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-It's New Year's Eve! -Yes, it is. | 0:00:02 | 0:00:03 | |
-I'm James McAvoy. -I'm Michael Fassbender. | 0:00:03 | 0:00:05 | |
BOTH: Welcome to The Graham Norton Show! | 0:00:05 | 0:00:08 | |
Oh! Oh! Yes! | 0:00:25 | 0:00:28 | |
Hello! | 0:00:28 | 0:00:29 | |
Hello! Oh! | 0:00:31 | 0:00:33 | |
Hi, everybody! Hi, hi, hi. Welcome. | 0:00:33 | 0:00:37 | |
It's New Year's Eve! | 0:00:37 | 0:00:40 | |
Yay! | 0:00:41 | 0:00:43 | |
Oh! Thank you very much. | 0:00:44 | 0:00:46 | |
So, did everyone have a nice Christmas? | 0:00:46 | 0:00:49 | |
-AUDIENCE: -Yes! | 0:00:49 | 0:00:51 | |
I thought as much. | 0:00:51 | 0:00:53 | |
It's over so quick, isn't it? | 0:00:53 | 0:00:55 | |
It seems like only yesterday I was putting the tree up. | 0:00:55 | 0:00:59 | |
It actually was yesterday. | 0:00:59 | 0:01:01 | |
Did anyone wake up Christmas morning and find an old man with a beard | 0:01:01 | 0:01:04 | |
at the bottom of their bed? Because if you did, sorry about that. | 0:01:04 | 0:01:07 | |
I got drunk, forgot where I live. | 0:01:07 | 0:01:09 | |
I'm joking, of course. | 0:01:09 | 0:01:10 | |
I took things very easy this year. | 0:01:10 | 0:01:12 | |
I limited myself to just one nice bottle of wine | 0:01:12 | 0:01:16 | |
that I got delivered to my house. Yeah. | 0:01:16 | 0:01:18 | |
It was delicious! | 0:01:21 | 0:01:23 | |
2016, wow! | 0:01:23 | 0:01:25 | |
It will go down in history as a year of world-changing events. | 0:01:25 | 0:01:28 | |
We voted to leave the EU, Donald Trump became US President | 0:01:28 | 0:01:31 | |
and, at that point, we felt, | 0:01:31 | 0:01:33 | |
well, at least nothing else THAT disturbing could happen in politics. | 0:01:33 | 0:01:36 | |
We were wrong. | 0:01:39 | 0:01:41 | |
Brexit, Trump, Ed Balls - | 0:01:41 | 0:01:44 | |
when will the world learn? Don't give us a vote, don't trust us. | 0:01:44 | 0:01:48 | |
Listen, we've got some great guests joining us tonight | 0:01:48 | 0:01:50 | |
to help see the year out. Later on, | 0:01:50 | 0:01:52 | |
we'll say hello to two of my favourite people of the year. | 0:01:52 | 0:01:55 | |
Irish Olympic rowing heroes, Gary and Paul O'Donovan will be here. | 0:01:55 | 0:02:00 | |
CHEERING AND APPLAUSE | 0:02:00 | 0:02:02 | |
If you've seen them, you'll know that I can't wait to meet them. | 0:02:05 | 0:02:08 | |
They're just fantastic. And, like all good New Year's Eve parties, | 0:02:08 | 0:02:12 | |
it'll all go Pete Tong at the end. | 0:02:12 | 0:02:13 | |
Yes, Pete Tong and the Heritage Orchestra are here. | 0:02:13 | 0:02:16 | |
Yeah! But let's get some guests on. | 0:02:16 | 0:02:20 | |
He's one of the nation's favourite comedians | 0:02:20 | 0:02:23 | |
and will be kicking off 2017 with a new series of Room 101. | 0:02:23 | 0:02:26 | |
It's always a pleasure to welcome back Frank Skinner! | 0:02:26 | 0:02:29 | |
Hey! | 0:02:30 | 0:02:32 | |
Hello, sir. | 0:02:32 | 0:02:34 | |
Lovely to see you. Frank Skinner. | 0:02:34 | 0:02:36 | |
No Hogmanay is complete without a Scotsman on the sofa. | 0:02:38 | 0:02:42 | |
We love this BAFTA-winning actor as Professor X in the X-Men movies | 0:02:42 | 0:02:46 | |
and now he's in the psychological thriller Split. | 0:02:46 | 0:02:49 | |
It's James McAvoy! | 0:02:49 | 0:02:51 | |
Hello, sir. Lovely to see you. Have a seat, do. | 0:02:53 | 0:02:56 | |
This French actress has starred in films like Inception, | 0:02:59 | 0:03:02 | |
The Dark Knight Rises and an Oscar-winning turn in La Vie En Rose. | 0:03:02 | 0:03:06 | |
It's bienvenue and bonne annee to Marion Cotillard! | 0:03:06 | 0:03:09 | |
Hello. How are you? | 0:03:12 | 0:03:15 | |
Mwah and mwah - showbiz kissing. | 0:03:15 | 0:03:16 | |
Say hello. | 0:03:16 | 0:03:18 | |
And he's played everyone, from X-Men's Magneto, | 0:03:21 | 0:03:24 | |
to Steve Jobs, to Macbeth | 0:03:24 | 0:03:25 | |
and now he's kickin' ass in the new action fantasy Assassin's Creed. | 0:03:25 | 0:03:29 | |
It's Michael Fassbender! | 0:03:29 | 0:03:31 | |
Hello! How are you doing? Lovely to see you. | 0:03:36 | 0:03:38 | |
Come in, sit down. | 0:03:38 | 0:03:39 | |
Look at that sofa. It's like a joke, though. It's like an Irishman, a Scotsman, | 0:03:47 | 0:03:50 | |
an Englishman and a French actress walk into a bar. | 0:03:50 | 0:03:54 | |
It's a great line-up, but this is what Ringo must have felt like. | 0:03:54 | 0:03:59 | |
And these are the other ones. | 0:03:59 | 0:04:00 | |
You stop it, Frank. You stop it. | 0:04:02 | 0:04:04 | |
-Your movie career's ahead of you. -Yeah. | 0:04:04 | 0:04:06 | |
Now, did everyone have a nice Christmas? | 0:04:09 | 0:04:11 | |
-Amazing. -Pretty magical. | 0:04:11 | 0:04:13 | |
LAUGHTER | 0:04:13 | 0:04:15 | |
Marion, what was the best present you got? | 0:04:15 | 0:04:17 | |
-LAUGHTER -Er... | 0:04:17 | 0:04:21 | |
Salt. Salt and pepper. | 0:04:22 | 0:04:24 | |
-Very nice. You can always use salt. -Music or seasoning? | 0:04:24 | 0:04:27 | |
-Yeah, absolutely. -Music or seasoning? | 0:04:27 | 0:04:29 | |
-Music? -Come on. Salt-N-Pepa. # Mix it up one time. # | 0:04:29 | 0:04:33 | |
Anybody? | 0:04:33 | 0:04:35 | |
-Nobody. -Let's Talk About Sex? | 0:04:35 | 0:04:37 | |
-Nobody. -It was not music. | 0:04:37 | 0:04:39 | |
Your English is flawless, but if there's any problems with anything | 0:04:39 | 0:04:43 | |
anyone's saying, Frank Skinner happily speaks fluent French. | 0:04:43 | 0:04:46 | |
Amazing! | 0:04:46 | 0:04:48 | |
Do you? | 0:04:48 | 0:04:50 | |
Um...well, it's been my New Year's resolution to learn French | 0:04:50 | 0:04:56 | |
since 1986. | 0:04:56 | 0:04:57 | |
I call it the French resolution. | 0:04:57 | 0:05:00 | |
So, I have... | 0:05:04 | 0:05:06 | |
I have had lessons, I've got all the books, the tapes | 0:05:06 | 0:05:08 | |
and I go hard at it until about mid-February. | 0:05:08 | 0:05:12 | |
And then I get... You know what it's like with French. | 0:05:12 | 0:05:15 | |
It falls away. | 0:05:15 | 0:05:17 | |
It's a beautiful language. | 0:05:17 | 0:05:19 | |
And, you know... One of my favourite phrases is, | 0:05:19 | 0:05:22 | |
I don't know if you're familiar with this, | 0:05:22 | 0:05:24 | |
it's... It's tout le monde sur le balcon. | 0:05:24 | 0:05:30 | |
I'll see you on the balcony? | 0:05:30 | 0:05:32 | |
-Are you talking about boobs? -Yes. | 0:05:34 | 0:05:36 | |
Or perhaps you'd like to explain it, Marion? | 0:05:38 | 0:05:41 | |
Yeah, well... But it's not the exact sentence. | 0:05:41 | 0:05:44 | |
-No. -Your book, get rid of it. -I didn't imagine for a second it would be. | 0:05:44 | 0:05:47 | |
It's, il y a du monde au balcon. | 0:05:47 | 0:05:51 | |
-OK. -There are a lot of people on the balcony. -Yes. | 0:05:51 | 0:05:54 | |
Oh... | 0:05:54 | 0:05:56 | |
If a woman's got a low-cut dress on, that's what French people say. | 0:05:56 | 0:06:00 | |
"There's a lot of people on the balcony tonight." | 0:06:00 | 0:06:02 | |
-They're all wanting a fag, though. -Yeah! | 0:06:02 | 0:06:06 | |
I love it, though. I've used it many times. | 0:06:06 | 0:06:09 | |
Wrongly, as it turns out. | 0:06:09 | 0:06:12 | |
Listen, we are... We can't lie, | 0:06:13 | 0:06:15 | |
we are recording this a little in advance. | 0:06:15 | 0:06:17 | |
So, what will you actually be doing on New Year's Eve? | 0:06:17 | 0:06:19 | |
Are you going to be in Ireland? Are there German traditions? | 0:06:19 | 0:06:22 | |
I'm going to try and be on a beach, if I can make it, um... | 0:06:22 | 0:06:26 | |
You're Magneto, you'll be fine. | 0:06:28 | 0:06:30 | |
-Exactly. -No, cos in your household, because your father's German, | 0:06:30 | 0:06:34 | |
did you have German New Year's traditions and things? | 0:06:34 | 0:06:37 | |
Not really. I guess the main difference is | 0:06:37 | 0:06:40 | |
that you open your presents on Christmas Eve, | 0:06:40 | 0:06:43 | |
-as opposed to Christmas morning. -OK. | 0:06:43 | 0:06:45 | |
But New Year's, we... | 0:06:45 | 0:06:47 | |
Most of the time, I was working at the restaurant, | 0:06:47 | 0:06:50 | |
because my parents had a restaurant, | 0:06:50 | 0:06:52 | |
so, on New Year's Eve, we were doing that, which was... | 0:06:52 | 0:06:54 | |
a family event of sorts. | 0:06:54 | 0:06:57 | |
I once spent New Year's Eve alone and I went out onto the balcony, | 0:06:57 | 0:07:03 | |
actually... | 0:07:03 | 0:07:04 | |
-Like a real balcony? -She was a fabulous woman. | 0:07:05 | 0:07:08 | |
No, a real balcony | 0:07:08 | 0:07:09 | |
and I could hear people singing Auld Lang Syne, | 0:07:09 | 0:07:12 | |
and I was on my own in my darkened flat. | 0:07:12 | 0:07:15 | |
And I realised I was actually doing that. | 0:07:15 | 0:07:19 | |
It was such a sad thing. | 0:07:19 | 0:07:20 | |
Really sad, slow, Gangnam Style? | 0:07:20 | 0:07:24 | |
Listen, well, I'm glad we've cleared up what we're all doing. | 0:07:27 | 0:07:30 | |
So, let's talk about our first film tonight. | 0:07:30 | 0:07:32 | |
Michael and Marion together in Assassin's Creed. | 0:07:32 | 0:07:35 | |
It's out tomorrow, January 1st. | 0:07:35 | 0:07:37 | |
