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Good evening. My name is Tom Cruise and you are watching The Graham Norton Show. | 0:00:02 | 0:00:05 | |
CHEERING AND APPLAUSE | 0:00:05 | 0:00:08 | |
Oh! | 0:00:22 | 0:00:24 | |
Oh! | 0:00:24 | 0:00:26 | |
Oh! | 0:00:26 | 0:00:28 | |
APPLAUSE DROWNS SPEECH | 0:00:28 | 0:00:31 | |
Too much. Hello, everybody. Hello, and welcome. | 0:00:31 | 0:00:36 | |
We are very excited, yes, Tom Cruise is here! | 0:00:36 | 0:00:38 | |
WILD CHEERING | 0:00:38 | 0:00:41 | |
Back there. Yeah, Tom is taking a break from filming | 0:00:41 | 0:00:44 | |
Mission: Impossible 6 to come along with some of his costars for a chat. | 0:00:44 | 0:00:48 | |
Of course, in the films, Tom's elite band of secret agents, | 0:00:48 | 0:00:52 | |
you know, they take on jobs that seem utterly impossible. | 0:00:52 | 0:00:55 | |
Utterly impossible, like, I don't know, | 0:00:55 | 0:00:57 | |
persuading a Ukip leader to resign. | 0:00:57 | 0:00:59 | |
That kind of thing. | 0:00:59 | 0:01:01 | |
Beating Ant & Dec at the National Television Awards. | 0:01:01 | 0:01:04 | |
That sort of thing. | 0:01:04 | 0:01:06 | |
And mind you, sometimes the impossible can happen. | 0:01:06 | 0:01:09 | |
Can you believe it - | 0:01:09 | 0:01:10 | |
Donald Trump has been the American president for a WHOLE year? | 0:01:10 | 0:01:14 | |
BOOING | 0:01:14 | 0:01:16 | |
It seems longer, doesn't it? Were there more months in this last year? | 0:01:16 | 0:01:19 | |
Were there extra months? | 0:01:19 | 0:01:21 | |
It is also Donald Trump's 13th wedding anniversary. | 0:01:21 | 0:01:24 | |
13 years! | 0:01:24 | 0:01:26 | |
Unlucky for some. LAUGHTER | 0:01:26 | 0:01:29 | |
It certainly is for Melania. | 0:01:29 | 0:01:31 | |
Here are the happy couple. | 0:01:31 | 0:01:32 | |
HE LAUGHS | 0:01:32 | 0:01:35 | |
Oh! That's just lovely. | 0:01:37 | 0:01:40 | |
Now, the traditional gift for a 13th wedding anniversary is lace. | 0:01:40 | 0:01:44 | |
Mm-hm. I think you can tell what Melania is thinking, | 0:01:44 | 0:01:46 | |
"Please, God, a tablecloth, not lingerie." | 0:01:46 | 0:01:49 | |
On the subject of happy couples, | 0:01:50 | 0:01:52 | |
we must say congratulations to Princess Eugenie, | 0:01:52 | 0:01:55 | |
who got engaged this week. It is a good thing. | 0:01:55 | 0:01:57 | |
APPLAUSE It's happy news. | 0:01:57 | 0:02:01 | |
Yay! | 0:02:01 | 0:02:02 | |
Her boyfriend, Jack, proposed to her while they were on holiday. | 0:02:02 | 0:02:05 | |
Doesn't really narrow it down. | 0:02:05 | 0:02:07 | |
Now, it's the... LAUGHTER | 0:02:07 | 0:02:10 | |
"Is this a holiday?" "Yeah, yeah, this is a holiday." | 0:02:10 | 0:02:13 | |
Though, to be fair, it is the third most exciting piece | 0:02:15 | 0:02:18 | |
of Royal news since Harry's engagement | 0:02:18 | 0:02:20 | |
and Prince William shaving his head. | 0:02:20 | 0:02:22 | |
Now, I think it looks great. No, it looks good! | 0:02:23 | 0:02:25 | |
You know, his kids can have fun painting it in time for Easter. | 0:02:25 | 0:02:27 | |
LAUGHTER | 0:02:27 | 0:02:30 | |
I believe, I believe that's called a number one all over. | 0:02:30 | 0:02:34 | |
That's what that's called, which, coincidentally, | 0:02:34 | 0:02:36 | |
was what Donald Trump wanted for a anniversary present. | 0:02:36 | 0:02:39 | |
LAUGHTER AND GROANS It's clever, it's clever. | 0:02:39 | 0:02:41 | |
APPLAUSE Let's get some guests on. | 0:02:41 | 0:02:44 | |
Later, we will have music and chat from chart-topping Paloma Faith! | 0:02:45 | 0:02:50 | |
But first, he is one of our most successful comic exports with | 0:02:51 | 0:02:55 | |
cult hits Spaced, Shaun Of The Dead and Hot Fuzz. | 0:02:55 | 0:02:57 | |
Now he is Hollywood's hottest geek. | 0:02:57 | 0:02:58 | |
Please welcome Simon Pegg, everybody! | 0:02:58 | 0:03:01 | |
APPLAUSE There he is. Hello. | 0:03:01 | 0:03:05 | |
Look at this suit. | 0:03:05 | 0:03:08 | |
Yes, you look lovely. | 0:03:08 | 0:03:09 | |
Yeah! | 0:03:10 | 0:03:11 | |
From the Man Of Steel to The Man From UNCLE, | 0:03:11 | 0:03:13 | |
he is the hottest thing to come out of Jersey. | 0:03:13 | 0:03:16 | |
Is it a bird? Is it a plane? No, it is Henry Cavill. | 0:03:16 | 0:03:20 | |
There he is. Hello. So nice to see you. Have a seat there. | 0:03:20 | 0:03:24 | |
You know him, you know him. | 0:03:24 | 0:03:26 | |
This Swedish actress is fast making a name for herself in films | 0:03:28 | 0:03:31 | |
such as Girl On The Train, Florence Foster Jenkins | 0:03:31 | 0:03:33 | |
and The Greatest Showman. | 0:03:33 | 0:03:34 | |
It is a first-time welcome to Rebecca Ferguson. | 0:03:34 | 0:03:37 | |
Hello! Hi, lovely to see you. | 0:03:39 | 0:03:43 | |
Welcome. Have a seat. | 0:03:43 | 0:03:46 | |
And he's a true Hollywood great and a man on a mission. | 0:03:47 | 0:03:50 | |
Please welcome our favourite top gun, it is Mr Tom Cruise! | 0:03:50 | 0:03:54 | |
MUSIC: Mission: Impossible Theme | 0:03:54 | 0:03:58 | |
So good to see you. | 0:04:00 | 0:04:01 | |
Oh, look at that. Very nice, very nice. | 0:04:11 | 0:04:13 | |
Professional, professional, pretending to not know them, it's all good. | 0:04:13 | 0:04:16 | |
So, this is weird, we've never had this before where people | 0:04:16 | 0:04:19 | |
are actually making the movie that they have come on to talk about. | 0:04:19 | 0:04:22 | |
Yeah, we shot all day too. | 0:04:22 | 0:04:23 | |
-Were you on set today? -We've been on today. | 0:04:23 | 0:04:26 | |
Yeah, all of us were on set filming. | 0:04:26 | 0:04:27 | |
What were you doing, running or talking? | 0:04:27 | 0:04:30 | |
Well, personally, I injected a man in the neck with a tranquilliser, | 0:04:30 | 0:04:33 | |
put him in prison and got kicked in the head by Henry and that was... | 0:04:33 | 0:04:36 | |
-..my day. -Yes. -That sounds like more than a day. | 0:04:36 | 0:04:39 | |
So, Henry, we know what you did, you kicked him in the head. | 0:04:39 | 0:04:42 | |
-I kicked him in the head. -Very good. -That wasn't on camera. -No, no. | 0:04:42 | 0:04:45 | |
-That wasn't for the film. -That was in the trailers. | 0:04:45 | 0:04:48 | |
-And, Rebecca, were you on today? -I... | 0:04:48 | 0:04:50 | |
Oh, yes, I actually... I'm going to stand up. | 0:04:50 | 0:04:52 | |
-I had this pose today with a semi-automatic rifle. -Yes. | 0:04:52 | 0:04:56 | |
With my belly like this. | 0:04:56 | 0:04:58 | |
-Shooting bad guys. -Six months pregnant. | 0:04:58 | 0:05:00 | |
I'm glad you said that, because I wasn't going to say anything. I... | 0:05:00 | 0:05:03 | |
LAUGHTER That's what gets men in trouble. | 0:05:03 | 0:05:06 | |
-You are six months pregnant? -I am. I don't know what happened. | 0:05:08 | 0:05:12 | |
I could guess. | 0:05:13 | 0:05:15 | |
Yes, six months ago. Yes. | 0:05:15 | 0:05:18 | |
What were you doing today? | 0:05:18 | 0:05:20 | |
I was just shooting guns and... | 0:05:20 | 0:05:22 | |
-Having fun. -Having fun. -Stuff. -Stuff. | 0:05:22 | 0:05:24 | |
-Shooting gun then... -And where are you? Are you nearly finished? | 0:05:24 | 0:05:27 | |
-SIMON: -I don't know! -Maybe. | 0:05:27 | 0:05:29 | |
Are we? | 0:05:29 | 0:05:31 | |
-We hope so. -You been filming since when? Last...last...? -Last year. | 0:05:31 | 0:05:34 | |
-Last March or April. -Yeah, yeah, last year. -Yeah. | 0:05:34 | 0:05:37 | |
So, you must be nearly finished. | 0:05:37 | 0:05:38 | |
It's because I broke my ankle. We had to shut down. | 0:05:38 | 0:05:41 | |
-Well, now. -We are about six weeks away. -The ankle. This is... | 0:05:41 | 0:05:44 | |
So, are you fully recovered. Are you well? | 0:05:44 | 0:05:45 | |
-It's still broken, but I'm doing well. -No, you're kidding. | 0:05:45 | 0:05:48 | |
-Is it still broken? -Yeah! | 0:05:48 | 0:05:49 | |
I mean, it's not fully healed, but we are shooting. | 0:05:49 | 0:05:52 | |
But that's nuts. Cos we've seen the picture. You're running and doing all the stuff again. | 0:05:52 | 0:05:56 | |
I know, I know. We have a release date, so we've got to keep going. | 0:05:56 | 0:05:59 | |
Yeah, otherwise we'll end up going live on the night. | 0:05:59 | 0:06:02 | |
It's much better, it's much better. | 0:06:04 | 0:06:07 | |
You probably... | 0:06:07 | 0:06:08 | |
I'm sure you all saw the footage... It was in the papers | 0:06:08 | 0:06:12 | |
-and things online of the accident. -Yes. | 0:06:12 | 0:06:15 | |
