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-Hi, I'm Guy Ritchie. -I'm Charlie Hunnam. -Welcome to The Graham Norton Show! | 0:00:02 | 0:00:05 | |
APPLAUSE AND CHEERING | 0:00:05 | 0:00:06 | |
APPLAUSE AND CHEERING | 0:00:21 | 0:00:23 | |
Oh! | 0:00:23 | 0:00:24 | |
For me? Is that for me? | 0:00:29 | 0:00:31 | |
Thank you. | 0:00:33 | 0:00:34 | |
Thank you so much! | 0:00:34 | 0:00:36 | |
No... No. | 0:00:36 | 0:00:38 | |
It's getting silly now. Hello and welcome! | 0:00:38 | 0:00:41 | |
Ladies and gentleman, we have a packed sofa tonight. | 0:00:41 | 0:00:43 | |
Sadly two people we HAVEN'T got on the show are the Prime Minister | 0:00:43 | 0:00:47 | |
and her lovely husband, Philip. | 0:00:47 | 0:00:49 | |
LAUGHTER | 0:00:49 | 0:00:50 | |
Have you seen them on The One Show? Woohoo(!) | 0:00:50 | 0:00:54 | |
Yeah! Riveting. | 0:00:54 | 0:00:56 | |
They spent most of the interview speaking about their marriage. | 0:00:56 | 0:00:59 | |
Guess what? It's strong and stable. | 0:00:59 | 0:01:02 | |
Who knew? They also spoke about their home life. | 0:01:03 | 0:01:06 | |
She's a good cook, he takes out the bins. | 0:01:06 | 0:01:09 | |
And she's never had a red box in the bedroom. | 0:01:09 | 0:01:13 | |
LAUGHTER Bit more than I wanted to know, if I'm honest. | 0:01:14 | 0:01:19 | |
Hey, the election campaign REALLY hotted up this week. | 0:01:19 | 0:01:22 | |
Who am I kidding?! | 0:01:22 | 0:01:24 | |
Yeah, the draft Labour manifesto got leaked. | 0:01:24 | 0:01:26 | |
Jeremy Corbyn's proposal is a massive increase | 0:01:28 | 0:01:30 | |
in education spending. | 0:01:30 | 0:01:31 | |
He says there are too many people in the country who can't even count. | 0:01:31 | 0:01:35 | |
I mean, here he is with one of them. | 0:01:35 | 0:01:37 | |
Yeah. | 0:01:37 | 0:01:38 | |
APPLAUSE | 0:01:41 | 0:01:42 | |
Meanwhile, Liberal Democrat leader Tim Farron... There he is! | 0:01:42 | 0:01:47 | |
That's Tim Farron. He said he has completely ruled out | 0:01:47 | 0:01:50 | |
a coalition with any other parties. | 0:01:50 | 0:01:52 | |
Yeah, in much the same way that I've completely ruled out marrying | 0:01:52 | 0:01:56 | |
Brad Pitt. Yeah, all MY decision. Yeah. | 0:01:56 | 0:01:58 | |
New Ukip leader, Paul Nuttall... | 0:02:01 | 0:02:04 | |
He laid out his plans - well done, him. In order to cut immigration, | 0:02:05 | 0:02:08 | |
Ukip have proposed a "one in, one out" system in Britain. | 0:02:08 | 0:02:13 | |
So, say we'd take in a Polish nurse and then we could swap them for... | 0:02:13 | 0:02:18 | |
Oh, yeah, lovely. Yeah, it's good. This is working. | 0:02:18 | 0:02:21 | |
In European news, France has a new president. Un president. | 0:02:22 | 0:02:26 | |
Yes, that is President Macron, with his wife, Brigitte. | 0:02:26 | 0:02:31 | |
Now, there were raised eyebrows that Brigitte is 24 years older than him. | 0:02:31 | 0:02:35 | |
But, hey, Donald Trump is 24 years older than HIS wife, | 0:02:35 | 0:02:38 | |
and who is really bothered by that? | 0:02:38 | 0:02:41 | |
Oh, yeah. Hey, let's get some guests on! | 0:02:44 | 0:02:46 | |
Later, we will have music from Ireland's own Imelda May! | 0:02:48 | 0:02:51 | |
CHEERING | 0:02:51 | 0:02:54 | |
But first, he's one of the funniest men in Britain. | 0:02:54 | 0:02:56 | |
It's a warm welcome back to my favourite comedian, Jason Manford, everybody! | 0:02:56 | 0:03:00 | |
-CHEERING Suited and booted. Looking very smart. -Hello. | 0:03:00 | 0:03:05 | |
VERY smart! Yeah, lovely, lovely. | 0:03:05 | 0:03:07 | |
From teenage pop star to award-winning actress, | 0:03:09 | 0:03:11 | |
we've loved her in Doctor Who and Penny Dreadful, | 0:03:11 | 0:03:14 | |
now she's back on the stage as Yerma, it's Billie Piper. | 0:03:14 | 0:03:17 | |
CHEERING AND APPLAUSE | 0:03:17 | 0:03:20 | |
-How are you? -I'm good! -Jason Manford, Billie Piper. | 0:03:25 | 0:03:29 | |
And they're the men behind the biggest British movie of the year - | 0:03:30 | 0:03:33 | |
King Arthur: Legend of the Sword. | 0:03:33 | 0:03:35 | |
Please welcome iconic British director Guy Ritchie | 0:03:35 | 0:03:38 | |
and King Arthur himself, Charlie Hunnam! | 0:03:38 | 0:03:41 | |
CHEERING AND APPLAUSE | 0:03:41 | 0:03:43 | |
Come on, come on! | 0:03:44 | 0:03:47 | |
Come on, here you go! | 0:03:47 | 0:03:49 | |
Hello, sir, very nice to see you. Have a seat. | 0:03:49 | 0:03:52 | |
Hello, hello. Come in, sit down. | 0:03:52 | 0:03:55 | |
APPLAUSE AND CHEERING | 0:03:55 | 0:03:56 | |
Feel the love. | 0:04:02 | 0:04:03 | |
-Welcome, all. Cheers. -Chin-chin. | 0:04:03 | 0:04:05 | |
Cheers, sir, yeah. I like that, yeah, straight in. | 0:04:05 | 0:04:08 | |
-No messing about. -It's what got you to the sofa! | 0:04:08 | 0:04:12 | |
This is the reason I came. | 0:04:12 | 0:04:14 | |
Ladies and gentleman, something very special tonight - | 0:04:14 | 0:04:16 | |
this is the first time on the sofa, | 0:04:16 | 0:04:19 | |
we've had someone who has won both an Olivier Award | 0:04:19 | 0:04:24 | |
and a Smash Hits award, ladies and gentleman. It's Billie Piper | 0:04:24 | 0:04:28 | |
has done both those things. | 0:04:28 | 0:04:30 | |
APPLAUSE Yes! | 0:04:30 | 0:04:32 | |
It's good. | 0:04:35 | 0:04:37 | |
Should I get... Could I get an award for THAT? | 0:04:37 | 0:04:40 | |
You know, when you were getting your Smash Hits award, | 0:04:40 | 0:04:44 | |
it seemed pretty unlikely you would ever be getting an Olivier Award. | 0:04:44 | 0:04:48 | |
-Correct. -That's amazing. -I know, it was great. | 0:04:48 | 0:04:51 | |
Jason, you hosted the Olivier Awards. | 0:04:51 | 0:04:53 | |
I did, yes. The closest I'M going to get to one. | 0:04:53 | 0:04:56 | |
It was a fun night. | 0:04:56 | 0:04:57 | |
-You were brilliant. -You won five awards, I think, that night, | 0:04:57 | 0:05:00 | |
for Yerma. It was amazing. Just kept coming up. | 0:05:00 | 0:05:02 | |
You were on stage more than me. | 0:05:02 | 0:05:04 | |
I think we won two, but... | 0:05:05 | 0:05:07 | |
-Did you?! -Yeah, but it was a good night. | 0:05:07 | 0:05:09 | |
That was one LONG speech! | 0:05:09 | 0:05:11 | |
When people come round to your house, | 0:05:12 | 0:05:14 | |
are they impressed that you've got an Olivier Award? | 0:05:14 | 0:05:17 | |
Yeah, they are. But they love the Smash Hits award, | 0:05:17 | 0:05:21 | |
cos it's that big... gold, iconic award. | 0:05:21 | 0:05:26 | |
They love it. They have pictures with it, everything. | 0:05:26 | 0:05:28 | |
I have to tell you I've never heard of the Olivier Award, but I've heard of the Smash Hits award. | 0:05:28 | 0:05:33 | |
LAUGHTER First time for Guy and Charlie. | 0:05:33 | 0:05:36 | |
They have not been here before. | 0:05:36 | 0:05:38 | |
But you had the premiere of your movie this week, King Arthur. | 0:05:38 | 0:05:41 | |
-How did it go? -Very well. | 0:05:41 | 0:05:42 | |
We had a couple of them. We had one in LA on Monday. | 0:05:42 | 0:05:45 | |