I should say there's loud explosions in it, so maybe go later in the day. | 0:07:37 | 0:07:41 | |
Now, obviously, it's based on a video game and, apparently, | 0:07:41 | 0:07:45 | |
100 million copies of this game have been sold. | 0:07:45 | 0:07:49 | |
So, you only really need a few of those people to go to your movie. | 0:07:49 | 0:07:52 | |
That's what I said. | 0:07:52 | 0:07:54 | |
-So, you've never played the game before? -No. -Marion? -No. | 0:07:55 | 0:07:59 | |
Have you played it now? | 0:07:59 | 0:08:00 | |
-I have. -I haven't. | 0:08:00 | 0:08:02 | |
-Was it helpful? No? -Yes. | 0:08:05 | 0:08:08 | |
It was helpful for me because, basically, | 0:08:08 | 0:08:10 | |
there's a lot of parkour in the game, which is, I guess, | 0:08:10 | 0:08:15 | |
-kind of urban gymnastics. -Yeah, yeah. | 0:08:15 | 0:08:17 | |
And, so, it's a lot of that. | 0:08:17 | 0:08:20 | |
Basically, the action takes place in the regression. | 0:08:20 | 0:08:22 | |
We go back to 15th-century Spain, the Spanish Inquisition. | 0:08:22 | 0:08:26 | |
And, so, by hooking up to this machine, called the animus, | 0:08:26 | 0:08:30 | |
we can... It's sort of like, I guess, a genetic DeLorean. | 0:08:30 | 0:08:34 | |
It's like a genetic time machine that allows you to go back | 0:08:34 | 0:08:38 | |
to various times in history | 0:08:38 | 0:08:40 | |
and, through your ancestor, relive their experiences. | 0:08:40 | 0:08:44 | |
-So Marion's trying to locate... -You're more the science-y person. | 0:08:44 | 0:08:47 | |
-Yes. -Here comes the science part. | 0:08:47 | 0:08:49 | |
The science part is working with the animus | 0:08:49 | 0:08:53 | |
and using people, as Callum Lynch, played by Michael, to... | 0:08:53 | 0:09:00 | |
to help her reach this goal in finding the Apple of Eden | 0:09:00 | 0:09:05 | |
where the code she is searching for is. | 0:09:05 | 0:09:10 | |
And why are they doing that? | 0:09:10 | 0:09:12 | |
I have no idea. | 0:09:16 | 0:09:18 | |
Listen, we've got a clip of Assassin's Creed. | 0:09:19 | 0:09:22 | |
This is the two of you and you're about to enter the animus, | 0:09:22 | 0:09:25 | |
which is the big machine that takes you back for the first time. | 0:09:25 | 0:09:29 | |
What is it? | 0:09:33 | 0:09:34 | |
I'm sorry, Cal, this is not the way I like to do things. | 0:09:34 | 0:09:37 | |
Then don't do it. | 0:09:37 | 0:09:39 | |
CAL SCREAMS | 0:09:39 | 0:09:42 | |
What do you want from me? | 0:09:44 | 0:09:46 | |
Your past. | 0:09:46 | 0:09:47 | |
Listen to me carefully, Cal. | 0:09:47 | 0:09:50 | |
You're about to enter the animus. | 0:09:50 | 0:09:53 | |
What you're about to see, hear and feel | 0:09:53 | 0:09:55 | |
are the memories of someone who's been dead for 500 years. | 0:09:55 | 0:09:59 | |
Wait a minute... | 0:09:59 | 0:10:00 | |
Synchronisation achieved. | 0:10:06 | 0:10:07 | |
Commence regression. | 0:10:09 | 0:10:11 | |
Oh! | 0:10:13 | 0:10:15 | |
And...as I was saying, lots of... | 0:10:19 | 0:10:22 | |
lots of action sequences and stunts and everything. | 0:10:22 | 0:10:25 | |
And, Michael Fassbender, you learnt some special skills, | 0:10:25 | 0:10:27 | |
-I believe, for this film. -That's right. | 0:10:27 | 0:10:29 | |
As I was saying, the parkour elements, | 0:10:29 | 0:10:31 | |
so I got to perfect the roly-poly. | 0:10:31 | 0:10:34 | |
Now, you must have known how to do a roly-poly at one time in your life? | 0:10:35 | 0:10:39 | |
-Think you could do one? -Not now. I'm 53! | 0:10:39 | 0:10:42 | |
But when I was 13, I could do a roly-poly. | 0:10:42 | 0:10:44 | |
-You think you can do a roly-poly... -No, I have tried. -That's right. | 0:10:44 | 0:10:48 | |
What is it? I don't know what is it. | 0:10:48 | 0:10:50 | |
Roly-poly, it's a head over heels... thing. | 0:10:50 | 0:10:52 | |
-Oh, yeah. -Do you want to see? | 0:10:52 | 0:10:54 | |
Oh, yes! Yeah! CHEERING AND APPLAUSE | 0:10:54 | 0:10:57 | |
Well, I might tear the suit, though, that's the problem. | 0:10:57 | 0:11:00 | |
-You have to do it with me. -But I can't do it! | 0:11:00 | 0:11:02 | |
-Yes, you can. -No, look, no... | 0:11:02 | 0:11:04 | |
I will look... I will look... | 0:11:04 | 0:11:06 | |
AUDIENCE CHEER | 0:11:06 | 0:11:07 | |
I will look... I will look like... | 0:11:07 | 0:11:11 | |
It will look like abuse in a nursing home. | 0:11:11 | 0:11:14 | |
It will look like you've just... | 0:11:14 | 0:11:16 | |
you've dragged someone out of bed | 0:11:16 | 0:11:17 | |
and you're kicking them down the corridor. | 0:11:17 | 0:11:20 | |
We have to show Marion how exactly it works. | 0:11:20 | 0:11:22 | |
-You do it first. -OK. | 0:11:22 | 0:11:24 | |
So, basically... I'm going to end up off the stage. | 0:11:24 | 0:11:26 | |
Don't do that. Are you going to do a really fancy one? | 0:11:26 | 0:11:29 | |
No. So, basically, you have to keep your hand... | 0:11:29 | 0:11:32 | |
I could never do that! | 0:11:34 | 0:11:36 | |
-Never do that! -Try it. | 0:11:36 | 0:11:38 | |
No, no. I used to do it... I thought you were just going to do that thing | 0:11:38 | 0:11:41 | |
where you do that and you just roll over. | 0:11:41 | 0:11:43 | |
-But then you hurt yourself. -I could never do that! | 0:11:43 | 0:11:46 | |
Place your forearm down first and then tuck your head over. | 0:11:46 | 0:11:49 | |
-I can't do that. -Try it. -I'll die! | 0:11:49 | 0:11:51 | |
This is awful. What do I do? | 0:11:53 | 0:11:56 | |
I'll just stand here in case you go off the edge. | 0:11:56 | 0:11:58 | |
But I wasn't really paying attention. | 0:11:58 | 0:12:01 | |
So, you... | 0:12:01 | 0:12:02 | |
Hand, forearm and then tuck your shoulder over and stay on that side, | 0:12:02 | 0:12:06 | |
don't go straight down your spine. | 0:12:06 | 0:12:08 | |
Hand, arm and then just tuck your head. | 0:12:08 | 0:12:11 | |
-OK. -Don't think about it too much. | 0:12:11 | 0:12:13 | |
Hand... Hang on. Hand, arm, and then I'll just go over? | 0:12:15 | 0:12:19 | |
-This bit here. -Yeah. -Hand, this bit, and then just roll over. | 0:12:19 | 0:12:23 | |
-I won't get over. -Yeah, you will. | 0:12:23 | 0:12:25 | |
That wasn't it. | 0:12:30 | 0:12:32 | |
That wasn't it! | 0:12:32 | 0:12:33 | |
That was amazing. | 0:12:39 | 0:12:41 | |
New Year's resolution. | 0:12:44 | 0:12:46 | |
I got to see something there from a third person's point of view | 0:12:47 | 0:12:51 | |
of something that I've been a part of many, many times, | 0:12:51 | 0:12:53 | |
which is I'm saying to Michael, "I don't think I can keep going." | 0:12:53 | 0:12:56 | |
And you're, like, "Yeah, you can." | 0:12:56 | 0:12:58 | |
Just really quietly and confidently telling you you can until you do. | 0:12:58 | 0:13:01 | |
It looked like an advert for Injury Lawyers 4U. | 0:13:02 | 0:13:05 | |
Have you had an accident at work? | 0:13:06 | 0:13:09 | |
Yes, I have! | 0:13:09 | 0:13:10 | |
No, because the two of you work together, | 0:13:12 | 0:13:14 | |
so you have kind of done fights and... | 0:13:14 | 0:13:16 | |
We've actually fought each other. | 0:13:16 | 0:13:18 | |
-We have, yes. -A couple of times. | 0:13:18 | 0:13:20 | |
You have noticed that Michael fights in a particular way. | 0:13:20 | 0:13:24 | |
-No, he makes certain noises when he fights. -Oh! This again! | 0:13:24 | 0:13:28 | |
-I know what you're talking about. -You know what I'm talking about? Why, what do you know? | 0:13:29 | 0:13:33 | |
Because he works out all the time on set and he makes a lot of noise. | 0:13:33 | 0:13:37 | |
I've boxed with Michael. | 0:13:37 | 0:13:40 | |
I've never BOXED with Michael, but I've been around Michael | 0:13:40 | 0:13:42 | |
while he's on the pads and then we take it in turns on the pads. | 0:13:42 | 0:13:45 | |
And you sound like Ricky Hatton in that you sound like | 0:13:45 | 0:13:48 | |
you're having it off with somebody, but, like, really energetically. | 0:13:48 | 0:13:52 | |
-You're like... -HE GROANS REPEATEDLY | 0:13:52 | 0:13:54 | |
My model was always Monica Seles. | 0:13:54 | 0:13:56 | |
I don't know where the Ricky Hatton came from. | 0:13:56 | 0:13:59 | |
Yeah, I don't know. I'm vocal when I sort of... | 0:13:59 | 0:14:01 | |
It helps me breathe, to be honest. | 0:14:01 | 0:14:03 | |
-That's why I do it. -To make the noise? | 0:14:03 | 0:14:05 | |
-Yeah. -But does he make the noise all the time, Marion? | 0:14:05 | 0:14:08 | |
Yeah, and sometimes you don't really know what he's doing. | 0:14:08 | 0:14:12 | |
Don't you, Marion? | 0:14:14 | 0:14:15 | |
-It all burns calories. -When you knock on his trailer door and you say, "What are you doing in there?" | 0:14:19 | 0:14:23 | |
-Does he go... -IN HIGH-PITCHED VOICE: -.."I'm working out"? | 0:14:23 | 0:14:26 | |
Oh, I didn't remember this! | 0:14:27 | 0:14:30 | |
-Yeah. -You guys have talked about the X-Men set, the games you play | 0:14:30 | 0:14:33 | |
and, like, the last X-Men... | 0:14:33 | 0:14:37 | |
That's my constipation look. | 0:14:37 | 0:14:39 | |
But in this last X-Men movie, you did a new game, | 0:14:41 | 0:14:44 | |
which just... None of these games sound fun to me, | 0:14:44 | 0:14:47 | |