And I think we all kind of thought, | 0:06:15 | 0:06:16 | |
"How did you break an ankle doing that?" | 0:06:16 | 0:06:18 | |
Cos it looked like you should've broken your jaw or something... | 0:06:18 | 0:06:21 | |
I know, everyone said that was the stunt... | 0:06:21 | 0:06:23 | |
I mean, I'm going to run across and hit the side of the wall | 0:06:23 | 0:06:27 | |
and then pull myself over. | 0:06:27 | 0:06:28 | |
That wasn't the mistake. | 0:06:28 | 0:06:30 | |
-So, you were always meant to not land on the roof? -Yes. Always. | 0:06:30 | 0:06:33 | |
-OK. So, what you've done is you've brought us some footage... -Mm-hm. | 0:06:33 | 0:06:36 | |
I think is so cool to see this from the different angles. | 0:06:36 | 0:06:38 | |
I can't watch this. I haven't watched it yet. | 0:06:38 | 0:06:41 | |
-REBECCA: -Is it in slow-motion? | 0:06:41 | 0:06:43 | |
Most of it is fine, there's one clip, but I will warn you, | 0:06:43 | 0:06:45 | |
-it is not for the squeamish. -Gross. | 0:06:45 | 0:06:47 | |
So you see, I'm wearing two wires. They're basically just safety wires | 0:06:47 | 0:06:50 | |
because I go at a full tilt and I'm sprinting as hard as I can | 0:06:50 | 0:06:53 | |
and I hit the side of the wall and that's the stunt. | 0:06:53 | 0:06:56 | |
I hit the side of the wall and then I'm chasing after Henry, actually. | 0:06:56 | 0:07:00 | |
-And... -All his fault. | 0:07:00 | 0:07:02 | |
All his fault. I blame him. | 0:07:02 | 0:07:04 | |
I hit the side of the wall and then I climb up on the wall | 0:07:04 | 0:07:07 | |
and I'm supposed to run past camera. | 0:07:07 | 0:07:09 | |
OK, we've got... This is the shot from behind you. So this... | 0:07:09 | 0:07:12 | |
You see the speed and the momentum of the run. And it's in London. | 0:07:12 | 0:07:15 | |
-There we go. -So, it is keeping me up and... | 0:07:15 | 0:07:17 | |
So, here we go. Look at that. Whoa! | 0:07:17 | 0:07:20 | |
EVERYONE GROANS | 0:07:20 | 0:07:21 | |
Now... Good noise, everybody. | 0:07:21 | 0:07:24 | |
But you get my point, that you think, "How did you break a leg?" | 0:07:24 | 0:07:27 | |
-So, let's look at it from the side. REBECCA: -Oh, no, the slow-motion. -This is it from the side. -Oh, no. | 0:07:27 | 0:07:31 | |
No, no. This isn't the bad one. This isn't the bad one, Rebecca. | 0:07:31 | 0:07:33 | |
-So, this is from the side. Here we go. -We shot it with three cameras. | 0:07:33 | 0:07:36 | |
-Oh, my gosh. -Here he goes. And boom! AUDIENCE GROANS | 0:07:36 | 0:07:39 | |
Now. Now, we've got a camera which focuses on the foot. | 0:07:39 | 0:07:42 | |
-Now, if you are squeamish... -Don't watch it. -Don't watch this. | 0:07:42 | 0:07:46 | |
-Simon still hasn't seen it. -I... | 0:07:46 | 0:07:48 | |
LAUGHTER | 0:07:48 | 0:07:50 | |
They keep trying to show it to me and I'm like, "No! I can't." | 0:07:50 | 0:07:53 | |
I mean, a bone doesn't pop out or anything, | 0:07:53 | 0:07:55 | |
but is an odd angle for anyone's foot to be at. | 0:07:55 | 0:07:57 | |
Nobody's foot should ever have to do this, ever. | 0:07:57 | 0:07:59 | |
-Yeah, here we go. REBECCA: -Oh, gosh. I haven't watched it. | 0:07:59 | 0:08:02 | |
He jumps, that speed, that momentum. Here we go. | 0:08:02 | 0:08:05 | |
Now watch that. Watch this. | 0:08:05 | 0:08:07 | |
AUDIENCE GROANS | 0:08:07 | 0:08:11 | |
-REBECCA: -Do it again. | 0:08:11 | 0:08:12 | |
LAUGHTER | 0:08:12 | 0:08:14 | |
But here, here is why Tom Cruise gets paid the big bucks. | 0:08:14 | 0:08:21 | |
OK? Because this is it from the front angle, OK? | 0:08:21 | 0:08:26 | |
You've just seen what has happened to his foot. Now watch this. | 0:08:26 | 0:08:29 | |
I knew I broke it instantly. | 0:08:29 | 0:08:31 | |
So you are down. Now, anyone else would go, "Well, that's over." No. | 0:08:31 | 0:08:34 | |
Up he gets. Up he gets and he's running. | 0:08:34 | 0:08:37 | |
APPLAUSE That's phenomenal. | 0:08:39 | 0:08:42 | |
-I didn't want to do it again. -No. -I didn't want to do it again. | 0:08:48 | 0:08:51 | |
I knew instantly it was broken. And I... | 0:08:51 | 0:08:53 | |
I just... Run past camera, we got the shot, it's in the movie. | 0:08:53 | 0:08:57 | |
That profile shot, both those shots are in the movie. And Henry... | 0:08:57 | 0:09:00 | |
Everybody said when you got up and ran out of shot, | 0:09:00 | 0:09:02 | |
-"Oh, that's so him." -LAUGHTER | 0:09:02 | 0:09:05 | |
To complete the shot, like, with your foot hanging off, | 0:09:05 | 0:09:08 | |
-"That's so him." -LAUGHTER | 0:09:08 | 0:09:12 | |
I just went, I said, "Sorry, guys, it's broken. | 0:09:12 | 0:09:14 | |
"Take me to the hospital, it's broken. That's a wrap." Everyone... | 0:09:14 | 0:09:17 | |
..everyone. Crew got on the phone | 0:09:17 | 0:09:18 | |
-and made their vacation arrangements. -I made a baby. | 0:09:18 | 0:09:21 | |
LAUGHTER | 0:09:21 | 0:09:24 | |
We had six months, at least, I thought. | 0:09:24 | 0:09:26 | |
I told you it was going to be six months. I told you that. | 0:09:26 | 0:09:30 | |
And when this film finally ends, Henry Cavill... | 0:09:31 | 0:09:35 | |
-"Finally ends." -LAUGHTER | 0:09:35 | 0:09:36 | |
We are going to miss each other. | 0:09:36 | 0:09:38 | |
But, Henry, you are probably not going to miss your face furniture. | 0:09:38 | 0:09:41 | |
You're not fond of the face furniture, are you? | 0:09:41 | 0:09:43 | |
Oh, it's not that I'm not fond of it. It's just that, you know... | 0:09:43 | 0:09:46 | |
-Look at that. -It's just that if I'm walking past schools, | 0:09:46 | 0:09:48 | |
-people give me funny looks. -LAUGHTER | 0:09:48 | 0:09:51 | |
It's tough to buy vans. | 0:09:51 | 0:09:53 | |
I can't give children sweets. | 0:09:55 | 0:09:57 | |
Cos you normally do that a lot, | 0:09:57 | 0:10:00 | |
If you hang out in the park long enough, why not? | 0:10:00 | 0:10:02 | |
"Hey, guys, I'm Superman, come get some sweets." | 0:10:02 | 0:10:04 | |
"I'm not a stranger, I'm Superman." | 0:10:06 | 0:10:07 | |
I think he rocks it. Very few men can carry that off. | 0:10:10 | 0:10:12 | |
No, it's very good. | 0:10:12 | 0:10:14 | |
Mind you, you know what's annoying about that? | 0:10:14 | 0:10:16 | |
Is that if Henry Cavill wore a stupid hat, | 0:10:16 | 0:10:19 | |
you would think, "Oh, that stupid hat looks really good on him." | 0:10:19 | 0:10:23 | |
And it's not that. He looks really good. | 0:10:23 | 0:10:25 | |
And they you put it on, it's a stupid hat. | 0:10:25 | 0:10:27 | |
But now, Simon, this is your fourth Mission: Impossible. | 0:10:27 | 0:10:31 | |
-It is, yes. -So, you've been working with Tom for what, over 10 years now? | 0:10:31 | 0:10:34 | |
12 years, we worked it out yesterday, didn't we? Yeah. | 0:10:34 | 0:10:36 | |
-12 years, this year. -Oh, wow! So, you know each other very well. | 0:10:36 | 0:10:39 | |
-Pretty well, we've been in the trenches a long time. -Oh, yeah. | 0:10:39 | 0:10:42 | |
-Yeah. -So, do you forget that it's Tom Cruise? | 0:10:42 | 0:10:46 | |
Yes and no. You kind of like... | 0:10:46 | 0:10:48 | |
On a day-to-day basis, we are working and we are friends | 0:10:48 | 0:10:51 | |
and it's fun and it's a job. | 0:10:51 | 0:10:54 | |
But when I'm out...when we're out doing press or whatever, | 0:10:54 | 0:10:57 | |
I see Tom become Tom, the Tom people know. | 0:10:57 | 0:11:00 | |
Like I've seen Tom become Tom Cruise, which is... | 0:11:00 | 0:11:03 | |
-LAUGHTER -..which is amazing. | 0:11:03 | 0:11:05 | |
-What does that mean? -I don't know. -Is he Tom Cruise now? | 0:11:05 | 0:11:08 | |
Is this Tom Cruise? | 0:11:08 | 0:11:09 | |
He smiles and... Like when we were shooting in Paris | 0:11:09 | 0:11:13 | |
and we'll be doing a scene and then he'll just go, "Hey, how you doing?" | 0:11:13 | 0:11:16 | |
And that's Tom becoming Tom because people... | 0:11:16 | 0:11:18 | |
He is very, very good with his fans. | 0:11:18 | 0:11:20 | |
And I remember that night in Vienna when we were doing like a recce, | 0:11:20 | 0:11:24 | |
and we're looking around and it took about 10 minutes for 100 | 0:11:24 | 0:11:26 | |
people to be around us and you were so good with them. | 0:11:26 | 0:11:31 | |
Just waving and smiling. I'd be punching... | 0:11:31 | 0:11:33 | |
LAUGHTER | 0:11:33 | 0:11:35 | |
-Spitting. -No, you wouldn't, Simon. | 0:11:35 | 0:11:37 | |
You did it for my sister as well, I think. You just did that thing | 0:11:37 | 0:11:40 | |
