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Good evening, everyone. I'm Anthony Joshua, | 0:00:02 | 0:00:03 | |
-and you're watching The Graham Norton Show. -Hey, hey! | 0:00:03 | 0:00:06 | |
Anthony! I'm Tom Hanks and I'm supposed to be the one to say, | 0:00:06 | 0:00:09 | |
-"You're watching The Graham Norton Show"! -Well, I got in first. | 0:00:09 | 0:00:11 | |
-So I'm Anthony Joshua... -You know what? | 0:00:11 | 0:00:14 | |
I knew it was going to come down to this! | 0:00:14 | 0:00:16 | |
Go ahead! Roll credits while I throw this guy a beating! | 0:00:16 | 0:00:20 | |
CHEERING | 0:00:20 | 0:00:23 | |
Oh! Oh! | 0:00:38 | 0:00:40 | |
Why, thank you! | 0:00:41 | 0:00:43 | |
Thank you very much. Thank you. Oh! Oh! Wow! | 0:00:43 | 0:00:49 | |
Wow, wow! Hello and welcome. | 0:00:49 | 0:00:53 | |
Happy New Year, all. | 0:00:53 | 0:00:55 | |
I tell you, we've got some great men and women on the show tonight, | 0:00:55 | 0:00:57 | |
and before anyone asks, yes, they're all being paid the same. | 0:00:57 | 0:01:01 | |
LAUGHTER | 0:01:01 | 0:01:02 | |
WHISPERING: Nothing. Nothing at all. | 0:01:02 | 0:01:05 | |
Are you all well? | 0:01:05 | 0:01:06 | |
I only ask that because I know a lot of people have been sick | 0:01:06 | 0:01:09 | |
over Christmas and New Year, haven't they? | 0:01:09 | 0:01:10 | |
Even Theresa May had something unpleasant | 0:01:10 | 0:01:12 | |
she couldn't seem to get rid of. | 0:01:12 | 0:01:14 | |
Yeah. | 0:01:14 | 0:01:15 | |
Jeremy Hunt, he's like the political equivalent of herpes, isn't he? | 0:01:17 | 0:01:21 | |
Theresa May said her reshuffle would make the Tory Cabinet look | 0:01:21 | 0:01:24 | |
less pale, male and stale. | 0:01:24 | 0:01:26 | |
So whereas before it looked like this... | 0:01:26 | 0:01:29 | |
..now it looks like this! HE GASPS | 0:01:30 | 0:01:32 | |
LAUGHTER | 0:01:32 | 0:01:33 | |
So well done, Theresa. | 0:01:33 | 0:01:36 | |
Meanwhile, in America, a new book about Donald Trump's presidency | 0:01:36 | 0:01:39 | |
has caused quite the storm. It's called Fire And Fury. | 0:01:39 | 0:01:43 | |
It came out last week - I mean, the book, not Trump - | 0:01:43 | 0:01:46 | |
that WOULD be a story! | 0:01:46 | 0:01:47 | |
Not on my watch! | 0:01:47 | 0:01:49 | |
Now, I have to warn you, it's one of those books with a very sad ending. | 0:01:51 | 0:01:56 | |
He's still president. | 0:01:56 | 0:01:58 | |
The book claims Trump steals all his ideas from other people. | 0:01:58 | 0:02:01 | |
Well, he certainly got the idea for the Mexican wall | 0:02:01 | 0:02:03 | |
from when Melania redid their bedroom. | 0:02:03 | 0:02:06 | |
LAUGHTER | 0:02:06 | 0:02:08 | |
Hey, let's get some guests on! | 0:02:08 | 0:02:11 | |
Later, we'll have music from Swedish folk rock duo First Aid Kit. | 0:02:11 | 0:02:15 | |
Yeah! But first, this man broke box office records | 0:02:15 | 0:02:19 | |
with the fight of the decade. | 0:02:19 | 0:02:20 | |
He's an Olympic Gold medallist, an MBE, | 0:02:20 | 0:02:22 | |
and the heavyweight champion of the world - | 0:02:22 | 0:02:24 | |
please welcome Anthony Joshua! | 0:02:24 | 0:02:26 | |
CHEERING | 0:02:26 | 0:02:29 | |
That's Anthony Joshua. | 0:02:29 | 0:02:31 | |
Hello, sir! Very nice to see you. Come in. Have a seat. | 0:02:31 | 0:02:34 | |
Anthony Joshua! | 0:02:34 | 0:02:36 | |
This Emmy-winning British actress | 0:02:37 | 0:02:39 | |
continues to wow audiences worldwide in Game Of Thrones. | 0:02:39 | 0:02:42 | |
Now lending her voice to Aardman's latest animated hit, Early Man, | 0:02:42 | 0:02:47 | |
it's Maisie Williams! | 0:02:47 | 0:02:49 | |
CHEERING AND APPLAUSE | 0:02:49 | 0:02:51 | |
Oh! Shimmery, sparkly! | 0:02:51 | 0:02:53 | |
Beautiful! Hello, my dear. | 0:02:53 | 0:02:55 | |
Lovely to see you. | 0:02:55 | 0:02:56 | |
There's Anthony. Maisie. | 0:02:56 | 0:02:58 | |
And what better way to start the year | 0:02:58 | 0:03:01 | |
than with a double Oscar-winning Hollywood great? | 0:03:01 | 0:03:03 | |
Please welcome one of our all-time favourite guests - | 0:03:03 | 0:03:06 | |
it's the great Tom Hanks! | 0:03:06 | 0:03:08 | |
CHEERING | 0:03:08 | 0:03:12 | |
Beautiful. Tom, good to see you. | 0:03:12 | 0:03:15 | |
Have a seat, have a seat. | 0:03:18 | 0:03:20 | |
Oh! Welcome, all. Thank you so much for being here. | 0:03:20 | 0:03:24 | |
Lovely to see you all. Now I suppose I should check... | 0:03:24 | 0:03:27 | |
So, Tom, are you a boxing fan? Are you aware of Anthony Joshua's work? | 0:03:27 | 0:03:31 | |
I'm aware of that there's always a bodacious heavyweight champion | 0:03:31 | 0:03:35 | |
of the world and I'm sitting on the couch with him right now. | 0:03:35 | 0:03:37 | |
He'd better not piss me off. | 0:03:37 | 0:03:40 | |
LAUGHTER | 0:03:40 | 0:03:42 | |
And everyone loves Game Of Thrones. Everyone loves Game Of Thrones. Yes! | 0:03:44 | 0:03:48 | |
-Thank you. -It must be weird, you're in the biggest show in the world. | 0:03:48 | 0:03:52 | |
-Well done, you! -I know. | 0:03:52 | 0:03:53 | |
-Where do I go now? -Really. | 0:03:53 | 0:03:56 | |
No - other places, bigger things. | 0:03:56 | 0:03:59 | |
Don't crush the girl's dreams, Graham. | 0:03:59 | 0:04:01 | |
But, here's an honour - | 0:04:01 | 0:04:03 | |
it's very rare we have a guest who is on a stamp. | 0:04:03 | 0:04:07 | |
Oh, look at that! | 0:04:07 | 0:04:08 | |
Have you seen this yet? Look at that! Maisie Williams on a stamp. | 0:04:08 | 0:04:12 | |
-Proper thing - Queen's head and everything. -Let me see. -Yeah! | 0:04:12 | 0:04:15 | |
-I've not actually seen this yet. -It's a stamp. | 0:04:17 | 0:04:20 | |
In America... | 0:04:20 | 0:04:22 | |
In America, you have to be dead to get on a stamp. | 0:04:22 | 0:04:25 | |
Was your character killed? | 0:04:25 | 0:04:27 | |
-No. -Not yet. -Not yet. | 0:04:27 | 0:04:30 | |
It's nice. It's a collector's piece. | 0:04:30 | 0:04:32 | |
No, it is a collector's piece, yeah. | 0:04:32 | 0:04:33 | |
Please, let me put on my glasses so I can see because... Oh, my! | 0:04:33 | 0:04:37 | |
How fantastic! How much does this stamp go for? | 0:04:37 | 0:04:40 | |
One pence. | 0:04:40 | 0:04:42 | |
Well, it's a first class stamp, whatever that is. | 0:04:43 | 0:04:45 | |
-Which goes for what? -I don't know. | 0:04:45 | 0:04:47 | |
You don't know! You and your e-mail! | 0:04:47 | 0:04:49 | |
LAUGHTER | 0:04:49 | 0:04:51 | |
-Just cos you're in a movie called The Post! -Yeah! | 0:04:51 | 0:04:53 | |
Lot of stamps in that movie, let me tell you. | 0:04:53 | 0:04:56 | |
-And then, Anthony Joshua has his own postbox. -Yeah, yeah. -You do. | 0:04:56 | 0:05:01 | |
Got a picture of that. | 0:05:01 | 0:05:03 | |
-This is... Where is this? -This is in Watford in Hertfordshire. | 0:05:03 | 0:05:06 | |
SCATTERED CHEERS Lovely. | 0:05:06 | 0:05:07 | |
-Yeah. -And how do we know it's yours? | 0:05:07 | 0:05:09 | |
I don't know if my name's on it, I don't know what... | 0:05:09 | 0:05:12 | |
-But you know it's yours? -I know, that's the main thing. | 0:05:12 | 0:05:14 | |
-I know it's mine. -How do you know his isn't the newspaper box? | 0:05:14 | 0:05:18 | |
I'm claiming that as well. I'm claiming anything! | 0:05:20 | 0:05:23 | |
You got a gold and a red medal at the Olympics. | 0:05:23 | 0:05:26 | |
We're very proud of you! | 0:05:26 | 0:05:27 | |
Anthony Joshua, he's only two belts away from total world domination. | 0:05:27 | 0:05:31 | |
-Wow! -But here's the thing - | 0:05:31 | 0:05:33 | |