but you obviously like them. | 0:14:47 | 0:14:49 | |
Well, it's... You kind of get sort of drawn into them. | 0:14:49 | 0:14:52 | |
It's not that they're enjoyable. | 0:14:52 | 0:14:54 | |
They're quite...nerve-wracking at times. | 0:14:54 | 0:14:57 | |
The slapping game just sounds like... | 0:14:57 | 0:14:59 | |
Cos you're just slapping people. | 0:14:59 | 0:15:00 | |
The game is that you do a shot, don't you? | 0:15:00 | 0:15:02 | |
And then, right after you take the shot, | 0:15:02 | 0:15:04 | |
-you get slapped in the face. -Yeah. | 0:15:04 | 0:15:06 | |
So, wait a minute, do you buy the person the shot, | 0:15:08 | 0:15:11 | |
they drink it and then you slap them? | 0:15:11 | 0:15:13 | |
What are you talking about? | 0:15:13 | 0:15:14 | |
This is New Year, people are buying me drinks. | 0:15:14 | 0:15:16 | |
No. No, it's just... You pour it each and you both have one, | 0:15:17 | 0:15:21 | |
and you both get hit. Yeah. | 0:15:21 | 0:15:24 | |
Whoohoo! I know. I know. | 0:15:24 | 0:15:26 | |
-Fun! -Although it did lead to employment for me, which was good. | 0:15:26 | 0:15:29 | |
-How did this happen? -Remember that party we were at in San Diego, | 0:15:29 | 0:15:33 | |
-at Comic Con? -Didn't you knock someone out there? | 0:15:33 | 0:15:35 | |
Shut up! | 0:15:35 | 0:15:36 | |
James is never coming on the show with Michael again. | 0:15:38 | 0:15:42 | |
Anyway... During the particular... | 0:15:42 | 0:15:45 | |
I've never felt less male in my life. | 0:15:47 | 0:15:50 | |
During the particular open-handed strike that you're talking about, | 0:15:52 | 0:15:57 | |
the director of the film that I'm on to talk about tonight, Split, | 0:15:57 | 0:16:00 | |
M Night Shyamalan, saw all that going down, and he was, like, | 0:16:00 | 0:16:03 | |
"Hey, that's the bald guy that I should get for my film." | 0:16:03 | 0:16:06 | |
And, so, he invited me over and was, like, "Hey, man, I like your style. | 0:16:06 | 0:16:10 | |
"Do you want to come and have a chat sometime?" | 0:16:10 | 0:16:12 | |
I was, like, "OK, cool. See you!" | 0:16:12 | 0:16:13 | |
Then we made a movie with each other, | 0:16:13 | 0:16:15 | |
-because of that moment. -That's amazing! | 0:16:15 | 0:16:18 | |
Well, I can sort of see why because, actually, we should talk about it. | 0:16:18 | 0:16:21 | |
The new movie, Split, it opens on the 20th of January | 0:16:21 | 0:16:24 | |
and it's a terrific kind of creepy thriller, | 0:16:24 | 0:16:27 | |
and it does play into that lunatic you were in the bar that night. | 0:16:27 | 0:16:31 | |
-Right. -Because you play a very complicated character. | 0:16:31 | 0:16:34 | |
No, I do. He's a guy who suffers from dissociative identity disorder, | 0:16:34 | 0:16:40 | |
so he has, within one body, 23 people share that body. | 0:16:40 | 0:16:45 | |
And during the film, as much as the advertising material says, | 0:16:45 | 0:16:50 | |
"James McAvoy will play 23 people!" | 0:16:50 | 0:16:52 | |
I don't. The character's got 23, I play nine. | 0:16:52 | 0:16:55 | |
That's still quite impressive when you think about it, OK? | 0:16:55 | 0:16:58 | |
I even said to the people at Universal, | 0:16:58 | 0:17:01 | |
"You might as well say James flies in this movie," and then I don't, | 0:17:01 | 0:17:05 | |
do you know what I mean? | 0:17:05 | 0:17:07 | |
Whatever. So... | 0:17:07 | 0:17:08 | |
part of it is that he has to take some young girls and... | 0:17:08 | 0:17:13 | |
and they are to, in some way, energise him. | 0:17:13 | 0:17:18 | |
So, it sounds really creepy and horrible. | 0:17:18 | 0:17:21 | |
-No, it is. -And it is, but it's also really funny as well. | 0:17:21 | 0:17:24 | |
I don't know if you'll use one of the funny bits or the creepy bits, | 0:17:24 | 0:17:28 | |
but it is quite daft and funny at times as well, | 0:17:28 | 0:17:30 | |
which I'm quite proud of, really. | 0:17:30 | 0:17:32 | |
Cos it's always good fun to do that, sort of, like, it's creepy, | 0:17:32 | 0:17:35 | |
it's scary, you think everybody's going to die, | 0:17:35 | 0:17:38 | |
and then you go "Wakawakawaka," at the same time. I quite like that. | 0:17:38 | 0:17:41 | |
Do you get more money | 0:17:41 | 0:17:42 | |
-for playing someone with multiple personality disorder? -I actually... | 0:17:42 | 0:17:46 | |
Cos they're getting nine characters out of you for the same money. | 0:17:46 | 0:17:49 | |
Yes, yeah. | 0:17:49 | 0:17:51 | |
You do nine times the amount of work for just not very much pay, but... | 0:17:51 | 0:17:56 | |
Don't get me wrong, it was nice pay. | 0:17:56 | 0:17:59 | |
You know, it was a very low budget film, but it was still nice pay. | 0:17:59 | 0:18:02 | |
But, yeah, you've got nine times the amount of characters to build | 0:18:02 | 0:18:05 | |
in the same amount of time it usually takes you | 0:18:05 | 0:18:07 | |
to struggle to make one. So there was times where I was really worried | 0:18:07 | 0:18:10 | |
and there was times where I was a bit scared, but, yeah, | 0:18:10 | 0:18:12 | |
the director's an amazing director, and he's one of the most... | 0:18:12 | 0:18:16 | |
sort of clued up on his own stuff that I've ever worked with, | 0:18:16 | 0:18:20 | |
so that was actually really helpful. | 0:18:20 | 0:18:21 | |
We've got a clip. This is you as Barry, the fashion designer, | 0:18:21 | 0:18:25 | |
-talking to your psychiatrist. -Right. | 0:18:25 | 0:18:28 | |
Who are you? | 0:18:28 | 0:18:29 | |
Barry. | 0:18:34 | 0:18:35 | |
I don't think you are. | 0:18:37 | 0:18:38 | |
I've developed a nose for sensing | 0:18:40 | 0:18:42 | |
whom I'm talking to and whom I'm not. | 0:18:42 | 0:18:45 | |
Have I done something? | 0:18:46 | 0:18:47 | |
You've e-mailed for an unscheduled appointment | 0:18:47 | 0:18:50 | |
two days in a row. | 0:18:50 | 0:18:52 | |
I'm just feeling overwhelmed. | 0:18:52 | 0:18:54 | |
Garden variety issues. | 0:18:54 | 0:18:56 | |
I think Orwell or Jade or Samuel or Heinrich had the light for a moment | 0:18:57 | 0:19:03 | |
and e-mailed me, and you're here to tell me everything's OK. | 0:19:03 | 0:19:07 | |
I e-mailed you. | 0:19:07 | 0:19:09 | |
May I talk to one of them, please? | 0:19:11 | 0:19:13 | |
That can't happen. | 0:19:18 | 0:19:19 | |
Good. Good. | 0:19:22 | 0:19:24 | |
I can't wait to see that, man. | 0:19:27 | 0:19:29 | |
Actors talk about, you know, taking their characters home with them, | 0:19:29 | 0:19:32 | |
so in a movie like this, is that worse or better? | 0:19:32 | 0:19:35 | |
Because you can't take them all home. | 0:19:35 | 0:19:37 | |
It's worse. It's worse, it's worse. | 0:19:37 | 0:19:39 | |
Luckily, weirdly, I was playing a guy that, essentially, | 0:19:39 | 0:19:44 | |
is 24 guys and a couple of them want to do terrible things to people. | 0:19:44 | 0:19:49 | |
And I was able to just go home and watch cartoons with my kid | 0:19:49 | 0:19:52 | |
and be all right, which is weird. It says a lot about me, I think. | 0:19:52 | 0:19:55 | |
The only time I've ever had trouble - and you guys might have something to say on this - | 0:19:55 | 0:19:59 | |
the only time I've ever had trouble in my entire career | 0:19:59 | 0:20:01 | |
was when I played Macbeth on stage and people said | 0:20:01 | 0:20:04 | |
that I was pretty, um... | 0:20:04 | 0:20:06 | |
I wasn't my usual self and I wasn't necessarily much fun | 0:20:06 | 0:20:10 | |
to be around when I came home. | 0:20:10 | 0:20:13 | |
Because when you won the Oscar, Marion, for Edith Piaf, | 0:20:13 | 0:20:17 | |
in La Vie En Rose - which is an amazing performance - | 0:20:17 | 0:20:19 | |
but I've heard you in interviews talking about... | 0:20:19 | 0:20:21 | |
which seems like that was a character you couldn't shake. | 0:20:21 | 0:20:23 | |
Yeah, that was the first time I had trouble getting... | 0:20:23 | 0:20:26 | |
rid of her, | 0:20:26 | 0:20:28 | |
which I was very ashamed of, I have to say, | 0:20:28 | 0:20:31 | |
because I thought, "It's a job, I'm an actress, | 0:20:31 | 0:20:34 | |
"I shouldn't be affected by any of my roles," | 0:20:34 | 0:20:38 | |
but I had spent six months, more than six months with her | 0:20:38 | 0:20:45 | |
and I really entered another dimension. | 0:20:45 | 0:20:48 | |
I didn't see my friends and family for this amount of time | 0:20:48 | 0:20:52 | |
because when I would see them, | 0:20:52 | 0:20:54 | |
they would find me weird and I didn't like it. | 0:20:54 | 0:20:58 | |
Well, first of all I was weird because I was shaved, | 0:20:58 | 0:21:01 | |
my eyebrows were shaved and my hair was shaved | 0:21:01 | 0:21:06 | |
but, yeah, it took me a while to just... | 0:21:06 | 0:21:10 | |
because the thing, when you do a movie, | 0:21:10 | 0:21:12 | |
you spend a lot of time with this person | 0:21:12 | 0:21:15 | |
you fell in love with, in a way, and then the last cut... | 0:21:15 | 0:21:20 | |
is... I mean, you'll never share, you know, your life | 0:21:20 | 0:21:25 | |
with this person any more. | 0:21:25 | 0:21:28 | |
So, sometimes it can be kind of brutal, but... | 0:21:28 | 0:21:32 | |
but I'm fine now. | 0:21:32 | 0:21:33 | |
LAUGHTER | 0:21:33 | 0:21:35 | |