where you just kind of become Maverick. Just smile. | 0:11:40 | 0:11:42 | |
LAUGHTER | 0:11:42 | 0:11:45 | |
-That's Tom Cruise right there. There he is. -There is. | 0:11:45 | 0:11:48 | |
-Yes, that's him. -I told you he was here. | 0:11:48 | 0:11:51 | |
But here's an odd thing. Because, Rebecca, your mother is... | 0:11:51 | 0:11:55 | |
..is she famous in Sweden? She is famous in Sweden. | 0:11:55 | 0:11:58 | |
Well, no, she is not famous, but she has... | 0:11:58 | 0:12:01 | |
She hung a lot with the kind of avant-garde, cool people, like Abba, | 0:12:01 | 0:12:05 | |
-back in the day. -Yes, those avant-garde Abba people. | 0:12:05 | 0:12:08 | |
LAUGHTER | 0:12:08 | 0:12:10 | |
They finally went mainstream. I mean they just...they really sold out. | 0:12:10 | 0:12:14 | |
But she worked with Abba, didn't she? | 0:12:14 | 0:12:17 | |
So, what she did was... | 0:12:17 | 0:12:19 | |
-Do know this? This is good trivia. -No, I didn't know. | 0:12:19 | 0:12:21 | |
No, she did! I think she was dating a man called Ron Spalding | 0:12:21 | 0:12:24 | |
and he took all of their cover images of their LPs. | 0:12:24 | 0:12:28 | |
Actually, she is on one of the covers, which...you apparently have. | 0:12:28 | 0:12:33 | |
I do! | 0:12:33 | 0:12:35 | |
So, we all know this album, don't we, ladies and gentlemen? | 0:12:35 | 0:12:37 | |
Abba. There they are in the back of the car, drinking. | 0:12:37 | 0:12:40 | |
-Is that your mom? -On the other side. | 0:12:40 | 0:12:41 | |
We turn it around, we turn it around. | 0:12:41 | 0:12:44 | |
-Now, which one of these people is your mother? -Look at the legs. | 0:12:44 | 0:12:47 | |
Wait, if I do this, can you see the similarities? | 0:12:47 | 0:12:49 | |
-Oh, yes. -Here we go. | 0:12:49 | 0:12:52 | |
LAUGHTER | 0:12:52 | 0:12:54 | |
Rebecca Ferguson's mother's legs on an Abba album, ladies and gentlemen. | 0:12:54 | 0:12:59 | |
APPLAUSE DROWNS SPEECH | 0:12:59 | 0:13:01 | |
Beautiful. | 0:13:01 | 0:13:04 | |
Oh, and she helped to actually... | 0:13:04 | 0:13:06 | |
Not translate, but she went through all the lyrics in Swedish | 0:13:07 | 0:13:10 | |
and helped rewrite them to English, Waterloo. | 0:13:10 | 0:13:13 | |
-Really? -So, if there's any mistakes, it's her fault. | 0:13:13 | 0:13:15 | |
It is fair to say, it does make no sense, but... | 0:13:15 | 0:13:18 | |
But bless her for trying. So, listen, the new Mission: Impossible, | 0:13:18 | 0:13:21 | |
it won't be coming out until 26 July, | 0:13:21 | 0:13:23 | |
-but before then, the trailer is being released...? -The Super Bowl. | 0:13:23 | 0:13:27 | |
-February the...? Is that the fourth? -Yeah. -Fourth. -February 4th, trailer. | 0:13:27 | 0:13:30 | |
The Super Bowl, we are going to have a little 30-second spot | 0:13:30 | 0:13:33 | |
and then it's going to send everyone to the internet | 0:13:33 | 0:13:35 | |
and out in theatres in April. | 0:13:35 | 0:13:36 | |
Wow! And you've just announced the actual title. | 0:13:36 | 0:13:39 | |
Mission: Impossible - Fallout. | 0:13:39 | 0:13:40 | |
-Fallout. -Fallout. -Fallout. CHEERS AND APPLAUSE | 0:13:40 | 0:13:44 | |
Fallout. | 0:13:44 | 0:13:46 | |
-OK, so we now know the title. -Yes. | 0:13:46 | 0:13:48 | |
-Do we know anything else about it? -No. | 0:13:48 | 0:13:51 | |
Yeah, you know that it's a kind of... It's a... | 0:13:51 | 0:13:54 | |
It really is a story of... | 0:13:54 | 0:13:57 | |
It takes into account all the Mission: Impossibles, really. | 0:13:57 | 0:14:00 | |
And it is a fallout of all the things that we did in the... | 0:14:00 | 0:14:04 | |
-..earlier Mission: Impossibles. -Ethan, in particular, yeah. | 0:14:04 | 0:14:07 | |
Well, it's kind of the good things that we've done | 0:14:07 | 0:14:10 | |
and they are using it now against us. | 0:14:10 | 0:14:13 | |
-OK. -So. And Henry is an antagonist. | 0:14:13 | 0:14:17 | |
-The primary antagonist in the film. -Is that posh for a baddie? | 0:14:17 | 0:14:20 | |
Well, I would say primary, you have the root... | 0:14:20 | 0:14:23 | |
You know, you have Lane, who is the baddie, Sean Harris. | 0:14:23 | 0:14:26 | |
-He's coming back from Rogue Nation. -Oh, OK. | 0:14:26 | 0:14:28 | |
And we have Michelle Monaghan, Angela Bassett, you know, | 0:14:28 | 0:14:32 | |
Vanessa Kirby, Ving Rhames, of course, is back. | 0:14:32 | 0:14:35 | |
Yeah, yeah, yeah. And you are back as Faust. | 0:14:35 | 0:14:38 | |
Yeah, forget about those other people. I'm back again as well. | 0:14:38 | 0:14:41 | |
-And Benji Dunn is back. -Yes, of course. | 0:14:43 | 0:14:45 | |
Do you have a name, Henry? | 0:14:45 | 0:14:48 | |
-Do I have a name? -Yes. -Yes. | 0:14:48 | 0:14:50 | |
-August Walker. -Ooh! You had to be a villain. | 0:14:50 | 0:14:53 | |
-Very fancy. -Say it again. | 0:14:53 | 0:14:54 | |
I didn't know was August until about halfway through the movie, though. | 0:14:54 | 0:14:58 | |
I was just referred to as Walker and I saw the chair | 0:14:58 | 0:15:00 | |
and I was like, "Hold on a second. My first name's August?" | 0:15:00 | 0:15:02 | |
LAUGHTER | 0:15:02 | 0:15:05 | |
-And Micky was like, "Yes." -Chris McQuarrie. | 0:15:05 | 0:15:08 | |
He's the writer, director and kind of creative partner of mine | 0:15:08 | 0:15:12 | |
and it's his second Mission he's directing. | 0:15:12 | 0:15:15 | |
Mission: Impossible, obviously, you pays your money, | 0:15:15 | 0:15:17 | |
you want the big, big stunts. | 0:15:17 | 0:15:19 | |
Now, the last time you were on the show, you were hinting at this big | 0:15:19 | 0:15:24 | |
set piece in this movie that you spent years preparing. | 0:15:24 | 0:15:28 | |
-Yes. -So, I think you can tell us a bit more about it now, right? | 0:15:28 | 0:15:31 | |
-Now I can tell you a bit more. -OK. | 0:15:31 | 0:15:32 | |
I spent, really, two years, McQ and I were | 0:15:32 | 0:15:35 | |
talking about a sequence and it is an aerial sequence with helicopter. | 0:15:35 | 0:15:38 | |
I wanted... I've studied, you know, many different films. | 0:15:38 | 0:15:42 | |
So, when I went and I got my helicopter license | 0:15:42 | 0:15:45 | |
and we were flying aerobatics... | 0:15:45 | 0:15:46 | |
Can I just stop you for one second there? | 0:15:46 | 0:15:48 | |
I was surprised you didn't have a helicopter license already. | 0:15:48 | 0:15:53 | |
-I know, I'm sorry. -It seems so NOT you. | 0:15:53 | 0:15:55 | |
When they were telling me, "And he got his helicopter license," | 0:15:55 | 0:15:58 | |
I was like, "Really? I'm sure I've seen him flying helicopters before." | 0:15:58 | 0:16:01 | |
-Were you flying without a licence previously? -Yes. | 0:16:01 | 0:16:04 | |
Not to get you in trouble or anything, but... | 0:16:04 | 0:16:06 | |
-Yes. -Oh, were you? -Yeah, yeah. -So, no wonder you got it quickly. | 0:16:06 | 0:16:08 | |
-I know, I know. Very fast. -OK, so you get the license. | 0:16:08 | 0:16:11 | |
Yeah, and then we just started really working | 0:16:11 | 0:16:14 | |
on the sequence to see what can we do practical. | 0:16:14 | 0:16:17 | |
I mean, I think, in terms of action, | 0:16:17 | 0:16:19 | |
this is probably the largest practical action film ever shot. | 0:16:19 | 0:16:22 | |
Like, when you look at the films, there's no CGI. | 0:16:22 | 0:16:24 | |
So, we are going through Paris on a motorcycle. It is just full-on. | 0:16:24 | 0:16:28 | |
The cars, you know, we're all doing our own stunts. | 0:16:28 | 0:16:31 | |
And the helicopter sequence is just incredibly... | 0:16:31 | 0:16:36 | |
..exhilarating and very dangerous. | 0:16:36 | 0:16:37 | |
So, there is really only one country that would allow us to do it, | 0:16:37 | 0:16:40 | |
where we had to build special camera rigs for the helicopter. | 0:16:40 | 0:16:44 | |
And so, I got my license | 0:16:44 | 0:16:46 | |
and I just trained up on aerobatics and it is different. | 0:16:46 | 0:16:48 | |
I fly aerobatics in airplanes, but helicopters are very different. | 0:16:48 | 0:16:51 | |
So, we are flying very low, very close to rock faces in a chase. | 0:16:51 | 0:16:55 | |
I'm chasing, you know, Henry in the sequence. | 0:16:55 | 0:16:57 | |
We've got some pictures of it here. | 0:16:57 | 0:16:59 | |
So now, this is... That's you... | 0:16:59 | 0:17:01 | |
Is this the end of the sequence or the beginning? | 0:17:01 | 0:17:03 | |
I think we've got these pictures the wrong way round. I think this is... | 0:17:03 | 0:17:06 | |
