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Good evening, I'm Tom Hiddleston, and this is The Graham Norton Show! | 0:00:02 | 0:00:04 | |
Oh, oh! Oh, ho-ho-ho! | 0:00:23 | 0:00:26 | |
Hello! Welcome. | 0:00:29 | 0:00:33 | |
Thank you SO much. | 0:00:34 | 0:00:36 | |
Thank you. | 0:00:36 | 0:00:38 | |
No, no... | 0:00:38 | 0:00:40 | |
Oh, it's lovely. | 0:00:40 | 0:00:42 | |
It's as if you mean it. | 0:00:42 | 0:00:44 | |
Hey, we've got a bursting sofa of showbiz for you tonight. | 0:00:44 | 0:00:47 | |
And, hey, it's been a showbiz week, because it's the Grammy Awards, | 0:00:47 | 0:00:50 | |
the film Baftas. | 0:00:50 | 0:00:52 | |
It's awards season, that's what it is - | 0:00:52 | 0:00:55 | |
-awards season! AUDIENCE: -Whooooo! | 0:00:55 | 0:00:57 | |
I think it's my favourite of all the four seasons. | 0:00:57 | 0:01:00 | |
It's like Springwatch for celebrities. | 0:01:00 | 0:01:02 | |
At the Grammys, Adele was so disappointed that Beyonce | 0:01:02 | 0:01:05 | |
didn't win Best Album, she snapped her award in half | 0:01:05 | 0:01:07 | |
to give to her. | 0:01:07 | 0:01:09 | |
Which sounds impressive, but then she did have five of them. | 0:01:09 | 0:01:12 | |
"'Ere, one of these is broken. | 0:01:12 | 0:01:14 | |
"D'ya want it? | 0:01:14 | 0:01:15 | |
"It's broken. I've got loads, have one!" | 0:01:15 | 0:01:17 | |
If you missed the Baftas this week, I can tell you that the award | 0:01:19 | 0:01:22 | |
for Best Male Performance SHOULD have gone to Canadian Prime Minister | 0:01:22 | 0:01:26 | |
Justin Trudeau. | 0:01:26 | 0:01:28 | |
That look! I LOVE his look. | 0:01:29 | 0:01:32 | |
It's like, "I'm not touching THAT - I don't know where that's been. | 0:01:32 | 0:01:36 | |
"Oh, wait. I do." | 0:01:36 | 0:01:37 | |
He told us! | 0:01:40 | 0:01:42 | |
But surely the award for Longest And Most Unwelcome | 0:01:42 | 0:01:46 | |
Handshake With President Trump must go to the Japanese Prime Minister. | 0:01:46 | 0:01:50 | |
Have a look. He goes in for the grab. A bit of a shake. | 0:01:50 | 0:01:54 | |
"Don't touch my hand." Having pictures taken, it's all lovely, | 0:01:54 | 0:01:57 | |
that's grand. "Just take my hand back. | 0:01:57 | 0:01:59 | |
"No, I think we've done it. Don't! OK, they've taken the pictures now. | 0:01:59 | 0:02:04 | |
"I want it...! Stop that now! Yes, thank you. | 0:02:04 | 0:02:07 | |
"Don't touch my hand! | 0:02:07 | 0:02:10 | |
-"Oh, thank -BLEEP -for that!" | 0:02:10 | 0:02:12 | |
Let's get some guests on! | 0:02:14 | 0:02:16 | |
Later, I'll be shaking hands with the stars | 0:02:16 | 0:02:19 | |
of Rosencrantz & Guildenstern Are Dead. | 0:02:19 | 0:02:21 | |
Joshua McGuire and Daniel Radcliffe will be here. | 0:02:21 | 0:02:23 | |
APPLAUSE AND CHEERING | 0:02:23 | 0:02:25 | |
But first, this man has had more number ones than any other | 0:02:25 | 0:02:29 | |
British artist this decade. Now he's back "Disturbing London" | 0:02:29 | 0:02:31 | |
with his new album, Youth. It's Tinie Tempah, everybody! | 0:02:31 | 0:02:34 | |
APPLAUSE AND CHEERING | 0:02:34 | 0:02:35 | |
Youth, see? Look at you, you're so young! | 0:02:38 | 0:02:41 | |
Tinie Tempah, everybody! | 0:02:41 | 0:02:43 | |
He's a Bafta, Emmy and Golden Globe winning comedian | 0:02:45 | 0:02:49 | |
who's created shows like Derek, Extras and The Office. | 0:02:49 | 0:02:51 | |
Now he's returning to the stand-up stage. Please welcome Ricky Gervais! | 0:02:51 | 0:02:54 | |
APPLAUSE AND CHEERING | 0:02:54 | 0:02:56 | |
-Here he is! -Thank you. | 0:02:56 | 0:02:57 | |
Hello, lovely to see you. Have a seat. | 0:02:59 | 0:03:02 | |
This brilliant actress chilled us in Luther and won a Golden Globe | 0:03:03 | 0:03:08 | |
for her sizzling performance in The Affair. | 0:03:08 | 0:03:10 | |
Now she's bringing Hedda Gabler to the National. | 0:03:10 | 0:03:12 | |
It's Ruth Wilson, everybody! | 0:03:12 | 0:03:14 | |
APPLAUSE AND CHEERING | 0:03:14 | 0:03:15 | |
Hello. Hello. Nice to see you. | 0:03:16 | 0:03:20 | |
Come in and have a seat. | 0:03:20 | 0:03:22 | |
He plays Loki in Thor and starred in last year's breakout hit | 0:03:23 | 0:03:26 | |
The Night Manager. Now he's back, | 0:03:26 | 0:03:28 | |
with the biggest movie monster of all, in Kong: Skull Island. | 0:03:28 | 0:03:31 | |
Please welcome Tom Hiddleston, everybody! | 0:03:31 | 0:03:33 | |
APPLAUSE AND CHEERING | 0:03:33 | 0:03:35 | |
Hello! | 0:03:35 | 0:03:37 | |
Nice to see you. Have a seat. | 0:03:37 | 0:03:40 | |
Whoo! | 0:03:42 | 0:03:44 | |
Thank you. Whoo! | 0:03:47 | 0:03:49 | |
-Whoo! AUDIENCE: -Whoo! | 0:03:50 | 0:03:52 | |
You're glad you didn't wear a top NOW, aren't you? Yes! | 0:03:52 | 0:03:55 | |
Yeah! Work it, work it! | 0:03:56 | 0:03:59 | |
Look at Ruth. Ruth is like, "Yeah, back off! | 0:04:01 | 0:04:03 | |
"I've got this couch." | 0:04:03 | 0:04:05 | |
Welcome to you all, lovely to see you all. | 0:04:07 | 0:04:08 | |
I'm so worried that I'm the only one that's made an effort. | 0:04:08 | 0:04:11 | |
I just realised that I might put mud on you. | 0:04:13 | 0:04:16 | |
These are actually dirty trainers. | 0:04:17 | 0:04:19 | |
This is embarrassing. | 0:04:19 | 0:04:22 | |
-Yes, I didn't notice those. That is piss-poor. -Really sorry. | 0:04:22 | 0:04:24 | |
Tom's made the actual effort. Suited and booted. | 0:04:27 | 0:04:29 | |
CHEERING | 0:04:29 | 0:04:30 | |
Shut up! | 0:04:30 | 0:04:32 | |
I wanted to say congratulations to you. | 0:04:33 | 0:04:36 | |
-Why? -Didn't you win a huge award a couple of weeks ago? | 0:04:36 | 0:04:39 | |
Oh, I did. That's very kind of you. Thank you very much. | 0:04:39 | 0:04:42 | |
CHEERING | 0:04:42 | 0:04:43 | |
I'm just humouring him. I didn't win an award. | 0:04:47 | 0:04:50 | |
You did, you won, like, a huge, special achievement. | 0:04:50 | 0:04:54 | |
It was almost like a "you're going to die soon" award. | 0:04:54 | 0:04:57 | |
It was one of them. | 0:04:57 | 0:04:58 | |
It was a national treasure award. | 0:04:58 | 0:05:00 | |
National treasure award. Something like that. | 0:05:00 | 0:05:03 | |
Anyway, talking of people... Moving on! | 0:05:03 | 0:05:06 | |
They're in my ear, "Tell him to shut up!" | 0:05:06 | 0:05:09 | |
Talking of knowing each other, | 0:05:09 | 0:05:11 | |
you guys know each other very well. You acted together. | 0:05:11 | 0:05:13 | |
We did. We did our first... my first job. Was it YOUR first job? | 0:05:13 | 0:05:16 | |
It wasn't my first, but it was very near the beginning. | 0:05:16 | 0:05:19 | |
It SEEMED like it! That's terrible! | 0:05:19 | 0:05:23 | |
Yeah, it's not a good review. | 0:05:24 | 0:05:26 | |
It was... | 0:05:26 | 0:05:27 | |
We'd just left drama school and it was a Channel 5 comedy show | 0:05:27 | 0:05:31 | |
-called Suburban Shootout. -Yes! | 0:05:31 | 0:05:34 | |
Yes, high art. | 0:05:36 | 0:05:37 | |
And we played a young teenage couple, um, just struggling | 0:05:37 | 0:05:42 | |
with life to find our way. | 0:05:42 | 0:05:43 | |
And you seem quite close in some of the stills | 0:05:43 | 0:05:46 | |
that have been released. | 0:05:46 | 0:05:47 | |
Right, yeah. | 0:05:50 | 0:05:52 | |
You'd both say no now, wouldn't you? You'd both say no now. | 0:05:52 | 0:05:55 | |
It was hilarious. | 0:05:55 | 0:05:57 | |
I play this character who was just back from a year's travelling | 0:05:57 | 0:06:00 | |
and is quite innocent. | 0:06:00 | 0:06:02 | |
Are you wrestling? | 0:06:02 | 0:06:04 | |
Yes, that's what we're doing, we're wrestling. | 0:06:04 | 0:06:05 | |
He's massaging my leg. | 0:06:05 | 0:06:07 | |
Oh, that's what he's doing! | 0:06:07 | 0:06:09 | |
I'm glad we haven't actually got the video version of this. | 0:06:09 | 0:06:12 | |
Have you been offered acting roles, Tinie? | 0:06:14 | 0:06:17 | |
I was in Absolutely Fabulous, but just at the start. | 0:06:17 | 0:06:19 | |
I offered you an acting role. | 0:06:19 | 0:06:20 | |
Oh, yeah, you offered me an acting role as well, sorry. | 0:06:20 | 0:06:22 | |
-Turned him down. -Yeah. | 0:06:22 | 0:06:24 | |
His exact words were, "Nah, bruv." | 0:06:25 | 0:06:27 | |