Not to traumatise you, but watching the movie, | 0:21:35 | 0:21:38 | |
it is unbelievable that it's not you singing, | 0:21:38 | 0:21:42 | |
that you lip-synced everything. | 0:21:42 | 0:21:44 | |
That was the hardest part of the preparation, actually. | 0:21:44 | 0:21:48 | |
It's very technical, it's super-boring. | 0:21:48 | 0:21:51 | |
One part was not that boring, | 0:21:51 | 0:21:53 | |
because I wanted to take singing lessons, | 0:21:53 | 0:21:55 | |
even though I wouldn't sing, but I needed to learn her technique | 0:21:55 | 0:22:00 | |
and I wanted to learn how to position my tongue, | 0:22:00 | 0:22:04 | |
how to position myself, | 0:22:04 | 0:22:06 | |
the breathing and everything, because it had to be realistic. | 0:22:06 | 0:22:10 | |
If you don't believe I'm singing, | 0:22:10 | 0:22:12 | |
then you can throw the movie in the garbage. | 0:22:12 | 0:22:15 | |
I mean, it's pretty horrible. | 0:22:15 | 0:22:18 | |
Can I say, I'm gutted. | 0:22:18 | 0:22:19 | |
I absolutely thought it was you singing in the movie. | 0:22:19 | 0:22:22 | |
It's so convincing. | 0:22:22 | 0:22:24 | |
I cried so much at that film. | 0:22:24 | 0:22:26 | |
It's a really good film. | 0:22:26 | 0:22:27 | |
And then Graham asked hopefully, can you still do the lip-syncing? | 0:22:27 | 0:22:31 | |
-I don't know. -If we play a bit, do you think you can do it? | 0:22:31 | 0:22:35 | |
Oh, shit! | 0:22:35 | 0:22:36 | |
It's in French, what will we know? | 0:22:38 | 0:22:40 | |
I know, but I had, I had... | 0:22:40 | 0:22:42 | |
because...my teeth, | 0:22:42 | 0:22:45 | |
I mean, the teeth I have in the movie, you know, I wore this... | 0:22:45 | 0:22:49 | |
I don't know how you call it - "dentiers", the teeth thing. | 0:22:49 | 0:22:52 | |
-Yes. Dentures. -I had...den..? | 0:22:52 | 0:22:54 | |
-Dentures. -Dentures. | 0:22:54 | 0:22:56 | |
Wallies. | 0:22:56 | 0:22:57 | |
-What? -We would call them wallies up the road. | 0:22:57 | 0:23:00 | |
-Wallies? -Wallies. | 0:23:00 | 0:23:02 | |
Not wollies, wallies. | 0:23:02 | 0:23:03 | |
-Wallies. -Wallies, wallies. | 0:23:03 | 0:23:06 | |
Wallies. | 0:23:06 | 0:23:07 | |
I'm glad I'm not the only one who doesn't understand that! | 0:23:07 | 0:23:10 | |
If we play a bit and you try it, if it's terrible, we'll cut it out | 0:23:10 | 0:23:14 | |
and if it's marvellous, we'll all clap and cheer. | 0:23:14 | 0:23:17 | |
-MICHAEL: -Perfect. | 0:23:17 | 0:23:19 | |
It's like the roly-poly. | 0:23:19 | 0:23:20 | |
APPLAUSE | 0:23:20 | 0:23:22 | |
Come on! | 0:23:22 | 0:23:23 | |
-It's... -The thing is... -OK... | 0:23:23 | 0:23:25 | |
You know there's a whole physicality that comes with it | 0:23:25 | 0:23:29 | |
and...and...I'm pregnant. | 0:23:29 | 0:23:31 | |
Are you standing or sitting? Sitting, sitting. | 0:23:31 | 0:23:34 | |
-Oh, no, I will sit. -Sit? OK. -Are you kidding? | 0:23:34 | 0:23:37 | |
Already, already seated. | 0:23:37 | 0:23:39 | |
-It's like, "Ooh-hoo!" -I think what we've got lined up | 0:23:39 | 0:23:41 | |
is towards the end of Je Ne Regrette Rien. | 0:23:41 | 0:23:45 | |
-OK. -Can I have a vodka? | 0:23:45 | 0:23:47 | |
-No, you can't. -Yeah, shall we all do a shot? -No, I can't! | 0:23:47 | 0:23:50 | |
OK, roll it, roll it, there. Roll it. | 0:23:53 | 0:23:55 | |
# ..ca m'est bien egale | 0:23:55 | 0:23:59 | |
# Non, rien de rien | 0:23:59 | 0:24:04 | |
# Non, je ne regrette rien | 0:24:04 | 0:24:09 | |
# Car ma vie | 0:24:09 | 0:24:12 | |
# Car mes joies | 0:24:12 | 0:24:15 | |
# Aujourd'hui | 0:24:15 | 0:24:17 | |
# Ca commence avec toi. # | 0:24:18 | 0:24:24 | |
CHEERING AND APPLAUSE | 0:24:24 | 0:24:28 | |
Wow! | 0:24:29 | 0:24:31 | |
That was so good! | 0:24:31 | 0:24:33 | |
It's so weird. | 0:24:35 | 0:24:36 | |
-That was so good. -It was so weird. | 0:24:37 | 0:24:40 | |
You know, because this face, I mean, it's... | 0:24:41 | 0:24:44 | |
-Oh, that was so weird. -But you could see it in your eyes and everything. | 0:24:44 | 0:24:47 | |
-It was fabulous. That was really good. -I've actually... | 0:24:47 | 0:24:50 | |
I've gone a bit. I'll be honest. I really have. | 0:24:50 | 0:24:52 | |
-I honestly... -He's got glassy eyes! -I honestly have. That was beautiful. | 0:24:52 | 0:24:55 | |
-It was amazing. -I love Edith Piaf. | 0:24:55 | 0:24:58 | |
I have a signed record of Edith Piaf on my wall. | 0:24:58 | 0:25:03 | |
I went to her grave in Paris to put flowers on her grave. | 0:25:03 | 0:25:06 | |
-Oh, wow! -I think she's amazing. | 0:25:06 | 0:25:08 | |
So, that was... I am actually a little bit teary. | 0:25:08 | 0:25:11 | |
-All right... -Thank you. | 0:25:12 | 0:25:14 | |
Thank you! | 0:25:14 | 0:25:16 | |
Frank Skinner is back with a new season of Room 101. | 0:25:16 | 0:25:18 | |
It returns to BBC on Friday nights, it starts on the 13th of January - | 0:25:18 | 0:25:22 | |
and presumably it's a winning formula. | 0:25:22 | 0:25:24 | |
You're not going to change it. It's the same formula. | 0:25:24 | 0:25:26 | |
No, this is series six of this particular form of it | 0:25:26 | 0:25:30 | |
so, no, it does well, so we're milking it. | 0:25:30 | 0:25:34 | |
Just in case, Marion, do you know what Room 101 is? | 0:25:35 | 0:25:38 | |
I've heard about it. | 0:25:38 | 0:25:40 | |
-So you know that it's... -It's pretty cool. | 0:25:40 | 0:25:42 | |
-It is. -You pick things you hate and then I put them in a vault | 0:25:42 | 0:25:46 | |
-if you argue your case well. -Yeah! Amazing. | 0:25:46 | 0:25:49 | |
What are some of the things that go in Room 101 this time? | 0:25:49 | 0:25:52 | |
Catherine Tate chose minimiser bras, which I... | 0:25:52 | 0:25:56 | |
-No, who knew? -Anyone? | 0:25:56 | 0:25:58 | |
I didn't know they... I actually wear minimiser pants. | 0:25:58 | 0:26:02 | |
The idea is if a woman has got... tout le monde sur le balcon... | 0:26:02 | 0:26:08 | |
LAUGHTER | 0:26:08 | 0:26:10 | |
-I know that's an approximation. -It's still wrong. | 0:26:10 | 0:26:12 | |
She can wear something that squeezes all that in and redistributes. | 0:26:12 | 0:26:17 | |
It's a sort of Communist theory. Re... | 0:26:17 | 0:26:20 | |
Redistribution of wealth. | 0:26:20 | 0:26:23 | |
So, it gives you, like, a... | 0:26:23 | 0:26:25 | |
it gets rid of your back ripples and everything. | 0:26:25 | 0:26:28 | |
It just moves... It moves stuff about. | 0:26:28 | 0:26:30 | |
And did that go in Room 101 or not? | 0:26:30 | 0:26:32 | |
I... No, I fought it, I think. | 0:26:32 | 0:26:36 | |
Nigel Havers wanted to put Christmas in. | 0:26:36 | 0:26:39 | |
-THEY GASP -Oh, wow! | 0:26:39 | 0:26:41 | |
But, you know - Havers gotta hate. | 0:26:41 | 0:26:42 | |
MUTED LAUGHTER | 0:26:42 | 0:26:44 | |
Mate, that was better than that. | 0:26:46 | 0:26:48 | |
I know, you get used to it. | 0:26:49 | 0:26:51 | |
Obviously Room 101 is very popular - but you did... | 0:26:54 | 0:26:57 | |
This is terrible. You did have an incident at a charity event. | 0:26:57 | 0:27:01 | |
Yes, what I did was, I... | 0:27:01 | 0:27:04 | |
It was a very good cause, and I put up four tickets | 0:27:04 | 0:27:07 | |
to come and see the recording of Room 101, | 0:27:07 | 0:27:10 | |
and the auctioneer said, "Right, let's start at £1,000. | 0:27:10 | 0:27:13 | |
"Come on, £1,000. | 0:27:13 | 0:27:16 | |
"Come on." Now, when the auctioneer is saying, "Come on"... | 0:27:16 | 0:27:18 | |
..the first bid - and then I realised | 0:27:20 | 0:27:22 | |
the horror of putting something up that no-one wants. | 0:27:22 | 0:27:26 | |
No! | 0:27:26 | 0:27:27 | |
Anyway, somebody did, to be fair, | 0:27:27 | 0:27:29 | |
they eventually did pay £1,000, with a lot of moral blackmail, | 0:27:29 | 0:27:32 | |
so I sort of felt OK. | 0:27:32 | 0:27:34 | |
And then afterwards, a guy came up to me and said, | 0:27:34 | 0:27:36 | |
"That was terrible with the tickets." | 0:27:36 | 0:27:38 | |
I said, "Yeah." He said, "Just... | 0:27:38 | 0:27:40 | |
"don't feel bad about it. A lot of these people, | 0:27:40 | 0:27:42 | |
"they weren't living here in the '90s, | 0:27:42 | 0:27:44 | |
"so they don't know who you are." | 0:27:44 | 0:27:46 | |
AUDIENCE: Ohh! | 0:27:46 | 0:27:48 | |
LAUGHTER | 0:27:48 | 0:27:49 | |
That is so tough. | 0:27:53 | 0:27:54 | |
A woman came up to me and said, "My husband, he loves you, | 0:27:56 | 0:27:59 | |
"can I have a photo?" I said, you know, "Sure." | 0:27:59 | 0:28:01 | |
So I did the photo. She said, "He loves you." | 0:28:01 | 0:28:03 | |
She said, "I'm not interested in cars." | 0:28:03 | 0:28:06 | |
And I thought, it's one of the Top Gear, but which...? | 0:28:09 | 0:28:12 | |
And then her mate said, "What are you taking a picture of him for?" | 0:28:12 | 0:28:16 | |
"And she said, "You know, Top Gear." | 0:28:16 | 0:28:18 | |
She said, "No, he's that comedian bloke," | 0:28:18 | 0:28:21 | |
and she actually deleted it in front of me. | 0:28:21 | 0:28:25 | |
LAUGHTER | 0:28:25 | 0:28:27 | |
She... She could have kept that just for the anecdote, you know? | 0:28:27 | 0:28:31 | |
And it was that, "Lose that..." | 0:28:31 | 0:28:33 | |
Wasn't even going to tell her husband it had happened. | 0:28:33 | 0:28:36 | |