you are actively looking for a cool boxing name. | 0:05:33 | 0:05:37 | |
I haven't got one. | 0:05:37 | 0:05:38 | |
No, so it's Anthony AJ Joshua right now? | 0:05:38 | 0:05:41 | |
-You can say that, yeah, Anthony AJ. -That's your name. | 0:05:41 | 0:05:45 | |
That's my name, yes. It works. | 0:05:45 | 0:05:47 | |
-You're right. -It works! | 0:05:48 | 0:05:51 | |
But have you tried any cool names? | 0:05:51 | 0:05:54 | |
Honestly, um...Big Josh. | 0:05:54 | 0:05:57 | |
They call my dad Big Josh, I'm Big Josh, I don't know! | 0:05:57 | 0:06:00 | |
-How about Mailbox Joshua? -Mail... | 0:06:00 | 0:06:02 | |
I deliver! | 0:06:02 | 0:06:05 | |
-Oh! -I think we... I think that's it! | 0:06:05 | 0:06:10 | |
-That's it! -Right here, my friend. | 0:06:10 | 0:06:12 | |
-Tom Hanks did it. -Yeah. -That's good. -It's very good. | 0:06:12 | 0:06:17 | |
And before we move on, I have a thank you to say, | 0:06:17 | 0:06:20 | |
because Tom Hanks very kindly... I was at work and I got this. | 0:06:20 | 0:06:24 | |
you sent me a copy of your book, and I was, you know, thrilled, | 0:06:24 | 0:06:27 | |
cos it's a lovely cover... | 0:06:27 | 0:06:29 | |
-Hold that bad boy up! -Yeah. | 0:06:29 | 0:06:30 | |
So I got the book, and then I opened it up, I opened it up and look! | 0:06:32 | 0:06:35 | |
-It was signed. -I like that. | 0:06:35 | 0:06:37 | |
"To Graham Norton, enjoy the read, Tom Hanks." | 0:06:37 | 0:06:40 | |
Now, I have to say, I'll be honest, | 0:06:40 | 0:06:41 | |
when I saw it was to Graham Norton, I thought, | 0:06:41 | 0:06:44 | |
"He's no recollection of who I am," | 0:06:44 | 0:06:45 | |
he's just been sat in a room and told to write my name, | 0:06:45 | 0:06:47 | |
but I didn't mind, I was still thrilled, | 0:06:47 | 0:06:50 | |
but now I feel you didn't think I was going to read it, did you? | 0:06:50 | 0:06:54 | |
I thought that you would put it on a pile of other things | 0:06:54 | 0:06:57 | |
that came to you unbidden and it would lay there for years. | 0:06:57 | 0:07:00 | |
And can you tell the people what you did to ensure | 0:07:00 | 0:07:03 | |
that you knew whether or not I read it? | 0:07:03 | 0:07:05 | |
Well, the canary in a coal mine | 0:07:05 | 0:07:08 | |
is a little thing you put in a contract that says, | 0:07:08 | 0:07:11 | |
if that is in your dressing room, | 0:07:11 | 0:07:13 | |
that means they've read your contract. | 0:07:13 | 0:07:15 | |
Like, "I insist on brown M&Ms only," | 0:07:15 | 0:07:19 | |
so if you've come in and only brown M&Ms are there - | 0:07:19 | 0:07:21 | |
"Ah, these people have read the contract." | 0:07:21 | 0:07:23 | |
They saw the canary in a coal mine. | 0:07:23 | 0:07:25 | |
So I put a little message in there for you to see if, in fact, | 0:07:25 | 0:07:27 | |
you would read the book. | 0:07:27 | 0:07:29 | |
Yes, cos when I got to page 57, I got this message. | 0:07:29 | 0:07:33 | |
-What is it? -"Graham, screw you!" | 0:07:33 | 0:07:36 | |
LAUGHTER | 0:07:36 | 0:07:38 | |
I'm so glad I read it! | 0:07:38 | 0:07:40 | |
Why I didn't put it on page 357, I'll never know. | 0:07:45 | 0:07:48 | |
-I gave you some slack there. -Do you do that for all of them? | 0:07:48 | 0:07:52 | |
It's a very funny thing to do. | 0:07:52 | 0:07:53 | |
To the people I think deserve a little nudge, yes, yes, I do. | 0:07:53 | 0:07:57 | |
Listen, Tom Hanks, you're here to tell us about your new movie, | 0:07:57 | 0:08:00 | |
the Steven Spielberg movie, | 0:08:00 | 0:08:02 | |
-The Post. -Yes. | 0:08:02 | 0:08:03 | |
It opens next Friday, the 19th, and this is... | 0:08:03 | 0:08:06 | |
It's one of those... The pedigree is crazy. | 0:08:06 | 0:08:08 | |
-It's Hanks, it's Streep, it's Spielberg. -Yeah. | 0:08:08 | 0:08:12 | |
That's a lot of marquee, if you know what I mean. | 0:08:12 | 0:08:15 | |
Big trailers. Er, yeah. Yeah. | 0:08:16 | 0:08:19 | |
We all read this independently of each other | 0:08:19 | 0:08:22 | |
and said, "Well, I'd like to be involved with this." | 0:08:22 | 0:08:24 | |
And, lo and behold, Magic Meryl did, too, | 0:08:24 | 0:08:27 | |
and then I got the call from Steven | 0:08:27 | 0:08:28 | |
and he said he was going to suit me up and put me in again, so... | 0:08:28 | 0:08:31 | |
And have you ever come close to working with Meryl Streep before? | 0:08:31 | 0:08:34 | |
Not a whit. Actually, I was officially... Thank you. | 0:08:34 | 0:08:36 | |
Oh, I have to say the title of the movie first. | 0:08:36 | 0:08:39 | |
-I was officially a producer of Mamma Mia! -Oh, yes! | 0:08:39 | 0:08:42 | |
-How about that? Thank you. -APPLAUSE | 0:08:42 | 0:08:46 | |
-No, no, no. No. -Mama Mia! 2 on the way. -Yes, it's coming. | 0:08:46 | 0:08:50 | |
And I tried... I actually tried out for the role... | 0:08:50 | 0:08:54 | |
I wanted to hire myself, | 0:08:54 | 0:08:56 | |
but my singing voice would have scared the children, so... | 0:08:56 | 0:09:00 | |
But, no, this was the first time that I got to call her, | 0:09:00 | 0:09:05 | |
-appear in a cohort. -Wow! | 0:09:05 | 0:09:08 | |
It's hard to get used to working with Meryl, | 0:09:08 | 0:09:10 | |
because she has these trumpet players | 0:09:10 | 0:09:12 | |
that come on to the set just before she does. | 0:09:12 | 0:09:15 | |
HE TOOTS A FANFARE | 0:09:15 | 0:09:19 | |
"Ladies and gentlemen, Meryl Streep. Please do not look her in the eye." | 0:09:19 | 0:09:23 | |
She comes in and.... I'm ragging on her. | 0:09:24 | 0:09:27 | |
She's great fun and a magnificent person to work with. | 0:09:27 | 0:09:30 | |
But the story about The Washington Post, | 0:09:30 | 0:09:32 | |
tell the people about who you play. | 0:09:32 | 0:09:34 | |
I play Ben Bradlee and she plays Katharine Graham | 0:09:34 | 0:09:36 | |
of The Washington Post of All The President's Men fame - | 0:09:36 | 0:09:39 | |
-Nixon and Watergate. -Hm-mm. | 0:09:39 | 0:09:41 | |
This actually happened prior to that, | 0:09:41 | 0:09:43 | |
when it was the old New York Post, it was... | 0:09:43 | 0:09:46 | |
The Pentagon Papers, the top-secret report on America's | 0:09:46 | 0:09:50 | |
involvement in the Vietnam War, | 0:09:50 | 0:09:52 | |
is printed by the New York Times for three days, | 0:09:52 | 0:09:56 | |
and, as competitors, we want to be able to report | 0:09:56 | 0:09:59 | |
the same story as well but we don't have the Pentagon Papers. | 0:09:59 | 0:10:02 | |
While we get our sources, | 0:10:02 | 0:10:04 | |
the Justice Department in the Richard Nixon White House | 0:10:04 | 0:10:08 | |
shuts down the New York Times from printing any more about this story, | 0:10:08 | 0:10:11 | |
so for us to get them and to write them up and to print them ourselves | 0:10:11 | 0:10:15 | |
risked Katharine Graham losing the newspaper, | 0:10:15 | 0:10:19 | |
myself being thrown in jail, | 0:10:19 | 0:10:20 | |
as literally for seditious acts against the state. | 0:10:20 | 0:10:24 | |
And it is really chilling, cos you used the real Nixon tapes. | 0:10:24 | 0:10:30 | |
Oh, our movie stars as Richard Nixon...Richard Nixon, | 0:10:30 | 0:10:34 | |
and he is fantastic! | 0:10:34 | 0:10:37 | |
He's great. | 0:10:37 | 0:10:38 | |
But the thing about working with Steven is... | 0:10:38 | 0:10:40 | |
Much of this deals with old-fashioned telephones. | 0:10:40 | 0:10:43 | |
No-one can capture the suspicion or the suspense of either a phone call | 0:10:43 | 0:10:48 | |
being made or a phone call being waited upon, | 0:10:48 | 0:10:51 | |