No, they are... It's... | 0:17:06 | 0:17:07 | |
I can't tell you that right now. It is part of the sequence. | 0:17:07 | 0:17:09 | |
OK, all right, well, I just think this might be out... | 0:17:09 | 0:17:11 | |
So, there's Henry hanging out of the helicopter. | 0:17:11 | 0:17:14 | |
There's Henry back there, hanging out. | 0:17:14 | 0:17:15 | |
He's not even flying a helicopter. I mean, really. | 0:17:15 | 0:17:18 | |
He had to do it in an armoured helicopter | 0:17:18 | 0:17:20 | |
because we are doing aerobatics. He's... | 0:17:20 | 0:17:22 | |
At least I know my own fate, you know? | 0:17:22 | 0:17:24 | |
He was there at times... | 0:17:24 | 0:17:26 | |
I was literally on his tail, like, a foot off the tail rotor at times. | 0:17:26 | 0:17:30 | |
-He had no idea... -There were times where I generally thought, | 0:17:30 | 0:17:32 | |
"Oh, OK, this is how it goes." | 0:17:32 | 0:17:34 | |
-You are dedicated. -At least I get killed by Tom Cruise. | 0:17:35 | 0:17:39 | |
It'll make the papers. | 0:17:39 | 0:17:41 | |
Henry is lucky cos he can actually fly, anyway. So if... | 0:17:41 | 0:17:43 | |
-He can just zoom off that way. -Yes, of course. | 0:17:43 | 0:17:45 | |
LAUGHTER | 0:17:45 | 0:17:47 | |
APPLAUSE DROWNS SPEECH | 0:17:47 | 0:17:50 | |
So, here you are flying. Now, I'm guessing... | 0:17:53 | 0:17:55 | |
That must be after this next bit because this next picture, | 0:17:55 | 0:17:59 | |
you are on the outside, so someone must be flying the helicopter. | 0:17:59 | 0:18:03 | |
It can't be... | 0:18:03 | 0:18:04 | |
Please tell me you didn't get out of the helicopter | 0:18:04 | 0:18:07 | |
while it was going. | 0:18:07 | 0:18:08 | |
So, that's you, And I mean, that is you, hanging off the helicopter. | 0:18:09 | 0:18:14 | |
But this next picture is - | 0:18:14 | 0:18:16 | |
one, it is just a beautiful picture, but is crazy. | 0:18:16 | 0:18:20 | |
-So, that's you. -Yes. -I mean, that's... | 0:18:20 | 0:18:23 | |
AUDIENCE GASPS | 0:18:23 | 0:18:25 | |
I know, right? I can tell by this, you are quite high. | 0:18:25 | 0:18:28 | |
We were on the ground that day. | 0:18:29 | 0:18:31 | |
We're in the ball, hanging underneath. | 0:18:31 | 0:18:34 | |
The rest of the cast. | 0:18:34 | 0:18:36 | |
And because, you know, Tom does all this stuff, | 0:18:38 | 0:18:41 | |
does that mean that you guys have to say yes to everything? | 0:18:41 | 0:18:44 | |
-Fucking hell, yeah. -LAUGHTER | 0:18:44 | 0:18:47 | |
They want to. They can't wait. | 0:18:49 | 0:18:51 | |
-You can't get these guys out of the stunt room. -Do you know what? | 0:18:51 | 0:18:54 | |
-You can't. -Henry is, like, in the helicopter, he was loving it. | 0:18:54 | 0:18:57 | |
You were freezing in that helicopter. | 0:18:57 | 0:18:58 | |
Oh, the helicopter was cold. | 0:18:58 | 0:19:00 | |
It's a New Zealand winter and the doors are open. | 0:19:00 | 0:19:03 | |
You posted a picture on your Instagram of you doing a stunt | 0:19:03 | 0:19:07 | |
which looks very painful. | 0:19:07 | 0:19:08 | |
I think it is you being lowered down a cliff by your nipples. | 0:19:08 | 0:19:11 | |
LAUGHTER | 0:19:11 | 0:19:14 | |
-That was his holiday. -I don't know how they wrote that into the script. | 0:19:14 | 0:19:18 | |
It's not in the script. | 0:19:18 | 0:19:20 | |
I love the stiff neck and the thumb. | 0:19:20 | 0:19:22 | |
STRAINS: "Yeah, I'm fine!" | 0:19:22 | 0:19:24 | |
It's one of those moments where you are being lowered off this | 0:19:24 | 0:19:27 | |
a 1,800-foot cliff and you're thinking... | 0:19:27 | 0:19:29 | |
You know those moments. | 0:19:29 | 0:19:30 | |
-Yeah, one of those moments. -One of those moments, as you do. | 0:19:30 | 0:19:33 | |
And you're thinking, "I know I'm perfectly safe | 0:19:33 | 0:19:35 | |
"because the stunt crew is absolutely fantastic. | 0:19:35 | 0:19:37 | |
-"Eastward team is..." -Trust the harness. -No, they're really good. | 0:19:37 | 0:19:40 | |
And you trust the harness and they've all triple-checked everything. | 0:19:40 | 0:19:43 | |
But it is still 1,800-foot and you are walking off backwards. | 0:19:43 | 0:19:46 | |
And they are not doing it. | 0:19:46 | 0:19:49 | |
It is so high and the boats at the bottom, in the fjord, | 0:19:49 | 0:19:53 | |
are about this big, that it looks like a painting. | 0:19:53 | 0:19:56 | |
And so you lose all sense of, like, fear | 0:19:56 | 0:19:59 | |
and adrenaline for the height and start thinking, | 0:19:59 | 0:20:01 | |
"If I were to fall, could I kind of like squirrel suit with my jacket..." | 0:20:01 | 0:20:04 | |
LAUGHTER | 0:20:04 | 0:20:06 | |
"..and make it all the way to the water and maybe just skim?" | 0:20:06 | 0:20:09 | |
LAUGHTER You've been in Superman too much. | 0:20:09 | 0:20:12 | |
It has got to you. | 0:20:14 | 0:20:16 | |
Rebecca Ferguson, obviously, you know, with child now | 0:20:16 | 0:20:19 | |
so, that makes stunts harder, | 0:20:19 | 0:20:21 | |
but even when you did the last movie, you seemed quite unsuited. | 0:20:21 | 0:20:25 | |
-I mean, you did suffer from vertigo going into these. -Oh, yeah. | 0:20:25 | 0:20:28 | |
So, it seems a bizarre thing to say yes to being in one of these films. | 0:20:28 | 0:20:33 | |
Well, I didn't really know what I was saying yes to. | 0:20:33 | 0:20:36 | |
-OK. -Because I don't really know how these films were made. | 0:20:36 | 0:20:40 | |
So, you know, when I was on the camel in the desert... | 0:20:40 | 0:20:42 | |
We explained it to you. | 0:20:42 | 0:20:43 | |
Very quickly and then the first day of shooting, Tom, what did we do? | 0:20:43 | 0:20:48 | |
-We jumped off of a building. -Yeah. -LAUGHTER | 0:20:48 | 0:20:51 | |
First day of shooting. | 0:20:51 | 0:20:52 | |
I think we've got a picture of you. | 0:20:52 | 0:20:55 | |
-That's me swearing and shouting the naughtiest words ever. -In my ear. | 0:20:55 | 0:21:00 | |
-In your ear. -She's like, "I'm so sorry. Swear, swear, swear. | 0:21:00 | 0:21:03 | |
"Did I say that? I'm so sorry. I'm just so... I'm just so... Oh..." | 0:21:03 | 0:21:08 | |
The worst words ever. | 0:21:08 | 0:21:10 | |
And then we jump off and he just looks at me | 0:21:10 | 0:21:12 | |
in the Tom Cruise kind of way and he goes, "Welcome to Mission." | 0:21:12 | 0:21:15 | |
LAUGHTER | 0:21:15 | 0:21:18 | |
I don't remember saying that. | 0:21:18 | 0:21:20 | |
I do not remember saying that. | 0:21:21 | 0:21:24 | |
-No way! -You did. | 0:21:24 | 0:21:26 | |
That is way too cheesy. I would never say that. | 0:21:26 | 0:21:28 | |
-LAUGHTER -You said it's all of us! | 0:21:28 | 0:21:31 | |
-I remember my special day, too. -LAUGHTER | 0:21:33 | 0:21:37 | |
Now, normally, ladies and gentlemen, on a show like this, | 0:21:37 | 0:21:39 | |
we would show a clip of Mission: Impossible, | 0:21:39 | 0:21:41 | |
-but you haven't finished the film yet. -Sorry. | 0:21:41 | 0:21:44 | |
So, we thought we'd make a snatch of one of our own. | 0:21:45 | 0:21:48 | |
Now, one of the most iconic stunts that you do, Tom, | 0:21:48 | 0:21:51 | |
is the running away from something exploding. | 0:21:51 | 0:21:54 | |
-You are very good at it. -Thank you very much. | 0:21:54 | 0:21:57 | |
We've got some stills. There's running away from a van. | 0:21:57 | 0:21:59 | |
Ooh, that's in the Channel Tunnel there. | 0:21:59 | 0:22:02 | |
-And this is the exploding fish tank. -Oh, yes. -There you go. | 0:22:02 | 0:22:05 | |
GRAHAM GASPS Do you know, I've just noticed, that is a very good move. | 0:22:05 | 0:22:09 | |
-I like that. -Yes, touchdown. -That's excellent. -Score. | 0:22:09 | 0:22:11 | |
That is very good. | 0:22:11 | 0:22:13 | |
Presumably timing is key. | 0:22:13 | 0:22:15 | |
Because these are real explosions. | 0:22:15 | 0:22:17 | |
They are real explosions. Key. | 0:22:17 | 0:22:19 | |
That one was particularly very crazy. | 0:22:19 | 0:22:22 | |
Was this the one where no-one properly told you the timing? | 0:22:22 | 0:22:25 | |
Yeah, the guy was over there and he said, | 0:22:25 | 0:22:27 | |
"OK, we're going to go on three." | 0:22:27 | 0:22:29 | |
And he started going, "Three, two, one." | 0:22:29 | 0:22:31 | |
And I said, "Whoa, whoa, whoa. Stop. Stop." | 0:22:31 | 0:22:33 | |
And I'm waiting, we have an explosion that is | 0:22:33 | 0:22:35 | |
going to go over my head. | 0:22:35 | 0:22:36 | |
And I said, "You just said on three." | 0:22:36 | 0:22:40 | |