Ricky wanted me to be like a stereotypical... | 0:06:29 | 0:06:32 | |
I'm going to air it all out now. We might as well just solve it now. | 0:06:32 | 0:06:35 | |
It was the Comic Relief sketch. | 0:06:35 | 0:06:37 | |
You wanted me to be too-cliche rapper. | 0:06:37 | 0:06:40 | |
I was a bit... | 0:06:40 | 0:06:41 | |
David Brent was going to not know who you were, | 0:06:41 | 0:06:43 | |
-and you were going to pull up... -So he was going to insult me. | 0:06:43 | 0:06:46 | |
So, it was when I did Equality Street and I was going | 0:06:46 | 0:06:50 | |
to come out of the studio, and Tinie Tempah was going to come in | 0:06:50 | 0:06:54 | |
and I was going to get in and I was going to think he was Uber. | 0:06:54 | 0:06:56 | |
LAUGHTER | 0:06:56 | 0:06:58 | |
So it was going to be really awkward. | 0:06:58 | 0:07:00 | |
In hindsight, that could have been quite fun, actually. | 0:07:00 | 0:07:03 | |
That does sound quite funny. Now, you're performing later. | 0:07:05 | 0:07:08 | |
-I am, yeah. -So this is the new single. | 0:07:08 | 0:07:10 | |
-Tell us about the new single. -This is the new single. | 0:07:10 | 0:07:12 | |
It's called Text From Your Ex. | 0:07:12 | 0:07:13 | |
I'm very much inspired by everything I listened to when I was growing up, | 0:07:13 | 0:07:17 | |
so I decided to make an album called Youth. | 0:07:17 | 0:07:19 | |
I'm 28 years old and I feel like... | 0:07:19 | 0:07:21 | |
I saw him look at me like, "You bastard!" | 0:07:21 | 0:07:24 | |
My new album's called Death. | 0:07:25 | 0:07:27 | |
Just don't release it on the same day as mine. | 0:07:29 | 0:07:32 | |
Now, Text From Your Ex, it is a cautionary tale. | 0:07:33 | 0:07:35 | |
Is it something that happened to you? | 0:07:35 | 0:07:37 | |
Yeah, it's literally, like, real-life extract. | 0:07:37 | 0:07:40 | |
Most of my songs are about relationships in a positive light. | 0:07:40 | 0:07:43 | |
I've dated a lot of girls. | 0:07:43 | 0:07:45 | |
I date a lot of girls. | 0:07:45 | 0:07:46 | |
That's good of you. That's good of you. | 0:07:46 | 0:07:49 | |
It's healthy to do that. | 0:07:49 | 0:07:51 | |
Is that a term, ex-tracks? | 0:07:51 | 0:07:52 | |
-No. -I thought that was a thing. -No. | 0:07:52 | 0:07:55 | |
-Good. -Let's not go TOO deep, Tom. Let's not go TOO deep. | 0:07:55 | 0:07:58 | |
So it's literally texts from my ex. | 0:07:59 | 0:08:02 | |
One day, you're in a scenario... | 0:08:02 | 0:08:04 | |
I'm sure everyone here, especially you, if Hedda Gabler | 0:08:04 | 0:08:07 | |
is true, like, remotely true... | 0:08:07 | 0:08:10 | |
You get this awkward text where someone sees something | 0:08:10 | 0:08:14 | |
where you're kind of messing with somebody else and you get | 0:08:14 | 0:08:17 | |
in a bit of trouble, or vice versa as well. | 0:08:17 | 0:08:19 | |
You don't have to be the bad person. | 0:08:19 | 0:08:21 | |
You could see a text from someone that sent it to your partner. | 0:08:21 | 0:08:25 | |
That's basically what this song is about. | 0:08:26 | 0:08:28 | |
You were cheating. | 0:08:28 | 0:08:30 | |
Yes. | 0:08:30 | 0:08:31 | |
It's about cheating. | 0:08:31 | 0:08:33 | |
Nicely put. | 0:08:33 | 0:08:34 | |
To be quite honest with you, I know it sounds crazy, but I think, | 0:08:34 | 0:08:37 | |
in this day and age, because of the social media we have | 0:08:37 | 0:08:40 | |
and the ways you can message people, whether it's Snapchat or Instagram | 0:08:40 | 0:08:44 | |
or Tinder, I feel like cheating is a lot more... | 0:08:44 | 0:08:47 | |
It's very wrong, but... | 0:08:47 | 0:08:49 | |
-more virtual. -More virtual. | 0:08:49 | 0:08:52 | |
It's more of a normal kind of accepted - not accepted thing - | 0:08:52 | 0:08:54 | |
but there are apps made around the whole concept of it. | 0:08:54 | 0:08:57 | |
Do you get what I'm saying? | 0:08:57 | 0:08:58 | |
-LAUGHTER -It's true. | 0:08:58 | 0:09:00 | |
I've been going out with my girlfriend since | 0:09:00 | 0:09:03 | |
before computers, though. | 0:09:03 | 0:09:04 | |
We text each other pictures of the cat. | 0:09:06 | 0:09:09 | |
No, there's emojis for all these different things now. | 0:09:10 | 0:09:13 | |
-It's crazy. -But you say you've been dating since before the internet | 0:09:13 | 0:09:17 | |
and before computers, but you do now, you have a lovely way | 0:09:17 | 0:09:21 | |
of using social media as a tribute to your partner, Jane. | 0:09:21 | 0:09:24 | |
Yeah. | 0:09:24 | 0:09:25 | |
LAUGHTER | 0:09:25 | 0:09:27 | |
I just... | 0:09:28 | 0:09:30 | |
I like your in-the-bath faces that you do. | 0:09:30 | 0:09:32 | |
The in-the-bath faces, but I also get pictures, | 0:09:32 | 0:09:34 | |
if we're out or something, I sort of lag behind | 0:09:34 | 0:09:37 | |
and get Jane by herself with no-one around, | 0:09:37 | 0:09:40 | |
and I take a picture of her and I tweet, | 0:09:40 | 0:09:42 | |
"Jane with all her friends." | 0:09:42 | 0:09:44 | |
-Yeah. -She's always alone. | 0:09:45 | 0:09:47 | |
I can imagine. So, I don't know how funny Jane finds these, | 0:09:47 | 0:09:49 | |
-but they are funny. -She's fine! | 0:09:49 | 0:09:51 | |
Here's one you tweeted of Jane. | 0:09:51 | 0:09:53 | |
The next one... This is exactly what you're describing. | 0:10:00 | 0:10:03 | |
Jane thinking about making new friends. | 0:10:03 | 0:10:06 | |
I went, "Jane, look at those crows"! | 0:10:09 | 0:10:12 | |
Does she not know you're doing this? Does she not think, "Where is he?" | 0:10:13 | 0:10:17 | |
She sees the tweet. | 0:10:17 | 0:10:19 | |
This one is... | 0:10:19 | 0:10:21 | |
Then... | 0:10:28 | 0:10:30 | |
When she's posing for one of these pictures, does she go, | 0:10:30 | 0:10:33 | |
"Is this one of those pictures | 0:10:33 | 0:10:34 | |
"where you're going to make me look like I have no friends?"? | 0:10:34 | 0:10:37 | |
No, no. I'm so convincing. | 0:10:37 | 0:10:39 | |
But also, there had to have been a few words at home | 0:10:39 | 0:10:43 | |
after you posted this one. | 0:10:43 | 0:10:45 | |
LAUGHTER | 0:10:49 | 0:10:51 | |
There had to be a gift. | 0:10:56 | 0:10:57 | |
You must have given her a gift after that. | 0:10:57 | 0:11:00 | |
Yeah. Well, there you go. | 0:11:00 | 0:11:02 | |
That's what being in a relationship of 30 years does. | 0:11:03 | 0:11:06 | |
Hey, lots of things to talk about tonight, but the big movie | 0:11:06 | 0:11:10 | |
tonight is for Tom Hiddleston, who brings us Kong: Skull Island. | 0:11:10 | 0:11:14 | |
It's out on the 9th of March. | 0:11:14 | 0:11:16 | |
I was telling you backstage, | 0:11:16 | 0:11:18 | |
it is a terrific old-fashioned reboot of a monster movie. | 0:11:18 | 0:11:22 | |
Sell it to the people. | 0:11:22 | 0:11:24 | |
Well, in case anyone was wondering, it's a huge movie | 0:11:24 | 0:11:29 | |
-about a giant monkey. -Oh, thank God. | 0:11:29 | 0:11:32 | |
And the difference about this one is there's no Empire State Building | 0:11:32 | 0:11:37 | |
this time, so there's no Fay Wray, there's no Ann Darrow. | 0:11:37 | 0:11:41 | |
It's set in 1973. | 0:11:41 | 0:11:43 | |
The President of the United States, Richard Nixon, has withdrawn | 0:11:45 | 0:11:49 | |
US troops from Vietnam, a bit of an uneasy time in Washington. | 0:11:49 | 0:11:52 | |
Might sound familiar. | 0:11:52 | 0:11:54 | |
Are we going to see a big monkey? | 0:11:55 | 0:11:57 | |
-Is this how this story plays out?! -It's not a true story, is it? | 0:11:59 | 0:12:02 | |
-No, no! -Don't remember this one. | 0:12:02 | 0:12:04 | |
Basically, a group of explorers go to this undiscovered island | 0:12:04 | 0:12:08 | |
in the South Pacific, and what do they find? | 0:12:08 | 0:12:11 | |
Your favourite - a giant prehistoric ape. | 0:12:11 | 0:12:14 | |
Also, what's so good is, they just don't find a big monkey. | 0:12:14 | 0:12:18 | |
There's big LOTS of things. | 0:12:18 | 0:12:19 | |
There's big lots of things. It's a little bit Planet Earth on steroids. | 0:12:19 | 0:12:23 | |
Excellent. | 0:12:23 | 0:12:25 | |
Yeah, it is an adventure into the unknown, and human beings | 0:12:25 | 0:12:30 | |