so there's an awful lot of these | 0:10:51 | 0:10:53 | |
fabulously dynamic scenes in the movie. | 0:10:53 | 0:10:56 | |
Hello? | 0:10:59 | 0:11:00 | |
These are kind of like old-fashioned pay phones, you know, coin boxes. | 0:11:00 | 0:11:05 | |
LAUGHTER | 0:11:05 | 0:11:08 | |
Cher-king! Cher-king! Cher-king! Cher-king! | 0:11:08 | 0:11:13 | |
DIALLING NUMBERS NOISE | 0:11:13 | 0:11:16 | |
Goes on for ever, and you are on the edge of your seat - | 0:11:16 | 0:11:19 | |
"Make the call! Please make the phone call!" | 0:11:19 | 0:11:22 | |
That's what Steven Spielberg can do like nobody else. | 0:11:22 | 0:11:24 | |
Listen, we've got a clip. | 0:11:24 | 0:11:26 | |
-This is your character, Ben Bradlee, presenting your dilemma... -Oh! | 0:11:26 | 0:11:29 | |
..to the publisher, Katharine Graham. | 0:11:29 | 0:11:31 | |
So can I ask you a hypothetical question? | 0:11:33 | 0:11:35 | |
Oh, dear, I don't like hypothetical questions. | 0:11:35 | 0:11:37 | |
Well, I don't think you're going to like the real one, either. | 0:11:37 | 0:11:41 | |
Do you have the Papers? | 0:11:43 | 0:11:44 | |
Not yet. | 0:11:46 | 0:11:48 | |
Oh, gosh. Oh, gosh. | 0:11:51 | 0:11:52 | |
Because you know the-the position that would put me in. You know... | 0:11:52 | 0:11:57 | |
We have language in the prospectus... | 0:11:57 | 0:12:00 | |
Yeah, I know, I know that the bankers can change their mind | 0:12:00 | 0:12:02 | |
and I know what is at stake. | 0:12:02 | 0:12:05 | |
You know, the only couple I knew that both Kennedy | 0:12:05 | 0:12:08 | |
and LBJ both wanted to socialise with was you and your husband, | 0:12:08 | 0:12:12 | |
and you own the damn paper. | 0:12:12 | 0:12:14 | |
That's the way things worked. | 0:12:15 | 0:12:17 | |
Politicians and the press, they trusted each other, so they could go | 0:12:17 | 0:12:20 | |
to the same dinner party and drink cocktails and tell jokes | 0:12:20 | 0:12:22 | |
while there was a war raging in Vietnam... | 0:12:22 | 0:12:24 | |
Ben, I don't know what we're talking about. I'm not protecting Lyndon... | 0:12:24 | 0:12:28 | |
No, you got his former Secretary Of Defense, Robert McNamara, | 0:12:28 | 0:12:30 | |
the man who commissioned the study... | 0:12:30 | 0:12:33 | |
I'm not protecting him, I'm not protecting any of them, | 0:12:33 | 0:12:36 | |
I'm protecting the paper. | 0:12:36 | 0:12:37 | |
You know what was real funny about that? | 0:12:39 | 0:12:41 | |
If I may say... | 0:12:41 | 0:12:43 | |
Um... | 0:12:43 | 0:12:45 | |
In the United States, I grew up saying "Viet-narm" | 0:12:45 | 0:12:48 | |
cos on the West Coast, we said, "Viet-narm, Viet-narm, Viet-narm," | 0:12:48 | 0:12:51 | |
and Ben Bradlee called it "Viet-nam" and it was often... | 0:12:51 | 0:12:55 | |
I said, "Listen, while there was a war going on in Viet...NAM..." | 0:12:55 | 0:13:00 | |
I had to retrain myself, my vocalisation. | 0:13:00 | 0:13:05 | |
And this is... We were counting up. | 0:13:05 | 0:13:07 | |
I think it's about the seventh or eighth real person you've played. | 0:13:07 | 0:13:11 | |
-Oh, yeah, I have. -If the people are still alive, | 0:13:11 | 0:13:13 | |
do you like to meet them, do you seek them out? | 0:13:13 | 0:13:16 | |
Yes, and in fact, I say to them, | 0:13:16 | 0:13:18 | |
I've said this to Richard Phillips and I said it to Charlie Wilson, | 0:13:18 | 0:13:22 | |
Jim Lovell, I said, "Now, look, I'm playing you. | 0:13:22 | 0:13:26 | |
"So, for good or for bad, I'm you, | 0:13:26 | 0:13:29 | |
"and you're going to get that for a long time - I'm you, I'm you. | 0:13:29 | 0:13:33 | |
"Deal with it. | 0:13:33 | 0:13:35 | |
"Now, as you, I'm going to say things you never said, | 0:13:35 | 0:13:40 | |
"I'm going to go places you never were, | 0:13:40 | 0:13:43 | |
"I'm going to do things you never did. | 0:13:43 | 0:13:46 | |
"That being the case, I'd like to be as authentic as possible." | 0:13:46 | 0:13:50 | |
LAUGHTER | 0:13:50 | 0:13:51 | |
And the rest is trading cards. | 0:13:51 | 0:13:54 | |
And when you meet them, are you just looking for their blessing, | 0:13:54 | 0:13:57 | |
or do you kind of absorb something, do you get something out of it? | 0:13:57 | 0:14:00 | |
I do want to know what they have to say about it, | 0:14:00 | 0:14:01 | |
cos they've always read the screenplay and I want to say, | 0:14:01 | 0:14:04 | |
"If you think anything is actually horse cock in this, | 0:14:04 | 0:14:06 | |
"let me know, because..." | 0:14:06 | 0:14:08 | |
What did I just say?! | 0:14:08 | 0:14:09 | |
LAUGHTER | 0:14:09 | 0:14:11 | |
We all heard you. | 0:14:11 | 0:14:12 | |
"If there's some nonsense in this, please..." | 0:14:12 | 0:14:15 | |
I didn't know that was an expression! | 0:14:16 | 0:14:18 | |
Once again, we've got "he delivers" | 0:14:18 | 0:14:21 | |
and you have what I just said as well. | 0:14:21 | 0:14:24 | |
It's all been mine, right here on your top-notch show. | 0:14:24 | 0:14:27 | |
You want to know if they have any problems | 0:14:27 | 0:14:30 | |
because there's things that just would never happen, | 0:14:30 | 0:14:32 | |
you want to be right and authentic, but really what I'm looking for | 0:14:32 | 0:14:36 | |
is a tic, a gesture, a posture, a way to stand, a turn of phrase | 0:14:36 | 0:14:40 | |
that I could turn into my own and reflect them somehow. | 0:14:40 | 0:14:43 | |
Cos it's inevitable, ladies and gentlemen, | 0:14:43 | 0:14:45 | |
we will be queuing up to see the Anthony Joshua Story. | 0:14:45 | 0:14:47 | |
So when the biopic is made, who would you like to play you? | 0:14:47 | 0:14:52 | |
-Tom Hanks. -Yeah! | 0:14:52 | 0:14:54 | |
LAUGHTER | 0:14:54 | 0:14:56 | |
-Let me tell you, let me tell you... -Get some tanning on! | 0:14:56 | 0:14:59 | |
I will say things you never said. | 0:15:01 | 0:15:04 | |
I will do things you never did. | 0:15:04 | 0:15:06 | |
-I will go places you've never been. -You will go places I never went! | 0:15:06 | 0:15:09 | |
That said, I'm going to be you. | 0:15:09 | 0:15:12 | |
What's interesting is, the news of today, all the fake news | 0:15:12 | 0:15:16 | |
and everything, and then what you just starred in. | 0:15:16 | 0:15:20 | |
What's the feedback of the times, cos you brought a film... | 0:15:20 | 0:15:24 | |
Actually, they... A lot of people are saying that, | 0:15:24 | 0:15:27 | |
"Well, you obviously made this about current events, | 0:15:27 | 0:15:30 | |
"you obviously changed things around and steered it towards 2017." | 0:15:30 | 0:15:34 | |
The truth is, we didn't change a thing! | 0:15:34 | 0:15:36 | |
All we did was reflect the historic record | 0:15:36 | 0:15:39 | |
and it just so happens to be ripped right out of today's headlines. | 0:15:39 | 0:15:42 | |
Not just about politics and the President and the free press | 0:15:42 | 0:15:45 | |
but also gender issues and equality in the workplace, what have you. | 0:15:45 | 0:15:50 | |
But then what's so odd is that it's so... | 0:15:50 | 0:15:53 | |
As you say, it reflects what's going on, and yet ironically, | 0:15:53 | 0:15:56 | |
is it true the White House have asked | 0:15:56 | 0:15:58 | |
for a private screening of this? | 0:15:58 | 0:16:00 | |
Well, I think that's... They do that. | 0:16:00 | 0:16:03 | |
I think anybody who is president can call up and say, | 0:16:03 | 0:16:05 | |
"Send me the movie." Whether they watch it or not I don't know. | 0:16:05 | 0:16:08 | |
-Leave a note in there, in the DVD. -Yeah! | 0:16:08 | 0:16:11 | |