Oh, smell you! | 0:05:45 | 0:05:47 | |
I know right, very fancy. Then one last night in Leicester Square. | 0:05:47 | 0:05:50 | |
You do the red carpet and then do you actually watch the film? | 0:05:50 | 0:05:53 | |
I can't. It's such a pressure cooker situation. | 0:05:53 | 0:05:57 | |
I can. | 0:05:57 | 0:05:59 | |
I can, I'm not being funny. | 0:05:59 | 0:06:00 | |
It's a little bit embarrassing but I like my films! | 0:06:00 | 0:06:03 | |
Billie's incredulous. "What?!" | 0:06:03 | 0:06:06 | |
I like your films. | 0:06:06 | 0:06:08 | |
But I have this funny thing that I completely forget that I make them. | 0:06:09 | 0:06:13 | |
I have that memory like Dory. | 0:06:13 | 0:06:15 | |
It starts and I think, "Oh, what happens next?! Oh, look behind you!" | 0:06:17 | 0:06:21 | |
I'm that guy. I'm surprised about how many times I can see them. | 0:06:21 | 0:06:25 | |
Do you annoy people at your own film? | 0:06:25 | 0:06:26 | |
"Shut up, I'm trying to watch this!" | 0:06:26 | 0:06:28 | |
Yeah! | 0:06:28 | 0:06:30 | |
And, Guy Ritchie, you're not afraid of casting non-actors. | 0:06:30 | 0:06:35 | |
This is the man who gave us Vinnie Jones, the actor. | 0:06:35 | 0:06:40 | |
CLAPPING Yes. One lady there very happy with Vinnie Jones, the actor. | 0:06:40 | 0:06:43 | |
He's in the pantheon of thespians. | 0:06:43 | 0:06:47 | |
And you have another footballer in this one. | 0:06:47 | 0:06:50 | |
Is it annoying that he's getting so much press for this film? | 0:06:50 | 0:06:52 | |
It must be annoying YOU. | 0:06:52 | 0:06:54 | |
"I'm King Arthur! David Beckham is in it for two seconds!" | 0:06:54 | 0:06:58 | |
-Cos you guys are mates, right? -Yeah, sort of. | 0:06:58 | 0:07:01 | |
CHUCKLING | 0:07:01 | 0:07:04 | |
Don't back away now! | 0:07:04 | 0:07:06 | |
Oh, he's in it. | 0:07:06 | 0:07:08 | |
-He is in it. -I'm not making this up! | 0:07:08 | 0:07:10 | |
Am I allowed to speak? | 0:07:10 | 0:07:12 | |
That's great. | 0:07:12 | 0:07:14 | |
Our kids go to the same school. | 0:07:14 | 0:07:16 | |
And we go to the same pub and we go to the same sort of gay gym. | 0:07:16 | 0:07:20 | |
Isn't that just "gym"? | 0:07:22 | 0:07:23 | |
I think the "gay" is silent. | 0:07:26 | 0:07:28 | |
LAUGHTER AND APPLAUSE | 0:07:30 | 0:07:32 | |
-I set you up nicely there, didn't I? -Thanks. | 0:07:36 | 0:07:39 | |
Yeah, and one thing led to another. | 0:07:40 | 0:07:42 | |
As they do... | 0:07:42 | 0:07:44 | |
-LAUGHTER -As they do | 0:07:44 | 0:07:47 | |
in...gyms. | 0:07:47 | 0:07:49 | |
-Yeah. -Erm... | 0:07:49 | 0:07:51 | |
And I've used him before in the previous film that I did, | 0:07:51 | 0:07:54 | |
Man From UNCLE. | 0:07:54 | 0:07:55 | |
-GIGGLING -And I've... | 0:07:55 | 0:07:57 | |
What's going on? | 0:07:57 | 0:07:59 | |
They're still in the gym. | 0:07:59 | 0:08:00 | |
Um, yeah, I've done a couple of commercials with him. | 0:08:02 | 0:08:04 | |
I love him. He is... | 0:08:04 | 0:08:07 | |
He's not here. He is genuinely such a nice, nice man. | 0:08:09 | 0:08:12 | |
A lovely chap. It made sense, one thing led to another. | 0:08:12 | 0:08:15 | |
You did attempt to make him less beautiful in the film. | 0:08:15 | 0:08:18 | |
We tried. Have you got...? | 0:08:18 | 0:08:20 | |
This is the Instagram picture on the day he was shooting. | 0:08:20 | 0:08:23 | |
That was down to me. I walked on set and said, | 0:08:23 | 0:08:26 | |
"I think you should check the contracts - I have to be | 0:08:26 | 0:08:28 | |
"the most handsome man on set at any given time. | 0:08:28 | 0:08:30 | |
"Becksy is not going to work for me." | 0:08:30 | 0:08:32 | |
So that's what we did to him. | 0:08:32 | 0:08:34 | |
-But he still... -He looks fit. | 0:08:34 | 0:08:36 | |
Yeah. He still looks fit. | 0:08:36 | 0:08:38 | |
You'd still give him one, right? | 0:08:38 | 0:08:40 | |
Oooh. | 0:08:40 | 0:08:41 | |
-Yeah. -I tell you what - -I -would. | 0:08:41 | 0:08:45 | |
I thought he was terrific. | 0:08:45 | 0:08:46 | |
Not only just a lovely, kind, humble fella, | 0:08:46 | 0:08:50 | |
but showed up so determined to do a good job. | 0:08:50 | 0:08:52 | |
He's not an actor and I don't think has any real aspiration | 0:08:52 | 0:08:56 | |
to be an actor. And yet he'd hired an acting coach. | 0:08:56 | 0:08:59 | |
He's so prepared and sort of nervous and determined. | 0:08:59 | 0:09:01 | |
I thought, "Wow, good for you, David Beckham." | 0:09:01 | 0:09:04 | |
-No, he is. -Not that he needs MY praise, obviously. | 0:09:04 | 0:09:07 | |
He's cracking on quite well. | 0:09:07 | 0:09:09 | |
I think it's about time somebody gave him a leg-up. | 0:09:09 | 0:09:11 | |
He's needed that. | 0:09:14 | 0:09:16 | |
Finally, a break. | 0:09:17 | 0:09:19 | |
God love him. He'll be in Corrie next. | 0:09:19 | 0:09:22 | |
A lot of actors, when they get a big hero movie like this, | 0:09:23 | 0:09:27 | |
they have to get into shape. | 0:09:27 | 0:09:28 | |
But you were incredibly ripped before this, weren't you? | 0:09:28 | 0:09:31 | |
I wasn't actually. | 0:09:31 | 0:09:32 | |
I'd been doing the last season of a TV show I did in the States, | 0:09:32 | 0:09:35 | |
Sons Of Anarchy. And I'd lost a lot of weight. | 0:09:35 | 0:09:38 | |
CHEERING AND APPLAUSE | 0:09:38 | 0:09:40 | |
The character that I played was going through a great trauma | 0:09:40 | 0:09:43 | |
during that last season. So I had lost a lot of weight. | 0:09:43 | 0:09:46 | |
That actually was a bit of stumbling thing for me getting the role. | 0:09:46 | 0:09:50 | |
Cos Guy had wanted a quite formidable Arthur. | 0:09:50 | 0:09:54 | |
-And so he was very concerned. -I was after Seth Rogan. | 0:09:54 | 0:09:59 | |
He was very concerned about this. | 0:09:59 | 0:10:00 | |
He would bring it up a lot through the auditioning process. | 0:10:00 | 0:10:04 | |
And I finally thought... I had a eureka moment. | 0:10:04 | 0:10:07 | |
We've all heard about the casting couch, | 0:10:07 | 0:10:09 | |
let's implement the casting cage. | 0:10:09 | 0:10:11 | |
-Where are we going with this, Charlie?! -You know where we're going | 0:10:11 | 0:10:14 | |
with this, boss, don't play coy! | 0:10:14 | 0:10:16 | |
So I said, "Let's implement the casting cage." | 0:10:16 | 0:10:18 | |
The last time that Guy said, "Are you sure you can be formidable?" | 0:10:18 | 0:10:22 | |
I said, "You know what, pal, if you're so concerned about it..." Cos there was a big audition. | 0:10:22 | 0:10:26 | |
Lots of other little movie stars milling about this hotel, | 0:10:26 | 0:10:30 | |
going in and out auditioning for Guy. | 0:10:30 | 0:10:32 | |
It's very awkward, these things. | 0:10:32 | 0:10:33 | |
You walk past each other in the corridor saying, | 0:10:33 | 0:10:36 | |
"All right? Good luck, mate." | 0:10:36 | 0:10:37 | |
So I'd seen who the competition was. | 0:10:39 | 0:10:40 | |
When Guy brought it up one more time, his concern | 0:10:40 | 0:10:43 | |