are put back into the food chain, and they're not at the top. | 0:12:30 | 0:12:33 | |
OK, we've got a clip. This is basically a bit of the trail, | 0:12:33 | 0:12:37 | |
and you're in it, and a big monkey. Here you go. | 0:12:37 | 0:12:39 | |
OK. | 0:12:39 | 0:12:41 | |
An uncharted island... Let me list all the ways you're going to die. | 0:12:41 | 0:12:44 | |
Rain, heat... And I haven't even started on the things that | 0:12:44 | 0:12:47 | |
want to eat you alive. | 0:12:47 | 0:12:49 | |
That's Kong. This island is his kingdom. | 0:12:50 | 0:12:53 | |
It's time to show Kong... man is king. | 0:12:53 | 0:12:56 | |
Ha-ha, you shouldn't have come here! | 0:12:56 | 0:12:58 | |
We'll double that. | 0:13:02 | 0:13:04 | |
APPLAUSE | 0:13:04 | 0:13:06 | |
Thank you. | 0:13:09 | 0:13:10 | |
-That looks good. -Thank you, thank you. | 0:13:10 | 0:13:12 | |
I tell you, the really fun thing about it is the '70s thing. | 0:13:12 | 0:13:15 | |
The soundtrack is great. | 0:13:15 | 0:13:18 | |
It's got this rock and roll soundtrack, | 0:13:18 | 0:13:20 | |
Creedence Clearwater Revival. | 0:13:20 | 0:13:22 | |
You've never seen King Kong in this environment before. | 0:13:22 | 0:13:26 | |
And it's got this incredible cast, Samuel L Jackson. | 0:13:26 | 0:13:29 | |
I think Samuel L Jackson says at one point, "Hold on to your butts." | 0:13:29 | 0:13:34 | |
Which is reason enough to go and see any movie. | 0:13:34 | 0:13:37 | |
Really. The cast is great. | 0:13:37 | 0:13:39 | |
-It's him, Brie Larson, John Goodman. -John C Reilly. | 0:13:39 | 0:13:42 | |
What's odd is, because normally with something that is | 0:13:42 | 0:13:45 | |
so...computer animation and all that kind of stuff, there is a lot | 0:13:45 | 0:13:48 | |
of green screen, but you actually went to locations. | 0:13:48 | 0:13:51 | |
Yeah, I do think actually it's the great... | 0:13:51 | 0:13:53 | |
Jordan Vogt-Roberts, who directed it, really was insistent | 0:13:53 | 0:13:56 | |
that we go to places on Earth | 0:13:56 | 0:13:58 | |
which are both beautiful and dangerous | 0:13:58 | 0:14:01 | |
so that it didn't feel like a digital environment, it felt | 0:14:01 | 0:14:05 | |
like a real place. | 0:14:05 | 0:14:07 | |
So we went to Oahu in Hawaii. | 0:14:07 | 0:14:10 | |
-Tough gig. -Dangerous! Scary! | 0:14:10 | 0:14:12 | |
I'm terrified, Tom. | 0:14:12 | 0:14:14 | |
It's very windy there sometimes! | 0:14:16 | 0:14:18 | |
Very windy! "The umbrella blew out of my cocktail"! | 0:14:18 | 0:14:22 | |
Um, and we went to Queensland in Australia. | 0:14:26 | 0:14:30 | |
That's scary, I'll give you that. | 0:14:30 | 0:14:31 | |
There are rainforests there, and they have... | 0:14:31 | 0:14:34 | |
All the most dangerous animals in the world are in the state | 0:14:34 | 0:14:37 | |
of Queensland in Australia. | 0:14:37 | 0:14:38 | |
Crazy. | 0:14:38 | 0:14:40 | |
Snakes, spiders. | 0:14:40 | 0:14:41 | |
Someone from Queensland going, "Yeah! I escaped!" | 0:14:41 | 0:14:45 | |
And you'd see the funnel-web spiders starting to... | 0:14:46 | 0:14:49 | |
Jesus! | 0:14:49 | 0:14:50 | |
Oh, no, no. No, no. | 0:14:50 | 0:14:53 | |
People say, "Come to Australia." | 0:14:53 | 0:14:55 | |
You're right, they've got the most poisonous spiders, snakes, | 0:14:55 | 0:14:58 | |
jellyfish, sharks, crocodiles. | 0:14:58 | 0:15:00 | |
And they walk round in flip-flops. | 0:15:00 | 0:15:02 | |
And I think, "Oh, no. No." | 0:15:02 | 0:15:05 | |
That's why all the men look like Chris Hemsworth. | 0:15:05 | 0:15:07 | |
They have to. | 0:15:07 | 0:15:10 | |
They are fighting for their lives. | 0:15:10 | 0:15:12 | |
Tinie, where is your...? | 0:15:12 | 0:15:14 | |
You adopted an animal. | 0:15:14 | 0:15:16 | |
Yeah. Yeah, that. | 0:15:16 | 0:15:18 | |
No, I adopted a cheetah, actually, when I was in Kenya. | 0:15:18 | 0:15:22 | |
-OK! Wow. -A little baby cheetah. | 0:15:22 | 0:15:24 | |
Pretty cute. | 0:15:24 | 0:15:26 | |
There we go. | 0:15:26 | 0:15:27 | |
-Actually, in fairness, that is very cute. -VERY cute. | 0:15:27 | 0:15:30 | |
Tried to bring him to London, said it wasn't possible. | 0:15:30 | 0:15:33 | |
Correct. Correct. | 0:15:35 | 0:15:37 | |
I called him Tinie as well, which was nice. | 0:15:37 | 0:15:39 | |
That would be so gangster fabulous, | 0:15:39 | 0:15:41 | |
walking down Hampstead with a cheetah. | 0:15:41 | 0:15:43 | |
"Who's that?" "I believe it's Tinie Tempah." | 0:15:45 | 0:15:48 | |
I was really happy to do that. | 0:15:48 | 0:15:50 | |
We went to Nairobi Reserve Park, | 0:15:50 | 0:15:52 | |
and it was a pretty great experience. | 0:15:52 | 0:15:55 | |
And also, on the flipside, | 0:15:55 | 0:15:57 | |
I'm kind of into taxidermy. | 0:15:57 | 0:15:59 | |
I don't know if this is going to... | 0:15:59 | 0:16:01 | |
When you say the flipside... | 0:16:03 | 0:16:05 | |
Try explaining that to Tinie! | 0:16:06 | 0:16:08 | |
Right. | 0:16:08 | 0:16:10 | |
But only if... | 0:16:10 | 0:16:11 | |
"You're too small right now." | 0:16:11 | 0:16:14 | |
But later. But only if they say they've died of natural causes. | 0:16:14 | 0:16:18 | |
To be honest, I don't know what it is. | 0:16:18 | 0:16:20 | |
I think it's maybe African roots or whatever, but I really love | 0:16:20 | 0:16:24 | |
the idea of being surrounded by exotic animals. | 0:16:24 | 0:16:28 | |
So in my house I have a zebra and I have a giraffe as well. | 0:16:28 | 0:16:32 | |
-Wow! -But not, like, a real one. | 0:16:32 | 0:16:35 | |
-It was real before. -Yeah. | 0:16:35 | 0:16:37 | |
A dead one. | 0:16:39 | 0:16:40 | |
-Yeah. -A dead one. -Yeah, that died of natural... | 0:16:40 | 0:16:44 | |
like, the flu and stuff. | 0:16:44 | 0:16:46 | |
A sore throat. | 0:16:48 | 0:16:49 | |
A sore throat with a giraffe is serious. | 0:16:49 | 0:16:52 | |
It is, yeah, really. | 0:16:53 | 0:16:54 | |
-Fatal. -It's really bad. | 0:16:54 | 0:16:56 | |
Have you got high ceilings, then, in your house? | 0:16:56 | 0:16:58 | |
Very. | 0:16:58 | 0:16:59 | |
Or he's drinking. | 0:17:00 | 0:17:01 | |
"I need one that died drinking. | 0:17:02 | 0:17:04 | |
"I'm in a council house and I need... | 0:17:06 | 0:17:08 | |
"Have you got a giraffe that died in its sleep?" | 0:17:08 | 0:17:12 | |
They never do that with animals, do they? | 0:17:16 | 0:17:18 | |
They never have taxidermy animals that are like that. | 0:17:18 | 0:17:21 | |
It's always like a bear like that. | 0:17:23 | 0:17:24 | |
Just going... | 0:17:24 | 0:17:27 | |
That's what I want to do with me. | 0:17:27 | 0:17:29 | |
I want to taxidermy... You can have me. | 0:17:29 | 0:17:31 | |
When I'm dead, it's just me like that. | 0:17:31 | 0:17:34 | |
On your sofa. | 0:17:36 | 0:17:38 | |
-"Here is the Ricky Gervais." -Giraffe, zebra... | 0:17:38 | 0:17:42 | |
"Who's that?" | 0:17:42 | 0:17:43 | |
-"Ricky." -"Died of natural causes." | 0:17:43 | 0:17:46 | |
My mum threatened to get my dog stuffed when he died. | 0:17:47 | 0:17:51 | |
She wanted him stuffed and put on the wall of our house. | 0:17:51 | 0:17:55 | |
-The wall?! -She's like, "It'd be lovely to put the head..." | 0:17:55 | 0:17:57 | |
Dogs don't go on walls. | 0:17:57 | 0:17:58 | |
The head, our dog's head. Our dog was called Seb. | 0:17:58 | 0:18:01 | |
He was lovely. Lovely black Lab. | 0:18:01 | 0:18:03 | |
I had a black Labrador growing up. | 0:18:03 | 0:18:05 | |
-Did she do that? -No, thank God. | 0:18:05 | 0:18:07 | |
But it would have been quite frightening. | 0:18:07 | 0:18:09 | |
But she quite liked the idea of it. She wanted to... | 0:18:09 | 0:18:11 | |
-Yeah, not that much of a bad thing. -It would be heartbreaking. | 0:18:11 | 0:18:14 | |
I don't know. It might be quite nice. | 0:18:14 | 0:18:16 | |
Stroke it every now and then. | 0:18:16 | 0:18:18 | |
Have it stuffed asleep by the fire, so it's like... | 0:18:18 | 0:18:20 | |
-That would be nice. -That would make sense. -Put your feet on it. -Well... | 0:18:20 | 0:18:23 | |
Hard to explain to the NEW dog. | 0:18:25 | 0:18:27 | |
That's REALLY creepy! | 0:18:32 | 0:18:33 | |
"Huh?! | 0:18:33 | 0:18:36 | |
-"What's that?" -"That will be you in 15 years." | 0:18:36 | 0:18:38 | |