-LAUGHTER -What did I say? -"Screw you!" | 0:16:11 | 0:16:14 | |
-Shoot a new scene! -Shoot a whole new scene! | 0:16:18 | 0:16:22 | |
You and Meryl, just going... | 0:16:22 | 0:16:24 | |
I've got to make a phone call. | 0:16:31 | 0:16:33 | |
I've got to get this in the works. It's going to take a while. | 0:16:34 | 0:16:38 | |
Now, Maisie's latest film will appeal to children | 0:16:38 | 0:16:41 | |
and grown-ups everywhere. Early Man. | 0:16:41 | 0:16:43 | |
It's the latest work from Nick Park and Aardman Studios. | 0:16:43 | 0:16:46 | |
It opens on the 26th of January, and it's a really sweet, funny story. | 0:16:46 | 0:16:51 | |
So tell us about it and who you are. | 0:16:51 | 0:16:53 | |
So it's a pre-historic comedy | 0:16:53 | 0:16:57 | |
about a tribe who is run, | 0:16:57 | 0:17:02 | |
head up by a character called Dug, | 0:17:02 | 0:17:04 | |
who is played by Eddie Redmayne, | 0:17:04 | 0:17:07 | |
around the time that the Stone Age is being taken over | 0:17:07 | 0:17:10 | |
by the Bronze Age, and I play a character called Goona, | 0:17:10 | 0:17:14 | |
who basically helps the tribe win back their home. | 0:17:14 | 0:17:19 | |
Cos it's all based around football? | 0:17:19 | 0:17:21 | |
Yeah, so they have a football match between the Bronze Age | 0:17:21 | 0:17:25 | |
and the Stone Age and my character is from the Bronze Age | 0:17:25 | 0:17:28 | |
and she's not allowed to play on the sacred turf because she's a woman, | 0:17:28 | 0:17:32 | |
so she helps the tribe win this football match | 0:17:32 | 0:17:36 | |
on the condition that she gets to play, too. | 0:17:36 | 0:17:38 | |
Jeez, sounds like The Post. | 0:17:38 | 0:17:40 | |
Very similar concept. Very similar. | 0:17:40 | 0:17:42 | |
-It's as tense. It's as tense. -No pay phones. | 0:17:42 | 0:17:45 | |
And what happened? You did loads of your voice at one stage, you... | 0:17:45 | 0:17:52 | |
So I started in 2016 and then finished the end of last year, | 0:17:52 | 0:17:58 | |
and I just had maybe seven or eight sessions | 0:17:58 | 0:18:01 | |
over a course of, like, months between, | 0:18:01 | 0:18:05 | |
and I'd completely forgotten after my first session | 0:18:05 | 0:18:09 | |
that I, er... | 0:18:09 | 0:18:11 | |
I was part of the film | 0:18:11 | 0:18:13 | |
and I got braces put on so I could sort out my wonky teeth, | 0:18:13 | 0:18:17 | |
and I went back and I was...recording my dialogue | 0:18:17 | 0:18:22 | |
and I had this little speech impediment that I hadn't noticed, | 0:18:22 | 0:18:26 | |
and when I went back the time after, they were like, | 0:18:26 | 0:18:28 | |
"We're going to have re-record absolutely everything | 0:18:28 | 0:18:31 | |
"that you've just done because you sound strange." | 0:18:31 | 0:18:34 | |
Cos you've talked to us before, Tom, about that repetition. | 0:18:34 | 0:18:37 | |
It's the hardest... Honestly, it's gruelling work, | 0:18:37 | 0:18:40 | |
cos you can't move off the microphone, | 0:18:40 | 0:18:42 | |
you have to stay right there... Let's play a game. | 0:18:42 | 0:18:45 | |
What was one of the most nondescript lines your character had? | 0:18:45 | 0:18:48 | |
-Nondescript? Um... -Well, just like, you know. -Um... | 0:18:48 | 0:18:52 | |
"Come on, boys, let me play," or something. | 0:18:52 | 0:18:54 | |
Yeah, great, we'll go with that. | 0:18:54 | 0:18:56 | |
Now I want you, for all of the audience, | 0:18:56 | 0:18:58 | |
to wring as many different meanings out of, | 0:18:58 | 0:19:00 | |
"Come on, boys, let me play," as possible | 0:19:00 | 0:19:03 | |
-and I will tell you when we're finished. -OK. | 0:19:03 | 0:19:07 | |
-Is that what they'll do? -That's what recording it is. | 0:19:07 | 0:19:09 | |
A lot of the time, they're not sure | 0:19:09 | 0:19:11 | |
whether it's going to be right or not until they get to the animating | 0:19:11 | 0:19:14 | |
and figuring out how they're going to animate a body around this voice, | 0:19:14 | 0:19:18 | |
so there's not a lot of pay-off until you watch the film complete. | 0:19:18 | 0:19:23 | |
-You find out they used the third version that you did. -Exactly. | 0:19:23 | 0:19:26 | |
-Not 417. -Yeah. -You go in... | 0:19:26 | 0:19:29 | |
-DESPERATELY: -"Come on, boys, let me play!" | 0:19:29 | 0:19:31 | |
-DISTRAUGHT: -"Come on, boys, let me play!" | 0:19:31 | 0:19:33 | |
-CRYING: -"Come on, boys! Let me play!" | 0:19:33 | 0:19:35 | |
-BAWLING: -"Come on, boys! Let me play!" | 0:19:35 | 0:19:38 | |
And they're like, "Hm." | 0:19:38 | 0:19:40 | |
They press... Are they in the booth where they press the talkback? | 0:19:41 | 0:19:44 | |
Nick likes to be in the booth. | 0:19:44 | 0:19:45 | |
"Can you...can you do it | 0:19:45 | 0:19:48 | |
"as though you're having a nervous breakdown?" | 0:19:48 | 0:19:51 | |
"I am having a nervous breakdown!" | 0:19:51 | 0:19:53 | |
"I guess I just did." | 0:19:53 | 0:19:54 | |
"Yeah, that was great. | 0:19:54 | 0:19:56 | |
"We're going to send a fellow in with some needle-nose pliers | 0:19:56 | 0:19:59 | |
"to remove your braces, cos we're just...just not getting it." | 0:19:59 | 0:20:04 | |
-It's very, very hard work. -It's tedious but it was great fun. | 0:20:04 | 0:20:07 | |
I'd love to do more. | 0:20:07 | 0:20:09 | |
She's selling the movie. | 0:20:09 | 0:20:11 | |
They save, for the end, your grunts and things, | 0:20:11 | 0:20:14 | |
like, in your action sequences. | 0:20:14 | 0:20:15 | |
But that's my favourite, I enjoy doing that. | 0:20:15 | 0:20:17 | |
They do that at the very end of the day. | 0:20:17 | 0:20:20 | |
-Is that like in music, like, ad-libs? -Yeah, yeah! | 0:20:20 | 0:20:22 | |
Well, no, it's a long list and it says, "Grunt effect," | 0:20:22 | 0:20:26 | |
and you sit there going, "Oof! Urgh! Argh!" | 0:20:26 | 0:20:29 | |
HE GRUNTS | 0:20:29 | 0:20:32 | |
And you just do as many as you can. | 0:20:32 | 0:20:34 | |
It was a football match as well, so there's a lot of, "Urgh!" | 0:20:34 | 0:20:37 | |
-Yeah, exactly. -Very good! | 0:20:37 | 0:20:39 | |
-I believed it. -I believed it. -I'll tell you what, | 0:20:39 | 0:20:42 | |
we can have a listen and a watch now. | 0:20:42 | 0:20:44 | |
This is your character, Goona, | 0:20:44 | 0:20:46 | |
helping Dug, played by Eddie Redmayne, | 0:20:46 | 0:20:48 | |
-to steal some footballs. -Yes. | 0:20:48 | 0:20:50 | |
-Who is that? -THEY GASP | 0:20:50 | 0:20:52 | |
Scarper! | 0:20:52 | 0:20:53 | |
Stop! Thieves! | 0:20:53 | 0:20:55 | |
-This way! -WHISTLE | 0:20:55 | 0:20:58 | |
Ooh-ooh-ooh! Oh! | 0:20:58 | 0:21:01 | |
They went that way! | 0:21:01 | 0:21:02 | |
-KNIGHTS: Huh? -No! That way! -Oh! | 0:21:02 | 0:21:06 | |
BUGLE BLARES | 0:21:06 | 0:21:08 | |
Give me those, quick. | 0:21:11 | 0:21:13 | |
Ow! | 0:21:20 | 0:21:22 | |
-You're really good! -Thanks. | 0:21:22 | 0:21:24 | |
I do a lot of practice. | 0:21:25 | 0:21:27 | |
Wah! | 0:21:27 | 0:21:28 | |
Oh, marvellous work! | 0:21:30 | 0:21:31 | |
And what makes it all so special | 0:21:36 | 0:21:38 | |
is that, you know, they're real, it's 3D. | 0:21:38 | 0:21:40 | |
Now, I don't know if you know this, | 0:21:40 | 0:21:42 | |
Aardman have very kindly lent us Goona. | 0:21:42 | 0:21:45 | |
-SHE GASPS -There she is. -This is real Goona. | 0:21:45 | 0:21:47 | |
-That's actually what they pose? -Yeah, this is Goona. | 0:21:47 | 0:21:51 | |
There she is. Look at her. I like the jaunty hand on the hip. | 0:21:51 | 0:21:56 | |
"I'm good at football but I'm a woman." | 0:21:56 | 0:21:59 | |
LAUGHTER | 0:21:59 | 0:22:00 | |