He said, "Well I meant three." "Well, what does that mean?" | 0:22:40 | 0:22:43 | |
-LAUGHTER -So I said, "Everyone, just, please..." | 0:22:43 | 0:22:46 | |
It was like two in the morning and they are setting it up | 0:22:46 | 0:22:49 | |
and there is broken... There is glass, just tonnes of water and... | 0:22:49 | 0:22:54 | |
He said, "Well, I'm going to, 'Three, two, one'" | 0:22:54 | 0:22:57 | |
And I said, "Do I go then or do I go on one? Like, when do I go?" | 0:22:57 | 0:23:01 | |
LAUGHTER | 0:23:01 | 0:23:02 | |
"Do I go on one? Are you going to push the button? | 0:23:02 | 0:23:04 | |
"Is it going to explode on one?" It was, you know... | 0:23:04 | 0:23:07 | |
He kind of looked at me like..." I don't know." | 0:23:07 | 0:23:09 | |
-LAUGHTER -"I'm not sure." | 0:23:09 | 0:23:12 | |
-Around then. -Around then. | 0:23:12 | 0:23:14 | |
-Just go. Just run. -"When you hear the explosion, just go." | 0:23:15 | 0:23:18 | |
"Yeah, you really ought to run cos it's very dangerous." | 0:23:18 | 0:23:21 | |
"Yes, it's very dangerous, I would run real fast if I were you." | 0:23:21 | 0:23:24 | |
"If I was you, I wouldn't hang around." | 0:23:24 | 0:23:25 | |
Well, listen, what we've done is we've got a green screen here. | 0:23:25 | 0:23:29 | |
So we are going to raise up a green screen at great speed. | 0:23:29 | 0:23:33 | |
LAUGHTER | 0:23:33 | 0:23:35 | |
APPLAUSE | 0:23:35 | 0:23:39 | |
OK, while we are waiting for that... | 0:23:39 | 0:23:42 | |
..while we're waiting for that, we're going to get some members of | 0:23:42 | 0:23:45 | |
the audience to do this. But in terms of this, Tom, | 0:23:45 | 0:23:48 | |
what we're going to do, they're going to start back there. | 0:23:48 | 0:23:51 | |
They're going to run, OK? | 0:23:51 | 0:23:53 | |
They're going to run to here | 0:23:53 | 0:23:55 | |
and then that's the top of the explosion and they're going to want | 0:23:55 | 0:23:57 | |
to get height and presumably facial expression. | 0:23:57 | 0:24:00 | |
So, in terms of jumping, what's the best way to get height? | 0:24:00 | 0:24:03 | |
-Are they going to land in the mats? -Yeah, that's the idea. | 0:24:03 | 0:24:05 | |
Well, first of all, watch your ankle on the mat cos... | 0:24:05 | 0:24:07 | |
-LAUGHTER He knows this, he knows this. -Yes. | 0:24:07 | 0:24:10 | |
OK, let's get some people to do this. | 0:24:10 | 0:24:13 | |
We will get to you. Hang on. Who...? Now... | 0:24:13 | 0:24:16 | |
Who wants to do it? | 0:24:16 | 0:24:18 | |
You want to do it? OK, you can come do it. Come do it. | 0:24:18 | 0:24:21 | |
-What is your name? -Jamie. | 0:24:21 | 0:24:22 | |
Jamie, lovely. Cheers for Jamie. | 0:24:22 | 0:24:24 | |
-Oop. -He's not doing well. | 0:24:28 | 0:24:30 | |
-Watch your ankle. Watch your ankle, man. -Come this way. Come this way. | 0:24:30 | 0:24:33 | |
-Up you go. -You shouldn't let him do it. He fell off the step! | 0:24:33 | 0:24:35 | |
LAUGHTER | 0:24:35 | 0:24:37 | |
Up you go. So, Tom, tips for Jamie. | 0:24:37 | 0:24:42 | |
What sort of facial expression should he go for? | 0:24:42 | 0:24:45 | |
-Fear? -Just whatever feels natural. Just... | 0:24:45 | 0:24:47 | |
-The most important thing is don't get blown up. -Don't get blown up. | 0:24:47 | 0:24:50 | |
-So I'm trying not to get blown up? -Yeah, that's it. Try not to get blown up. | 0:24:50 | 0:24:53 | |
-I'm escaping. -You are escaping. -Yes, escaping. -But you are brave. -Yeah. | 0:24:53 | 0:24:58 | |
-You're brave. -He's brave. | 0:24:58 | 0:24:59 | |
You know, you can't look terrified. | 0:24:59 | 0:25:01 | |
-You are frightened, but you are still brave. -Yes. | 0:25:01 | 0:25:03 | |
-Frightened but brave. I'm not going to go too high. -Why? | 0:25:03 | 0:25:06 | |
No, I'll do it for you. | 0:25:06 | 0:25:07 | |
I like that, "I'm not going to go to high." | 0:25:07 | 0:25:09 | |
LAUGHTER | 0:25:09 | 0:25:11 | |
-Do what you feel comfortable. -So, what's the countdown? | 0:25:11 | 0:25:13 | |
-Is it three, two, one? -Three, two, one, go. | 0:25:13 | 0:25:16 | |
-OK, so you're going on one. HENRY: -On three. -On two. -Three. | 0:25:16 | 0:25:21 | |
No, one. | 0:25:21 | 0:25:23 | |
-You do it, Simon. -Three, two, one, go. | 0:25:23 | 0:25:25 | |
OK, here we go. Here we go. Here we go, Jamie. | 0:25:25 | 0:25:28 | |
ALL: So, it's three, two, one, go! | 0:25:28 | 0:25:32 | |
-Ahh! -APPLAUSE | 0:25:32 | 0:25:35 | |
That was good, Jamie. Excellent. | 0:25:35 | 0:25:38 | |
-Well done, Jamie. -That was very good. | 0:25:43 | 0:25:45 | |
OK, well done, Jamie. | 0:25:47 | 0:25:49 | |
-Should we see it? -Yes. | 0:25:49 | 0:25:51 | |
OK, have a seat, have a seat. Let's see it. | 0:25:51 | 0:25:53 | |
Oh, there's Jamie. MUSIC: Mission: Impossible Theme. | 0:25:53 | 0:25:55 | |
He's running, he's running. | 0:25:55 | 0:25:57 | |
Oh! He looked like he was loving it. | 0:25:57 | 0:26:00 | |
Loving life. | 0:26:00 | 0:26:02 | |
Do we have a woman who'd like to do it? Oh, you would like to do it? | 0:26:04 | 0:26:07 | |
OK, here you go. You go. Are you all right in that dress? | 0:26:07 | 0:26:09 | |
-Yeah, it's fine. -OK, fine. | 0:26:09 | 0:26:11 | |
-What's your name? -Maddie. -Maddie, all right, Maddie, up here. | 0:26:11 | 0:26:14 | |
There you go. OK, here comes Maddie. So, you saw Jamie. | 0:26:14 | 0:26:18 | |
You saw Jamie, so it is very important that you just piss all over that. | 0:26:18 | 0:26:21 | |
LAUGHTER | 0:26:21 | 0:26:23 | |
-OK, so, women just do it the same, right, Rebecca? -Yes, we do. | 0:26:23 | 0:26:27 | |
Absolutely. And think, think up. OK? I want you to think up. | 0:26:27 | 0:26:31 | |
-Elevation, we are looking for elevation. -And relax you face. | 0:26:32 | 0:26:35 | |
Jamie was like a stone. LAUGHTER | 0:26:35 | 0:26:38 | |
-SIMON: -One thing, Jamie did when Jamie did it, which you saw in the playback, | 0:26:38 | 0:26:42 | |
was it looked like Jamie did a really big fart. | 0:26:42 | 0:26:44 | |
LAUGHTER | 0:26:44 | 0:26:46 | |
That exploded. Don't do that. | 0:26:46 | 0:26:49 | |
-OK, here goes Maddie, here goes Maddie. REBECCA: -You can do it. | 0:26:49 | 0:26:53 | |
-And just remember - have fun. -ALL: Three, two, one, go! | 0:26:53 | 0:26:56 | |
-Ahh! -APPLAUSE | 0:26:57 | 0:27:00 | |
Oh, that is going to be good. | 0:27:00 | 0:27:02 | |
That's going to be good, Maddie. | 0:27:02 | 0:27:04 | |
Well done. There you go, love. Have a seat. We'll have a look. | 0:27:04 | 0:27:08 | |
-You guys want to shake...? -OK. No, they don't. | 0:27:08 | 0:27:11 | |
-They are not nice like you. -Yeah. -OK, here's Maddie. | 0:27:11 | 0:27:14 | |
MUSIC: Mission: Impossible Theme | 0:27:14 | 0:27:17 | |
Supercool Maddie. | 0:27:22 | 0:27:23 | |
Should we do one more? One more. One more, let's get someone... | 0:27:26 | 0:27:30 | |
You'd like to do it. Oh, you would be so good at it. | 0:27:33 | 0:27:36 | |
Come on. Have a go. Have a go. | 0:27:36 | 0:27:38 | |
-What's your name? -Evelyn. -Sorry? -Evelyn. -Evelyn. | 0:27:39 | 0:27:43 | |
OK, Evelyn, up you go, Evelyn. Here we go. | 0:27:43 | 0:27:46 | |
We're rooting for you, Evelyn. | 0:27:46 | 0:27:48 | |
So, you are OK? You are fit? You are fit? OK. Right now you are fit. | 0:27:51 | 0:27:56 | |
At the moment, you are OK. | 0:27:57 | 0:27:59 | |
OK, you've seen the others, you've seen the others. | 0:27:59 | 0:28:02 | |
I think the important thing is, particularly, because you look | 0:28:02 | 0:28:05 | |
so beautiful, big face at the end. OK? | 0:28:05 | 0:28:06 | |
So we're looking for height here, Evelyn, height. And then forward. | 0:28:06 | 0:28:09 | |
-REBECCA: -I'd take my shoes off. -I know. -OK? -Take your shoes off. | 0:28:09 | 0:28:12 | |
-You are good? You are good? -I'm good. -OK, lovely. | 0:28:12 | 0:28:16 | |
This is Evelyn, going for it. | 0:28:16 | 0:28:18 | |
LOUD CHEERS AND APPLAUSE Wait, wait, wait. | 0:28:18 | 0:28:20 | |
So, here we go. Three, two, one, go. | 0:28:20 | 0:28:25 | |
Ahh! | 0:28:25 | 0:28:27 | |
Well done, Evelyn! | 0:28:30 | 0:28:32 | |
-You did so good. -That was amazing. | 0:28:32 | 0:28:34 | |
-You all right? -I'm fine. -There we go. | 0:28:36 | 0:28:38 | |
OK, let's have a look. | 0:28:40 | 0:28:41 | |
Good job. Let's watch Evelyn. | 0:28:41 | 0:28:44 | |
MUSIC: Mission: Impossible Theme Here she goes, here she goes! | 0:28:44 | 0:28:48 | |