about my physicality, I said, | 0:10:43 | 0:10:45 | |
"Let's just forget this. Turn the camera off." | 0:10:45 | 0:10:48 | |
Bring those chimpanzees in here who are auditioning against me | 0:10:48 | 0:10:52 | |
and we'll have a little fight and whoever walks out | 0:10:52 | 0:10:55 | |
the room gets the role. | 0:10:55 | 0:10:57 | |
And I maintain, although Guy denies it, | 0:10:57 | 0:10:59 | |
that was the moment that I got the part. Cos I saw a little glint | 0:10:59 | 0:11:02 | |
in his eye and he thought, "That's the cocky..." | 0:11:02 | 0:11:05 | |
APPLAUSE | 0:11:05 | 0:11:07 | |
Hold on. Before you go any further. | 0:11:10 | 0:11:11 | |
He lost. They were much bigger, and I gave him the role out of charity. | 0:11:11 | 0:11:15 | |
King Arthur: Legend Of The Sword, it opens next Friday, 19th of May. | 0:11:17 | 0:11:21 | |
We have a clip. Here's one of the big fights. | 0:11:21 | 0:11:24 | |
On my command! | 0:11:24 | 0:11:25 | |
SHOUTING AND YELLING | 0:11:35 | 0:11:38 | |
Whoa! | 0:12:21 | 0:12:23 | |
Yeah. | 0:12:25 | 0:12:26 | |
Yeah! | 0:12:28 | 0:12:29 | |
It's nothing like the cartoon, is it? | 0:12:31 | 0:12:33 | |
I thought it was like Beauty And The Beast, like a remake. | 0:12:33 | 0:12:36 | |
It's actually totally different, | 0:12:36 | 0:12:38 | |
there's no dragon turning into a cat or anything. | 0:12:38 | 0:12:40 | |
-Oh, there... -Oh, really? | 0:12:42 | 0:12:44 | |
No. | 0:12:44 | 0:12:45 | |
Moving into movies like this, | 0:12:45 | 0:12:47 | |
Sherlock Holmes or the King Arthur legend and away from the gangster | 0:12:47 | 0:12:51 | |
movies, do you get fewer visits? | 0:12:51 | 0:12:53 | |
Cos you used to get visits from real-life gangsters. | 0:12:53 | 0:12:56 | |
-I still get visits. -Oh, do you? | 0:12:56 | 0:12:57 | |
Like knock-on-the-door visits? | 0:12:57 | 0:13:00 | |
Sort of, you know, those sort of things. | 0:13:00 | 0:13:02 | |
They see you in the pub or they... | 0:13:02 | 0:13:04 | |
Already-in-your-house visits? | 0:13:04 | 0:13:06 | |
"What time do you call this, Guy?!" | 0:13:08 | 0:13:11 | |
Yeah, there's quite a lot that goes on. | 0:13:12 | 0:13:14 | |
There's a lot of old gangsters that want to share their stories with | 0:13:16 | 0:13:20 | |
the world, and I am the default setting if anyone wants to share | 0:13:20 | 0:13:24 | |
their story with the world, that has done really nefarious | 0:13:24 | 0:13:27 | |
and nasty things to people - they come straight to me first. | 0:13:27 | 0:13:31 | |
You've put some of the stories in the movies, haven't you? | 0:13:31 | 0:13:34 | |
Yeah, I mean, just about all the stories, | 0:13:34 | 0:13:36 | |
like the fact that Charlie was born in a brothel | 0:13:36 | 0:13:40 | |
in Arthur, that came from a chap that I knew. | 0:13:40 | 0:13:44 | |
He was born and raised under the bed in a brothel until he was 15. | 0:13:44 | 0:13:49 | |
And he had a wonderful way about him that he was tremendously protective | 0:13:49 | 0:13:54 | |
of all the ladies. And he was quite camp. | 0:13:54 | 0:13:56 | |
But when it came to being a bit of a chap, he was like an uber-geezer. | 0:13:58 | 0:14:05 | |
-Yeah. -So he had this wonderful cashmere-caveman quality about him. | 0:14:05 | 0:14:10 | |
And I'd imagine, very pale. | 0:14:10 | 0:14:12 | |
LAUGHTER | 0:14:12 | 0:14:13 | |
Yeah. | 0:14:16 | 0:14:17 | |
Because, Charlie Hunnam, you are a little bit of a crim yourself. | 0:14:19 | 0:14:23 | |
-A crim? -You've done nicking, haven't you? | 0:14:23 | 0:14:26 | |
-Um... -Sons Of Anarchy, you did serious nicking on that. | 0:14:26 | 0:14:29 | |
The occasional prop. | 0:14:29 | 0:14:30 | |
No, Sons Of Anarchy, you did SERIOUS nicking on that. | 0:14:30 | 0:14:33 | |
I stole the motorbike. | 0:14:33 | 0:14:34 | |
You stole a motorbike! | 0:14:34 | 0:14:36 | |
-Is that the one you stole? -Yes. The cat's out of the bag now. | 0:14:36 | 0:14:40 | |
-But they must have given you that. -Well, | 0:14:40 | 0:14:42 | |
I just drove it off and took it home and then said, | 0:14:42 | 0:14:45 | |
"Is there any way you could send me the pink slip, | 0:14:45 | 0:14:48 | |
"cos it's not coming back, so we may as well just make it official now." | 0:14:48 | 0:14:52 | |
I was on that show for eight years. | 0:14:52 | 0:14:54 | |
I made them a fortune! Come on, the bike's the least I could take. | 0:14:54 | 0:14:57 | |
I tried to nick a sword on King Arthur, | 0:14:57 | 0:15:00 | |
and there was a lovely old chap | 0:15:00 | 0:15:02 | |
whose job it was to look after the swords. | 0:15:02 | 0:15:05 | |
And he rumbled me mid-theft, | 0:15:05 | 0:15:08 | |
which is where I realised I'm much better off being an actor | 0:15:08 | 0:15:11 | |
than trying to be a thief. He rumbled me. | 0:15:11 | 0:15:13 | |
He said, "Charlie, I think you're a lovely fella and you've been so | 0:15:13 | 0:15:16 | |
"nice to everyone, I would actually happily let you take this sword, | 0:15:16 | 0:15:20 | |
"but Guy has requested a brand-new beautiful sword that he's going | 0:15:20 | 0:15:24 | |
"to present you upon wrap." | 0:15:24 | 0:15:26 | |
And then wrap came and passed, | 0:15:27 | 0:15:29 | |
and no sword arrived. | 0:15:29 | 0:15:31 | |
-LAUGHTER -So... | 0:15:31 | 0:15:32 | |
Two things happened. | 0:15:32 | 0:15:34 | |
Either the old sword wrangler bamboozled me | 0:15:34 | 0:15:38 | |
or Guy still has my sword. | 0:15:38 | 0:15:40 | |
Sorry, mate. | 0:15:40 | 0:15:42 | |
DO you have a sword for him? | 0:15:42 | 0:15:46 | |
That was, like, the least heartfelt apology! | 0:15:46 | 0:15:50 | |
I don't even know if that constituted an apology. | 0:15:50 | 0:15:53 | |
Nah. By the way, this has been going on for...about a year. | 0:15:53 | 0:15:58 | |
He won't let go of it. | 0:15:58 | 0:16:01 | |
And I don't intend to, until I get my sword. | 0:16:01 | 0:16:05 | |
Do you have an apology for Charlie - I think you do. | 0:16:05 | 0:16:07 | |
Or sword. One or the other. | 0:16:07 | 0:16:09 | |
I can do better than that. Well, sort of better than that. | 0:16:09 | 0:16:12 | |
Yeah, you know what's coming, you naughty girl! | 0:16:12 | 0:16:14 | |
-Is it coming? -It's coming, son. | 0:16:16 | 0:16:18 | |
Where is it? Who's got it? Here it is! | 0:16:18 | 0:16:22 | |
APPLAUSE | 0:16:22 | 0:16:24 | |
Nice. | 0:16:28 | 0:16:30 | |
Wow! Oh, wow! | 0:16:30 | 0:16:32 | |
I really did not expect that. | 0:16:32 | 0:16:34 | |
-That's proper. -Oh, it's proper! | 0:16:34 | 0:16:36 | |
-Yeah. -Charlie Hunnam, old boy. | 0:16:36 | 0:16:39 | |
Ah, thank you, old girl. | 0:16:39 | 0:16:41 | |
APPLAUSE | 0:16:41 | 0:16:43 | |
I'm not sure how this is going to work in Customs when I try to go | 0:16:47 | 0:16:51 | |
-home tomorrow, but there you go. -You could always give it back to me! | 0:16:51 | 0:16:54 | |
That's a proper bit of kit. Would you like to touch Excalibur? | 0:16:54 | 0:16:56 | |
I'd LOVE to hold your sword. | 0:16:56 | 0:16:58 | |
