Graham, too! | 0:43:49 | 0:43:51 | |
-Oh, he's quoting your song back at you. -Yeah, Denzel. | 0:43:51 | 0:43:55 | |
Let's reload the chair. | 0:43:55 | 0:43:57 | |
Hello. | 0:43:59 | 0:44:00 | |
-Hello. -What's your name? -Eleanor. -Eleanor, lovely. | 0:44:00 | 0:44:03 | |
What do you do, Eleanor? | 0:44:03 | 0:44:04 | |
-I'm a charity campaigner. -A charity campaigner. She's staying. | 0:44:04 | 0:44:07 | |
She's staying right there. | 0:44:07 | 0:44:09 | |
OK, off you go with your story. | 0:44:09 | 0:44:11 | |
Well, a while ago I was going on dates through Tinder, | 0:44:11 | 0:44:14 | |
and I met a nice guy and conversation was flowing. | 0:44:14 | 0:44:18 | |
We were talking about Bristol, | 0:44:18 | 0:44:19 | |
where my family is from and where he was from. | 0:44:19 | 0:44:23 | |
We decided to go out on a second date, so I gave him my number. | 0:44:23 | 0:44:26 | |
When I got home, he messaged me, and his surname came up on my phone. | 0:44:26 | 0:44:30 | |
It was quite an unusual surname, same as my mum's surname. | 0:44:30 | 0:44:34 | |
That's when I realised I'd gone on a date with my cousin. | 0:44:34 | 0:44:37 | |
Oh, that's not right. That's... | 0:44:37 | 0:44:39 | |
You look sheepish. It wasn't you, was it? | 0:44:44 | 0:44:47 | |
You look a bit like... "This is very awkward." | 0:44:47 | 0:44:50 | |
Shall we have one more? | 0:44:50 | 0:44:52 | |
Yes, OK. OK, here we go. This is the one. | 0:44:52 | 0:44:55 | |
Hello, sir, what's your name? | 0:44:55 | 0:44:57 | |
-Hello, I'm Ed. -Ed, lovely. Where are you from, Ed? | 0:44:57 | 0:44:59 | |
-I'm from York, but I live in London. -Excellent. | 0:44:59 | 0:45:01 | |
A lot of information right there to process. What do you do in London? | 0:45:01 | 0:45:05 | |
-I'm a research technician. -Oh, he's quite vague. Nothing good, I'd say. | 0:45:05 | 0:45:10 | |
OK, Ed, off you go with your story. | 0:45:11 | 0:45:13 | |
So a couple of years ago, I used to work in a coffee shop. | 0:45:13 | 0:45:16 | |
I was making a flat white for a customer, | 0:45:16 | 0:45:18 | |
which is the one with the nice, little floret pattern on the top. | 0:45:18 | 0:45:21 | |
-Oh, yes. -But I was in a bit of a rush. | 0:45:21 | 0:45:23 | |
I thought the coffee I'd made was OK, | 0:45:23 | 0:45:25 | |
and I was about to hand it to the customer when my friend tapped on | 0:45:25 | 0:45:28 | |
my shoulder and said, "Um, you might want to take a second look at that." | 0:45:28 | 0:45:32 | |
So I looked down, and sure enough, instead of a nice, | 0:45:32 | 0:45:35 | |
pretty floret pattern, I'd managed to make a penis. | 0:45:35 | 0:45:38 | |
This put me in a bit of a dilemma. | 0:45:38 | 0:45:40 | |
I was like, "Do I give it to him and hope he's not noticed, | 0:45:40 | 0:45:44 | |
"or do I say, 'I'm sorry, sir, I've put a cock in your coffee'?" | 0:45:44 | 0:45:49 | |
So I decided to just give it to him and hope he didn't notice. | 0:45:50 | 0:45:53 | |
He looked down at it and went, "Oh. | 0:45:53 | 0:45:56 | |
I've never had one of those in my coffee before." | 0:45:56 | 0:46:00 | |
That's it. | 0:46:00 | 0:46:01 | |
That's quite a good story. Shall we let him walk? | 0:46:01 | 0:46:03 | |
Yeah, he can walk. | 0:46:03 | 0:46:05 | |
Well done. Well done, everyone. | 0:46:08 | 0:46:10 | |
If you'd like to join us on the show and have a go on the Red Chair, | 0:46:10 | 0:46:12 | |
you can contact us via our website, to this very address. | 0:46:12 | 0:46:15 | |
That is it for tonight. Please say thank you to my guests - | 0:46:15 | 0:46:17 | |
Rag'n'Bone Man... | 0:46:17 | 0:46:21 | |
Jamie Dornan... | 0:46:21 | 0:46:24 | |
Keanu Reeves... | 0:46:24 | 0:46:26 | |
Whoopi Goldberg... | 0:46:26 | 0:46:29 | |
Denzel Washington. | 0:46:29 | 0:46:32 | |
Join me next week with rap star Tinie Tempah, actress Ruth Wilson, | 0:46:32 | 0:46:36 | |
comedian Ricky Gervais, | 0:46:36 | 0:46:38 | |
and actors Joshua McGuire, Daniel Radcliffe | 0:46:38 | 0:46:40 | |
and Tom Hiddleston. | 0:46:40 | 0:46:41 | |
I'll see you then. Goodnight, everybody. Bye-bye. | 0:46:41 | 0:46:44 | |
CHEERING AND APPLAUSE | 0:46:44 | 0:46:47 |