I fear she may not be Mission: Impossible 7. | 0:28:55 | 0:28:58 | |
It was a lovely day out at the dynamite factory. | 0:28:58 | 0:29:01 | |
Oh, dear. Now, Henry, this is your first film with Tom Cruise, | 0:29:03 | 0:29:06 | |
but it wasn't meant to be. | 0:29:06 | 0:29:07 | |
You were supposed to be in another film with Tom Cruise. | 0:29:07 | 0:29:10 | |
Well, we had the opportunity, yes. | 0:29:10 | 0:29:12 | |
The Man From UNCLE, originally Tom was playing Napoleon Solo. | 0:29:12 | 0:29:16 | |
And I auditioned for Armie Hammer's role, Illya Kuryakin. | 0:29:16 | 0:29:20 | |
And I went to Tom's house in LA and... | 0:29:20 | 0:29:23 | |
Which is very surreal, by the way, | 0:29:23 | 0:29:25 | |
when you're trying to make things work in your career | 0:29:25 | 0:29:28 | |
and you get into a taxi in LA | 0:29:28 | 0:29:31 | |
and you feel like saying, "Take me to Tom Cruise's house." | 0:29:31 | 0:29:35 | |
LAUGHTER | 0:29:35 | 0:29:36 | |
You give an address and you turn up and there's this big | 0:29:36 | 0:29:39 | |
gate everywhere and it's obviously a nice area. | 0:29:39 | 0:29:42 | |
-I imagine it's nice. -He's done fairly well for himself. | 0:29:42 | 0:29:44 | |
The garden is nice, he keeps it nice, yeah. | 0:29:44 | 0:29:47 | |
-That lawn is cut! -Yeah. | 0:29:47 | 0:29:49 | |
The hanging baskets, gorgeous. | 0:29:52 | 0:29:54 | |
Yeah, I got to meet Tom then | 0:29:56 | 0:29:57 | |
and we read through some lines with Guy Ritchie in his house | 0:29:57 | 0:30:01 | |
and it was still just very surreal for me thinking, | 0:30:01 | 0:30:03 | |
"I'm sitting here with Guy Ritchie and Tom Cruise | 0:30:03 | 0:30:06 | |
"in Tom Cruise's house. Like, when will I stop sweating?" | 0:30:06 | 0:30:10 | |
LAUGHTER "I'm leaving stains." | 0:30:10 | 0:30:13 | |
-LAUGHTER -Left a really good impression. | 0:30:13 | 0:30:17 | |
But then you got the Tom Cruise role | 0:30:20 | 0:30:22 | |
and so now you're Man From UNCLE, Mission: Impossible, | 0:30:22 | 0:30:25 | |
two big, big franchises | 0:30:25 | 0:30:27 | |
and you've talked to us before about how close the James Bond thing came. | 0:30:27 | 0:30:30 | |
-Yeah. -That you were down to the final two. | 0:30:30 | 0:30:32 | |
But I like the thing you did then | 0:30:32 | 0:30:34 | |
when you got your first kind of big pay cheque with your dad. | 0:30:34 | 0:30:37 | |
Oh, yeah. When I got my first big pay cheque. | 0:30:37 | 0:30:40 | |
It had been a few years, I'd been working as an actor | 0:30:40 | 0:30:42 | |
-for a few years... -How much was it? -Ha... | 0:30:42 | 0:30:44 | |
-Don't ask him that. -I'm just joking. -That's so Swedish. | 0:30:44 | 0:30:48 | |
200 or 300... | 0:30:50 | 0:30:52 | |
..pounds. | 0:30:52 | 0:30:54 | |
So I went back to Jersey with my dad | 0:30:54 | 0:30:57 | |
and I thought I want to treat myself. I haven't actually got myself anything | 0:30:57 | 0:31:01 | |
and we were discussing what to do with it. | 0:31:01 | 0:31:02 | |
And he said, "How about a car?" I was still driving my Peugeot 206. | 0:31:02 | 0:31:06 | |
It was the first car I ever had. | 0:31:06 | 0:31:07 | |
-And I was like, you know, it's time to upgrade. -Yeah. | 0:31:07 | 0:31:09 | |
-This thing struggles uphill at this stage. -Yeah. | 0:31:09 | 0:31:12 | |
And went to the local fancy garage and there was | 0:31:12 | 0:31:15 | |
a number of nice cars there and the R8, the Audi R8, | 0:31:15 | 0:31:18 | |
was one that really stood out to me and I thought, "This is a great car." | 0:31:18 | 0:31:21 | |
I was looking at it. And my dad was kind of sort of pausing around this other car and I... | 0:31:21 | 0:31:26 | |
In the really nice section. | 0:31:26 | 0:31:27 | |
And I was like, "What are you doing over there?" And he said, "I'm just looking at this car." | 0:31:27 | 0:31:31 | |
And I was like, "Oh, yeah, wow, this is really nice. Yeah, one day, huh?" | 0:31:31 | 0:31:35 | |
And he went, "Hm." | 0:31:35 | 0:31:36 | |
-LAUGHTER -And I said, "What do you mean?" | 0:31:36 | 0:31:39 | |
"Hm." | 0:31:39 | 0:31:41 | |
He went, "Well, I mean, I'm sure we can make this work." | 0:31:41 | 0:31:43 | |
And I was like, "It's an Aston Martin DBS, like, you can't just make this work. | 0:31:43 | 0:31:48 | |
"You can't toy with my emotions like that. | 0:31:48 | 0:31:50 | |
"It either can or can't." And he's like, "Yeah, well, you know. Yeah. | 0:31:50 | 0:31:53 | |
"I think it could be a thing, but, you know, think about it. | 0:31:53 | 0:31:55 | |
"Think about what car you want, the two different cars." | 0:31:55 | 0:31:58 | |
And I was like, "I'm not thinking about anything. | 0:31:58 | 0:32:00 | |
"The Aston Martin DBS." And so, that was my second car. | 0:32:00 | 0:32:04 | |
Wow! That's quite a trajectory. | 0:32:04 | 0:32:09 | |
Now I'm thinking, though, does it stay on Jersey, | 0:32:09 | 0:32:12 | |
so your dad gets to drive it all the time? | 0:32:12 | 0:32:14 | |
-I've now forbade him from driving it. -OK. | 0:32:14 | 0:32:17 | |
A couple of near scrapes. | 0:32:17 | 0:32:19 | |
But, yeah, it does actually stay on Jersey, yes. | 0:32:19 | 0:32:22 | |
But I do like this idea of that, you know, because everyone | 0:32:22 | 0:32:24 | |
struggles and then suddenly, "Ooh, I've got a bit of money. | 0:32:24 | 0:32:27 | |
"What am I going to do with my first big pay cheque?" | 0:32:27 | 0:32:30 | |
Rebecca, do you remember what you did with yours? | 0:32:30 | 0:32:33 | |
I bought a... | 0:32:33 | 0:32:35 | |
God, I wish it were something more cool. | 0:32:35 | 0:32:38 | |
I bought a pair of Dior sunglasses | 0:32:38 | 0:32:41 | |
and then they got stolen the day after, but they left the case. | 0:32:41 | 0:32:44 | |
LAUGHTER | 0:32:44 | 0:32:47 | |
I like, "I bought Aston Martin. I bought some sunglasses." | 0:32:47 | 0:32:51 | |
-But they were really nice. -MORE LAUGHTER | 0:32:52 | 0:32:56 | |
Tom Cruise, do you remember what you did with your first | 0:32:56 | 0:32:58 | |
kind of cheque where you noticed you had some money in the bank? | 0:32:58 | 0:33:00 | |
Yeah. Yeah. | 0:33:00 | 0:33:02 | |
LAUGHTER | 0:33:02 | 0:33:05 | |
Well, you answered that question. | 0:33:05 | 0:33:08 | |
-Can you say? Is it a terrible thing? -No, no. | 0:33:08 | 0:33:10 | |
I actually paid for my sister's college education and... | 0:33:10 | 0:33:14 | |
-Oh, that's so him! -APPLAUSE | 0:33:14 | 0:33:17 | |
I did. | 0:33:17 | 0:33:18 | |
And then the next one, I bought my other sister a car. | 0:33:21 | 0:33:24 | |
-Yeah. -Your sister a car, not yourself? -No. My sister. | 0:33:24 | 0:33:28 | |
"My Aston Martin." LAUGHTER | 0:33:30 | 0:33:32 | |
-His dad's Aston Martin. -Yeah. | 0:33:34 | 0:33:36 | |
Yeah, you should change that to "I bought my dad an Aston Martin." | 0:33:36 | 0:33:39 | |
Because that's actually what happened. | 0:33:39 | 0:33:40 | |
I do feel like I've been set up a little bit. | 0:33:40 | 0:33:42 | |
LAUGHTER | 0:33:42 | 0:33:44 | |
-Simon Pegg, what did you? -Make it up. | 0:33:44 | 0:33:46 | |
-No, this is true, I bought a second-hand... -Orphanage. | 0:33:46 | 0:33:50 | |
-A second-hand orphanage. -LAUGHTER | 0:33:50 | 0:33:55 | |
I kicked all those little shits out... | 0:33:57 | 0:34:00 | |
That's where I park my Aston Martin now. | 0:34:00 | 0:34:04 | |
No, I bought a second-hand Mazda MX5 with my Switch card. | 0:34:04 | 0:34:07 | |
LAUGHTER | 0:34:07 | 0:34:10 | |
It was my first pay cheque for Big Train, | 0:34:10 | 0:34:12 | |
which was a sketch show on BBC TWO and I bought a car | 0:34:12 | 0:34:17 | |
with my Switch card, which was like a little debit card. You remember. | 0:34:17 | 0:34:20 | |
See, I thought you would have bought something kind of more nerdy, | 0:34:20 | 0:34:23 | |
like the Death Star made of Lego or something. | 0:34:23 | 0:34:25 | |
That seemed to be where you'd go shopping. | 0:34:25 | 0:34:27 | |
I did once by a Darth Vader helmet which cost more, but... | 0:34:27 | 0:34:31 | |
-That was slightly later. -Was it original? | 0:34:31 | 0:34:33 | |
It was one that had been decorated by a graffiti artist. | 0:34:33 | 0:34:36 | |
They did this whole art project called The Vader Project | 0:34:36 | 0:34:39 | |
and they decorated all these Darth Vader helmets and I bought one. | 0:34:39 | 0:34:41 | |
Because that is you. You are a proper... | 0:34:41 | 0:34:44 | |
..you are a proper fan of all of these things. | 0:34:44 | 0:34:47 | |