"That's where I keep my pyjamas." | 0:18:38 | 0:18:40 | |
-But you're afraid... -Well. | 0:18:42 | 0:18:43 | |
What are you afraid of? | 0:18:43 | 0:18:45 | |
Well, anything in Australia, basically. | 0:18:45 | 0:18:48 | |
Sharks. | 0:18:49 | 0:18:51 | |
-That's rational. -That's rational. | 0:18:51 | 0:18:53 | |
-From Jaws. -I'm the same. -You SHOULD be scared of sharks. | 0:18:53 | 0:18:55 | |
But you get scared of sharks in places where there cannot be sharks. | 0:18:55 | 0:18:59 | |
Internet cafes? What do you mean? | 0:18:59 | 0:19:01 | |
Swimming pools. Swimming pools. | 0:19:01 | 0:19:03 | |
I had a fear always that they'd come through the flap. | 0:19:03 | 0:19:05 | |
I still do. If I'm in a swimming pool on my own, I just get... | 0:19:05 | 0:19:08 | |
-My mind goes... -Yeah, you freak yourself out. Yeah, yeah. | 0:19:08 | 0:19:11 | |
Those flaps. What if it comes through the flap? | 0:19:11 | 0:19:13 | |
-You know where that's from? -What if? | 0:19:13 | 0:19:14 | |
I don't know how a shark would obviously get through there but... | 0:19:14 | 0:19:17 | |
I had the same fear and I think it's from Thunderball. | 0:19:17 | 0:19:21 | |
Thunderball? | 0:19:21 | 0:19:22 | |
You know in Thunderball, the Bond film? | 0:19:22 | 0:19:25 | |
Yes. | 0:19:25 | 0:19:26 | |
And the villain, Largo, has two swimming pools and people get | 0:19:26 | 0:19:30 | |
chucked into the swimming pool. | 0:19:30 | 0:19:31 | |
And if you've behaved badly, they released the grille | 0:19:31 | 0:19:34 | |
and the sharks come in. | 0:19:34 | 0:19:35 | |
-That's what it's from. -That terrified me. | 0:19:35 | 0:19:37 | |
This might be a bit weird, guys, but do you ever get a | 0:19:37 | 0:19:39 | |
similar thing, but on the toilet? | 0:19:39 | 0:19:41 | |
LAUGHTER | 0:19:41 | 0:19:43 | |
Does that ever happen? | 0:19:43 | 0:19:45 | |
When you're sitting there for ages and you think, | 0:19:45 | 0:19:47 | |
"Imagine if something just..." | 0:19:47 | 0:19:48 | |
Spiders, from Arachnophobia. That happened in that. | 0:19:48 | 0:19:51 | |
Or the poster of Jaws. | 0:19:51 | 0:19:53 | |
I worry more about things that come OUT, not that come up. | 0:19:54 | 0:19:59 | |
Giving birth to a shark - now, that's a weird phobia. | 0:20:01 | 0:20:04 | |
Right, let's turn to Ruth Wilson. | 0:20:04 | 0:20:08 | |
Currently starring at the National Theatre as Hedda Gabler. | 0:20:08 | 0:20:11 | |
It runs till the 21st of March. | 0:20:11 | 0:20:12 | |
But if you are not in the London area, | 0:20:12 | 0:20:15 | |
it will be broadcast live in cinemas on the 9th of March. | 0:20:15 | 0:20:20 | |
And even the people who are familiar with | 0:20:20 | 0:20:22 | |
Hedda Gabler, this is a very different take on the play. | 0:20:22 | 0:20:26 | |
Yes. It's a director called Ivo Van Hove. | 0:20:26 | 0:20:29 | |
And he has a very modern take on the play. | 0:20:29 | 0:20:32 | |
We are in modern dress, I'm in a little slip. | 0:20:32 | 0:20:35 | |
Sell those tickets! | 0:20:36 | 0:20:37 | |
-Exactly! -It's practically see-through. | 0:20:37 | 0:20:41 | |
I want to see YOU in it now! | 0:20:43 | 0:20:44 | |
You'd look great, Graham. | 0:20:46 | 0:20:48 | |
I get covered in tomatoes. | 0:20:48 | 0:20:50 | |
It's very physical and active. | 0:20:50 | 0:20:53 | |
And we have sort of light coming from | 0:20:53 | 0:20:55 | |
under the stage, and it's stunning. | 0:20:55 | 0:20:58 | |
It looks quite cinematic. | 0:20:58 | 0:20:59 | |
I saw it a couple of weeks ago. | 0:20:59 | 0:21:02 | |
It's a really amazing production and Ruth is brilliant in it. | 0:21:02 | 0:21:06 | |
Well, it's fun. She's a not particularly nice woman. | 0:21:06 | 0:21:09 | |
Yeah, one of my friends said that you just ruin loads of men's lives. | 0:21:09 | 0:21:13 | |
Yes, she does. | 0:21:14 | 0:21:15 | |
She has three men around her and she sends them to their death. | 0:21:15 | 0:21:18 | |
She's pretty nasty. | 0:21:18 | 0:21:20 | |
-But she's funny. -I love her. -She's funny. | 0:21:20 | 0:21:22 | |
She's acerbic and dry and sharp, yes. | 0:21:22 | 0:21:25 | |
She's dangerous. | 0:21:25 | 0:21:27 | |
Ricky Gervais, you are famously a very lazy actor. | 0:21:27 | 0:21:29 | |
-You would not be in a play like this. -No. | 0:21:29 | 0:21:32 | |
I wouldn't do a play. I wouldn't do a play. | 0:21:32 | 0:21:34 | |
Because I can walk out on stage to thousands of people | 0:21:34 | 0:21:39 | |
and just say what I want, but if it's lines, | 0:21:39 | 0:21:41 | |
if it's Ibsen or Shakespeare, | 0:21:41 | 0:21:43 | |
I know they probably know the play too, so I could go wrong. | 0:21:43 | 0:21:47 | |
Do you know what I mean? I wouldn't want to let them down. | 0:21:47 | 0:21:50 | |
I don't want to have to... | 0:21:50 | 0:21:51 | |
I don't want that moment of getting something wrong. | 0:21:51 | 0:21:53 | |
I can't get it wrong when it's me, because I'm making it, or whatever. | 0:21:53 | 0:21:57 | |
That would be... No, I couldn't do it. | 0:21:57 | 0:22:00 | |
I was in a production of a Shakespeare play, | 0:22:00 | 0:22:03 | |
Coriolanus, and there was one night where somebody actually had brought | 0:22:03 | 0:22:07 | |
the play along and a little night light so they could read it. | 0:22:07 | 0:22:10 | |
-Jesus! -That would wind you up. -That is just rude, isn't it? | 0:22:13 | 0:22:17 | |
Or is that weird? Were they academic? | 0:22:17 | 0:22:19 | |
No, that's not part of the deal. | 0:22:19 | 0:22:22 | |
They had a night light! | 0:22:22 | 0:22:23 | |
You're in the Donmar, the smallest theatre in London, | 0:22:23 | 0:22:26 | |
and they've got a night light! | 0:22:26 | 0:22:28 | |
I banned ice in drinks at my gigs because it puts me off. | 0:22:28 | 0:22:31 | |
I'm like a right little fascist. | 0:22:31 | 0:22:32 | |
I can't stand anyone talking or... | 0:22:32 | 0:22:35 | |
-No ice in the drinks! -No, because it rattles. | 0:22:35 | 0:22:37 | |
It's annoying me. I'm talking. | 0:22:37 | 0:22:38 | |
I can't stand it. | 0:22:40 | 0:22:41 | |
It's a plastic glass! | 0:22:41 | 0:22:43 | |
I allow plastic glasses. | 0:22:43 | 0:22:45 | |
But, no, it's quiet, it's dark, I can't see them. | 0:22:45 | 0:22:48 | |
Yeah, I couldn't do a play. | 0:22:48 | 0:22:51 | |
People chatting. | 0:22:51 | 0:22:52 | |
Tinie, did you do anything in school? | 0:22:52 | 0:22:54 | |
Have you ever done acting? | 0:22:54 | 0:22:56 | |
I did The Pied Piper in primary school. | 0:22:56 | 0:22:58 | |
I was the mayor. | 0:22:58 | 0:23:00 | |
Is the mayor the baddie in The Pied Piper? | 0:23:01 | 0:23:03 | |
The mayor is kind of the baddie, yeah. | 0:23:03 | 0:23:06 | |
He doesn't pay him, does he? So he lets the rats come back. | 0:23:06 | 0:23:08 | |
All the rats come, and it's a disaster. | 0:23:08 | 0:23:11 | |
Oh, yes. | 0:23:11 | 0:23:12 | |
Very challenging role, I imagine! | 0:23:12 | 0:23:14 | |
Cos Tom Hiddleston, now, one of your... | 0:23:16 | 0:23:20 | |
You acted in school. | 0:23:20 | 0:23:21 | |
I mean, how posh is this? | 0:23:21 | 0:23:23 | |
You go to see a school production, and Tom Hiddleston's in it, | 0:23:23 | 0:23:26 | |
with Eddie Redmayne. | 0:23:26 | 0:23:27 | |
Well, yes. | 0:23:28 | 0:23:30 | |
He was a great talent, even then. | 0:23:32 | 0:23:34 | |
He was a huge star. | 0:23:34 | 0:23:36 | |
And we were in the school production of A Passage To India by EM Forster. | 0:23:36 | 0:23:43 | |
There must have been some really depressed parents | 0:23:45 | 0:23:48 | |
going in to see that. "A Passage To India! | 0:23:48 | 0:23:50 | |
"They're doing A Passage To India"! | 0:23:50 | 0:23:52 | |
How long was it? | 0:23:54 | 0:23:56 | |
-I've no idea. -About three hours. -Yeah. | 0:23:56 | 0:23:59 | |
So, all-boys school. | 0:23:59 | 0:24:01 | |
"We're only halfway"! | 0:24:01 | 0:24:03 | |
And Eddie, the great Eddie Redmayne, the now Oscar-winning Eddie Redmayne | 0:24:04 | 0:24:08 | |
was playing the female lead. | 0:24:08 | 0:24:10 | |
And in A Passage To India, there's an expedition to this | 0:24:10 | 0:24:14 | |
cultural landmark called the Marabar Caves, by elephant. | 0:24:14 | 0:24:17 | |