HE GIGGLES | 0:22:00 | 0:22:02 | |
Isn't that...? | 0:22:02 | 0:22:04 | |
-Oh, and it is made of... -Plasticine. Indeed. | 0:22:04 | 0:22:07 | |
I think we actually have something for you also. | 0:22:07 | 0:22:11 | |
A GIFT FOR ME?! | 0:22:11 | 0:22:12 | |
-From the Aardman people. -Really? | 0:22:12 | 0:22:15 | |
-Just wait there. Just two seconds. -OK. | 0:22:15 | 0:22:17 | |
-Did you bring Graham anything? -We brought this together. | 0:22:18 | 0:22:22 | |
-LAUGHTER AND APPLAUSE -This is... | 0:22:22 | 0:22:25 | |
Oh, my God! | 0:22:25 | 0:22:28 | |
How cool is that?! Thank you so much. Wow! | 0:22:28 | 0:22:33 | |
That's amazing! | 0:22:35 | 0:22:36 | |
-Oh, my God! -That is so good. | 0:22:38 | 0:22:41 | |
So now you can be part of the gang. | 0:22:43 | 0:22:44 | |
I look younger here though. Don't I look younger? | 0:22:44 | 0:22:47 | |
I look about 47. | 0:22:47 | 0:22:49 | |
It's mostly the size of the feet... | 0:22:49 | 0:22:50 | |
That's genius! Do I get to keep this? | 0:22:52 | 0:22:55 | |
-Absolutely. -OK, show's over. Bye! | 0:22:55 | 0:22:57 | |
That's fantastic. Thank you so, so much. | 0:22:58 | 0:23:00 | |
APPLAUSE That's brilliant! | 0:23:00 | 0:23:02 | |
Now, this is a huge year for Anthony Joshua | 0:23:03 | 0:23:08 | |
because by the end of 2018, the plan is | 0:23:08 | 0:23:12 | |
you will be the first man to unify all four belts | 0:23:12 | 0:23:16 | |
and become the undisputed champion of the world. | 0:23:16 | 0:23:18 | |
-Potentially. -That's the plan. -That's the plan. -OK. | 0:23:18 | 0:23:21 | |
CHEERING AND APPLAUSE | 0:23:21 | 0:23:23 | |
But you've got two belts already. | 0:23:23 | 0:23:27 | |
-You've got three? -Three. | 0:23:27 | 0:23:29 | |
-Hang on. -There's five. -Oh, there's five. | 0:23:29 | 0:23:31 | |
OK, so you've got three, so you need these extra two | 0:23:31 | 0:23:33 | |
-and they're going to happen this year. -We're working on it. | 0:23:33 | 0:23:36 | |
Hopefully, you are going to announce a fight soon, I think. | 0:23:36 | 0:23:40 | |
-So who's the first one with? -It was either out of the two belt holders. | 0:23:40 | 0:23:43 | |
-So let's say there's A, B, C, D, E. -OK. -So on and so forth. | 0:23:43 | 0:23:48 | |
So I've got three of them, there's two more left. | 0:23:48 | 0:23:51 | |
One's in America, one's in New Zealand, | 0:23:51 | 0:23:53 | |
so I was looking at both options. | 0:23:53 | 0:23:54 | |
America would have been phenomenal | 0:23:54 | 0:23:56 | |
cos, you know, when I'm walking down the street, | 0:23:56 | 0:23:58 | |
the lads are like, "Listen, mate, I need a reason to get to Vegas, | 0:23:58 | 0:24:01 | |
"when are you going out there to fight?" | 0:24:01 | 0:24:03 | |
So America would have been amazing, but we've had some difficulties, | 0:24:03 | 0:24:06 | |
so we're looking to bring the other guy, Joseph Parker, | 0:24:06 | 0:24:09 | |
who's a tidy champion. There he is there. | 0:24:09 | 0:24:12 | |
He has one of the other belts. | 0:24:12 | 0:24:14 | |
-Can I just say... -Yeah, of course. | 0:24:14 | 0:24:16 | |
..that looks like it's going to be quite an easy fight. | 0:24:16 | 0:24:19 | |
I definitely hope so. | 0:24:19 | 0:24:21 | |
But you know what it is? | 0:24:21 | 0:24:23 | |
He looks like king of pies! | 0:24:23 | 0:24:25 | |
What's his nickname? Shall we give him a nickname? | 0:24:25 | 0:24:29 | |
Pie. The Pie. | 0:24:29 | 0:24:31 | |
-No, I can't underestimate anyone. -No, seriously, | 0:24:31 | 0:24:34 | |
he must be a world-class athlete but he doesn't look like one, does he? | 0:24:34 | 0:24:37 | |
You can't underestimate. You know the thing is with boxing, I think, | 0:24:37 | 0:24:40 | |
you know, the things that you lack you can make up for | 0:24:40 | 0:24:43 | |
in power in the heavyweight division, and there's not... | 0:24:43 | 0:24:46 | |
Like, there's not one heavyweight | 0:24:46 | 0:24:48 | |
that hasn't gone without getting dropped in their whole career | 0:24:48 | 0:24:51 | |
and that's what I realise, is that a lot of fighters | 0:24:51 | 0:24:54 | |
have lost their titles through underestimating other athletes. | 0:24:54 | 0:24:57 | |
Like, for instance, Lennox Lewis. He was filming, | 0:24:57 | 0:25:00 | |
I think, Ocean's Eleven and he lost his title cos he wasn't focused, | 0:25:00 | 0:25:04 | |
and no heavyweight champion is one heavyweight champion of the world. | 0:25:04 | 0:25:08 | |
They're all two-time heavyweight champion, three-time, | 0:25:08 | 0:25:11 | |
because of the last thing they lose is the power in their punch. | 0:25:11 | 0:25:13 | |
So I can't... Even though he looks like the pie eater... | 0:25:13 | 0:25:16 | |
..he's probably packing a wallop as well, so I'm going to be focused, | 0:25:18 | 0:25:21 | |
-I'm in training camp now. -You know his secret weapon? | 0:25:21 | 0:25:24 | |
Armpit hair. Look at that. | 0:25:24 | 0:25:27 | |
Look at that! Looks like | 0:25:27 | 0:25:28 | |
he's got cats under his arms! | 0:25:28 | 0:25:30 | |
I'm going to put that in the contract. Shave those armpits, man. | 0:25:30 | 0:25:34 | |
Or you can buy my Lynx can at Asda, Tesco... | 0:25:34 | 0:25:37 | |
LAUGHTER AND APPLAUSE | 0:25:37 | 0:25:40 | |
I'm joking! | 0:25:41 | 0:25:42 | |
OK. So, they peel him off the floor, they roll him up like a carpet | 0:25:44 | 0:25:50 | |
and send him back to New Zealand. Who's the American guy then? | 0:25:50 | 0:25:53 | |
-Who's the next one you have to beat? -He is Deontay Wilder. | 0:25:53 | 0:25:55 | |
He's got a big mouth. Here he is. As you can see, look at that. | 0:25:55 | 0:25:59 | |
Can I just say? | 0:25:59 | 0:26:00 | |
This is going to be harder. | 0:26:00 | 0:26:02 | |
LAUGHTER | 0:26:02 | 0:26:03 | |
Yeah, I think you're doing them in the right order. | 0:26:07 | 0:26:09 | |
But it's interesting. | 0:26:12 | 0:26:13 | |
So this is the plan next and this is when the guys where I grew up | 0:26:13 | 0:26:16 | |
can get to Vegas and have a good time | 0:26:16 | 0:26:17 | |
and watch a bit of boxing as well, | 0:26:17 | 0:26:19 | |
and this will be the fight that makes history. | 0:26:19 | 0:26:22 | |
But it's interesting because let's say I've done the hard work, | 0:26:22 | 0:26:25 | |
so I've managed to keep the four belts, | 0:26:25 | 0:26:27 | |
and I've got to put everything on the line to bring them back home, | 0:26:27 | 0:26:30 | |
-so it's a real tough one. -Yeah, because, what's the story? | 0:26:30 | 0:26:33 | |
So you go into the match with four belts. | 0:26:33 | 0:26:35 | |
Does he then have five if he beats you? | 0:26:35 | 0:26:38 | |
-Then he, he creates history. -Oh, my God! -This is the situation we're in. | 0:26:38 | 0:26:41 | |
AUDIENCE GASPS | 0:26:41 | 0:26:42 | |
Oh. Good noise, everyone. Very good. That was good. | 0:26:42 | 0:26:45 | |
-But that is... That's... -It will be in cinemas soon. | 0:26:45 | 0:26:48 | |
-That is a huge... -Tom. -Yeah. Yeah. | 0:26:48 | 0:26:51 | |
Stay away from making movies prior to the fight! | 0:26:51 | 0:26:54 | |
LAUGHTER AND APPLAUSE | 0:26:54 | 0:26:55 | |
-But that's it, that's it. -That is... | 0:26:57 | 0:26:59 | |
I imagine you'll be quite nervous that evening, yeah. | 0:26:59 | 0:27:02 | |
That's a lot. A lot! But you're also... | 0:27:02 | 0:27:04 | |
You're doing the fighting, you're preparing for all of that, | 0:27:04 | 0:27:07 | |
but you're also doing some promoting now as well, which is unusual, isn't | 0:27:07 | 0:27:11 | |