LAUGHTER | 0:16:58 | 0:17:00 | |
That's good, yeah. I'll let you deal with it. | 0:17:00 | 0:17:03 | |
-There you go. -Wow. I'm really glad I came tonight. | 0:17:03 | 0:17:07 | |
I got a gin and tonic and a sword. | 0:17:07 | 0:17:09 | |
-Lovely. -We'll put that there, in case anyone gets out of line. | 0:17:09 | 0:17:13 | |
Beautiful. | 0:17:13 | 0:17:15 | |
What a beautiful moment. | 0:17:15 | 0:17:17 | |
-That was wonderful. -Also, you didn't do it like a joke version of it. | 0:17:17 | 0:17:21 | |
-That is the sword. -No, that is it. | 0:17:21 | 0:17:23 | |
That took these little Japanese geezers | 0:17:23 | 0:17:26 | |
six months to cobble that together, | 0:17:26 | 0:17:28 | |
and they worked tirelessly day and night. | 0:17:28 | 0:17:31 | |
It's a big deal. I'm telling you it cost the price of a small aeroplane. | 0:17:31 | 0:17:35 | |
-Shall we have a little look. -Yes, get it out. | 0:17:35 | 0:17:37 | |
It's proper. You could actually challenge someone to a duel | 0:17:37 | 0:17:41 | |
-with this. -Can I touch it? | 0:17:41 | 0:17:43 | |
Anyone else happen to have a sword on them? | 0:17:43 | 0:17:45 | |
I'll just stroke the tip. | 0:17:47 | 0:17:49 | |
LAUGHTER | 0:17:49 | 0:17:51 | |
- What? Pack it in! Unbelievable. - You've corrupted it. | 0:17:51 | 0:17:55 | |
-Have you played with it? -I have, I played with it previously. | 0:17:55 | 0:17:58 | |
-He had a go first. -Graham and I go way back. | 0:18:00 | 0:18:03 | |
Do you still have the lava lamp that you bought. | 0:18:03 | 0:18:06 | |
You know, I'm afraid I don't. | 0:18:06 | 0:18:08 | |
Oh. | 0:18:08 | 0:18:10 | |
-These two have history. -That was anti-climactic. | 0:18:10 | 0:18:13 | |
You know what - I might. | 0:18:13 | 0:18:15 | |
That might be in the attic. | 0:18:15 | 0:18:17 | |
-It might be in the attic. -That's only marginally better. | 0:18:17 | 0:18:20 | |
-Do you want it back? -No, but I was so pleased at the time. | 0:18:20 | 0:18:25 | |
You were the first really famous person I met. Right after we did | 0:18:25 | 0:18:29 | |
Queer As Folk, there was a charity auction and you bid on | 0:18:29 | 0:18:33 | |
the lava lamp from Nathan Maloney's bedroom, and paid £1,000 for it. | 0:18:33 | 0:18:38 | |
-Did I pay that much?! -Yeah, you did, mate! -I blame wine. | 0:18:38 | 0:18:42 | |
That's coming out of the attic tomorrow! | 0:18:44 | 0:18:46 | |
It's going back on eBay. | 0:18:47 | 0:18:49 | |
Keep talking about it, Charlie! | 0:18:50 | 0:18:52 | |
A little YouTube clip, | 0:18:54 | 0:18:56 | |
a picture of the lamp. | 0:18:56 | 0:18:58 | |
No, I think I don't have it. | 0:19:01 | 0:19:02 | |
LAUGHTER | 0:19:02 | 0:19:03 | |
Billie Piper is back on stage with her Olivier Award-winning | 0:19:05 | 0:19:10 | |
performance in Yerma at the Young Vic. | 0:19:10 | 0:19:13 | |
It opens July 26th. | 0:19:13 | 0:19:16 | |
So you should be really good by then. | 0:19:16 | 0:19:18 | |
I mean, REALLY. | 0:19:18 | 0:19:20 | |
I'll be good by then, I promise. | 0:19:20 | 0:19:22 | |
Then till the end of August. And I do think this is a great thing that | 0:19:22 | 0:19:26 | |
they're doing now. It's going to be one of those plays that's shown | 0:19:26 | 0:19:29 | |
-in cinemas. -NT Live. -On August 31st. | 0:19:29 | 0:19:33 | |
Yerma, I don't know this play - tell us about the play. | 0:19:33 | 0:19:37 | |
Well, there's the original and then there's our adaptation. | 0:19:37 | 0:19:41 | |
But it's about a woman who finds it incredibly hard to conceive a child. | 0:19:41 | 0:19:48 | |
And in the end, finds it impossible, | 0:19:48 | 0:19:51 | |
and it's about how it destroys her life, her marriage, her home, | 0:19:51 | 0:19:56 | |
everything. | 0:19:56 | 0:19:58 | |
So it's upbeat! | 0:19:58 | 0:20:00 | |
The staging sounds extraordinary. | 0:20:01 | 0:20:03 | |
You're all inside a glass box. | 0:20:03 | 0:20:05 | |
We're all inside... yeah, this glass box. | 0:20:05 | 0:20:08 | |
So you really have no sort of relationship with the audience. | 0:20:08 | 0:20:11 | |
It's all contained. You're there with your actors. | 0:20:11 | 0:20:14 | |
And it feels great, actually. | 0:20:14 | 0:20:16 | |
What sounds exciting, hearing you talk about these blackouts. | 0:20:16 | 0:20:20 | |
-They do these blackouts. -Yeah, there's like a tandem show going on. | 0:20:20 | 0:20:24 | |
In the blackouts, they move the set. | 0:20:24 | 0:20:27 | |
We undress and put something else on | 0:20:27 | 0:20:29 | |
and then they give us our props and we go. | 0:20:29 | 0:20:31 | |
And we're doing it in, like, 15 seconds. | 0:20:31 | 0:20:34 | |
So there's loads of guys in those blackouts in night-vision goggles | 0:20:34 | 0:20:39 | |
just leading us around the set. | 0:20:39 | 0:20:41 | |
And your immediate reaction is to just punch them. | 0:20:41 | 0:20:45 | |
It's really threatening. | 0:20:46 | 0:20:48 | |
It feels very unnatural. | 0:20:48 | 0:20:50 | |
But then you get used to it and it's a good laugh. | 0:20:50 | 0:20:52 | |
For the audience it must be amazing. | 0:20:52 | 0:20:54 | |
The lights come on and you're all in different places | 0:20:54 | 0:20:57 | |
-and different clothes. -And you just hope you have the right prop. | 0:20:57 | 0:21:00 | |
The baby comes on in darkness - a real baby. | 0:21:02 | 0:21:05 | |
-There's a real baby in it? -A real baby, yeah. | 0:21:05 | 0:21:07 | |
-That seems a mistake. -Yeah. | 0:21:07 | 0:21:09 | |
The mother's in the wings, heart in her throat. | 0:21:11 | 0:21:14 | |
It's fine, it goes well. | 0:21:14 | 0:21:16 | |
How many babies are there? | 0:21:16 | 0:21:17 | |
Actually, like three or four babies. | 0:21:17 | 0:21:20 | |
Three or four, that's what you want to hear - "Ah, three or four." | 0:21:20 | 0:21:24 | |
-Who counted them in? -Who's counting? | 0:21:24 | 0:21:27 | |
-Do you have a favourite? -Yeah. | 0:21:27 | 0:21:31 | |
The one that cooperates the most. | 0:21:32 | 0:21:35 | |
It's terrible to say, but this baby is something else. | 0:21:35 | 0:21:40 | |
It's like he's been here five times before. | 0:21:40 | 0:21:43 | |
And he really works the audience. | 0:21:43 | 0:21:45 | |
He sort of gets - and I... | 0:21:45 | 0:21:48 | |
-LAUGHTER -He really does. So he comes out... | 0:21:48 | 0:21:50 | |
Is it a small man? | 0:21:50 | 0:21:51 | |
He has the wisdom of a small man | 0:21:54 | 0:21:56 | |
and he comes out and the lights go on and he coos | 0:21:56 | 0:21:59 | |
and it's this sort of, without giving it away, | 0:21:59 | 0:22:03 | |
sort of dream sequence or whatever you want it to be, I suppose, | 0:22:03 | 0:22:06 | |
but it's supposed to look like a loving and fertile environment. | 0:22:06 | 0:22:10 | |
And so it really helps when the baby's really digging me... | 0:22:10 | 0:22:14 | |
And he goes with it, most of the nights. | 0:22:14 | 0:22:18 | |
Then I take him to the glass and he knocks on the glass. | 0:22:18 | 0:22:22 | |