I'm delighted to reveal that I played | 0:24:17 | 0:24:20 | |
the front right leg of the elephant that Eddie was riding on. | 0:24:20 | 0:24:23 | |
So there was four of you to make the elephant? | 0:24:25 | 0:24:28 | |
-That's right, yeah. -And he was sitting on you? | 0:24:28 | 0:24:30 | |
He's sitting... | 0:24:30 | 0:24:31 | |
We're holding a table with a cushion on top of it and also | 0:24:31 | 0:24:35 | |
a tablecloth to cover our faces, because our bodies are the elephant. | 0:24:35 | 0:24:39 | |
Yes, so that's... | 0:24:39 | 0:24:41 | |
Sounds awful. | 0:24:41 | 0:24:43 | |
You've just got that picture in your head. | 0:24:45 | 0:24:48 | |
I imagine sitting there thinking, "I haven't had a drink, | 0:24:48 | 0:24:50 | |
"we're at school, they are carrying some boy dressed as a girl | 0:24:50 | 0:24:53 | |
"on top of the table." | 0:24:53 | 0:24:55 | |
"And my son is playing the front leg." | 0:24:55 | 0:24:58 | |
I can't even say, "That's my boy!" | 0:24:59 | 0:25:01 | |
-Front leg! -Great. | 0:25:02 | 0:25:05 | |
"Cast, IMDb, front leg." | 0:25:05 | 0:25:07 | |
Great. | 0:25:07 | 0:25:08 | |
Because, Ruth, you have appeared with Eddie Redmayne, | 0:25:08 | 0:25:10 | |
-or you haven't appeared with Eddie Redmayne? -No, I've never... | 0:25:10 | 0:25:13 | |
There was a point at which I was | 0:25:13 | 0:25:14 | |
almost going to be cast in something with him. | 0:25:14 | 0:25:16 | |
But apparently, our faces next to each other, we both have | 0:25:16 | 0:25:21 | |
extraordinary-looking faces, so they thought | 0:25:21 | 0:25:24 | |
they were too weird-looking next to each other on screen. | 0:25:24 | 0:25:27 | |
That's what I was told by the producer. | 0:25:27 | 0:25:30 | |
-They said that?! -Both our faces are too extraordinary to be opposite | 0:25:30 | 0:25:33 | |
each other on one frame. | 0:25:33 | 0:25:35 | |
-Everyone would be put off. -Wow! Think of this couch. | 0:25:35 | 0:25:38 | |
I think we've got a picture of Eddie. | 0:25:39 | 0:25:42 | |
Let's have a little picture of Eddie up. | 0:25:42 | 0:25:44 | |
You look all right. | 0:25:44 | 0:25:46 | |
I don't know. Apparently, two extraordinary-looking weird faces. | 0:25:46 | 0:25:49 | |
-TINIE: -They do look a bit related. | 0:25:49 | 0:25:51 | |
It might have been that. | 0:25:51 | 0:25:54 | |
It might have been that, actually. It might have looked incestuous. | 0:25:54 | 0:25:57 | |
That would put people off. | 0:25:57 | 0:25:58 | |
Yes, supposed to be lovers, rather than brothers or sisters. | 0:25:58 | 0:26:01 | |
People would be waiting for the subplot | 0:26:01 | 0:26:03 | |
-the whole way through the film. -Exactly. | 0:26:03 | 0:26:06 | |
Talking of families, Tinie, your mother is quite concerned | 0:26:06 | 0:26:08 | |
about the whole hip-hop thing. | 0:26:08 | 0:26:10 | |
Yes, she is so concerned that she's here. Somewhere. | 0:26:10 | 0:26:13 | |
-Mum? She's there. -Where's Mrs Tempah? | 0:26:13 | 0:26:15 | |
-Hi, Mum. -There she is. Hello. Hi. | 0:26:15 | 0:26:19 | |
APPLAUSE | 0:26:19 | 0:26:20 | |
Hey, Mum, stop embarrassing me. | 0:26:24 | 0:26:27 | |
She's so concerned that she's basically here now. | 0:26:27 | 0:26:30 | |
To be honest with you, I haven't told anybody this, | 0:26:30 | 0:26:33 | |
but she's always messaging me on WhatsApp. | 0:26:33 | 0:26:35 | |
I don't know why my sister showed her how to use it, | 0:26:35 | 0:26:38 | |
but she always messages me on WhatsApp, and she says, | 0:26:38 | 0:26:42 | |
"You need to make more love songs," because love songs are the way | 0:26:42 | 0:26:46 | |
to people's hearts. | 0:26:46 | 0:26:48 | |
So, as a result, when I went to do Top Gear, I met Seasick Steve | 0:26:48 | 0:26:52 | |
and we started making this song. | 0:26:52 | 0:26:54 | |
It's not on my album, which is coming out soon. | 0:26:54 | 0:26:56 | |
But we made a song called 2,500 Roses, that I made | 0:26:56 | 0:27:00 | |
with Seasick Steve, purely because my mum told me | 0:27:00 | 0:27:03 | |
-to make more love songs. -Aw, good son, good son. | 0:27:03 | 0:27:06 | |
One day, maybe people will hear that. | 0:27:06 | 0:27:09 | |
Now, Ricky Gervais is also back on stage. | 0:27:09 | 0:27:12 | |
His first stand-up show in seven years. | 0:27:12 | 0:27:14 | |
Did you mean to wait seven years? | 0:27:14 | 0:27:16 | |
No, it just kept... | 0:27:16 | 0:27:18 | |
It gets pushed back. | 0:27:18 | 0:27:19 | |
The last one I did was, I don't know - well, seven years ago. | 0:27:19 | 0:27:21 | |
Was that the one in Hammersmith? | 0:27:21 | 0:27:23 | |
-Yeah. -The Science one? | 0:27:23 | 0:27:26 | |
No, I ended up in Wembley. | 0:27:26 | 0:27:27 | |
-Hammersmith AND Wembley I did Science. -I saw the Science one. | 0:27:27 | 0:27:30 | |
-Oh, cheers, man. -That couldn't have been seven years ago. | 0:27:30 | 0:27:32 | |
-I think it was. I think it was. -Was it? | 0:27:32 | 0:27:34 | |
Why do you say that, Tinie? | 0:27:34 | 0:27:36 | |
Because I feel like seven years ago is a long, long time. | 0:27:36 | 0:27:39 | |
But I actually went to see that show. | 0:27:39 | 0:27:41 | |
-Cheers, man. -Yeah. -Did you pay? -Well... | 0:27:41 | 0:27:44 | |
-You didn't, did you? -I didn't pay. | 0:27:46 | 0:27:47 | |
But now that you've said | 0:27:47 | 0:27:48 | |
you turn the lights off on your audience, I don't know. | 0:27:48 | 0:27:51 | |
You're not on the guest list next time. | 0:27:51 | 0:27:53 | |
It's called Humanity. It starts next week, on the 21st, | 0:27:53 | 0:27:55 | |
and then basically runs through the rest of the year. | 0:27:55 | 0:27:57 | |
It runs through the rest of the year, ending up in LA. | 0:27:57 | 0:28:01 | |
-And I don't have to pay for this one? -You're on the guest list, man. | 0:28:01 | 0:28:04 | |
Perfect. | 0:28:04 | 0:28:05 | |
-Sweet! -You have to pay. | 0:28:05 | 0:28:07 | |
If I come as half an elephant... | 0:28:09 | 0:28:11 | |
The front leg, yeah! | 0:28:11 | 0:28:14 | |
"The table's moving." | 0:28:14 | 0:28:15 | |
What's it about? | 0:28:17 | 0:28:19 | |
It's sort of about how the world's got worse. | 0:28:19 | 0:28:22 | |
It's basically me ranting from the most privileged | 0:28:22 | 0:28:25 | |
position imaginable. | 0:28:25 | 0:28:26 | |
I think it's my most honest as well, because the great thing | 0:28:26 | 0:28:30 | |
about stand-up, unlike writing a film or TV - when you write | 0:28:30 | 0:28:33 | |
a TV or film, you do it, and you do your best guess, | 0:28:33 | 0:28:36 | |
you edit it, put it out there and that's it, | 0:28:36 | 0:28:38 | |
there's nothing you can do about it. | 0:28:38 | 0:28:40 | |
Whereas I can change it every single night. | 0:28:40 | 0:28:42 | |
It's like evolution by natural selection. | 0:28:42 | 0:28:45 | |
They pick your best hour. | 0:28:45 | 0:28:47 | |
If they laugh, it stays in. | 0:28:47 | 0:28:49 | |
If they don't, it goes, or you work on it. | 0:28:49 | 0:28:51 | |
So after 50 gigs, everything works, the gasps, | 0:28:51 | 0:28:55 | |
the laughs, the walk-outs. | 0:28:55 | 0:28:57 | |
You call it Humanity but I'm sure you'll be talking about all sorts | 0:28:57 | 0:29:01 | |
-of things in the show. -Yeah, it's a jump-off point. | 0:29:01 | 0:29:03 | |
I've always done that sort of pompous faux academic, | 0:29:03 | 0:29:06 | |
because I thought it was quite funny to pretend it was a lecture | 0:29:06 | 0:29:09 | |
and then just talk about Hitler and masturbation. | 0:29:09 | 0:29:14 | |
I don't know why I put those together. | 0:29:14 | 0:29:18 | |
I don't know... | 0:29:18 | 0:29:19 | |
Masturbating to Hitler. | 0:29:19 | 0:29:21 | |
That's the new album. | 0:29:21 | 0:29:23 | |
The shows you do, you did one on animals, didn't you? | 0:29:26 | 0:29:29 | |
Yes, Animals, Politics, Fame and Science. | 0:29:29 | 0:29:34 | |
Animals, I know you've talked about animals a lot, | 0:29:34 | 0:29:37 | |
because you were very young... | 0:29:37 | 0:29:39 | |
You always were interested in nature and animals. | 0:29:39 | 0:29:41 | |
I've always been fascinated with science and nature. | 0:29:41 | 0:29:43 | |