I'll tell you what, we've got a taste of the new series | 0:28:37 | 0:28:40 | |
of Room 101. Here it is. | 0:28:40 | 0:28:42 | |
Taylor Swift, | 0:28:42 | 0:28:44 | |
her legs are insured for £26.5 million. | 0:28:44 | 0:28:49 | |
-Is this true? -Yes. | 0:28:50 | 0:28:51 | |
-Who's... Who's doing it? -Well... | 0:28:51 | 0:28:54 | |
Who do you ring? | 0:28:54 | 0:28:55 | |
I don't think her legs are any better than my legs. | 0:28:55 | 0:28:58 | |
Honestly, I think my legs are that good. | 0:28:58 | 0:29:01 | |
Yeah - can we see them? | 0:29:01 | 0:29:02 | |
There's Taylor Swift. Here's me. | 0:29:02 | 0:29:04 | |
I think, arguably, my legs are better than hers. | 0:29:06 | 0:29:10 | |
-They're not your legs. -They are my legs! | 0:29:10 | 0:29:13 | |
-I swear to you. -They're so shiny. | 0:29:13 | 0:29:15 | |
-I know, well, I've oiled them. -You've oiled them?! | 0:29:15 | 0:29:18 | |
If you cover the top half up, it's really... | 0:29:18 | 0:29:21 | |
I don't know what I'm thinking any more, Frank. | 0:29:21 | 0:29:23 | |
On the left, those legs are 26.5 million quid's worth. | 0:29:25 | 0:29:28 | |
What are mine worth? Nothing. | 0:29:28 | 0:29:29 | |
Have you put the pants over the top of the lace thing? | 0:29:29 | 0:29:33 | |
That is a border for my pants. | 0:29:33 | 0:29:36 | |
Oh, wow! OK, it's a slightly different garment. | 0:29:36 | 0:29:38 | |
I'm glad... Not many people would look at that | 0:29:38 | 0:29:41 | |
and talk about the pants. | 0:29:41 | 0:29:42 | |
APPLAUSE | 0:29:42 | 0:29:44 | |
Good! | 0:29:46 | 0:29:47 | |
When I look at that picture, | 0:29:49 | 0:29:51 | |
I can't help thinking that if that was someone else's legs | 0:29:51 | 0:29:55 | |
that was female, I'd find it slightly arousing... | 0:29:55 | 0:29:58 | |
..and that's weird that it's my legs. | 0:30:00 | 0:30:02 | |
It makes me think that if I was, you know, on a desert island, | 0:30:02 | 0:30:05 | |
I could just look at my own legs a lot. | 0:30:05 | 0:30:07 | |
Yeah. Well, you could. | 0:30:07 | 0:30:09 | |
Just put some high heels on and look down. | 0:30:09 | 0:30:11 | |
-There you go. Yeah. -You don't want to be rescued, though. | 0:30:11 | 0:30:13 | |
The explaining you have to do to the rescuers. | 0:30:13 | 0:30:16 | |
Listen, very quickly, | 0:30:16 | 0:30:18 | |
your other show which is starting on the 24th of January, 8pm on Sky. | 0:30:18 | 0:30:23 | |
It's the Portrait Artist Of The Year. | 0:30:23 | 0:30:25 | |
-So, Landscape is done. -On Sky Arts. | 0:30:25 | 0:30:27 | |
I presented with Baroness Joan Bakewell. | 0:30:27 | 0:30:29 | |
I wish I had a story about us wrestling behind the scenes | 0:30:29 | 0:30:32 | |
-or doing weights. -Doing shots and slapping each other. | 0:30:32 | 0:30:35 | |
It's an amazing programme. | 0:30:36 | 0:30:38 | |
Celebrities come and get painted by our artists | 0:30:38 | 0:30:41 | |
and they get four hours to paint these people | 0:30:41 | 0:30:44 | |
and they produce the most brilliant stuff. | 0:30:44 | 0:30:48 | |
It's absolutely amazing. | 0:30:48 | 0:30:49 | |
And I love... I love it. | 0:30:49 | 0:30:50 | |
I love watching them paint, and I love... | 0:30:50 | 0:30:52 | |
You get a chance to really stare at the celebrities. | 0:30:52 | 0:30:56 | |
You know? They sit there, and you... | 0:30:56 | 0:30:58 | |
Cos, I mean, I would love, now, to just take ten minutes out | 0:30:58 | 0:31:01 | |
and really stare at you guys, but... | 0:31:01 | 0:31:03 | |
LAUGHTER | 0:31:03 | 0:31:04 | |
APPLAUSE | 0:31:04 | 0:31:06 | |
..but... | 0:31:06 | 0:31:07 | |
but you can do it on this show. | 0:31:07 | 0:31:10 | |
And the prize is that the winner, | 0:31:10 | 0:31:13 | |
the one who, after all the heats and stuff, wins, | 0:31:13 | 0:31:16 | |
gets a £10,000 commission to paint a much beloved person | 0:31:16 | 0:31:21 | |
and that then hangs... | 0:31:21 | 0:31:23 | |
On this occasion, it hangs in the National Gallery of Ireland. | 0:31:23 | 0:31:27 | |
So, they're actually moving a Vermeer to put this painting in. | 0:31:27 | 0:31:31 | |
So it's a really big serious thing. | 0:31:31 | 0:31:34 | |
And can I tell you that the person who's going to be hanging | 0:31:34 | 0:31:38 | |
in the National Gallery of Ireland is Graham Norton. | 0:31:38 | 0:31:41 | |
CHEERING AND APPLAUSE | 0:31:41 | 0:31:43 | |
Is that not supposed to be a secret, Frank? | 0:31:49 | 0:31:51 | |
I am revealing it... | 0:31:51 | 0:31:52 | |
We can't say who won it, | 0:31:52 | 0:31:54 | |
but a person who won it went and painted... | 0:31:54 | 0:31:58 | |
-Painted me, yeah. -Mm. | 0:31:58 | 0:32:00 | |
I haven't seen it yet, so... Yeah, I'm smiling now. | 0:32:00 | 0:32:03 | |
Is it a nude? | 0:32:04 | 0:32:06 | |
Yes, it's a nude. Yeah. | 0:32:06 | 0:32:08 | |
Vermeer won, so I was really lucky. | 0:32:09 | 0:32:11 | |
Now, talking of portraits, | 0:32:11 | 0:32:13 | |
we've talked about this on the show before. | 0:32:13 | 0:32:16 | |
James and Michael - I don't know if you know this, Marion - | 0:32:16 | 0:32:19 | |
but James and Michael, for some reason, | 0:32:19 | 0:32:21 | |
they inspire a lot of fan art. | 0:32:21 | 0:32:23 | |
I'm really curious. I'm curious to see how it evolved from that. | 0:32:23 | 0:32:26 | |
-Well, it hasn't evolved a lot. -Oh. | 0:32:26 | 0:32:28 | |
We're just... For the end of the year, | 0:32:28 | 0:32:30 | |
we thought we're going to make a bit of fan art with James and Michael. | 0:32:30 | 0:32:34 | |
But just to remind ourselves of the quality we're aiming for, | 0:32:34 | 0:32:38 | |
here are some examples. I think we've shown these before. | 0:32:38 | 0:32:41 | |
This is just a lovely one. | 0:32:41 | 0:32:43 | |
Just in case you're confused, Marion, | 0:32:44 | 0:32:46 | |
that's Michael, that's James. | 0:32:46 | 0:32:49 | |
-Yeah. -Michael looks like he's put poison in that cherry. | 0:32:49 | 0:32:52 | |
You will notice a theme in the pictures, Marion. | 0:32:54 | 0:32:58 | |
So, there is James and Michael. | 0:32:58 | 0:33:00 | |
Here they are, funnily enough, they're on a balcony. | 0:33:00 | 0:33:03 | |
-Lovely. -Oh, yeah. | 0:33:04 | 0:33:05 | |
Am I blowing bubbles? | 0:33:05 | 0:33:08 | |
For the moment. | 0:33:08 | 0:33:10 | |
And then the classic James and Michael in the kitchen. | 0:33:20 | 0:33:24 | |
-Oh, yeah. -Yes. | 0:33:24 | 0:33:26 | |
I remember that one. | 0:33:27 | 0:33:29 | |
I'm going, "Michael, will you go for a brownie or a fairy cake?" | 0:33:29 | 0:33:33 | |
So, we threw this out to the audience | 0:33:36 | 0:33:37 | |
to see what scenarios they would like to see the two of you in. | 0:33:37 | 0:33:40 | |
-Right. -So, where is Victoria Godfrey? | 0:33:40 | 0:33:44 | |
There's Victoria. Look at Victoria! | 0:33:44 | 0:33:46 | |
Now, look at Victoria. | 0:33:46 | 0:33:47 | |
She's lovely, she's wearing a necklace, she's got a nice top on. | 0:33:47 | 0:33:51 | |
This is what she wants to see. | 0:33:51 | 0:33:53 | |
She shut her eyes and thought, "This is what I want to see. | 0:33:53 | 0:33:56 | |
"I want to see Michael entering an aeroplane toilet | 0:33:56 | 0:34:00 | |
"and turning around with a wink | 0:34:00 | 0:34:02 | |
"and James following behind with a coy McAvoy smile." | 0:34:02 | 0:34:06 | |
That's what she wants to see. | 0:34:07 | 0:34:09 | |
-Can I ask something? -Yeah. | 0:34:09 | 0:34:11 | |
As soon as... | 0:34:11 | 0:34:13 | |
-What's your name again? -Victoria. | 0:34:13 | 0:34:15 | |
Victoria as soon as you see this and you've revealed your secret, | 0:34:15 | 0:34:19 | |
Victoria's secret... | 0:34:19 | 0:34:21 | |
What? | 0:34:21 | 0:34:23 | |
Look, quite often guys are like, | 0:34:23 | 0:34:25 | |
"Oh, I'd love to watch two women go at it," | 0:34:25 | 0:34:26 | |
and all that kind of stuff, and then when I've say to women, | 0:34:26 | 0:34:29 | |
"Would you like to see two guys go at it?" they're all like, "No!" | 0:34:29 | 0:34:32 | |
But you've bucked the trend. | 0:34:32 | 0:34:34 | |
Is that actually something women ever actually want to see | 0:34:35 | 0:34:37 | |
but just won't ever tell me? | 0:34:37 | 0:34:39 | |
That they actually want to see two guys go at it? | 0:34:39 | 0:34:41 | |
-Just you two. -Just you two. | 0:34:41 | 0:34:43 | |
-OK. -It's not generic. OK. | 0:34:43 | 0:34:46 | |
If myself and Frank go at it, I don't think the audience... | 0:34:46 | 0:34:49 | |
LAUGHTER | 0:34:49 | 0:34:50 | |
Where is Naomi Higgs? | 0:34:51 | 0:34:54 | |
There's Naomi Higgs. Now, Naomi Higgs, | 0:34:54 | 0:34:56 | |
we asked you for an idea for some artwork. | 0:34:56 | 0:35:00 | |
She began to type and couldn't stop. | 0:35:00 | 0:35:02 | |
This is all from her. "Michael loves to exercise." | 0:35:04 | 0:35:07 | |
We know that's true. "However, James likes to eat cake. | 0:35:07 | 0:35:11 | |
"Michael is getting a little tired of James being so lazy. | 0:35:12 | 0:35:16 | |
"He's even starting to get a little fat, | 0:35:16 | 0:35:19 | |
"so Michael decides to sign James up to a Zumba class." | 0:35:19 | 0:35:23 | |
Oh! I'm in, I'm in. | 0:35:23 | 0:35:26 | |