-it, for people when they're still boxing to do promotion? -It's true. | 0:27:11 | 0:27:14 | |
I've always have the mind-set... I don't know. | 0:27:14 | 0:27:16 | |
I've always understood that athletes kind of come to the end | 0:27:16 | 0:27:18 | |
of their careers and they say, "OK, I'm starting a management company, | 0:27:18 | 0:27:21 | |
"I want to guide younger athletes," | 0:27:21 | 0:27:23 | |
because I think it's the natural transition from athlete | 0:27:23 | 0:27:26 | |
to what I'm going to do in retirement, but I always thought | 0:27:26 | 0:27:28 | |
it's always good to be two steps ahead of the game | 0:27:28 | 0:27:31 | |
and kind of use the momentum when I'm competing | 0:27:31 | 0:27:34 | |
to kind of guide and help athletes. So, like, | 0:27:34 | 0:27:37 | |
I grew up in Watford, moved to London, | 0:27:37 | 0:27:40 | |
so I'm a proud sponsor of my gym where I grew up, | 0:27:40 | 0:27:42 | |
so all the kids there, I support them, | 0:27:42 | 0:27:44 | |
and now I've got two of my good friends | 0:27:44 | 0:27:46 | |
who are with the management company, | 0:27:46 | 0:27:49 | |
and Lawrence Okolie, Joshua Buatsi, who are fighting Feb 3rd, | 0:27:49 | 0:27:53 | |
and it's kind of guiding them, giving them the best advice. | 0:27:53 | 0:27:56 | |
And not only advice, they can bounce ideas off me as well. | 0:27:56 | 0:27:59 | |
It's just like an organic relationship | 0:27:59 | 0:28:01 | |
and I know that sometimes people want to see | 0:28:01 | 0:28:03 | |
if the grass is greener and, as I said, come to me for advice, | 0:28:03 | 0:28:06 | |
it's no problem, I know how the game goes | 0:28:06 | 0:28:08 | |
and if you ever want advice on where to go next, | 0:28:08 | 0:28:10 | |
-we can always guide you onto that as well. -Yeah, yeah, yeah. | 0:28:10 | 0:28:12 | |
Boxing now is, like, rock and roll, I mean, everybody flocks to it, | 0:28:12 | 0:28:16 | |
but you've also mixed with royalty, Prince Harry himself. | 0:28:16 | 0:28:19 | |
He asked you to take part in his Radio 4 programme? | 0:28:19 | 0:28:23 | |
There's a picture. | 0:28:23 | 0:28:24 | |
He asked me to take part in his Radio 4 programme. | 0:28:24 | 0:28:27 | |
-It was an honour, you know? -Yeah. | 0:28:27 | 0:28:29 | |
Was that before or after you hit him? | 0:28:29 | 0:28:31 | |
Looks like he's recovering from a blow there. | 0:28:33 | 0:28:35 | |
That's me smiling at the six security guards watching me as well! | 0:28:35 | 0:28:39 | |
HE GROWLS | 0:28:39 | 0:28:41 | |
-No, but a real humble guy, really cool guy. -You going to the wedding? | 0:28:41 | 0:28:46 | |
I would love to, you know, and big respect to Harry, you know. | 0:28:46 | 0:28:49 | |
-He took one of the sisters. -LAUGHTER AND APPLAUSE | 0:28:49 | 0:28:52 | |
He took one of the sisters! So big respect to him. | 0:28:52 | 0:28:56 | |
And I would love to, you know. I'd love to. | 0:28:56 | 0:28:59 | |
Be handing out some Jamaican rum. | 0:28:59 | 0:29:02 | |
-Behind the bar. -You go to the afters, the afters, the disco, yeah. | 0:29:05 | 0:29:09 | |
See if she's got any sisters, aunties, cousins. | 0:29:09 | 0:29:14 | |
I'm single! | 0:29:14 | 0:29:16 | |
Cos fighting... | 0:29:19 | 0:29:21 | |
You've been in so many movies, you must have done umpteen fights. | 0:29:21 | 0:29:24 | |
Oh, dear. I-I... No. Not one. | 0:29:24 | 0:29:28 | |
-You've done some. -He ran. He ran. | 0:29:28 | 0:29:31 | |
-I ran. -LAUGHTER AND APPLAUSE | 0:29:31 | 0:29:34 | |
Yeah, but I run fast. | 0:29:36 | 0:29:38 | |
-Very fast. -I run fast. | 0:29:38 | 0:29:40 | |
No, when it comes down to fight scenes, I get cast as the pie eater. | 0:29:40 | 0:29:44 | |
I did have one. I got beat up by Paul Bettany in The Da Vinci Code | 0:29:44 | 0:29:49 | |
and it was a moment where... We had rehearsed it a little bit | 0:29:49 | 0:29:53 | |
and in movie fights, everybody treats it like it's a real fight. | 0:29:53 | 0:29:57 | |
-Serious? -Everybody, "OK, are you ready?" "I'm ready." | 0:29:57 | 0:30:00 | |
And you know, you miss each other like that. It's like that. | 0:30:00 | 0:30:03 | |
But Paul came rushing in and I met him | 0:30:03 | 0:30:06 | |
and what had to happen, he was supposed to knock me down | 0:30:06 | 0:30:09 | |
against a desk and then I landed on the ground. | 0:30:09 | 0:30:12 | |
-And the way it sounded was... -HE GRUNTS | 0:30:12 | 0:30:17 | |
-HE BLOWS A RASPBERRY WHISPERS: -Because I farted. | 0:30:17 | 0:30:20 | |
When I hit the floor...I farted, | 0:30:25 | 0:30:29 | |
so that's why somebody else gets to play. I... | 0:30:29 | 0:30:33 | |
I don't think that's happened to me. | 0:30:34 | 0:30:36 | |
Does that ever happen in the middle of the ring? | 0:30:36 | 0:30:38 | |
But remember, you do things that don't actually happen... | 0:30:38 | 0:30:41 | |
Yeah, Joseph Parker does. HE GROANS | 0:30:43 | 0:30:47 | |
-Maisie, you had started in the show so young, at 12. -Yeah. | 0:30:47 | 0:30:50 | |
So did you have to do...? | 0:30:50 | 0:30:52 | |
-They obviously had to train you to do all your fight scenes. -Yeah. | 0:30:52 | 0:30:56 | |
My character was also learning, so as my character learned, I learned. | 0:30:56 | 0:31:00 | |
She wasn't, like, amazing from the first episode, | 0:31:00 | 0:31:03 | |
like, she wasn't supposed to know what she was doing, | 0:31:03 | 0:31:05 | |
so it was nice that as the seasons went on, I learnt more and more. | 0:31:05 | 0:31:09 | |
Yeah, cos now you're proper kick-ass. | 0:31:09 | 0:31:10 | |
When we're fake punching at each other, yeah, but not in real life. | 0:31:10 | 0:31:16 | |
Although I'd never underestimate, like, your opponent, you know. | 0:31:16 | 0:31:19 | |
LAUGHTER | 0:31:19 | 0:31:22 | |
-Do you learn the head whip as well? -Yeah. | 0:31:22 | 0:31:25 | |
Throw a punch right there and I'll show you. Boom! | 0:31:25 | 0:31:28 | |
Ooh, it's good. HE BLOWS A RASPBERRY | 0:31:28 | 0:31:29 | |
Oh! LAUGHTER | 0:31:29 | 0:31:32 | |
You sell it after the fact. | 0:31:36 | 0:31:39 | |
And you get fans wanting a really specific thing from you. | 0:31:39 | 0:31:43 | |
Yeah, it's a little odd. So my character on the show, | 0:31:43 | 0:31:46 | |
-she has a list of people that she wants to kill. -You're crazy? | 0:31:46 | 0:31:51 | |
Well, no, they're all justified for sure. | 0:31:51 | 0:31:55 | |
And she has a list and she recites the names | 0:31:57 | 0:31:59 | |
and she's been through a lot of trauma, a bit of a back story, | 0:31:59 | 0:32:03 | |
and it's what keeps her going and it's what keeps her fighting, | 0:32:03 | 0:32:05 | |
even though she's lost both of her parents. | 0:32:05 | 0:32:07 | |
So a lot of people come up to me in the street | 0:32:07 | 0:32:09 | |
-and they want me to recite the names but then add their name. -Oh! | 0:32:09 | 0:32:15 | |
-I would actually like that as well. -LAUGHTER | 0:32:15 | 0:32:18 | |
-Do you know the names? -I do, yeah. | 0:32:18 | 0:32:21 | |
-There's a lot of them. Yeah. -Yeah. You speak quite quickly. | 0:32:21 | 0:32:25 | |
Which camera? Which camera should she...? Yeah, there we go. | 0:32:25 | 0:32:27 | |
Have we got some tension music or anything? | 0:32:27 | 0:32:29 | |
DRAMATIC MUSIC PLAYS Here we go, here we go. OK. | 0:32:29 | 0:32:31 | |
Off you go. Off you go. | 0:32:31 | 0:32:33 | |
Joffrey. Cersei. | 0:32:33 | 0:32:35 | |
Ilyn Payne. The Mountain. | 0:32:35 | 0:32:39 | |
Beric Dondarrian. Thoros of Myr. | 0:32:39 | 0:32:43 | |
The Red Woman. | 0:32:43 | 0:32:45 | |