That's probably my first love. | 0:29:43 | 0:29:45 | |
Before film, or comedy, or even music. | 0:29:45 | 0:29:47 | |
Yeah, and... | 0:29:47 | 0:29:49 | |
I remember when I was about... | 0:29:50 | 0:29:53 | |
Along with that, growing up in my family, | 0:29:53 | 0:29:55 | |
everyone was winding everyone up. | 0:29:55 | 0:29:57 | |
I was the youngest of four, and I remember once when my sister | 0:29:57 | 0:30:02 | |
must've been about 25 or something. | 0:30:02 | 0:30:05 | |
I was, like, eight. | 0:30:05 | 0:30:07 | |
And they used to take me out in the woods. | 0:30:07 | 0:30:09 | |
And I used to be foraging. | 0:30:09 | 0:30:11 | |
I used to love insects and I knew about space and everything. | 0:30:11 | 0:30:14 | |
And I found a perfect little discarded snakeskin. | 0:30:14 | 0:30:19 | |
And I picked it up and my sister was scared of it. | 0:30:19 | 0:30:21 | |
And I suddenly thought, "I've got her." And I was teasing her. | 0:30:21 | 0:30:24 | |
And she was going, "Put it down, it's got germs." | 0:30:24 | 0:30:25 | |
And I was running around chasing her. | 0:30:25 | 0:30:27 | |
And she went, "You're not coming in the car with that." | 0:30:27 | 0:30:29 | |
So I left it there. | 0:30:29 | 0:30:31 | |
And then when I was about 15, I was at home with some of my mates | 0:30:31 | 0:30:35 | |
and I decided to wind her up and I started teasing her about how | 0:30:35 | 0:30:38 | |
she was scared of snakes, I chased her with a snakeskin. | 0:30:38 | 0:30:40 | |
And she chose that time to tell me that I'd actually been running | 0:30:40 | 0:30:43 | |
around with a used condom. | 0:30:43 | 0:30:45 | |
LAUGHTER | 0:30:45 | 0:30:47 | |
So, yeah... | 0:30:57 | 0:30:58 | |
"Look, it left its poison!" | 0:30:58 | 0:31:00 | |
Right, time to meet our final guests. | 0:31:04 | 0:31:06 | |
They are the double act in the new production of Rosencrantz & Guildenstern Are Dead. | 0:31:06 | 0:31:09 | |
Please welcome Joshua McGuire and our good friend Daniel Radcliffe. They're here. | 0:31:09 | 0:31:13 | |
CHEERING | 0:31:13 | 0:31:14 | |
Hello! Good to see you. | 0:31:16 | 0:31:19 | |
THEY TALK OVER EACH OTHER | 0:31:22 | 0:31:24 | |
There's room, isn't there? There's room, there's room. | 0:31:26 | 0:31:29 | |
There's room, there's room. | 0:31:29 | 0:31:31 | |
Hello. How are you? | 0:31:31 | 0:31:33 | |
Yay, yay. Lovely to see you. | 0:31:33 | 0:31:35 | |
Now, before we talk about another thing, very quickly, | 0:31:35 | 0:31:38 | |
Daniel Radcliffe, time traveller. We've had this on the show before. | 0:31:38 | 0:31:41 | |
-Right, yes. -I don't know if you're familiar with this. | 0:31:41 | 0:31:44 | |
Daniel Radcliffe, time traveller. This is the collection so far. | 0:31:44 | 0:31:47 | |
-Right. -Daniel Radcliffe. | 0:31:47 | 0:31:48 | |
Daniel Radcliffe. | 0:31:50 | 0:31:51 | |
-I'm a lady from the past! -And this is my favourite one. | 0:31:51 | 0:31:54 | |
Daniel Radcliffe. | 0:31:54 | 0:31:55 | |
That's amazing. | 0:31:56 | 0:31:57 | |
I look like a lot of old women in the past. | 0:31:57 | 0:32:00 | |
But very rarely men or boys. | 0:32:00 | 0:32:02 | |
About two days ago, two days ago, someone found another one. | 0:32:02 | 0:32:05 | |
Oh, good. | 0:32:05 | 0:32:06 | |
This is a young lady in 1922. | 0:32:06 | 0:32:10 | |
There she is. | 0:32:10 | 0:32:12 | |
It's... These are all my past lives. | 0:32:14 | 0:32:17 | |
-You've had a lot. -I was a slightly depressed lady in a lot of them. | 0:32:17 | 0:32:21 | |
If you think you've spotted Daniel Radcliffe | 0:32:21 | 0:32:24 | |
in a former life, do get in touch. | 0:32:24 | 0:32:25 | |
Please contribute to this growing collection. | 0:32:25 | 0:32:28 | |
Daniel and Joshua are together in Rosencrantz & Guildenstern Are Dead. | 0:32:28 | 0:32:33 | |
Previews start next Saturday | 0:32:33 | 0:32:35 | |
and then it opens properly, | 0:32:35 | 0:32:36 | |
when you're really good at it. It will open on the 7th of March. | 0:32:36 | 0:32:40 | |
And Rosencrantz and Guildenstern, obviously, bit players in Hamlet | 0:32:40 | 0:32:45 | |
but in the Stoppard play are the stars. | 0:32:45 | 0:32:48 | |
You're much better at this than me. Sorry, do you mind? I've been | 0:32:48 | 0:32:51 | |
dumping Josh in it with this question, because | 0:32:51 | 0:32:52 | |
it's quite a hard play to explain, | 0:32:52 | 0:32:54 | |
so I'm going to let him do all of it. | 0:32:54 | 0:32:56 | |
It's two supporting characters from Hamlet kind of thrust | 0:32:56 | 0:32:58 | |
centre stage, and they don't know who they are, where they are, | 0:32:58 | 0:33:02 | |
why they are there, what they're doing, what they need to do, | 0:33:02 | 0:33:04 | |
-and they don't want to die. -Yeah. | 0:33:04 | 0:33:06 | |
-That's key. -That's pretty much it. | 0:33:06 | 0:33:08 | |
And it's very, very funny. | 0:33:08 | 0:33:09 | |
It's like if Shakespeare had written some sort | 0:33:09 | 0:33:12 | |
of mashup of The Truman Show and Groundhog Day, and I also keep | 0:33:12 | 0:33:15 | |
thinking about The Matrix, but don't expect anything | 0:33:15 | 0:33:18 | |
that's like The Matrix, if you come and see the show. | 0:33:18 | 0:33:21 | |
Wow, this sounds amazing! | 0:33:21 | 0:33:22 | |
Everyone now thinks that you guys are doing some kind of slow-mo | 0:33:22 | 0:33:27 | |
kung fu in a leather jacket. | 0:33:27 | 0:33:29 | |
-We might be. -We might be, yeah. | 0:33:29 | 0:33:31 | |
If we can set them up to expect that, the actual show | 0:33:31 | 0:33:33 | |
will be a lot better. | 0:33:33 | 0:33:34 | |
It doesn't open until the 7th of March. There's plenty of time. | 0:33:34 | 0:33:37 | |
And this is a very special production because | 0:33:37 | 0:33:40 | |
the play is 50 years old. | 0:33:40 | 0:33:42 | |
Am I right - I didn't know this - the original production | 0:33:42 | 0:33:44 | |
was in the Old Vic, where you're doing it? | 0:33:44 | 0:33:46 | |
Yes. I don't know, was the Old Vic there when it was put on? | 0:33:46 | 0:33:49 | |
Yeah, it was the Old Vic, because the National Theatre was there. | 0:33:49 | 0:33:52 | |
And so they... | 0:33:52 | 0:33:53 | |
It was first done in Edinburgh, and then it made Tom Stoppard | 0:33:53 | 0:33:56 | |
an overnight sensation, and they brought it | 0:33:56 | 0:33:59 | |
to the National the next year. | 0:33:59 | 0:34:00 | |
It did totally make his reputation. It made him a huge star. | 0:34:00 | 0:34:02 | |
He also wrote it when he was younger than us, which is really annoying. | 0:34:02 | 0:34:06 | |
You are younger than Tinie Tempah. | 0:34:06 | 0:34:08 | |
-How old are you? -I'm 27. | 0:34:08 | 0:34:11 | |
-Yeah, you ARE younger than me. I'm 28. -In your face, Tinie. | 0:34:11 | 0:34:14 | |
Even though I'm no longer the youngest, can I tell you guys | 0:34:14 | 0:34:17 | |
why this is the best day of my life? | 0:34:17 | 0:34:19 | |
You're not going to believe this, you really ain't. | 0:34:19 | 0:34:21 | |
Earlier this morning, Graham, I saw Ralph Fiennes | 0:34:21 | 0:34:25 | |
in Carluccio's so, technically, I have seen Harry Potter | 0:34:25 | 0:34:30 | |
and Voldemort on the same day. | 0:34:30 | 0:34:32 | |
CHEERING | 0:34:32 | 0:34:35 | |
This is like the best day ever. | 0:34:38 | 0:34:40 | |
You don't understand. | 0:34:40 | 0:34:42 | |
I'm, like, jizzing, literally. | 0:34:42 | 0:34:44 | |
And again, your mother is here! | 0:34:45 | 0:34:47 | |
I assume Jizzing is a character from Harry Potter. | 0:34:50 | 0:34:53 | |
Yes, it's a thing. It's a thing. | 0:34:55 | 0:34:57 | |
So the thing is, because you've done stage work before, | 0:34:57 | 0:35:00 | |
you obviously like the theatre. | 0:35:00 | 0:35:02 | |
But equally, it's an odd thing for somebody like you | 0:35:02 | 0:35:05 | |
with a film background, | 0:35:05 | 0:35:07 | |
that stage-door moment, there's nothing... | 0:35:07 | 0:35:09 | |
You have to leave the building. | 0:35:09 | 0:35:11 | |
So is there a way...? | 0:35:11 | 0:35:13 | |
Have the two of you got a game plan? | 0:35:13 | 0:35:16 | |
I'm Dan's security. | 0:35:16 | 0:35:18 | |