Like a little knock, and the audience go... | 0:22:22 | 0:22:25 | |
You have to move around with him. He's just a joy. | 0:22:25 | 0:22:28 | |
And he was at the wrap party. | 0:22:28 | 0:22:30 | |
LAUGHTER | 0:22:30 | 0:22:32 | |
Some of us, we were offering to babysit. | 0:22:34 | 0:22:36 | |
Ally McBeal, that dancing baby! | 0:22:36 | 0:22:39 | |
Yeah, Brendon, who plays my husband, has had play dates with him since. | 0:22:39 | 0:22:46 | |
We were offering to babysit for this child. | 0:22:48 | 0:22:50 | |
-He's just amazing. -And back in the Smash Hits days, | 0:22:50 | 0:22:55 | |
did you and Charlie know each other, Billie? | 0:22:55 | 0:22:59 | |
-No. -That was kind of Queer As Folk days and you were a big pop star. | 0:22:59 | 0:23:04 | |
You'd have thought you would have been at the same showbiz bashes. | 0:23:04 | 0:23:08 | |
I can't remember you. | 0:23:08 | 0:23:10 | |
-The only famous person... -Wow, that's cold. | 0:23:10 | 0:23:14 | |
No, I know who you are now, of course. | 0:23:14 | 0:23:17 | |
And I used to watch you in Queer As Folk all the time, | 0:23:17 | 0:23:19 | |
and Russell T Davies wrote it. | 0:23:19 | 0:23:22 | |
But I can't remember anything from those early '90s. | 0:23:22 | 0:23:25 | |
Great, wonderful, thanks for that. | 0:23:25 | 0:23:26 | |
-Brilliant. -There's more. | 0:23:26 | 0:23:28 | |
I'm sure. | 0:23:28 | 0:23:30 | |
In my head, I thought Queer As Folk was your big break, | 0:23:30 | 0:23:33 | |
but in fact it was before that, wasn't it? | 0:23:33 | 0:23:36 | |
Oh, it was indeed. | 0:23:36 | 0:23:38 | |
The old illustrious Byker Grove days. | 0:23:38 | 0:23:40 | |
Byker Grove! Were you ever in Byker Grove? | 0:23:40 | 0:23:43 | |
No, I wasn't. But I LOVED it. | 0:23:43 | 0:23:45 | |
-I was a huge Byker Grove fan. -Great show. | 0:23:45 | 0:23:48 | |
You weren't an actor. You just showed up in Byker Grove? | 0:23:48 | 0:23:51 | |
Yeah, pretty much. | 0:23:51 | 0:23:53 | |
I had the aspiration to be an actor. | 0:23:53 | 0:23:55 | |
I was at film school at that point. | 0:23:55 | 0:23:58 | |
But I was discovered in a shoe shop on Northumbria Street, | 0:23:58 | 0:24:02 | |
a JD Sports, on Christmas Eve. | 0:24:02 | 0:24:04 | |
I had a foolproof strategy with Christmas shopping. | 0:24:04 | 0:24:07 | |
I would go to the pub on Christmas Eve at 12, and at 4pm, | 0:24:07 | 0:24:12 | |
one hour before the shops shut, I would start my Christmas shopping. | 0:24:12 | 0:24:15 | |
And I had the 60-minute frenzied shop. | 0:24:15 | 0:24:17 | |
-This is good. -I was in JD Sports trying on some trainers | 0:24:17 | 0:24:22 | |
for my brother, having a bit a dance around - | 0:24:22 | 0:24:25 | |
drunk, obviously - as you can see. | 0:24:25 | 0:24:27 | |
And there was a lady staring at me. | 0:24:27 | 0:24:30 | |
So I blew her a kiss and gave her a little wink. | 0:24:30 | 0:24:32 | |
And it turned out she was production manager of Byker Grove. | 0:24:32 | 0:24:35 | |
She said, "I think you're quite lovely." | 0:24:35 | 0:24:37 | |
I said, "I do too." | 0:24:37 | 0:24:38 | |
She invited me in. And I did an audition and they gave me a part, | 0:24:40 | 0:24:44 | |
which I haven't seen since I did it, which is 20 years ago. | 0:24:44 | 0:24:46 | |
Now I think you're probably going to humiliate me. | 0:24:46 | 0:24:49 | |
I think you're right! You are excellent as King Arthur. | 0:24:49 | 0:24:53 | |
Probably not so great in Byker Grove! | 0:24:53 | 0:24:56 | |
I think you'll agree that it was all here, it was all here, | 0:24:56 | 0:25:00 | |
in slightly raw form. | 0:25:00 | 0:25:01 | |
So, this is... It's a very traumatic scene. | 0:25:01 | 0:25:04 | |
You didn't shoot Ant out of Ant and Dec with a paintball gun? | 0:25:04 | 0:25:07 | |
- That's not you. - No, that wasn't me, no! | 0:25:07 | 0:25:09 | |
-That was harrowing, that. -They were long gone, long gone! | 0:25:09 | 0:25:12 | |
This is... You're doing... | 0:25:12 | 0:25:14 | |
"I'm blind, Dec!" Horrible - ruined me childhood, that. | 0:25:14 | 0:25:19 | |
"I can't see a bloody thing, man!" | 0:25:19 | 0:25:22 | |
Awful! Awful! | 0:25:22 | 0:25:23 | |
Children's telly, that was. | 0:25:23 | 0:25:25 | |
When they rolled in stinging nettles to get out of school - I did that! | 0:25:25 | 0:25:30 | |
I copied that! | 0:25:30 | 0:25:31 | |
-That was awful, terrible outcome! -Well, this is a strange... | 0:25:31 | 0:25:34 | |
I think it's a strangely adult storyline for Byker Grove. | 0:25:34 | 0:25:38 | |
You play a model, | 0:25:38 | 0:25:40 | |
and I think you're initiating a younger boy into the ways of | 0:25:40 | 0:25:44 | |
-being a model. -Oh, my God. | 0:25:44 | 0:25:45 | |
Look right now. | 0:25:47 | 0:25:49 | |
Fantastic. Right... | 0:25:49 | 0:25:52 | |
Now, straight ahead. | 0:25:53 | 0:25:54 | |
Smile! | 0:25:54 | 0:25:56 | |
Well done, lads. | 0:25:56 | 0:25:58 | |
-What's that? -Cheese and scallion. | 0:25:58 | 0:26:01 | |
-Do you want one? -There's a finger buffet upstairs, man. | 0:26:01 | 0:26:04 | |
Oh, right. Well, it's just... | 0:26:04 | 0:26:06 | |
You know, my girlfriend made them for us. | 0:26:06 | 0:26:09 | |
It's all laid on in this game - | 0:26:09 | 0:26:10 | |
all we have to do is look good and cash the cheques. | 0:26:10 | 0:26:13 | |
Don't worry, mate, I'll soon sort you out! | 0:26:13 | 0:26:15 | |
Oh, no! You sue the sandwich! | 0:26:18 | 0:26:20 | |
Oh! | 0:26:22 | 0:26:23 | |
-Wow! -Wow! | 0:26:26 | 0:26:27 | |
Are you in awe? Don't be nervous now, I'm still the same old Charlie! | 0:26:28 | 0:26:33 | |
I've never heard a finger buffet sound so rude! | 0:26:34 | 0:26:37 | |
"There's a finger buffet upstairs!" | 0:26:37 | 0:26:40 | |
-Oh, boy! -What the hell is going on upstairs?! | 0:26:40 | 0:26:43 | |
Would you have cast him, off that? | 0:26:45 | 0:26:47 | |
I have to tell you, I only wish | 0:26:47 | 0:26:48 | |
I could have derived such a performance, Charlie. | 0:26:48 | 0:26:52 | |
Had I known the talent was there! | 0:26:52 | 0:26:54 | |
You were sexy when you were young, Charlie! | 0:26:56 | 0:26:58 | |
You've got to have confidence to work a ponytail like that! | 0:26:58 | 0:27:01 | |
Yeah, you do! | 0:27:01 | 0:27:04 | |
Now, Jason Manford - Jason Manford is back on the road on tour. | 0:27:04 | 0:27:08 | |
The new tour is called Muddle Class. | 0:27:08 | 0:27:10 | |
-Yes. -And Muddle Class, it's a good... | 0:27:10 | 0:27:12 | |
-Does it mean what I think it means? -Yeah, it's a phrase that I came up | 0:27:12 | 0:27:16 | |
with to describe a lot of things, | 0:27:16 | 0:27:17 | |
muddling along and getting through those things, | 0:27:17 | 0:27:20 | |
but it sort of describes me, | 0:27:20 | 0:27:22 | |
I'm from a working-class background, you know... | 0:27:22 | 0:27:25 | |
But then, my kids are sort of a bit middle-class. | 0:27:25 | 0:27:28 | |
So, we're in this muddle space, where I don't know where I am, | 0:27:28 | 0:27:31 | |