"James rocks up in the most ridiculous outfit Michael has ever seen. | 0:35:26 | 0:35:30 | |
"That's the last time Michael will ask James to exercise." | 0:35:30 | 0:35:33 | |
APPLAUSE She wrote that down. | 0:35:36 | 0:35:39 | |
Where's Matthew Rouse? Where's Matthew? There's Matthew. | 0:35:40 | 0:35:43 | |
Now, Matthew thought long and hard about it. | 0:35:43 | 0:35:45 | |
Matthew would like to see the two of you | 0:35:45 | 0:35:47 | |
like apes picking and eating fleas off one another's backs. | 0:35:47 | 0:35:50 | |
-And spooning. -Oh, and spooning. | 0:35:52 | 0:35:54 | |
Of course. Where is Peter Imbong? | 0:35:54 | 0:35:57 | |
There's Peter Imbong. Peter would like to see James and Michael | 0:35:57 | 0:36:01 | |
-on a tandem bike. -Aww! -Nice. That's lovely, it's romantic, | 0:36:01 | 0:36:04 | |
-it's lovely. -Working together. -Working together, yes, yes. | 0:36:04 | 0:36:07 | |
-Pushing hard. -I like the gorillas. | 0:36:07 | 0:36:10 | |
Maybe the gorillas on the bike. | 0:36:10 | 0:36:12 | |
Yes! Yes, you can pick fleas off each other on the bike. | 0:36:12 | 0:36:15 | |
-Yeah. -Perfect. | 0:36:15 | 0:36:17 | |
Maybe we were driving through fog, so you can do gorillas in the mist. | 0:36:17 | 0:36:20 | |
I love... I like it. | 0:36:20 | 0:36:23 | |
APPLAUSE | 0:36:23 | 0:36:24 | |
It was high concept. | 0:36:24 | 0:36:26 | |
It was high concept. We've got a tandem bike, | 0:36:26 | 0:36:28 | |
so if you bring in the green screen, | 0:36:28 | 0:36:30 | |
we'll put you on the streets of Paris. | 0:36:30 | 0:36:33 | |
-OK. -Oh, Christ almighty. | 0:36:33 | 0:36:34 | |
If you go over to the bike, the two of you... | 0:36:34 | 0:36:37 | |
and I think, for once, James should be at the back. | 0:36:37 | 0:36:39 | |
There you go. | 0:36:39 | 0:36:40 | |
There is a theme about it. You're never at the back in the fan art. | 0:36:45 | 0:36:48 | |
-OK. -We talked about this last time. -I know. Hang on... | 0:36:48 | 0:36:51 | |
What is this? Why has Michael got a scarf coming out of his arse? | 0:36:51 | 0:36:55 | |
Oh, because you put the scarves on, and so it looks like... | 0:36:55 | 0:36:58 | |
-Oh, yeah, yeah. -It looks like you're going fast. -That's right. | 0:36:58 | 0:37:00 | |
You see? You wind the scarves round. | 0:37:00 | 0:37:03 | |
Hang on. | 0:37:03 | 0:37:04 | |
There you go. | 0:37:06 | 0:37:08 | |
There you go, lovely. Lovely, lovely. | 0:37:08 | 0:37:10 | |
OK, OK. So... | 0:37:10 | 0:37:11 | |
Oh... Oh, Jesus! | 0:37:13 | 0:37:14 | |
APPLAUSE | 0:37:15 | 0:37:17 | |
OK, so, can we have a romantic background now, please? | 0:37:19 | 0:37:23 | |
-Oh, that's cool. Look! -Oh! -That's fabulous. Look at this. | 0:37:23 | 0:37:27 | |
Let's make it romantic. | 0:37:27 | 0:37:29 | |
OK, and now be cycling. | 0:37:32 | 0:37:34 | |
Pretend to be cycling, but don't actually cycle. | 0:37:34 | 0:37:37 | |
Take a picture, take a picture. | 0:37:37 | 0:37:39 | |
Beautiful. Well done. Very good! | 0:37:39 | 0:37:41 | |
Oh, we did it, we did it. APPLAUSE | 0:37:41 | 0:37:45 | |
Yeah, you're good, you're good. Put them down there. Sit down. | 0:37:45 | 0:37:48 | |
Thank you very much for doing that! | 0:37:48 | 0:37:51 | |
That was a disaster. | 0:37:51 | 0:37:52 | |
-Yeah! -LAUGHTER | 0:37:52 | 0:37:55 | |
By the way, the people who do this fan art | 0:37:55 | 0:37:58 | |
just love it when we show it on the show. | 0:37:58 | 0:38:00 | |
(No, they don't.) | 0:38:00 | 0:38:02 | |
What does it matter? They're out tonight. | 0:38:02 | 0:38:04 | |
They'll be at parties. | 0:38:04 | 0:38:05 | |
(No, they won't.) | 0:38:05 | 0:38:07 | |
Right, it is New Year's Eve, and looking back, | 0:38:10 | 0:38:13 | |
there have been - there have - been some good things this year. | 0:38:13 | 0:38:16 | |
There have! Including, of course, the Rio Olympics. | 0:38:16 | 0:38:19 | |
I mean, Britain had its best Olympics ever, | 0:38:19 | 0:38:21 | |
so well done to Team GB - | 0:38:21 | 0:38:23 | |
but for me and lots of other people, | 0:38:23 | 0:38:25 | |
it was two young Irish guys who really stole the Olympics. | 0:38:25 | 0:38:30 | |
AUDIENCE CHEERS | 0:38:30 | 0:38:31 | |
They won silver for rowing, | 0:38:31 | 0:38:33 | |
and you've probably seen this, but in case you haven't, | 0:38:33 | 0:38:36 | |
here they are reacting to their win. | 0:38:36 | 0:38:40 | |
Lads, listen, Paul, what has the last few hours been like for you? | 0:38:40 | 0:38:44 | |
Erm... I've been shook enough now, to be honest, since the race thing, | 0:38:44 | 0:38:48 | |
a bit tired now and the legs are like jelly | 0:38:48 | 0:38:50 | |
but, um...yeah, I suppose we did a bit of celebrating, | 0:38:50 | 0:38:53 | |
and did the podium thing | 0:38:53 | 0:38:55 | |
and got to put on the podium pants, as well, so it was quite nice, | 0:38:55 | 0:38:58 | |
and...saw the mother and the father and a few other people | 0:38:58 | 0:39:01 | |
and took a few pictures and that. | 0:39:01 | 0:39:03 | |
Then I had to go and do this doping control thing, | 0:39:03 | 0:39:06 | |
so I was there for an hour or two | 0:39:06 | 0:39:08 | |
trying to pee then into a cup for them. | 0:39:08 | 0:39:10 | |
There was about ten litres of water as well, so... | 0:39:10 | 0:39:13 | |
It's full up now, to be honest. | 0:39:13 | 0:39:16 | |
Gary, it's, like, great craic, though, isn't it? | 0:39:16 | 0:39:19 | |
He's been busy there. | 0:39:19 | 0:39:20 | |
I was running around having a great time | 0:39:20 | 0:39:22 | |
signing photographs and autographs and taking pictures, | 0:39:22 | 0:39:24 | |
and it was all well and good, you know? | 0:39:24 | 0:39:26 | |
We'll be fairly tired now. | 0:39:26 | 0:39:27 | |
-We haven't had a bite to eat since two hours... -After the weigh-in. | 0:39:27 | 0:39:30 | |
..after the weigh-in. We had a bread roll with some nutella, | 0:39:30 | 0:39:33 | |
and I'm fairly hungry now, | 0:39:33 | 0:39:34 | |
but I believe they're on their way with some pizzas for us. | 0:39:34 | 0:39:37 | |
APPLAUSE Very good. | 0:39:37 | 0:39:39 | |
They're here tonight! | 0:39:39 | 0:39:40 | |
Please welcome Gary and Paul O'Donovan. | 0:39:40 | 0:39:43 | |
Just shove down a bit that way. | 0:39:43 | 0:39:45 | |
Here they are. Hello! | 0:39:45 | 0:39:47 | |
Come in. Hello, lovely to see you. | 0:39:47 | 0:39:51 | |
-Come and sit down there now. -Thank you, Graham. | 0:39:51 | 0:39:53 | |
There you go. | 0:39:55 | 0:39:56 | |
Sit, sit, sit, sit, sit. Very good. | 0:39:56 | 0:39:58 | |
Welcome, Gary and Paul. | 0:40:00 | 0:40:02 | |
Congratulations. | 0:40:02 | 0:40:04 | |
That's fantastic. Did you bring your medals with you? | 0:40:04 | 0:40:07 | |
-No. -Yeah. -You did? Oh, I thought you'd be wearing them. | 0:40:07 | 0:40:10 | |
Oh, no, they're just casually in the back pocket. | 0:40:10 | 0:40:13 | |
-There you go. -Look at that. These are proper Olympic medals. | 0:40:13 | 0:40:18 | |
Wow. Marion, have you seen an Olympic medal? | 0:40:18 | 0:40:20 | |
Seen some action, there. | 0:40:20 | 0:40:22 | |
I actually did, yeah. | 0:40:22 | 0:40:23 | |
Cos the French lads beat us. | 0:40:23 | 0:40:25 | |
-Oh, was it the French people beat you? -Yeah. | 0:40:25 | 0:40:27 | |
Oh, the French got the gold. | 0:40:27 | 0:40:29 | |
AUDIENCE: Oohh... | 0:40:29 | 0:40:31 | |
Is there anyone in Ireland who hasn't seen those medals? | 0:40:32 | 0:40:35 | |
They look like they've been round the block, those medals. | 0:40:35 | 0:40:38 | |
They're fairly tattered, yeah. | 0:40:38 | 0:40:41 | |
Of course, Michael, down in Killarney, | 0:40:41 | 0:40:42 | |
word must have reached you of the O'Donovan brothers. | 0:40:42 | 0:40:45 | |
-KERRY ACCENT: -Oh, for sure. I mean, I wasn't in Killarney at the time | 0:40:45 | 0:40:48 | |
but everybody knew about it, that's for sure, yeah. | 0:40:48 | 0:40:51 | |
Marion, watching that clip, could you understand the accent? | 0:40:51 | 0:40:54 | |
Nothing, not a word. | 0:40:54 | 0:40:57 | |
I understood "since". | 0:40:57 | 0:41:00 | |
Just that word. | 0:41:02 | 0:41:03 | |
You were on the movie set with Michael with his thick Kerry accent! | 0:41:03 | 0:41:07 | |
Listen, people loved the interviews you did during the Olympics, | 0:41:14 | 0:41:19 | |
but you guys knew you were being funny while doing the interviews. | 0:41:19 | 0:41:23 | |
I don't know, I mean... | 0:41:23 | 0:41:25 | |
I think it was funny because they were being themselves. | 0:41:25 | 0:41:27 | |
Yeah. | 0:41:27 | 0:41:28 | |
-Well, to be fair, we weren't trying to be serious, like, but... -Yeah. | 0:41:28 | 0:41:31 | |
-It just... -It just kind of happened that way, like. | 0:41:31 | 0:41:33 | |
You did seem very happy to be in Rio. | 0:41:33 | 0:41:35 | |
I was quite serious about the whole situation, though, | 0:41:35 | 0:41:38 | |
-and everything we told was the truth, like. -Yeah! | 0:41:38 | 0:41:40 | |
You have to understand, like, | 0:41:42 | 0:41:44 | |
people ask us these questions all the time after races. | 0:41:44 | 0:41:46 | |
It just so happened that they put a camera in front of us in Rio. | 0:41:46 | 0:41:50 | |