-That's how it works. -Josh is helping me out. | 0:35:18 | 0:35:21 | |
But you did do a clever thing to stop the paparazzi. | 0:35:21 | 0:35:24 | |
Well, I mean, it's not... Yes. | 0:35:24 | 0:35:26 | |
-I think it IS clever. -Thank you very much. | 0:35:26 | 0:35:29 | |
We happened upon it by accident because I don't change my clothes | 0:35:29 | 0:35:32 | |
as often as I should, but we realised that, | 0:35:32 | 0:35:34 | |
as I was leaving the theatre, because I wore the same thing | 0:35:34 | 0:35:36 | |
basically every day, and we realised on the third day of me wearing | 0:35:36 | 0:35:39 | |
the same thing, they just didn't bother, because they thought, | 0:35:39 | 0:35:42 | |
"This looks like it's from every other day | 0:35:42 | 0:35:43 | |
"that we've been taking photos of him." | 0:35:43 | 0:35:45 | |
That is always the question, how can you possibly... | 0:35:45 | 0:35:49 | |
I did a play once, The Cripple Of Inishmaan, | 0:35:49 | 0:35:51 | |
and there was this woman who came to every performance | 0:35:51 | 0:35:55 | |
for two weeks and sat in the front row, the middle of the front row. | 0:35:55 | 0:35:58 | |
She had this very loud laugh, | 0:35:58 | 0:36:00 | |
and she would laugh at all the right points, | 0:36:00 | 0:36:02 | |
but for much longer than everybody else. | 0:36:02 | 0:36:04 | |
Eventually on the third day, people were complaining about her | 0:36:04 | 0:36:07 | |
and someone went up to her and asked her to move, | 0:36:07 | 0:36:09 | |
and it transpired she was French and didn't speak English. | 0:36:09 | 0:36:11 | |
So we were like, "What are you laughing at? What are you getting out of the show?" | 0:36:11 | 0:36:15 | |
Because it's Martin McDonagh and heavy Irish accents, | 0:36:15 | 0:36:18 | |
and it's very confusing. | 0:36:18 | 0:36:19 | |
And I've met her a few times and I probably shouldn't be | 0:36:19 | 0:36:22 | |
telling this story on TV. | 0:36:22 | 0:36:23 | |
She won't understand it! | 0:36:23 | 0:36:26 | |
I've met her at the stage door and I always sign and I always try | 0:36:26 | 0:36:29 | |
and initiate conversation with her. She never says anything to me. | 0:36:29 | 0:36:32 | |
She thinks he's an old woman from the '30s. | 0:36:32 | 0:36:36 | |
She thinks she knows me! | 0:36:36 | 0:36:37 | |
"You're my nan. You're my nan!" | 0:36:39 | 0:36:42 | |
Because, Tinie, you are very nice to your fans. | 0:36:42 | 0:36:44 | |
Yes, I have sexy fans, though. | 0:36:44 | 0:36:47 | |
I have very sexy, hot fans. | 0:36:47 | 0:36:49 | |
I believe you. | 0:36:49 | 0:36:51 | |
-No, OK, not all of my fans are sexy. -I'M one of your fans. | 0:36:52 | 0:36:54 | |
-Yeah... -See? | 0:36:54 | 0:36:57 | |
OK, not all of my fans are sexy. | 0:36:57 | 0:36:58 | |
Not all of them, but I do have a lot. | 0:36:59 | 0:37:01 | |
And then the ones that are not, just to make it clear | 0:37:01 | 0:37:04 | |
that there is a clear difference, I have also employed | 0:37:04 | 0:37:07 | |
some of my fans as well. | 0:37:07 | 0:37:09 | |
You see, isn't that a clever thing to do? | 0:37:09 | 0:37:11 | |
Is there like...? Do you employ them if they are sexy, or if they're not? | 0:37:11 | 0:37:14 | |
That's what I'm saying, if they are not sexy, I need to make that clear, | 0:37:14 | 0:37:18 | |
all right? | 0:37:18 | 0:37:19 | |
If they're not sexy, then there are two fans I have employed. | 0:37:19 | 0:37:24 | |
OK, Tinie, do you understand what you're saying? | 0:37:24 | 0:37:26 | |
Do you realise what your words are saying? | 0:37:26 | 0:37:30 | |
-They won't mind! -There's two people watching this show now in tears. | 0:37:30 | 0:37:34 | |
They definitely won't mind. | 0:37:34 | 0:37:36 | |
-They won't mind! -They won't mind. | 0:37:36 | 0:37:38 | |
But basically... | 0:37:38 | 0:37:40 | |
-How much are you paying them?! -OK. No. | 0:37:40 | 0:37:44 | |
Let me explain. It will make more sense. | 0:37:44 | 0:37:46 | |
One is not dressed as a giraffe and one as a zebra. | 0:37:46 | 0:37:49 | |
LAUGHTER | 0:37:49 | 0:37:51 | |
No. No. | 0:37:53 | 0:37:56 | |
Don't worry about it. I will explain on another day. | 0:37:56 | 0:37:59 | |
Very quickly, we must mention, Joshua, your series Lovesick is back | 0:37:59 | 0:38:03 | |
on Netflix for a third series. | 0:38:03 | 0:38:06 | |
Absolutely, yes. | 0:38:06 | 0:38:07 | |
But, now, why did they change the name? | 0:38:07 | 0:38:09 | |
-From Scrotal Recall? -Yes. It was a brilliant name. | 0:38:09 | 0:38:12 | |
-That's great. -That's quite catchy. | 0:38:12 | 0:38:15 | |
I think you put it quite well. | 0:38:15 | 0:38:16 | |
You say it's a good name but not for that show. | 0:38:16 | 0:38:19 | |
For a different show. | 0:38:19 | 0:38:20 | |
-Yeah. -I mean, you got so used to it that when people asked you | 0:38:20 | 0:38:25 | |
what you were doing, you'd be like, "Oh, I'm doing Scrotal." | 0:38:25 | 0:38:28 | |
And they'd be like, "What?" | 0:38:28 | 0:38:30 | |
"Uh, Scrotal Recall." | 0:38:30 | 0:38:32 | |
Apparently, when the first series was happening, | 0:38:32 | 0:38:35 | |
an agent e-mailed the producer, and either something went wrong | 0:38:35 | 0:38:39 | |
on autocorrect or they got the name of the show wrong, and the header | 0:38:39 | 0:38:43 | |
of the e-mail was Scrotum Rectum. | 0:38:43 | 0:38:45 | |
That sounds like a great show. | 0:38:47 | 0:38:48 | |
A very different show. | 0:38:48 | 0:38:50 | |
There is also your life... I did see someone shout, "Lovesick," | 0:38:50 | 0:38:53 | |
at you on the street the other day. | 0:38:53 | 0:38:55 | |
And your life would be very different | 0:38:55 | 0:38:57 | |
-if people were shouting, "Scrotal," at you. -Yes. -A plus point. | 0:38:57 | 0:39:00 | |
Talking of other jobs, we can't end without mentioning | 0:39:00 | 0:39:03 | |
the brilliant episode that, Daniel, you did with Ricky in Extras. | 0:39:03 | 0:39:07 | |
Aw, amazing. | 0:39:07 | 0:39:09 | |
-Thank you for that again. -It's got a snake in it, as well, hasn't it? | 0:39:09 | 0:39:12 | |
A snake. It's got a snake. Exactly. Same... | 0:39:12 | 0:39:15 | |
Diana Rigg. That was a hell of a day. | 0:39:15 | 0:39:18 | |
How were you allowed to...? | 0:39:18 | 0:39:20 | |
Because you were still doing Harry Potter when... | 0:39:20 | 0:39:23 | |
We had to be so close to it but not actually put him in Harry Potter. | 0:39:23 | 0:39:27 | |
That's why I'm a Boy Scout and not a schoolboy in a school uniform. | 0:39:27 | 0:39:30 | |
They managed to get Gryffindor colours but we couldn't do... | 0:39:30 | 0:39:35 | |
And the joke was that he was still a schoolboy in his real life. | 0:39:35 | 0:39:39 | |
So he was playing a sort of exaggerated, adolescent... | 0:39:39 | 0:39:44 | |
And you were only about 17, weren't you? | 0:39:44 | 0:39:47 | |
Younger. I think I was about 15 or 16. | 0:39:47 | 0:39:49 | |
And he was playing an adolescent who used to brag about sex | 0:39:49 | 0:39:52 | |
but had never had sex, and that was the gag. | 0:39:52 | 0:39:55 | |
And there was a bit on the bus where he is showing me the condom | 0:39:55 | 0:39:59 | |
he's going to use, and he flicks it and it lands | 0:39:59 | 0:40:02 | |
on Dame Diana Rigg's face. | 0:40:02 | 0:40:04 | |
And of course, that is one take. | 0:40:04 | 0:40:07 | |
I remember going over to her and going, | 0:40:07 | 0:40:09 | |
"Just put it over your eye a little bit." | 0:40:09 | 0:40:12 | |
There is Dame Diana Rigg and I'm going, "A bit more like that," | 0:40:12 | 0:40:15 | |
pulling a condom over her face. | 0:40:15 | 0:40:16 | |
Was there soup on it as well? | 0:40:16 | 0:40:18 | |
-No, that's a different... -Have I mashed up two episodes? | 0:40:18 | 0:40:20 | |
That's a dream. | 0:40:20 | 0:40:22 | |
This is like DVD extras. Let's enjoy the scene again. | 0:40:24 | 0:40:27 | |
Hey, gang. What we doing? | 0:40:28 | 0:40:30 | |
Just been eating. | 0:40:30 | 0:40:31 | |
Yeah, sweet. | 0:40:31 | 0:40:33 | |
Look, thanks for covering my arse earlier. | 0:40:33 | 0:40:35 | |
The offer still stands. | 0:40:35 | 0:40:37 | |
-What offer? -You know... | 0:40:37 | 0:40:39 | |