trying to keep your roots but at the same time aspire for something else | 0:27:31 | 0:27:34 | |
for them. And they're always correcting me. | 0:27:34 | 0:27:37 | |
It's "ga-rahge", Daddy. | 0:27:37 | 0:27:39 | |
It's "ga-ridge" - get to bed! | 0:27:39 | 0:27:42 | |
And so, yeah, came up with that. | 0:27:44 | 0:27:45 | |
And I discussed it with my brother, | 0:27:45 | 0:27:47 | |
who was a plumber at the time and a friend of mine, who is a teacher. | 0:27:47 | 0:27:50 | |
And there's quite a lot of people seem to be in this middle place, | 0:27:50 | 0:27:54 | |
that didn't really have a name. | 0:27:54 | 0:27:56 | |
You couldn't say, "I'm middle class," because I'm definitely not. | 0:27:56 | 0:27:59 | |
But it's been fun, because you find yourself doing muddle-class things, | 0:27:59 | 0:28:03 | |
and you'll all do it at some point. | 0:28:03 | 0:28:05 | |
Often it comes with food, like, | 0:28:05 | 0:28:07 | |
I'll have a pork pie and a bit of quinoa on the side. | 0:28:07 | 0:28:10 | |
You know. You'll drink champagne, you know, | 0:28:12 | 0:28:15 | |
-but it's in a mug that you won at the bingo. -Yeah! | 0:28:15 | 0:28:18 | |
My favourite was actually my brother, when I mentioned it to him, | 0:28:19 | 0:28:23 | |
he said, "Oh, I've done that!" When he signed on last, | 0:28:23 | 0:28:26 | |
all he had was a fountain pen. | 0:28:26 | 0:28:28 | |
So, you know, there's a lot of fun to be had with it. | 0:28:31 | 0:28:35 | |
But also, I suppose, with your kids, you could spoil them, | 0:28:35 | 0:28:39 | |
but you have to try and be strict with them? | 0:28:39 | 0:28:42 | |
Yeah, it's tough, like, because, you know, as you're doing all right, | 0:28:42 | 0:28:46 | |
you want to give them the life that you didn't have. | 0:28:46 | 0:28:49 | |
But you have to be strict, because you don't want to turn them into | 0:28:49 | 0:28:52 | |
children that you hated when you were a child. | 0:28:52 | 0:28:54 | |
-Mmm. -Yeah. -You know what I mean? You don't want them to be those kids. | 0:28:54 | 0:28:57 | |
So, it's tough. I remember taking my daughter to get new school shoes. | 0:28:57 | 0:29:01 | |
I took all five... I don't know if you've done this, Guy, | 0:29:01 | 0:29:03 | |
when you have taken all of them out just by yourself, like an idiot. | 0:29:03 | 0:29:06 | |
We've gone to buy new school shoes, | 0:29:07 | 0:29:09 | |
and it's a dead busy day in the department store, | 0:29:09 | 0:29:12 | |
and most of them have been fine, | 0:29:12 | 0:29:14 | |
and then just one daughter is just kicking off, going for it. | 0:29:14 | 0:29:17 | |
You've not got the skills that your parents had, because, you know, | 0:29:17 | 0:29:20 | |
laws have changed... | 0:29:20 | 0:29:22 | |
LAUGHTER AND APPLAUSE | 0:29:23 | 0:29:26 | |
And... So, you've got to like find other ways, | 0:29:28 | 0:29:31 | |
you've got to talk to them like a children's TV presenter, | 0:29:31 | 0:29:34 | |
haven't you? "What seems to be the problem?" | 0:29:34 | 0:29:37 | |
You get a bit closer - "When you get home, you are dead!" | 0:29:37 | 0:29:39 | |
Do it so nobody sees you! | 0:29:39 | 0:29:41 | |
So, she was being a nightmare and I just couldn't wrangle her, | 0:29:41 | 0:29:45 | |
I just couldn't work it out. And what happens is, the other thing, | 0:29:45 | 0:29:49 | |
when you've got many children, | 0:29:49 | 0:29:50 | |
is that your other children start being good, really good, | 0:29:50 | 0:29:53 | |
but not good cos they want to be good - | 0:29:53 | 0:29:55 | |
they want to be good to highlight how bad the bad one is being. | 0:29:55 | 0:29:58 | |
"We're being good, aren't we, Daddy?" | 0:29:59 | 0:30:01 | |
"Yeah, but it's not coming from a good place." | 0:30:01 | 0:30:03 | |
And then in the end, I had to do that thing that parents do | 0:30:04 | 0:30:07 | |
sometimes, where you go overboard with the punishment. | 0:30:07 | 0:30:09 | |
So, when they're not eating their dinner. | 0:30:09 | 0:30:11 | |
"Right, then, you'll never eat again!" | 0:30:11 | 0:30:13 | |
"Aw! Can't back that up!" | 0:30:15 | 0:30:17 | |
And I did it to my daughter, she was like, "I want these..." | 0:30:17 | 0:30:19 | |
I said, "Right, then, you'll have NO shoes!" | 0:30:19 | 0:30:22 | |
So, I got shoes for the other kids, and so, | 0:30:26 | 0:30:28 | |
I've got these four pairs of shoes and none for her. | 0:30:28 | 0:30:31 | |
Very rare that I stand by a punishment. | 0:30:33 | 0:30:36 | |
Even when I send them upstairs, | 0:30:36 | 0:30:37 | |
they're halfway down before they've got there. | 0:30:37 | 0:30:39 | |
So, I'm in this queue and my daughter's gone from being naughty | 0:30:39 | 0:30:44 | |
to turning the waterworks on. | 0:30:44 | 0:30:46 | |
And of course, it's a new crowd around her. | 0:30:46 | 0:30:49 | |
So these people just think she's like Cinderella, | 0:30:49 | 0:30:52 | |
not getting any shoes. "No shoes for you!" | 0:30:52 | 0:30:55 | |
And she goes... | 0:30:55 | 0:30:56 | |
And then she said the worst thing, and, as parents, you'll feel this. | 0:30:56 | 0:31:00 | |
It's the worst thing that anyone can say to you, your child. | 0:31:00 | 0:31:03 | |
She said, "Daddy." And I went, "What?" | 0:31:03 | 0:31:05 | |
She said... | 0:31:05 | 0:31:07 | |
There's all these people looking. She just went, "Daddy... | 0:31:07 | 0:31:11 | |
"Why do you make the rest of the world laugh, but you make me cry?" | 0:31:11 | 0:31:15 | |
"Oh, you got me good!" | 0:31:20 | 0:31:23 | |
She got three pairs of shoes that day! | 0:31:23 | 0:31:25 | |
Jason Manford, you're also, you're on the telly. | 0:31:29 | 0:31:32 | |
-Yes. -Bigheads on Sunday night, ITV. | 0:31:32 | 0:31:36 | |
-That's me! -This show, honestly, this show is a funny show. | 0:31:36 | 0:31:40 | |
Everyone enjoyed it, apart from Billie Piper. | 0:31:40 | 0:31:43 | |
-Oh, no. Why? -Well, I thought | 0:31:43 | 0:31:45 | |
you didn't like things like those things? | 0:31:45 | 0:31:48 | |
Oh, the mascots, yeah. | 0:31:48 | 0:31:50 | |
-Have you got a phobia? -Yeah. | 0:31:50 | 0:31:52 | |
I inherited this fear of mascots. | 0:31:52 | 0:31:55 | |
Well, our show will not help that. | 0:31:55 | 0:31:58 | |
Absolutely terrifying! | 0:31:58 | 0:31:59 | |
I mean, there's not a lot of explaining to do, but do explain. | 0:31:59 | 0:32:02 | |
As I said, episode one, I said, | 0:32:02 | 0:32:04 | |
this is the show where contestants run around for money, | 0:32:04 | 0:32:07 | |
wearing massive celebrity heads. | 0:32:07 | 0:32:10 | |
It can't all be Broadchurch! | 0:32:10 | 0:32:12 | |
I mean, you've got to have light and shade, haven't you? | 0:32:12 | 0:32:14 | |
It certainly doesn't work on more than one level. | 0:32:14 | 0:32:18 | |
-But it's... -What are they doing? | 0:32:18 | 0:32:19 | |
Well, it's... Have you seen, like, remember Gladiators, | 0:32:19 | 0:32:22 | |