And now you are every... | 0:34:47 | 0:34:49 | |
..people, nerds are so jealous of you | 0:34:49 | 0:34:50 | |
because you've done the trifecta, haven't you? | 0:34:50 | 0:34:53 | |
Yes, Dr Who, Star Trek and Star Wars, yeah. | 0:34:53 | 0:34:56 | |
You've been in them all. | 0:34:56 | 0:34:57 | |
Yes. I wrote Star Trek as well, which is an added point. | 0:34:57 | 0:35:01 | |
If I was a bit of chocolate, I would eat myself, wouldn't I? | 0:35:01 | 0:35:04 | |
LAUGHTER | 0:35:04 | 0:35:06 | |
And if you are listening to this and kind of thinking, | 0:35:06 | 0:35:09 | |
I don't remember Simon Pegg in Star Wars. | 0:35:09 | 0:35:12 | |
You were in it, you are properly in it. Here you are. That... | 0:35:12 | 0:35:15 | |
You had a character name and everything. | 0:35:19 | 0:35:20 | |
Unkar Plutt. Yeah. He was a junk dealer on the planet Jakku. | 0:35:20 | 0:35:25 | |
And I was wearing that in 50-degree heat. | 0:35:25 | 0:35:28 | |
And I had these big rubber, silicon gauntlets on which | 0:35:28 | 0:35:31 | |
were my fingers. | 0:35:31 | 0:35:33 | |
And when I took them off, I could pour the sweat out. | 0:35:33 | 0:35:36 | |
If you're interested, your sweat is a sort of milky colour. | 0:35:36 | 0:35:38 | |
GROANS TURN TO LAUGHTER | 0:35:38 | 0:35:41 | |
Cos, Henry, you are quite a nerd as well. | 0:35:43 | 0:35:45 | |
I mean, you must have been so geeked to be Superman, to kind of like... | 0:35:45 | 0:35:49 | |
-Yeah, yeah. No, I am a geek. -Yeah. | 0:35:49 | 0:35:53 | |
-We talk a bit on set about stuff, don't we? -Yeah, we do. | 0:35:53 | 0:35:56 | |
-Quietly in dark corners. -We have comic chats. | 0:35:56 | 0:35:59 | |
We're actually... We're... Can I tell this story? We were in... | 0:35:59 | 0:36:02 | |
-REBECCA: -He doesn't have a chance to answer? -He didn't say yes. | 0:36:02 | 0:36:04 | |
What's he going to say? | 0:36:04 | 0:36:06 | |
-It's like, "Henry, get in this helicopter. You OK?" -HE IMITATES HELICOPTER | 0:36:06 | 0:36:09 | |
-SHOUTS: -"No!" | 0:36:09 | 0:36:11 | |
We were shooting a car chase in Paris and it was me, | 0:36:11 | 0:36:15 | |
Tom, Sean Harris, Ving Rhames and Henry. | 0:36:15 | 0:36:17 | |
You just asked him if he could tell it, you didn't ask me. | 0:36:17 | 0:36:20 | |
-Can I tell this story? You come out all right. -Oh, yeah. | 0:36:20 | 0:36:23 | |
This is the one... Oh, yeah. | 0:36:23 | 0:36:25 | |
It is a very cramped car, particularly with Ving | 0:36:25 | 0:36:28 | |
and Henry, who are both big guys and me in the middle, | 0:36:28 | 0:36:31 | |
bombing around Paris. And every time we finished the shot, we have | 0:36:31 | 0:36:33 | |
to reset the shot, drive back to the start point so we can do it again. | 0:36:33 | 0:36:36 | |
Henry has had enough of sitting in the cramped car, so he says, | 0:36:36 | 0:36:39 | |
"Can I run back? I'll run back to..." | 0:36:39 | 0:36:41 | |
-Cos you do a bit of running, don't you? -Yeah, yeah. | 0:36:41 | 0:36:43 | |
So, Henry took off and ran back to position one whereas we... | 0:36:43 | 0:36:47 | |
And we just drove next to him going... | 0:36:47 | 0:36:48 | |
HE HUMS THE SUPERMAN THEME SONG | 0:36:48 | 0:36:52 | |
He was doing the score, we were just driving. He did the whole thing. | 0:36:53 | 0:36:57 | |
The whole way right next to him. | 0:36:57 | 0:36:58 | |
It's one of the coolest moments of my life is having Tom Cruise | 0:36:58 | 0:37:01 | |
do that driving next to you. | 0:37:01 | 0:37:02 | |
You know you've made it. | 0:37:05 | 0:37:07 | |
Right, it is time for music. | 0:37:11 | 0:37:13 | |
This Brit Award-winning songstress is back with a number one album, | 0:37:13 | 0:37:16 | |
The Architect. | 0:37:16 | 0:37:18 | |
Performing Till I'm Done, it is Paloma Faith, everybody. | 0:37:18 | 0:37:21 | |
# I'm a fighter and I made it through | 0:37:34 | 0:37:38 | |
# Solid gold survivor That's my attitude | 0:37:38 | 0:37:42 | |
-# But I didn't know -I didn't know | 0:37:42 | 0:37:44 | |
-# I didn't know -I didn't know | 0:37:44 | 0:37:46 | |
# I had to be your hero | 0:37:46 | 0:37:49 | |
# Baby, don't ask me to be strong for you as well | 0:37:49 | 0:37:54 | |
# Pushed off the edge and now I'm back from hell | 0:37:54 | 0:37:58 | |
-# But I didn't know -I didn't know | 0:37:58 | 0:38:00 | |
-# I didn't know -I didn't know | 0:38:00 | 0:38:02 | |
# I had to be your hero, mm-mm-mm | 0:38:02 | 0:38:06 | |
-# So give me light -I'm not built to carry us both | 0:38:06 | 0:38:10 | |
-# So give me light -Time to rest my weary bones | 0:38:10 | 0:38:14 | |
-# So give me light -You've got to go your own road | 0:38:14 | 0:38:20 | |
# Help me see | 0:38:21 | 0:38:23 | |
# Just when I thought I'd had enough | 0:38:23 | 0:38:25 | |
# Had no more light and no more love | 0:38:25 | 0:38:26 | |
# It's not over | 0:38:26 | 0:38:28 | |
# It's not over | 0:38:28 | 0:38:31 | |
# I won't save you when I'm weak | 0:38:31 | 0:38:32 | |
# Only got so much left to give | 0:38:32 | 0:38:35 | |
# It's not over | 0:38:35 | 0:38:36 | |
# It's not over | 0:38:36 | 0:38:38 | |
# Till I'm done | 0:38:38 | 0:38:40 | |
# Oh-oh, oh-oh, ooh | 0:38:40 | 0:38:41 | |
# Oh-oh, oh-oh, ooh | 0:38:41 | 0:38:43 | |
# Oh-oh, oh-oh, ooh | 0:38:43 | 0:38:46 | |
-# Till I'm done -# Oh-oh, oh-oh, ooh | 0:38:46 | 0:38:49 | |
# Oh-oh, oh-oh, ooh | 0:38:49 | 0:38:51 | |
# Oh-oh, oh-oh, ooh | 0:38:51 | 0:38:54 | |
# Till I'm done | 0:38:54 | 0:38:56 | |
# You look at me and see how much I take | 0:38:58 | 0:39:02 | |
# But with this heart of glass I'm about to break | 0:39:02 | 0:39:06 | |
-# But I didn't know -I didn't know | 0:39:06 | 0:39:08 | |
-# I didn't know -I didn't know | 0:39:08 | 0:39:10 | |
# I had to be your hero, mm-mm-mm | 0:39:10 | 0:39:14 | |
-# So give me light -I'm not built to carry us both | 0:39:14 | 0:39:18 | |
-# So give me light -Time to rest my weary bones | 0:39:18 | 0:39:22 | |
-# So give me light -You've got to go your own road | 0:39:22 | 0:39:29 | |
# Help me see | 0:39:29 | 0:39:30 | |
# Just when I thought I'd had enough | 0:39:30 | 0:39:33 | |
# Had no more light and no more love | 0:39:33 | 0:39:35 | |
# It's not over | 0:39:35 | 0:39:36 | |
# It's not over | 0:39:36 | 0:39:39 | |
# I won't save you when I'm weak | 0:39:39 | 0:39:40 | |
# Only got so much left to give | 0:39:40 | 0:39:42 | |
# It's not over | 0:39:42 | 0:39:44 | |
# It's not over | 0:39:44 | 0:39:46 | |
# Till I'm done | 0:39:46 | 0:39:48 | |
# Whatcha think you ever did for me before? | 0:39:48 | 0:39:50 | |
# So give me light | 0:39:50 | 0:39:52 | |
# Blocked out the sun and let the moon fall on the floor | 0:39:52 | 0:39:54 | |
# So give me light | 0:39:54 | 0:39:56 | |
# I am empty, ain't got nothing left to give | 0:39:56 | 0:39:58 | |
# So give me light | 0:39:58 | 0:40:00 | |
# And no, you ain't the one I wanna be with | 0:40:00 | 0:40:03 | |
# Just when I thought I'd had enough | 0:40:03 | 0:40:05 | |
# Had no more light and no more love | 0:40:05 | 0:40:07 | |
# It's not over | 0:40:07 | 0:40:08 | |
-# It's not over -It's not over | 0:40:08 | 0:40:11 | |
# I won't save you when I'm weak | 0:40:11 | 0:40:12 | |
# Only got so much left to give | 0:40:12 | 0:40:14 | |
# It's not over | 0:40:14 | 0:40:16 | |
-# I can't save you -It's not over | 0:40:16 | 0:40:18 | |
-# Just when I thought I'd had enough -Ooh! | 0:40:18 | 0:40:21 | |
# Had no more light and no more love | 0:40:21 | 0:40:22 | |
# It's not over | 0:40:22 | 0:40:24 | |
# It's not over | 0:40:24 | 0:40:27 | |
-# I won't save you when I'm weak -Ooh! | 0:40:27 | 0:40:29 | |
# Only got so much left to give | 0:40:29 | 0:40:30 | |
# It's not over | 0:40:30 | 0:40:32 | |
-# It's not over -Till I'm done | 0:40:32 | 0:40:36 | |
# Oh-oh, oh-oh, ooh | 0:40:36 | 0:40:37 | |
# Oh-oh, oh-oh, ooh | 0:40:37 | 0:40:39 | |
# Oh-oh, oh-oh, ooh | 0:40:39 | 0:40:42 | |
-# Till I'm done -Oh-oh, oh-oh, ooh | 0:40:42 | 0:40:45 | |
# Oh-oh, oh-oh, ooh | 0:40:45 | 0:40:47 | |
-# Oh-oh, oh-oh, ooh -It's not over | 0:40:47 | 0:40:50 | |
# Till I'm done. # | 0:40:50 | 0:40:52 | |
APPLAUSE | 0:40:52 | 0:40:54 | |
Paloma Faith, everybody! | 0:40:59 | 0:41:01 | |
Great job! And the backing singers and the band. | 0:41:01 | 0:41:05 | |
Hello, darling. So lovely to see you. | 0:41:05 | 0:41:08 | |
That was fantastic. Come and meet everybody. | 0:41:08 | 0:41:10 | |