Just going to go and get a drink. Does anybody want anything? | 0:40:44 | 0:40:47 | |
-I'll have a cup of tea. -Get me a bourbon, would you, babe? | 0:40:47 | 0:40:49 | |
I think it's mostly just teas and coffees. | 0:40:49 | 0:40:51 | |
Yeah, get me a cup of joe, would you? And make it strong. | 0:40:51 | 0:40:53 | |
I don't like the weak shit. Oh! | 0:40:53 | 0:40:54 | |
Look, when she comes back, make some excuse and leave us alone, | 0:40:59 | 0:41:02 | |
will you? | 0:41:02 | 0:41:03 | |
What have you got planned? | 0:41:03 | 0:41:05 | |
You've unravelled it. | 0:41:11 | 0:41:12 | |
Ready for action. | 0:41:12 | 0:41:14 | |
Just hope it's big enough. | 0:41:14 | 0:41:15 | |
All right, Tinie, the time has come for you to sing for us so... | 0:41:28 | 0:41:32 | |
-No, I'm OK. -..if you'd like to make your way along. | 0:41:32 | 0:41:35 | |
I'll wait here, shall I? Go up by yourself? | 0:41:35 | 0:41:37 | |
On the music stage. There he goes, off goes Tinie Tempah. | 0:41:37 | 0:41:40 | |
OK, here he is, performing Text From Your Ex, | 0:41:40 | 0:41:44 | |
it is Tinie Tempah! | 0:41:44 | 0:41:46 | |
APPLAUSE AND CHEERING | 0:41:46 | 0:41:48 | |
# I got a text from your ex, boy | 0:41:50 | 0:41:53 | |
# She said to look through your texts, boy | 0:41:54 | 0:41:58 | |
# I'm not the kind of girl to snoop but I had a feeling to | 0:41:58 | 0:42:02 | |
# And now I'm looking for my next boy | 0:42:02 | 0:42:05 | |
# See, I got a text from your ex-girl | 0:42:05 | 0:42:09 | |
# And she was telling me where you were, last night | 0:42:09 | 0:42:14 | |
# I was chilling on my own, thinking you're alone | 0:42:14 | 0:42:17 | |
# You were having ... with your ex-girl... # | 0:42:17 | 0:42:20 | |
-RAPS: -# Graham Norton! | 0:42:20 | 0:42:21 | |
# Yeah, one text from my ex You know I always flex on my ex | 0:42:21 | 0:42:25 | |
# You know I got a rep to protect | 0:42:25 | 0:42:28 | |
# You know I never let it get to my head | 0:42:28 | 0:42:30 | |
# No, never gettin' vexed when you're wet | 0:42:30 | 0:42:32 | |
# My DJ bring his decks on the jet Came out when you put me on the sofa | 0:42:32 | 0:42:35 | |
# I know you wanna get my respect | 0:42:35 | 0:42:37 | |
# I don't know why you moved to mess What point you tryna prove again? | 0:42:37 | 0:42:41 | |
# Ah, there you go, gettin' loose again, but ya | 0:42:41 | 0:42:43 | |
# Try and win, but you lose again, and ya | 0:42:43 | 0:42:45 | |
# Hanging round those bougie ants Got girls, so you're usin' them | 0:42:45 | 0:42:48 | |
# But you're gettin' high, gotta lose the chance | 0:42:48 | 0:42:50 | |
# Gotta love you long time, but you was a ten | 0:42:50 | 0:42:52 | |
# I got a text from your ex, boy | 0:42:52 | 0:42:55 | |
# She said to look through your texts, boy | 0:42:55 | 0:42:58 | |
# I'm not the kind of girl to snoop but I had a feeling to | 0:42:59 | 0:43:03 | |
# And now I'm looking for my next boy... # | 0:43:03 | 0:43:05 | |
Make some noise for Imani! | 0:43:05 | 0:43:07 | |
# I got a text from your ex-girl | 0:43:07 | 0:43:10 | |
# And she was telling me where you were, last night | 0:43:10 | 0:43:15 | |
# I was chilling on my own, thinking you're alone | 0:43:15 | 0:43:18 | |
# You were having ... with your ex-girl | 0:43:18 | 0:43:22 | |
# I got a | 0:43:22 | 0:43:24 | |
# Life ain't always what it seems to be | 0:43:24 | 0:43:25 | |
# Tryna work it out what it means to me | 0:43:25 | 0:43:27 | |
# Nowadays everybody want a piece of me | 0:43:27 | 0:43:29 | |
# Notorious, south, west and east, yo | 0:43:29 | 0:43:31 | |
# That's why I look to seas and the seeker reef | 0:43:31 | 0:43:33 | |
# Used to check the Tinie man for the DVD | 0:43:33 | 0:43:34 | |
# He and I reminisce sometimes | 0:43:34 | 0:43:36 | |
# Peace in east, LA gettin' lean with Dee | 0:43:36 | 0:43:38 | |
# I don't know why you moved to mess | 0:43:38 | 0:43:40 | |
# Who you are, from who's your friends, I've got | 0:43:40 | 0:43:42 | |
# Space for you, and two in the Benz | 0:43:42 | 0:43:44 | |
# Ain't no night stand if you do it again | 0:43:44 | 0:43:46 | |
# But now me in amnesia Brandy or Moesha | 0:43:46 | 0:43:50 | |
# After referendums Girl, I've still got that visa | 0:43:50 | 0:43:54 | |
# I can't believe you've done this | 0:43:54 | 0:43:58 | |
# I told you I take no ... | 0:43:58 | 0:44:01 | |
# And you were supposed to love me | 0:44:01 | 0:44:05 | |
# Then I got a text from your ex, boy | 0:44:05 | 0:44:09 | |
# 079 3999 | 0:44:09 | 0:44:11 | |
# On standby, three sixty-five | 0:44:11 | 0:44:13 | |
# You get high, you testify | 0:44:13 | 0:44:15 | |
# Who's that girl? You let me lie | 0:44:15 | 0:44:17 | |
# 079 3999 | 0:44:17 | 0:44:19 | |
# On standby, all at a time | 0:44:19 | 0:44:21 | |
# You get high, and you testify | 0:44:21 | 0:44:22 | |
# I got a text from your ex, boy | 0:44:26 | 0:44:28 | |
# She said to look through your texts, boy | 0:44:30 | 0:44:32 | |
# I'm not the kind of girl to snoop but I had a feeling to | 0:44:33 | 0:44:37 | |
# And now I'm looking for my next boy | 0:44:37 | 0:44:40 | |
# See, I got a text from your ex-girl | 0:44:41 | 0:44:44 | |
# Graham Norton! | 0:44:44 | 0:44:45 | |
# And she was telling me where you were, last night | 0:44:45 | 0:44:49 | |
# I was chilling on my own, thinking you're alone | 0:44:49 | 0:44:52 | |
# You were having ... with your ex-girl | 0:44:52 | 0:44:56 | |
# I got a | 0:44:56 | 0:44:57 | |
# 079 3999 | 0:44:57 | 0:44:59 | |
# Let's go! | 0:45:04 | 0:45:05 | |
# 079 3999 | 0:45:05 | 0:45:07 | |
# Hey! # | 0:45:12 | 0:45:14 | |
APPLAUSE AND CHEERING | 0:45:14 | 0:45:16 | |
Imani, ladies and gentlemen! | 0:45:16 | 0:45:18 | |
Thank you, thank you. | 0:45:21 | 0:45:23 | |
Tinie Tempah! | 0:45:23 | 0:45:24 | |
And Imani Williams. Beautiful. | 0:45:24 | 0:45:27 | |
Tinie, come up and join me. | 0:45:27 | 0:45:29 | |
Great job. | 0:45:29 | 0:45:31 | |
Beautiful, beautiful. | 0:45:32 | 0:45:34 | |
Have a seat. Squeeze in, squeeze in. | 0:45:34 | 0:45:35 | |
Great job. | 0:45:37 | 0:45:39 | |
And, yeah, go on. | 0:45:39 | 0:45:41 | |
They all want to congratulate you. | 0:45:41 | 0:45:43 | |
And that's from the new album, Youth, which is out | 0:45:43 | 0:45:46 | |
on the 31st of March. | 0:45:46 | 0:45:48 | |
Yes. | 0:45:48 | 0:45:49 | |
So this album, you're touring it almost immediately. | 0:45:49 | 0:45:52 | |
Are you going to Australia for it? | 0:45:52 | 0:45:53 | |
Yeah, so I go March the 1st and then, from there, | 0:45:53 | 0:45:55 | |
I'm kind of in New Zealand after that and then I come back | 0:45:55 | 0:45:59 | |
and then we go throughout Europe. | 0:45:59 | 0:46:01 | |
So...Italy, France - | 0:46:01 | 0:46:04 | |
-all the European countries. -All THOSE countries. | 0:46:04 | 0:46:07 | |
Italy, France, the others. | 0:46:09 | 0:46:11 | |
Yeah. | 0:46:11 | 0:46:12 | |
All the people we've pissed off, basically. | 0:46:12 | 0:46:15 | |
-They'll still go and see you. -Yeah, yeah. | 0:46:15 | 0:46:17 | |
Listen, good luck with the album, good luck with the tour. | 0:46:17 | 0:46:19 | |
Thank you very much for doing that. Tinie Tempah, everybody! | 0:46:19 | 0:46:22 | |
Now, I'm afraid that is it for tonight. | 0:46:24 | 0:46:27 | |
No time for red chairs. | 0:46:27 | 0:46:29 | |
-Boo-hoo! Oh, shut up. AUDIENCE: -Boooooo! | 0:46:29 | 0:46:32 | |
Please say thank you to my lovely guests, Tinie Tempah... | 0:46:32 | 0:46:35 | |
APPLAUSE AND CHEERING | 0:46:35 | 0:46:37 | |
..Ricky Gervais... APPLAUSE AND CHEERING | 0:46:37 | 0:46:39 | |
..Ruth Wilson... APPLAUSE AND CHEERING | 0:46:39 | 0:46:41 | |
..Tom Hiddleston... APPLAUSE AND CHEERING | 0:46:41 | 0:46:43 | |
..Joshua McGuire... APPLAUSE AND CHEERING | 0:46:43 | 0:46:46 | |
..Mr Daniel Radcliffe. APPLAUSE AND CHEERING | 0:46:46 | 0:46:48 | |
Join me next week. We've another star-filled sofa, | 0:46:49 | 0:46:52 | |
including Sir Patrick Stewart and Wolverine himself, Hugh Jackman. | 0:46:52 | 0:46:55 | |
I'll see you then. Goodnight, everybody, bye-bye. | 0:46:55 | 0:46:57 | |
APPLAUSE AND CHEERING | 0:46:57 | 0:46:59 |