-Ninja Warrior, stuff like that? -Yeah. -So they're doing... | 0:32:22 | 0:32:24 | |
-Assault courses. -Assault courses, yeah, but wearing these heads | 0:32:24 | 0:32:27 | |
that they can only really see out of this bit. | 0:32:27 | 0:32:29 | |
It's as funny as it's simple. | 0:32:29 | 0:32:32 | |
Here's a clip of Bigheads. | 0:32:32 | 0:32:35 | |
Camilla has got...! | 0:32:35 | 0:32:37 | |
-Oh! -Camilla, on your feet! | 0:32:37 | 0:32:40 | |
There's just one more space left through those doors! | 0:32:43 | 0:32:45 | |
-High-five! -Who will join Victoria and Russell?! | 0:32:45 | 0:32:47 | |
Oh, no! | 0:32:51 | 0:32:52 | |
He's catching his breath there. | 0:32:55 | 0:32:56 | |
That's not even the slippy bit! | 0:32:57 | 0:32:59 | |
-Come on! -You're from Stockport, come on! Get up there! | 0:32:59 | 0:33:05 | |
Both trying to get their breath back. | 0:33:05 | 0:33:07 | |
Charles makes another dash... | 0:33:09 | 0:33:11 | |
Oh! | 0:33:14 | 0:33:16 | |
APPLAUSE | 0:33:18 | 0:33:20 | |
-So funny. -That's so funny! | 0:33:20 | 0:33:22 | |
-I'm sorry, television! -That is funny! Listen, it's time for music. | 0:33:25 | 0:33:30 | |
This lady is one of Ireland's most-celebrated artists, | 0:33:30 | 0:33:32 | |
and now she's back with a new groove, | 0:33:32 | 0:33:34 | |
performing Should've Been You, it is Imelda May! | 0:33:34 | 0:33:38 | |
# I could tell you all the things I do for you | 0:33:44 | 0:33:47 | |
# But it's no surprise when you just roll your eyes | 0:33:47 | 0:33:51 | |
# And say here we go again | 0:33:51 | 0:33:53 | |
# She's going to moan again | 0:33:55 | 0:33:58 | |
# I should spare you love just a thing or two | 0:33:58 | 0:34:02 | |
# But you don't disguise it when I'm just white noise | 0:34:02 | 0:34:05 | |
# And it's done before it begins | 0:34:05 | 0:34:09 | |
# Cos your temper's getting thin | 0:34:09 | 0:34:12 | |
# But there's just one thing I want to know | 0:34:12 | 0:34:17 | |
# Just one little thing before I go | 0:34:17 | 0:34:21 | |
# Before I go | 0:34:23 | 0:34:27 | |
# It's who takes care of me? | 0:34:27 | 0:34:32 | |
# Tell me, who takes care of me? | 0:34:34 | 0:34:40 | |
# Should've been you | 0:34:41 | 0:34:43 | |
# Oh-oh! | 0:34:43 | 0:34:48 | |
# Should've been you | 0:34:48 | 0:34:50 | |
# Do you realise? | 0:34:56 | 0:34:58 | |
# No, you never will | 0:34:58 | 0:35:00 | |
# Cos your head's held high | 0:35:00 | 0:35:02 | |
# And you've got your pride | 0:35:02 | 0:35:03 | |
# I got a little of mine still | 0:35:03 | 0:35:07 | |
# Yeah, the bit you couldn't kill | 0:35:07 | 0:35:09 | |
# I'll never blame you and I always will | 0:35:11 | 0:35:14 | |
# I can't explain it but it hurts like hell | 0:35:14 | 0:35:18 | |
# And I'm feeling so alone | 0:35:18 | 0:35:20 | |
# Yeah, I'm lonely to the bone | 0:35:20 | 0:35:24 | |
# But there's just one thing that I want to know | 0:35:25 | 0:35:29 | |
# Just one little thing before I go | 0:35:29 | 0:35:33 | |
# Before I go | 0:35:35 | 0:35:39 | |
# It's who takes care of me? | 0:35:39 | 0:35:44 | |
# Tell me, who takes care of me? | 0:35:46 | 0:35:52 | |
# Should've been you | 0:35:53 | 0:35:55 | |
# Oh-oh! | 0:35:55 | 0:36:00 | |
# Should've been you | 0:36:00 | 0:36:02 | |
# Oh-oh! | 0:36:02 | 0:36:08 | |
# And I'm angry | 0:36:08 | 0:36:11 | |
# And I'm sad | 0:36:11 | 0:36:15 | |
# I'm the best thing | 0:36:15 | 0:36:18 | |
# That you ever had | 0:36:18 | 0:36:22 | |
# All I wanted | 0:36:22 | 0:36:25 | |
# Was your touch | 0:36:25 | 0:36:29 | |
# But you told me | 0:36:29 | 0:36:32 | |
# What I wanted was just too much | 0:36:32 | 0:36:37 | |
# Oh, who takes care of me? | 0:36:37 | 0:36:42 | |
# Tell me, who takes care of me? | 0:36:44 | 0:36:50 | |
# Should've been you | 0:36:51 | 0:36:53 | |
# Oh-oh | 0:36:53 | 0:36:57 | |
# Should've been you | 0:36:57 | 0:37:00 | |
# Should've been you | 0:37:02 | 0:37:04 | |
# Should've been you. # | 0:37:06 | 0:37:08 | |
APPLAUSE AND CHEERING | 0:37:12 | 0:37:14 | |
Imelda May, everybody! | 0:37:21 | 0:37:23 | |
Beautiful job, come on over! | 0:37:23 | 0:37:25 | |
Beautiful! Beautiful! Thank you so much! Imelda May! | 0:37:28 | 0:37:34 | |
Come and join us, do! | 0:37:34 | 0:37:35 | |
That's Jason, Billie, Guy, Charlie, marvellous! | 0:37:35 | 0:37:39 | |
Thank you so much for that, that sounded great. | 0:37:44 | 0:37:46 | |
And fabulous to have that big band and everything. | 0:37:46 | 0:37:49 | |
Yes. Live band. | 0:37:49 | 0:37:51 | |
Live. And that is off the new album, Life Love Flesh Blood. | 0:37:51 | 0:37:57 | |
-Which is out now, isn't it? -It is, it's out now. | 0:37:57 | 0:38:00 | |
-It's out a week or so now. -Yeah. It's in the actual shops! | 0:38:00 | 0:38:03 | |
And I was listening to it on the radio, that sound, | 0:38:03 | 0:38:06 | |
it's almost like a kind of Roy Orbison sound, that song. | 0:38:06 | 0:38:09 | |
Well, T Bone Burnett produced it, | 0:38:09 | 0:38:10 | |
and he produced a lot of Roy Orbison, | 0:38:10 | 0:38:13 | |
-so maybe you're right! -Well, there you go! It's like I'm not stupid! | 0:38:13 | 0:38:15 | |
It's almost as if...! And we should say | 0:38:17 | 0:38:19 | |
that the reason you've got a big band is because | 0:38:19 | 0:38:22 | |
you are on tour right now. | 0:38:22 | 0:38:24 | |
Right in the middle of it, yeah. | 0:38:24 | 0:38:25 | |
We cancelled a gig tonight to come to see you. | 0:38:25 | 0:38:27 | |
-Oh, no, you didn't! -And lots of people are very cross with you. | 0:38:27 | 0:38:31 | |
-Cos that's my fault! -No, they're cross with me. | 0:38:33 | 0:38:36 | |
But I explained to them, and once I said your name, | 0:38:36 | 0:38:38 | |
-they all were very happy. -Yeah, yeah, yeah! | 0:38:38 | 0:38:41 | |
Because you probably saw it, the tour bus is parked outside. | 0:38:41 | 0:38:45 | |
-Yeah. -The tour is around here, | 0:38:45 | 0:38:46 | |
Ireland, then it's going to America, | 0:38:46 | 0:38:48 | |
but will it be going to Paris at all? | 0:38:48 | 0:38:51 | |
Yes, we will be going to Paris. | 0:38:51 | 0:38:53 | |
Because the May family have been to Paris, haven't you? | 0:38:53 | 0:38:55 | |
-I know where you're going with this. -I love this story, this is so Irish. | 0:38:55 | 0:38:59 | |
Well, I think... I'm actually thinking, | 0:39:01 | 0:39:04 | |
because I've so many crazy stories of my family, | 0:39:04 | 0:39:06 | |
that I might write a book and possibly, | 0:39:06 | 0:39:09 | |
if you ever want to turn it into a movie, | 0:39:09 | 0:39:11 | |
I think this is a really good opening scene. | 0:39:11 | 0:39:13 | |
So, yes, my dad, my parents used to bring us travelling when... | 0:39:15 | 0:39:20 | |
Nobody went travelling that I knew, and they used to just pack... | 0:39:20 | 0:39:24 | |
Should I sit back, sorry, am I blocking...? | 0:39:24 | 0:39:26 | |
-No, I'm looking at YOU! -You're OK? | 0:39:26 | 0:39:29 | |
And the big gang of us, anyway, we went, | 0:39:29 | 0:39:32 | |