And also, you won a silver medal, | 0:41:50 | 0:41:52 | |
-so suddenly everyone was interested. -Yeah, yeah. -Yeah. | 0:41:52 | 0:41:54 | |
The great thing is, Ireland has never won any medal | 0:41:54 | 0:41:57 | |
-in rowing before, have they? -Well... -Not at the Olympics. | 0:41:57 | 0:42:00 | |
They've a few World Championship titles, right, | 0:42:00 | 0:42:02 | |
but it's the first Olympic medal, yeah. Whoohoo! | 0:42:02 | 0:42:05 | |
AUDIENCE CHEERS Very good. | 0:42:05 | 0:42:07 | |
And the interview where you talked about your approach to the race, | 0:42:10 | 0:42:14 | |
the phrases you used in that - | 0:42:14 | 0:42:16 | |
so, explain to people what you said in that. | 0:42:16 | 0:42:18 | |
-Do you know which one? -Which one? -What did we say? | 0:42:18 | 0:42:20 | |
-About going A to B as fast as you can. -Oh, yeah. -Yeah. | 0:42:20 | 0:42:23 | |
It is a fairly simple sport, like. | 0:42:23 | 0:42:25 | |
There's a start line and a finish line. | 0:42:28 | 0:42:29 | |
Don't complicate things, like. | 0:42:29 | 0:42:31 | |
People do complicate it, like. | 0:42:31 | 0:42:33 | |
Your man says "go" at the start, and there's a hooter at the finish, | 0:42:33 | 0:42:36 | |
and if you can get from "go" to the hooter, | 0:42:36 | 0:42:38 | |
-then... -No bullshit, like. -Yeah. | 0:42:38 | 0:42:41 | |
And then this thing about closing your eyes and pull like a dog. | 0:42:42 | 0:42:45 | |
-Yeah. -That phrase, who came up with that? | 0:42:45 | 0:42:47 | |
-That was Paul. -That was mine, yeah. | 0:42:47 | 0:42:49 | |
-Is "pull like a dog" - is that a phrase? -No! | 0:42:49 | 0:42:52 | |
It is now, apparently! | 0:42:52 | 0:42:54 | |
It's everywhere now in Ireland. | 0:42:55 | 0:42:57 | |
-Yeah. -It is. -Like, you'll be walking down the street, there, | 0:42:57 | 0:43:00 | |
in Dublin or somewhere, | 0:43:00 | 0:43:01 | |
and a fella would shout across the road, like, "Pull like a dog." | 0:43:01 | 0:43:04 | |
-"Pull like a dog," yeah. -The best ever! | 0:43:04 | 0:43:06 | |
Lads will be encouraging inside a nightclub, | 0:43:06 | 0:43:09 | |
"Close your eyes and pull like a dog." | 0:43:09 | 0:43:11 | |
Have you ever had a member of your desired sex | 0:43:15 | 0:43:19 | |
tell you to pull like a dog? | 0:43:19 | 0:43:21 | |
LAUGHTER | 0:43:23 | 0:43:24 | |
The questions are getting harder now. | 0:43:26 | 0:43:28 | |
But... But wasn't there a guy that came up to you in a...? | 0:43:29 | 0:43:32 | |
That's right. Some fella came up to Paul inside a nightclub | 0:43:32 | 0:43:35 | |
-in Skibbereen, like, and he had a... -Oh, a tattoo, yeah! | 0:43:35 | 0:43:38 | |
Like proper ink tattoo, like, | 0:43:38 | 0:43:40 | |
across his full forearm saying, "Pull like a dog". | 0:43:40 | 0:43:43 | |
-Wow. -I was like, that was nuts, like. | 0:43:43 | 0:43:46 | |
He may live to regret that. | 0:43:46 | 0:43:48 | |
Probably wanking away, there. | 0:43:48 | 0:43:50 | |
Marion, it's just as well, it's just as well. | 0:44:01 | 0:44:04 | |
You're missing nothing. | 0:44:04 | 0:44:06 | |
So, now, we've got a picture of you. | 0:44:07 | 0:44:09 | |
-This is the day you came back to Skibbereen. -Yeah. | 0:44:09 | 0:44:13 | |
So, like, an amazing... | 0:44:13 | 0:44:14 | |
APPLAUSE | 0:44:14 | 0:44:17 | |
-Incredible. -Oh, it was incredible. -Unbelievable, yeah. | 0:44:17 | 0:44:20 | |
Because if you haven't been to Skibbereen - | 0:44:20 | 0:44:21 | |
a lot of people won't have been to Skibbereen - it's not a big town. | 0:44:21 | 0:44:24 | |
-How many people? -It's a small little town. | 0:44:24 | 0:44:26 | |
The population is about 1,500 people, | 0:44:26 | 0:44:27 | |
and they were saying there was about 15,000 turned up to the homecoming. | 0:44:27 | 0:44:31 | |
The town was crazy, like, yeah. | 0:44:32 | 0:44:34 | |
And presumably, you're never going to have to buy a drink again. | 0:44:34 | 0:44:37 | |
Ah, it depends, like... | 0:44:38 | 0:44:40 | |
At home, we're the same two fellas, like, down in Skibbereen, | 0:44:41 | 0:44:44 | |
and they've no respect for anything down there, like. | 0:44:44 | 0:44:47 | |
A silver medal's nothing to them. God almighty. | 0:44:47 | 0:44:50 | |
Yeah, no, we get charged away in Skibbereen. It's no problem. | 0:44:50 | 0:44:53 | |
I suppose because, you know, sport, there's a lot of discipline, | 0:44:53 | 0:44:57 | |
a lot of training, | 0:44:57 | 0:44:59 | |
and now there's all the fun side of things, | 0:44:59 | 0:45:03 | |
you know, travelling around, | 0:45:03 | 0:45:05 | |
people are recognising you and coming up to you in nightclubs... | 0:45:05 | 0:45:08 | |
-The Graham Norton Show, that kind of stuff. -Exactly. | 0:45:08 | 0:45:10 | |
So is it going to be harder to get back in the boat? | 0:45:10 | 0:45:13 | |
No, it's the same. | 0:45:13 | 0:45:15 | |
Like, you just put the boat down in the water and sit in it, you know? | 0:45:15 | 0:45:18 | |
LAUGHTER AND APPLAUSE | 0:45:18 | 0:45:20 | |
There might be fans blocking the way sometimes, | 0:45:23 | 0:45:26 | |
but we just ask them to move out the way, and... | 0:45:26 | 0:45:28 | |
Please and thanks and all that. | 0:45:28 | 0:45:30 | |
Frank, do you row? | 0:45:30 | 0:45:31 | |
I did row recently. I... | 0:45:31 | 0:45:34 | |
Not... I mean, in a rowing boat. | 0:45:34 | 0:45:37 | |
I crashed into the side of a swimming pool... | 0:45:37 | 0:45:41 | |
-Where the hell were you rowing? -With four... | 0:45:42 | 0:45:44 | |
It was a very posh hotel, and... | 0:45:44 | 0:45:47 | |
The people, you know the way posh people look posh | 0:45:48 | 0:45:51 | |
even in swimming costumes, you just know, before they speak. | 0:45:51 | 0:45:54 | |
I said, "Can you help me, please? I'm stuck." | 0:45:54 | 0:45:57 | |
And they just looked... | 0:45:57 | 0:45:58 | |
They were literally too posh to push. | 0:45:58 | 0:46:01 | |
I was stranded there and I couldn't work out... | 0:46:02 | 0:46:05 | |
I really would have needed you guys. | 0:46:05 | 0:46:07 | |
-Well, they're here now. -In the end, a man threw me a rope. | 0:46:07 | 0:46:10 | |
We had life jackets on, me and my son. | 0:46:10 | 0:46:13 | |
I mean, the water was this deep. | 0:46:13 | 0:46:16 | |
-I'm just going to give them the opposite end of rowing. -Yeah. | 0:46:16 | 0:46:19 | |
Another side to it. | 0:46:19 | 0:46:21 | |
-What's the story now...? -Cool story, bro. | 0:46:21 | 0:46:23 | |
The reviews are in. | 0:46:27 | 0:46:30 | |
Guys, guys, guys, try and be funny for your entire life | 0:46:33 | 0:46:36 | |
and then, and then give him shit. | 0:46:36 | 0:46:39 | |
I've been shot down by a rower. | 0:46:42 | 0:46:45 | |
-JAMES: -Oh, there's a leak in your boat, pal. | 0:46:47 | 0:46:49 | |
They weren't around in the '90s. | 0:46:49 | 0:46:51 | |
APPLAUSE | 0:46:52 | 0:46:54 | |
Now, here's the thing. | 0:46:57 | 0:46:59 | |
So, your fame has gone all around the world | 0:46:59 | 0:47:01 | |
and you guys have probably seen this, | 0:47:01 | 0:47:03 | |
I'm sure somebody has shown you this, | 0:47:03 | 0:47:05 | |
but I don't think these people will have seen it. | 0:47:05 | 0:47:08 | |
There's a video of children in Thailand... | 0:47:08 | 0:47:10 | |
-Have you seen this video? -Yeah. | 0:47:10 | 0:47:12 | |
So, there's children in Thailand singing a special tribute... | 0:47:12 | 0:47:16 | |
-Have you seen it? -No. | 0:47:16 | 0:47:19 | |
This is incredible. | 0:47:19 | 0:47:20 | |
It's quite bonkers, it's quite bonkers, this, | 0:47:20 | 0:47:23 | |
but it's kids in Thailand singing a special tribute | 0:47:23 | 0:47:25 | |
-to the two of you and your Irish canoe. -Canoe, yeah. | 0:47:25 | 0:47:29 | |
CHEERING AND APPLAUSE | 0:48:03 | 0:48:05 | |
That's crazy. | 0:48:05 | 0:48:06 | |
All right, it is time for our musical performance | 0:48:08 | 0:48:13 | |
and we are ending 2016 with something really special. | 0:48:13 | 0:48:16 | |
These guys have been selling out arena shows | 0:48:16 | 0:48:19 | |
with their classic mix of club anthems with orchestral strings. | 0:48:19 | 0:48:24 | |
Here, performing right here, right now and Lola's Theme, | 0:48:24 | 0:48:27 | |
please welcome Pete Tong and the Heritage Orchestra. | 0:48:27 | 0:48:30 | |
# Right here, right now | 0:49:03 | 0:49:05 | |
# Right here, right now Right here, right now | 0:49:05 | 0:49:09 | |
# Right here, right now | 0:49:09 | 0:49:11 | |
# Right here, right now Right here, right now | 0:49:11 | 0:49:15 | |
# Right here, right now | 0:49:15 | 0:49:17 | |
# Right here, right now | 0:49:17 | 0:49:19 | |
# Ooh, yeah | 0:50:15 | 0:50:18 | |
# Looking back | 0:50:20 | 0:50:23 | |
# I know I was walking around in disguise | 0:50:23 | 0:50:28 | |
# It's a fact | 0:50:28 | 0:50:31 | |
# I was just a lost soul I needed a guide | 0:50:31 | 0:50:36 | |
# And the moment that you came to change my life | 0:50:36 | 0:50:42 | |
# Looking back together, yeah | 0:50:42 | 0:50:44 | |
# You fired up my heart and made me smile | 0:50:44 | 0:50:50 | |
# And you and I know that | 0:50:50 | 0:50:53 | |
# I'm a different person | 0:50:53 | 0:50:55 | |
# Yeah | 0:50:55 | 0:50:56 | |
# Turn my world around | 0:50:56 | 0:50:59 | |
# I'm a different person | 0:51:00 | 0:51:03 | |
# Yeah | 0:51:03 | 0:51:04 | |
# Turn my world around | 0:51:04 | 0:51:07 | |
# I'm a different person | 0:51:08 | 0:51:10 | |
# Yeah | 0:51:10 | 0:51:12 | |
# Turn my world around... # | 0:51:12 | 0:51:15 | |
Come on, guys! | 0:51:16 | 0:51:17 | |