Tom Hanks. | 0:32:45 | 0:32:46 | |
TOM SPLUTTERS LAUGHTER | 0:32:46 | 0:32:48 | |
Anthony Joshua. | 0:32:48 | 0:32:49 | |
-Graham Norton. -Yay! | 0:32:51 | 0:32:53 | |
You was waiting for that. You was waiting! | 0:32:54 | 0:32:57 | |
Please kill me! | 0:32:57 | 0:32:58 | |
Very quickly, Anthony, this match isn't set yet, | 0:33:02 | 0:33:05 | |
-but are you in training now? -Yeah. -So are you still doing this thing? | 0:33:05 | 0:33:09 | |
You posted this video | 0:33:09 | 0:33:10 | |
and it's a training technique I've never seen before. | 0:33:10 | 0:33:14 | |
Is this a genuine training technique? | 0:33:14 | 0:33:16 | |
LAUGHTER | 0:33:16 | 0:33:19 | |
Do you know what it is, right? | 0:33:20 | 0:33:22 | |
This is... | 0:33:22 | 0:33:24 | |
-A cat toy? -This is a cat toy, yeah! | 0:33:24 | 0:33:27 | |
All products sold in Asda, Tesco... I'm joking! I'm joking! | 0:33:27 | 0:33:30 | |
It's just made from a normal cap, elastic string and a tennis ball. | 0:33:30 | 0:33:34 | |
-Boxing's like that, I swear to you, it's so grassroots. -Market this. | 0:33:34 | 0:33:37 | |
This is... It's the exciting game that everybody loves to play! | 0:33:37 | 0:33:41 | |
It's punch ball. Yes, punch ball. Hours of fun... | 0:33:41 | 0:33:44 | |
Quite easy to make. Quite easy to make. | 0:33:44 | 0:33:49 | |
But do you know what it is? That is the reality we live in, | 0:33:49 | 0:33:52 | |
because that was about the 1,000th video that I had done | 0:33:52 | 0:33:55 | |
that looked good. I'm not good at this. I'm not good at it! | 0:33:55 | 0:34:00 | |
Can we go back to it? Just see how marvellous you are. | 0:34:00 | 0:34:03 | |
You are really good in the video. | 0:34:03 | 0:34:04 | |
-Can we see the video again? Here we go. -You nail this bad boy. | 0:34:04 | 0:34:07 | |
Look at that. | 0:34:07 | 0:34:09 | |
The ball takes some beating! | 0:34:10 | 0:34:13 | |
There's a lot of editing in this! | 0:34:13 | 0:34:15 | |
Does this mean you will be able to defeat any tennis ball? | 0:34:17 | 0:34:21 | |
It is much harder than it looks cos I tried it this afternoon. Try it. | 0:34:24 | 0:34:27 | |
I'm good at that, thank you very much. This is the host... | 0:34:27 | 0:34:31 | |
LAUGHTER | 0:34:31 | 0:34:33 | |
That's why they pay me. | 0:34:33 | 0:34:35 | |
Cos I can do this shit. | 0:34:35 | 0:34:38 | |
I tried this this afternoon, cos that does not look hard, does it? | 0:34:38 | 0:34:42 | |
-That does not look hard. -No. -Let's see. | 0:34:42 | 0:34:44 | |
Do you throw it up and hit it, or what you do? | 0:34:44 | 0:34:47 | |
However you feel comfortable, there's no right or wrong technique, | 0:34:47 | 0:34:49 | |
but just keep it away from your face. | 0:34:49 | 0:34:51 | |
-Keep it going. -Oh! That's quite good! | 0:34:51 | 0:34:55 | |
That's quite good! Oh, oh, oh! Oh! | 0:34:55 | 0:34:58 | |
APPLAUSE | 0:34:58 | 0:34:59 | |
Missed me by that much. | 0:35:08 | 0:35:10 | |
If you got it on the right camera, I took it right in the face. | 0:35:10 | 0:35:13 | |
-Right, quickly, it's music time. -Does that not look like fun? | 0:35:13 | 0:35:16 | |
-It is fun, yeah! -We have one for everybody in the audience. | 0:35:16 | 0:35:20 | |
Ooh, you're chasing Oprah, aren't you? | 0:35:21 | 0:35:23 | |
You get a punch ball, you get a punch ball, you get a punch ball. | 0:35:23 | 0:35:27 | |
APPLAUSE OK, it is music time. | 0:35:27 | 0:35:30 | |
This Swedish folk band are one of my favourite artists at the moment. | 0:35:30 | 0:35:33 | |
They were nominated for Best International Group at the Brits | 0:35:33 | 0:35:36 | |
and last year, they stormed the stage at Glastonbury. | 0:35:36 | 0:35:39 | |
Here performing It's A Shame, it is First Aid Kit! | 0:35:39 | 0:35:41 | |
CHEERING | 0:35:41 | 0:35:44 | |
# Lately | 0:35:59 | 0:36:01 | |
# I've been thinking about the past | 0:36:01 | 0:36:03 | |
# How there is no holding back | 0:36:03 | 0:36:05 | |
# No point in wasting sorrow | 0:36:05 | 0:36:09 | |
# On things that won't be here tomorrow | 0:36:09 | 0:36:13 | |
# But you and I | 0:36:16 | 0:36:18 | |
# Well, we don't need to speak | 0:36:18 | 0:36:20 | |
# It's a secret that we keep | 0:36:20 | 0:36:22 | |
# Out of view and out of sight | 0:36:22 | 0:36:27 | |
# Just say when and we'll say good night | 0:36:27 | 0:36:30 | |
# Tell me it's OK | 0:36:34 | 0:36:38 | |
# To live life this way | 0:36:38 | 0:36:43 | |
# Sometimes I want you to stay | 0:36:43 | 0:36:49 | |
# I know it's a shame | 0:36:49 | 0:36:54 | |
# Shame | 0:36:56 | 0:36:59 | |
# Shame | 0:37:00 | 0:37:07 | |
# Now I | 0:37:14 | 0:37:16 | |
# Spend so much of my time | 0:37:16 | 0:37:18 | |
# Going out of my mind | 0:37:18 | 0:37:20 | |
# Trying so hard to be of use | 0:37:20 | 0:37:24 | |
# But what you cannot gain, you lose | 0:37:24 | 0:37:27 | |
# In LA | 0:37:31 | 0:37:33 | |
# The sun's almost too bright | 0:37:33 | 0:37:35 | |
# I cannot get it right | 0:37:35 | 0:37:37 | |
# The emptiness I feel | 0:37:37 | 0:37:41 | |
# And now none of it seems real | 0:37:41 | 0:37:44 | |
# Tell me it's all right | 0:37:49 | 0:37:53 | |
# If I just spend the night | 0:37:53 | 0:37:58 | |
# Sometimes I just can't bear to walk away | 0:37:58 | 0:38:04 | |
# I know it's a shame | 0:38:04 | 0:38:09 | |
# Shame | 0:38:11 | 0:38:13 | |
# Shame | 0:38:15 | 0:38:22 | |
# Tell me it's OK | 0:38:25 | 0:38:30 | |
# If I ask you to stay | 0:38:30 | 0:38:34 | |
# Sometimes the night cuts through me like a knife | 0:38:34 | 0:38:41 | |
# I know it's a shame | 0:38:41 | 0:38:46 | |
# I know it's a shame | 0:38:46 | 0:38:51 | |
# I know it's a shame | 0:38:51 | 0:38:59 | |
# Shame | 0:39:01 | 0:39:05 | |
# Shame | 0:39:06 | 0:39:09 | |
# Shame. # | 0:39:11 | 0:39:18 | |
CHEERING AND APPLAUSE | 0:39:22 | 0:39:25 | |
Oh, First Aid Kit! Great job, ladies! Come on over, do. | 0:39:27 | 0:39:33 | |
Very good. | 0:39:33 | 0:39:35 | |
-Hello. Are you Klara or Johanna? -Johanna. -Johanna. Johanna. | 0:39:35 | 0:39:39 | |
Klara. Hi, come in, sit down. | 0:39:39 | 0:39:41 | |
-Thank you. -This is Johanna and Klara. Anthony, Maisie, Tom. | 0:39:41 | 0:39:47 | |
-Gang's all here. -What a pleasure. | 0:39:47 | 0:39:49 | |
-Tom. -Hi, I'm Klara. -Nice to meet you. -Lovely to meet you. | 0:39:49 | 0:39:53 | |
Very, very good. Thank you so much. That sounded fantastic. | 0:39:53 | 0:39:56 | |
-Drink your champagne, do. You've earnt it. -Why not? -Yes. -Cheers. | 0:39:56 | 0:40:00 | |
It's A Shame is off the new album, Ruins, | 0:40:00 | 0:40:03 | |
and that's out next Friday, isn't it, the 19th? | 0:40:03 | 0:40:05 | |
-Mm-hm. -Yes. So what's the story? | 0:40:05 | 0:40:09 | |
-Have you moved to LA, no? -No. -No. -No. | 0:40:09 | 0:40:12 | |
-But you made this record in LA? -No. -No. -Oh. | 0:40:12 | 0:40:15 | |
-Have you ever been to LA? -Yes! | 0:40:15 | 0:40:19 | |
We're back on track, we're back on track. | 0:40:19 | 0:40:21 | |
-We wrote the record in LA. -I knew there was some connection, didn't I? | 0:40:21 | 0:40:25 | |
I'm not just making it up. | 0:40:25 | 0:40:27 | |
But now, is it true you're not a fan of LA? | 0:40:27 | 0:40:29 | |
No...we love LA. We just, um... | 0:40:29 | 0:40:32 | |
LAUGHTER They hate it. | 0:40:32 | 0:40:35 | |
Well, the thing was, we had this trip planned, we were going to go, | 0:40:35 | 0:40:40 | |
right, and it was very exciting and then, | 0:40:40 | 0:40:43 | |
my relationship ended just before going there. | 0:40:43 | 0:40:46 | |