It's Simon, Henry, Rebecca, Tom. | 0:41:10 | 0:41:13 | |
-Nice to see you. -Beautiful job, lady. | 0:41:14 | 0:41:17 | |
-Very good, very good. -My goodness. | 0:41:17 | 0:41:19 | |
-Oh, she's shiny. -Hello, lovely to see you. -Lovely to see you. | 0:41:20 | 0:41:23 | |
Have a seat. Now, so that is off the new album. | 0:41:23 | 0:41:26 | |
-The Architect. -Congratulations. -Thank you. | 0:41:26 | 0:41:29 | |
Here you go. That's it. Number one, ladies and gentlemen! | 0:41:29 | 0:41:32 | |
I love... | 0:41:35 | 0:41:38 | |
I was listening on the radio. | 0:41:38 | 0:41:39 | |
I love how happy you are that it's number one. | 0:41:39 | 0:41:41 | |
-You are not pretending to be cool. -I know! | 0:41:41 | 0:41:43 | |
-You're just over the moon. -I've never been cool, Graham. | 0:41:43 | 0:41:46 | |
I feel like I've just come to the office party at the end of the day. | 0:41:46 | 0:41:50 | |
LAUGHTER | 0:41:50 | 0:41:51 | |
"Hi, guys. So, as a morale building exercise, | 0:41:51 | 0:41:55 | |
"I'm here to just brighten up your lives, so you can slave away | 0:41:55 | 0:41:58 | |
"for another 12 months for my business." | 0:41:58 | 0:42:00 | |
Here's the weird thing. So, you've recorded this album | 0:42:00 | 0:42:03 | |
and you were pregnant when you recorded the album. | 0:42:03 | 0:42:05 | |
-Yeah. As are you. -Now, girl, tell me all about it. No, I'm just joking. | 0:42:05 | 0:42:09 | |
No, but here's the weird thing. I didn't know this. | 0:42:09 | 0:42:11 | |
So your voice changes when you're pregnant. | 0:42:11 | 0:42:13 | |
Well, no, it wasn't when I was pregnant. | 0:42:13 | 0:42:15 | |
It was afterwards that I felt like it was better. | 0:42:15 | 0:42:19 | |
-Oh, OK. -Like, because... | 0:42:19 | 0:42:21 | |
-Have you done it before? Had a baby? -My voice is spectacular. | 0:42:21 | 0:42:25 | |
-SIMON: -Or a number one album. | 0:42:25 | 0:42:27 | |
-Have you had a baby? -Yes, I have had. | 0:42:27 | 0:42:29 | |
So, like, your, sort of, body kind of... Everything moves. | 0:42:29 | 0:42:33 | |
All the organs move and it opens up and goes a bit wild. | 0:42:33 | 0:42:37 | |
A bit graphic. LAUGHTER | 0:42:37 | 0:42:41 | |
-So, I'm like... -Oh, I didn't need that. | 0:42:41 | 0:42:44 | |
No, I'm quite lucky cos some of the things that were like really | 0:42:44 | 0:42:46 | |
bugging me, like continual ailments, | 0:42:46 | 0:42:48 | |
like, never came back because it must've just moved a bit. | 0:42:48 | 0:42:53 | |
And I think my lungs, like, went into a better place or something. | 0:42:53 | 0:42:57 | |
And I was like, "I really just want to re-sing everything." | 0:42:57 | 0:43:01 | |
Cos I'd sung it all pregnant and prepregnancy | 0:43:01 | 0:43:04 | |
and then I was like, "No, this is better." | 0:43:04 | 0:43:06 | |
I feel like I can go from low to high. | 0:43:06 | 0:43:08 | |
But maybe it is psychological because... | 0:43:08 | 0:43:10 | |
-Maybe should have more babies. -I think I might. | 0:43:10 | 0:43:13 | |
Like, can we do one now? | 0:43:13 | 0:43:15 | |
-No. -LAUGHTER | 0:43:15 | 0:43:18 | |
It's...it's late. | 0:43:18 | 0:43:20 | |
-It's late, Paloma. -All right. | 0:43:20 | 0:43:22 | |
There's quite a few nice people to choose from. | 0:43:22 | 0:43:24 | |
It is quite the gene pool. It really is quite the gene pool. | 0:43:25 | 0:43:28 | |
You are right. | 0:43:28 | 0:43:30 | |
-Maybe we can all amalgamate. -Oh, my God. | 0:43:30 | 0:43:32 | |
Well, Tom needs to work tomorrow, so... | 0:43:32 | 0:43:34 | |
Let me ask you very quickly. You are off on tour, aren't you? | 0:43:34 | 0:43:37 | |
-Yeah, in March. -Yeah, fantastic. -I'm really looking forward to it. | 0:43:37 | 0:43:40 | |
Brilliant. Thank you so much for that great performance. | 0:43:40 | 0:43:42 | |
-Paloma Faith, everybody. -Thanks. | 0:43:42 | 0:43:44 | |
Right. That is nearly it, | 0:43:47 | 0:43:49 | |
but before we go, just time a visit to the Big Red Chair. | 0:43:49 | 0:43:53 | |
This is your least favourite bit of the show. | 0:43:53 | 0:43:55 | |
Tom hates this. | 0:43:55 | 0:43:57 | |
-Who's there? Hello. -Hello. | 0:43:57 | 0:44:00 | |
-Hi who are you? -My name is John. | 0:44:00 | 0:44:02 | |
John, hello, John. Where are you from? | 0:44:02 | 0:44:04 | |
-I'm from Scotland. -Lovely. | 0:44:04 | 0:44:06 | |
-Happy Burns Day for yesterday. -Thank you. | 0:44:06 | 0:44:08 | |
LAUGHTER | 0:44:08 | 0:44:11 | |
-And do you live down here now? -I do, I live in central London. -Oh, right. | 0:44:13 | 0:44:17 | |
Oh, central London. None of your suburbs for John. | 0:44:17 | 0:44:20 | |
No, he came from Scotland. He made it! | 0:44:20 | 0:44:24 | |
Zone one! | 0:44:24 | 0:44:26 | |
-What do you do, John? -I'm a lawyer. | 0:44:28 | 0:44:30 | |
Oh, he did make it. | 0:44:30 | 0:44:31 | |
Oh, yeah. Zone one John. | 0:44:31 | 0:44:35 | |
OK, off you go with your story. | 0:44:35 | 0:44:36 | |
-So, my grandad died and... -LAUGHTER | 0:44:36 | 0:44:40 | |
It happens. | 0:44:42 | 0:44:43 | |
We were having an open coffin for him at my grandmother's house. | 0:44:43 | 0:44:47 | |
And they were keeping the coffin out in the conservatory. | 0:44:47 | 0:44:49 | |
And we were having lots of visitors, coming | 0:44:49 | 0:44:51 | |
and going to pay their respects. | 0:44:51 | 0:44:53 | |
So, that damaged the front door to my grandmother's house. | 0:44:53 | 0:44:56 | |
So, my grandad had been a tradesman. | 0:44:56 | 0:44:58 | |
We looked up his book of contacts to find someone | 0:44:58 | 0:45:00 | |
we thought might be able to fix it. | 0:45:00 | 0:45:02 | |
So, we find a man called Jim, give him a call, | 0:45:02 | 0:45:04 | |
and he turns up very early the next morning. | 0:45:04 | 0:45:07 | |
So, he's working away on the door | 0:45:07 | 0:45:08 | |
and I think, "I should probably make small talk." | 0:45:08 | 0:45:11 | |
So, I ask him, "Do you want to pop through and see grandad? | 0:45:11 | 0:45:14 | |
And he sort of casually looked up and said, | 0:45:14 | 0:45:15 | |
"Yeah, I'll pop through when I'm finished, son." | 0:45:15 | 0:45:17 | |
So, he finished the job, got up, | 0:45:17 | 0:45:20 | |
casually walked through into the conservatory, | 0:45:20 | 0:45:23 | |
at which point, I realised he didn't know Grandad had died. | 0:45:23 | 0:45:26 | |
LAUGHTER | 0:45:26 | 0:45:28 | |
So he walked in expecting to see my grandad in his slippers, | 0:45:28 | 0:45:31 | |
reading the paper but saw my grandad very dead, lying in a coffin. | 0:45:31 | 0:45:33 | |
LAUGHTER | 0:45:33 | 0:45:35 | |
The colour completely drained from his face | 0:45:35 | 0:45:37 | |
he then made this inaudible sort of...ooh! | 0:45:37 | 0:45:40 | |
Turned round, and just went out the house so quickly. | 0:45:40 | 0:45:43 | |
And we've never seen him again. And that was about 15 years ago. | 0:45:43 | 0:45:47 | |
That's a good story. | 0:45:47 | 0:45:48 | |
You can walk, John. You can walk. | 0:45:48 | 0:45:50 | |
If you would like to join us on the show and have a go in our | 0:45:52 | 0:45:54 | |
Big Red Chair, you can contact us | 0:45:54 | 0:45:56 | |
via our website at this very address. That is it for tonight. | 0:45:56 | 0:45:58 | |
Please say a huge thank you to all of my guests. | 0:45:58 | 0:46:01 | |
Paloma Faith. | 0:46:01 | 0:46:03 | |
Simon Pegg. | 0:46:04 | 0:46:07 | |
Henry Cavill. | 0:46:07 | 0:46:09 | |
Rebecca Ferguson. | 0:46:10 | 0:46:12 | |
And Mr Tom Cruise. | 0:46:12 | 0:46:15 | |
Thank you. Thank you, Graham. | 0:46:17 | 0:46:20 | |
Do join me next week with musical guest George Ezra, | 0:46:20 | 0:46:23 | |
voice judge Will.i.am, Oscar-winner Cuba Gooding Junior | 0:46:23 | 0:46:25 | |
and for the first time, one of our favourite British stars, | 0:46:25 | 0:46:28 | |
Imelda Staunton. | 0:46:28 | 0:46:29 | |
I'll see you then. Goodnight, everyone. Goodbye. | 0:46:29 | 0:46:31 | |
APPLAUSE | 0:46:31 | 0:46:34 | |
OK, so come, Tom, in, in three, two... | 0:46:59 | 0:47:02 | |
What does that mean? | 0:47:02 | 0:47:03 | |
-I'm going to cue... -LAUGHTER | 0:47:03 | 0:47:06 | |
-You see what I'm saying? -You are not good at this. -I don't know. | 0:47:09 | 0:47:12 | |
It is three, two, and then he points. | 0:47:12 | 0:47:14 | |
Does that mean I start talking at that point? OK, good. | 0:47:14 | 0:47:17 | |
-I go on the point. -Go on the point. -OK, good. All right. | 0:47:17 | 0:47:19 |