all seven of us in the little Rover... | 0:39:32 | 0:39:34 | |
There's travelling and there's travelling. | 0:39:34 | 0:39:36 | |
Yeah, we... | 0:39:36 | 0:39:38 | |
Yeah, not like Snatch. | 0:39:38 | 0:39:41 | |
I think you just mean actually travelling. | 0:39:42 | 0:39:44 | |
We camped all over the world. | 0:39:44 | 0:39:46 | |
My parents, we had this giant big orange tent that slept seven of us. | 0:39:46 | 0:39:51 | |
My mam had a little stove, | 0:39:51 | 0:39:53 | |
my dad never got the tent up the way it was shaped on the box. | 0:39:53 | 0:39:56 | |
And I remember, we woke up to... | 0:39:56 | 0:40:01 | |
massive, erm, just, | 0:40:01 | 0:40:03 | |
it was crazy and noisy and my dad was getting dragged out by the | 0:40:03 | 0:40:07 | |
gendarmes, by the police. | 0:40:07 | 0:40:08 | |
And there was whistles going, and my mam was saying, | 0:40:08 | 0:40:11 | |
"Get your hands off him!" | 0:40:11 | 0:40:12 | |
And we were starting to cry, my mam had her little stove out, | 0:40:12 | 0:40:15 | |
doing breakfast, and my dad was saying, | 0:40:15 | 0:40:18 | |
"Yous are very uptight altogether!" | 0:40:18 | 0:40:20 | |
And he was dragging them out. | 0:40:20 | 0:40:23 | |
And apparently, you're not allowed to camp | 0:40:23 | 0:40:25 | |
underneath the Eiffel Tower. | 0:40:25 | 0:40:27 | |
APPLAUSE | 0:40:30 | 0:40:33 | |
-Frying an egg! -Literally, yes, frying an egg, the kettle was on, | 0:40:36 | 0:40:41 | |
we were all sitting... | 0:40:41 | 0:40:43 | |
She brought dressing gowns and slippers, | 0:40:43 | 0:40:45 | |
we were all sitting... "This is a great view!" | 0:40:45 | 0:40:48 | |
And he was getting dragged off! | 0:40:50 | 0:40:53 | |
-Thank you very much for that, Imelda May. -Thank you very much. | 0:40:53 | 0:40:57 | |
Terrific! Imelda May, everybody. | 0:40:57 | 0:40:59 | |
That's nearly it. But before we go, just time for | 0:41:02 | 0:41:05 | |
a visit to the Big Red Chair. | 0:41:05 | 0:41:06 | |
-Who's there? -Hiya. -Hi - what's your name? -Matt. | 0:41:06 | 0:41:09 | |
-Matt. And where are you from? -I'm from Cambridgeshire. | 0:41:09 | 0:41:11 | |
Cambridgeshire. OK. Do you live here or up in Cambridgeshire? | 0:41:11 | 0:41:14 | |
No, just up for the day visiting. Well, for this, yeah. | 0:41:14 | 0:41:16 | |
Up for the day! The excitement! | 0:41:16 | 0:41:18 | |
-Off you go with your story. -Well, | 0:41:19 | 0:41:20 | |
a few years ago we went on a holiday with a couple of friends to Crete. | 0:41:20 | 0:41:23 | |
Extremely hot. On the first day, | 0:41:23 | 0:41:25 | |
I forgot to take my sun cream to the beach. | 0:41:25 | 0:41:27 | |
So my "mate" had this huge budget cheap family-sized packet | 0:41:27 | 0:41:31 | |
of sun cream. So I asked him, could I borrow it? | 0:41:31 | 0:41:33 | |
And he told me no, because he would require it for the rest | 0:41:33 | 0:41:36 | |
of the holiday. So, I spent the whole day in the shade. | 0:41:36 | 0:41:38 | |
So that evening in the apartment, | 0:41:38 | 0:41:40 | |
his budget sun cream was on the bathroom cabinet, | 0:41:40 | 0:41:43 | |
so I went to the kitchen, | 0:41:43 | 0:41:45 | |
took a fork, took the little plastic bung out, and I peed in it. | 0:41:45 | 0:41:48 | |
For revenge. So, I put the bung back in, | 0:41:50 | 0:41:52 | |
put it back on the shelf and the rest of the holiday, | 0:41:52 | 0:41:54 | |
there he was slathering his sun cream in, | 0:41:54 | 0:41:57 | |
doing this all week long. | 0:41:57 | 0:41:58 | |
And I told everyone at the pub when I got home, | 0:41:58 | 0:42:00 | |
and everyone said what a lovely golden tan he'd got! | 0:42:00 | 0:42:03 | |
That's a fun story! | 0:42:03 | 0:42:06 | |
Yeah, you walk! Go on, go on, go on! | 0:42:06 | 0:42:09 | |
He turned it round at the end there. | 0:42:09 | 0:42:11 | |
Let's have one more. One more, here we go. | 0:42:11 | 0:42:14 | |
-Hello. -Hiya. -Hi, what's your name? -My name's Sebastian. | 0:42:14 | 0:42:17 | |
Sebastian. And where are you from? | 0:42:17 | 0:42:19 | |
-I'm from Newcastle. -Newcastle, OK. | 0:42:19 | 0:42:21 | |
Do you live there or here? | 0:42:21 | 0:42:22 | |
-I live in Newcastle, yeah. -OK, off you go with the story, Sebastien. | 0:42:22 | 0:42:26 | |
Well, many moons ago... I actually went to school in Newcastle, | 0:42:26 | 0:42:31 | |
and there was a disco coming up. | 0:42:31 | 0:42:33 | |
There was a really popular girl at school, | 0:42:34 | 0:42:37 | |
usual type of scenario, | 0:42:37 | 0:42:39 | |
all the guys after her. | 0:42:39 | 0:42:41 | |
I sort of waited till the last moment, last couple of days, | 0:42:42 | 0:42:45 | |
and asked a girl, this popular girl, a question, | 0:42:45 | 0:42:48 | |
if she'd like to go with me. She said yes. | 0:42:48 | 0:42:51 | |
This was literally I think the day before the disco. | 0:42:51 | 0:42:54 | |
Lo and behold, it turns out she was actually going to go with somebody | 0:42:54 | 0:42:57 | |
else. Erm... | 0:42:57 | 0:42:59 | |
And that other person was actually Charlie. | 0:42:59 | 0:43:02 | |
Sebastian Lippiatt! | 0:43:02 | 0:43:04 | |
That's the one, man! | 0:43:04 | 0:43:05 | |
You dirty bastard! | 0:43:05 | 0:43:08 | |
I didn't know, I...! | 0:43:08 | 0:43:11 | |
I was just thinking... "How could this have happened to two people?!" | 0:43:11 | 0:43:15 | |
-Rachel Gould! -The very same, yes, you know who it is. | 0:43:17 | 0:43:21 | |
Wow! | 0:43:21 | 0:43:24 | |
-You look older than me! -You know, at the time... | 0:43:24 | 0:43:27 | |
We're the same age?! | 0:43:27 | 0:43:29 | |
And did you end up marrying Rachel Gould? | 0:43:31 | 0:43:33 | |
-No, not yet, no. -Oh, OK. | 0:43:33 | 0:43:35 | |
-There's still time! -You don't happen to have a sword with you, do you? | 0:43:35 | 0:43:39 | |
You could have revenge, if you want to. | 0:43:42 | 0:43:44 | |
Do you want to...? | 0:43:44 | 0:43:45 | |
There you go! | 0:43:45 | 0:43:47 | |
All those years! | 0:43:47 | 0:43:49 | |
That was good! I wondered when you'd twig! | 0:43:52 | 0:43:56 | |
If you'd like to join us on the show and have a go in the Red Chair, | 0:43:56 | 0:43:58 | |
you can contact us via the website at this very address... | 0:43:58 | 0:44:01 | |
That is it for tonight. | 0:44:01 | 0:44:02 | |
Please say a huge thank you to my guests Imelda May...! | 0:44:02 | 0:44:05 | |
APPLAUSE AND CHEERING | 0:44:05 | 0:44:07 | |
Jason Manford! APPLAUSE AND CHEERING | 0:44:07 | 0:44:09 | |
Billie Piper! APPLAUSE AND CHEERING | 0:44:09 | 0:44:12 | |
Guy Ritchie! APPLAUSE AND CHEERING | 0:44:12 | 0:44:14 | |
And Charlie Hunnam! APPLAUSE AND CHEERING | 0:44:14 | 0:44:17 | |
Join me next week, with musical guest Sheryl Crow, | 0:44:18 | 0:44:21 | |
actor Alan Cumming, singing star Keith Urban | 0:44:21 | 0:44:23 | |
and Oscar-winner Nicole Kidman. | 0:44:23 | 0:44:24 | |
I'll see you then, goodnight, everyone, bye! | 0:44:24 | 0:44:27 | |
APPLAUSE AND CHEERING | 0:44:27 | 0:44:31 |