-Oh. -So I was not in a great state when we came there. | 0:40:46 | 0:40:51 | |
-I feel bad now that I brought it up. -Oh, no, it's OK. | 0:40:51 | 0:40:55 | |
You're all good again, yeah. You got a record out of it, who cares? | 0:40:55 | 0:40:58 | |
-That's WAY more important than a relationship. -Yeah. | 0:41:00 | 0:41:03 | |
Are you greeted at the airport with that question? | 0:41:03 | 0:41:05 | |
You know, "Did you just broke up with somebody? | 0:41:05 | 0:41:08 | |
"Welcome to Los Angeles." | 0:41:08 | 0:41:10 | |
I would mention your tour, but there's no need, | 0:41:13 | 0:41:15 | |
-it's sold out already. -Wow. -Yeah. That's amazing. | 0:41:15 | 0:41:19 | |
Congratulations. Are you going to add extra dates or anything? | 0:41:19 | 0:41:24 | |
-Well, we'll be back in the summer. -Yeah. -Festivals. | 0:41:24 | 0:41:27 | |
Oh, OK. You do the festivals and all those sorts of things. | 0:41:27 | 0:41:29 | |
-Yes. -Excellent. I love the music. -Thank you. -Good luck with the tour. | 0:41:29 | 0:41:32 | |
Thank you so much for doing that. First Aid Kit, everybody. | 0:41:32 | 0:41:35 | |
CHEERING AND APPLAUSE | 0:41:35 | 0:41:36 | |
OK. That's nearly it, | 0:41:37 | 0:41:41 | |
but we do have time for a visit to the big red chair. | 0:41:41 | 0:41:44 | |
Yes, who's there? Hello! | 0:41:44 | 0:41:47 | |
-Hello. -Hi, what's your name? -I'm Katie. -Katie. Lovely. | 0:41:47 | 0:41:50 | |
-Where are you from, Katie? -I'm from Guildford. -Guildford. | 0:41:50 | 0:41:52 | |
She's from Guildford, it's a lovely part of the world. Commuter belt. | 0:41:52 | 0:41:55 | |
-It's no LA. -No, it's not, no. She's happy. | 0:41:55 | 0:41:59 | |
Um, so what do you do in Guildford? | 0:41:59 | 0:42:01 | |
-Well, I actually work in London. -Oh, right. You commute. | 0:42:01 | 0:42:03 | |
See, I told you it was a commuter belt. What do you do in London? | 0:42:03 | 0:42:07 | |
I work in foetal medicine at St George's Hospital. | 0:42:07 | 0:42:09 | |
Wow. Proper, serious job. Wow! Off you go with your story. | 0:42:09 | 0:42:13 | |
OK, it was back in 2000, 2001, | 0:42:13 | 0:42:15 | |
I was lucky enough to be on a sailing holiday in the Greek islands | 0:42:15 | 0:42:19 | |
and we dropped in on a harbour called Fiscardo on Kefalonia | 0:42:19 | 0:42:23 | |
and it's around about the time | 0:42:23 | 0:42:24 | |
when Captain Corelli's Mandolin was being filmed | 0:42:24 | 0:42:26 | |
and rumour was that Tom Hanks was playing the lead. | 0:42:26 | 0:42:30 | |
As I know now, it's not true, but we had decided to eat at a taverna | 0:42:30 | 0:42:36 | |
and because we'd had quite a few drinks on board, | 0:42:36 | 0:42:39 | |
the crew, well, not the crew, but friends and family that I was with, | 0:42:39 | 0:42:42 | |
they ended up going off down to the taverna where we'd booked | 0:42:42 | 0:42:45 | |
and I cleared up the boat and I came on afterwards. | 0:42:45 | 0:42:48 | |
I was walking towards the other tavernas on the quayside | 0:42:48 | 0:42:50 | |
and somebody caught my eye, like, really caught my eye, | 0:42:50 | 0:42:53 | |
and I thought, "Oh, I know that person..." | 0:42:53 | 0:42:56 | |
LAUGHTER | 0:42:56 | 0:42:59 | |
It wasn't you, was it? | 0:42:59 | 0:43:01 | |
Well, I actually have been to Fiscardo in Kefalonia and I was | 0:43:01 | 0:43:03 | |
there around the time they were making Captain Corelli's Mandolin. | 0:43:03 | 0:43:06 | |
-No, you weren't! No, you weren't! -It's very possible. | 0:43:06 | 0:43:09 | |
-I want to hear the rest of the story! -No, you're making that up. | 0:43:09 | 0:43:14 | |
I want to know what happens next. | 0:43:14 | 0:43:16 | |
-Kefalonia is right across from Ithaca. -You are making that up. | 0:43:16 | 0:43:20 | |
I have been to... I have been sitting in a taverna | 0:43:20 | 0:43:23 | |
in Kefalonia, in Fiscardo many, many times. | 0:43:23 | 0:43:26 | |
-Shall we see if it was you? -Well... | 0:43:26 | 0:43:29 | |
Is she still alive? | 0:43:29 | 0:43:31 | |
I don't know! Can we mend her? Can be rebuild her? | 0:43:31 | 0:43:34 | |
OK, let's get her back. OK. So, cut to the chase. | 0:43:34 | 0:43:39 | |
-Was it Tom Hanks? -Yes! -Oh, my God! | 0:43:39 | 0:43:42 | |
That was a short story, she built it long. | 0:43:47 | 0:43:50 | |
-That's amazing! -Yeah, yeah. -Wow! | 0:43:50 | 0:43:53 | |
-Oh, but it's fabulous. -That's incredible. -Greece is fantastic. | 0:43:53 | 0:43:56 | |
Poor story but Greece, lovely. OK, shall we try one more? One more. | 0:43:56 | 0:44:01 | |
One more. This is the charm. This is the charm. Hello. | 0:44:01 | 0:44:04 | |
-Hello. -Hi. What's your name? -Lisa. | 0:44:04 | 0:44:06 | |
Lisa. Lovely, Lisa. And what do you do? | 0:44:06 | 0:44:09 | |
-I work in marketing, financial services. -Ooh! OK, I am no wiser. | 0:44:09 | 0:44:15 | |
Off you go with your story. | 0:44:15 | 0:44:17 | |
OK, it's about 20 years ago, I'd been on the pill for a little while, | 0:44:17 | 0:44:20 | |
decided it was time for a change, wanted to try out the cap... | 0:44:20 | 0:44:23 | |
LAUGHTER | 0:44:23 | 0:44:25 | |
-I love this story! -You are not... You are not... | 0:44:25 | 0:44:30 | |
I love this story! | 0:44:30 | 0:44:32 | |
OK, so you're off the pill, you're trying the cap, why not? | 0:44:32 | 0:44:35 | |
Ring the changes. | 0:44:35 | 0:44:36 | |
OK, so, family planning clinic, met this very lovely nurse | 0:44:36 | 0:44:40 | |
who demonstrated to me pictorially how to use the cap, | 0:44:40 | 0:44:43 | |
-how to insert it, make sure it was comfortable, etc. -Yeah, of course. | 0:44:43 | 0:44:46 | |
And then handed it to me and said, "OK, now you need to try." | 0:44:46 | 0:44:49 | |
Told me to take off my bottom half | 0:44:49 | 0:44:51 | |
and I got into the squat position, which the pictures had suggested. | 0:44:51 | 0:44:55 | |
She then said she needed to pop out and she'd be back | 0:44:55 | 0:44:57 | |
in five minutes when I could ask any questions. | 0:44:57 | 0:45:00 | |
So I got down to the job, | 0:45:00 | 0:45:01 | |
I was struggling somewhat with this cap, | 0:45:01 | 0:45:03 | |
to get it in, to get it in the right position, at which point | 0:45:03 | 0:45:06 | |
I heard a very sharp, sudden cough and looked up to see the whole | 0:45:06 | 0:45:10 | |
waiting room staring in at me where she had not close the door properly. | 0:45:10 | 0:45:15 | |
AUDIENCE GROANS | 0:45:15 | 0:45:17 | |
You can walk! | 0:45:18 | 0:45:20 | |
-Thank you. -Very good story! | 0:45:20 | 0:45:24 | |
Beautiful! Beautiful! Mwah! Mwah! | 0:45:24 | 0:45:28 | |
Well done, everybody. | 0:45:28 | 0:45:30 | |
If you'd like to join us on the show and have a go in that red chair, | 0:45:30 | 0:45:32 | |
you can contact us via our website at this address. | 0:45:32 | 0:45:35 | |
That is it for tonight. | 0:45:35 | 0:45:36 | |
Please say a huge thank you to all of my guests - | 0:45:36 | 0:45:39 | |
First Aid Kit. CHEERING AND APPLAUSE | 0:45:39 | 0:45:41 | |
Anthony Joshua! CHEERING AND APPLAUSE | 0:45:41 | 0:45:44 | |
Maisie Williams! CHEERING AND APPLAUSE | 0:45:44 | 0:45:47 | |
And Mr Tom Hanks! CHEERING AND APPLAUSE | 0:45:47 | 0:45:49 | |
Join me next week with singer-songwriter Sigrid, | 0:45:51 | 0:45:54 | |
50 Shades' Jamie Dornan, Oscar-nominated Liam Neeson | 0:45:54 | 0:45:58 | |
and the great Dame Helen Mirren. I'll see you then. | 0:45:58 | 0:46:01 | |
Good night, everybody, bye-bye! | 0:46:01 | 0:46:02 | |
CHEERING | 0:46:02 | 0:46:05 |