# Like a little piece of heaven finally found | 0:51:22 | 0:51:28 | |
# Looking back together, yeah | 0:51:28 | 0:51:30 | |
# You rebuilt my heart up from the ground | 0:51:30 | 0:51:36 | |
# And you and I know, baby | 0:51:36 | 0:51:39 | |
# I'm a different person | 0:51:39 | 0:51:41 | |
# Yeah | 0:51:41 | 0:51:43 | |
# Turn my world around | 0:51:43 | 0:51:45 | |
# I'm a different person | 0:51:46 | 0:51:49 | |
# Yeah | 0:51:49 | 0:51:50 | |
# Turn my world around | 0:51:50 | 0:51:53 | |
# Turn my world around | 0:51:53 | 0:51:55 | |
# I'm a different person | 0:51:55 | 0:51:56 | |
# Yeah | 0:51:56 | 0:51:58 | |
-# Turn my world around -Yeah, yeah | 0:51:58 | 0:52:00 | |
# Turn my world around | 0:52:00 | 0:52:02 | |
# I'm a different person | 0:52:02 | 0:52:04 | |
# Yeah | 0:52:04 | 0:52:06 | |
# Turn my world around | 0:52:06 | 0:52:08 | |
# World around, yeah | 0:52:08 | 0:52:10 | |
# World around, yeah World around, yeah | 0:52:10 | 0:52:14 | |
# World around, yeah | 0:52:14 | 0:52:16 | |
# World around. # | 0:52:16 | 0:52:18 | |
CHEERING AND APPLAUSE | 0:52:18 | 0:52:19 | |
Absolutely amazing. | 0:52:27 | 0:52:28 | |
Pete Tong, come and join us - | 0:52:28 | 0:52:30 | |
and let's hear it for the Heritage Orchestra. | 0:52:30 | 0:52:33 | |
Cookie on vocals, there, and Jules Buckley, the conductor. | 0:52:33 | 0:52:37 | |
Hello, sir, come and have a seat. Do sit down. | 0:52:37 | 0:52:40 | |
How are you? | 0:52:42 | 0:52:43 | |
That is... It's just brilliant, Pete. | 0:52:43 | 0:52:46 | |
-It really is. Yes, hello, hello. That's Pete Tong. -Hello, hello. | 0:52:46 | 0:52:50 | |
-That's who that is. -How are you? -Listen, it's fantastic, | 0:52:50 | 0:52:52 | |
and that is obviously off the album, Classic House, which is out now. | 0:52:52 | 0:52:56 | |
And it's one of those things, I was saying to Frank, | 0:52:56 | 0:52:58 | |
you think, "Will this work?" But it's just brilliant. | 0:52:58 | 0:53:01 | |
Yeah, we got asked to do a prom in 2015 | 0:53:01 | 0:53:04 | |
and it got to the end of the night and we were backstage | 0:53:04 | 0:53:07 | |
and looking at each other thinking, "What shall we do now?" | 0:53:07 | 0:53:09 | |
It kind of went viral after that for a couple of weeks | 0:53:09 | 0:53:12 | |
and there was this huge groundswell of demand for us to do it again. | 0:53:12 | 0:53:15 | |
We've just completed three sell-out arena shows, | 0:53:15 | 0:53:18 | |
and it's been the craziest thing I've ever done in my life. | 0:53:18 | 0:53:21 | |
But you now - you're selling tickets for, is it next December? | 0:53:21 | 0:53:24 | |
Yeah, then everyone was going, like, "Why can't we go?" | 0:53:24 | 0:53:26 | |
So we've already put next Christmas on sale | 0:53:26 | 0:53:28 | |
which sounds absolutely crazy. | 0:53:28 | 0:53:30 | |
-Wow! -It's mad, isn't it? | 0:53:30 | 0:53:31 | |
And what happens back there? | 0:53:31 | 0:53:33 | |
-I mean... In your bit. -Well, we make... | 0:53:33 | 0:53:36 | |
LAUGHTER | 0:53:36 | 0:53:38 | |
A lot of clapping. | 0:53:38 | 0:53:40 | |
-A lot of looking enthusiastic. -"Whay!" | 0:53:40 | 0:53:42 | |
Aren't they brilliant? No, I'm kind of firing in bits of production | 0:53:42 | 0:53:46 | |
and stuff we did in the studio | 0:53:46 | 0:53:48 | |
that isn't made by violins and horns and stuff like that. | 0:53:48 | 0:53:51 | |
-Beautifully done, it is. -We love it, we love it. | 0:53:51 | 0:53:54 | |
And the album is just great. Pete Tong. APPLAUSE | 0:53:54 | 0:53:58 | |
Very quickly, | 0:53:58 | 0:53:59 | |
it's almost time for us to pass you over to the fireworks | 0:53:59 | 0:54:03 | |
and the bells, but before we do, | 0:54:03 | 0:54:04 | |
just time for our final visit of the year | 0:54:04 | 0:54:06 | |
to the big red chair. Who's there? | 0:54:06 | 0:54:08 | |
-Hello. -Hi! | 0:54:08 | 0:54:10 | |
LAUGHTER | 0:54:10 | 0:54:12 | |
It could be a great story. | 0:54:18 | 0:54:20 | |
-What's your name, sir? -It's Lewis. | 0:54:20 | 0:54:22 | |
Lewis, lovely. And what do you do, Lewis? | 0:54:22 | 0:54:24 | |
I work in acquisitions for a film and TV company. | 0:54:24 | 0:54:27 | |
Well, now, somebody's doing that. | 0:54:27 | 0:54:29 | |
It's him. | 0:54:29 | 0:54:30 | |
Off you go with your story, Lewis. | 0:54:32 | 0:54:35 | |
So, when I was a bit younger, | 0:54:35 | 0:54:37 | |
I was on my way to my friend's birthday party | 0:54:37 | 0:54:40 | |
and that week I had just been dumped by my girlfriend, | 0:54:40 | 0:54:43 | |
so I was quite upset, | 0:54:43 | 0:54:44 | |
but my friend assured me that this would be the exact thing | 0:54:44 | 0:54:47 | |
I needed to take my mind off it. | 0:54:47 | 0:54:48 | |
So I get there, I drink too much and I pass out in the garden. | 0:54:48 | 0:54:51 | |
A couple of hours later, | 0:54:51 | 0:54:53 | |
I stumble upstairs and I pass out in the bedroom on the coats. | 0:54:53 | 0:54:57 | |
And a couple of hours later go by | 0:54:57 | 0:54:58 | |
and my friend just starts nudging me, | 0:54:58 | 0:55:00 | |
at least I thought he was nudging me, | 0:55:00 | 0:55:03 | |
but my head is spinning, so I open my eyes | 0:55:03 | 0:55:05 | |
and my friend is on top of me having sex with a girl from the party. | 0:55:05 | 0:55:10 | |
We went as far as we needed to go with that story. | 0:55:15 | 0:55:18 | |
How was he on top of him and she...? | 0:55:18 | 0:55:20 | |
Where was she in the equation? | 0:55:20 | 0:55:22 | |
We'll get someone from fan art to explain it to you. | 0:55:22 | 0:55:25 | |
That would help. That would definitely help. | 0:55:25 | 0:55:28 | |
OK, one more, one more, OK, this is it. | 0:55:28 | 0:55:30 | |
This is the last one. | 0:55:30 | 0:55:31 | |
-Hello. -Hello! | 0:55:31 | 0:55:32 | |
-Hi, what's your name? -Alexandra. | 0:55:32 | 0:55:34 | |
Alexandra, and where are you from, Alexandra? | 0:55:34 | 0:55:36 | |
-London. -London, London, the capital. | 0:55:36 | 0:55:39 | |
-And what do you do? -I'm a lawyer. | 0:55:39 | 0:55:41 | |
Oh, that's fine. What sort of law? | 0:55:41 | 0:55:43 | |
-Commercial property. -Commercial property. | 0:55:43 | 0:55:45 | |
Sure, it hurts no-one. Off you go with your story. | 0:55:45 | 0:55:47 | |
OK, so, primary school, history week, | 0:55:47 | 0:55:50 | |
I had forgotten to tell my mother that I needed a costume | 0:55:50 | 0:55:53 | |
for the fancy dress competition. | 0:55:53 | 0:55:56 | |
She was pretty cross, you know, night before, | 0:55:56 | 0:55:58 | |
running around trying to cobble something together. | 0:55:58 | 0:56:01 | |
Next morning, I find myself dressed in my dad's brown shirt, | 0:56:01 | 0:56:05 | |
a pair of shorts of my brother, | 0:56:05 | 0:56:06 | |
my hair scraped back off my head | 0:56:06 | 0:56:08 | |
and my mother is drawing something on my face with eyeliner. | 0:56:08 | 0:56:11 | |
A couple of hours later, I'm going down a catwalk... | 0:56:11 | 0:56:15 | |
finding all the teachers sniggering at me | 0:56:15 | 0:56:17 | |
and I have absolutely no idea who I am. | 0:56:17 | 0:56:19 | |
It turns out that my mother thought it would be a great idea | 0:56:19 | 0:56:22 | |
to send her seven-year-old daughter to history week at school | 0:56:22 | 0:56:25 | |
dressed as Adolf Hitler. | 0:56:25 | 0:56:26 | |
APPLAUSE | 0:56:26 | 0:56:28 | |
-Walk. -I think so. -I'd walk her. -You walk. | 0:56:28 | 0:56:30 | |
Nicely, walk nicely. | 0:56:30 | 0:56:32 | |
Well done! | 0:56:32 | 0:56:34 | |
And, of course, if you'd like to join us on the show | 0:56:34 | 0:56:36 | |
and have a go in that big red chair, you can. | 0:56:36 | 0:56:37 | |
Go via our website at this very address. | 0:56:37 | 0:56:40 | |
That is it for tonight - | 0:56:40 | 0:56:42 | |
and, indeed, for this year. | 0:56:42 | 0:56:43 | |
Please say thank you to all my guests tonight. | 0:56:43 | 0:56:45 | |
Pete Tong... | 0:56:45 | 0:56:46 | |
APPLAUSE | 0:56:46 | 0:56:48 | |
The O'Donovan brothers... | 0:56:48 | 0:56:51 | |
Frank Skinner... | 0:56:51 | 0:56:52 | |
James McAvoy... | 0:56:52 | 0:56:54 | |
..Marion Cotillard... | 0:56:55 | 0:56:57 | |
and Mr Michael Fassbender. | 0:56:57 | 0:57:00 | |
We are back on Friday 6th of January with a red chair special. | 0:57:02 | 0:57:08 | |
You asked for it, you got it. | 0:57:08 | 0:57:09 | |
Until then, have a very happy New Year. | 0:57:09 | 0:57:11 | |
Goodnight everybody, bye-bye! | 0:57:11 | 0:57:13 | |
CHEERING AND APPLAUSE | 0:57:13 | 0:57:15 | |
Er...now, can I just say... | 0:57:36 | 0:57:39 | |
Those boys went all the way to Rio. | 0:57:39 | 0:57:41 | |
They've just left their medals on the table. | 0:57:41 | 0:57:44 | |
LAUGHTER AND APPLAUSE | 0:57:44 | 0:57:47 | |
HE CHUCKLES | 0:57:50 | 0:57:53 | |
I'll make sure they get them sent. | 0:57:56 | 0:57:58 |