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Good evening, everyone. I'm Saoirse Ronan, and you're watching The Graham Norton Show! | 0:00:02 | 0:00:06 | |
This programme contains some strong language. | 0:00:10 | 0:00:17 | |
CHEERING AND APPLAUSE | 0:00:23 | 0:00:25 | |
Oh! Oh! Thank you! Thank you so much. | 0:00:25 | 0:00:31 | |
Oh! Too kind. | 0:00:31 | 0:00:34 | |
Good evening! Welcome! | 0:00:34 | 0:00:38 | |
Thank you, thank you. I have never heard applause like it. | 0:00:38 | 0:00:42 | |
-Everyone well? AUDIENCE: -Yeah! | 0:00:43 | 0:00:46 | |
Yes, because this week it was announced the Spice Girls are back! | 0:00:46 | 0:00:49 | |
Yes, they are. Whoo! | 0:00:49 | 0:00:51 | |
SCATTERED APPLAUSE | 0:00:51 | 0:00:52 | |
Good luck with the ticket sales! | 0:00:52 | 0:00:54 | |
Victoria has already been practising her singing at home. | 0:00:56 | 0:00:59 | |
I wonder what requests the audience will be shouting at the first gig? | 0:01:02 | 0:01:05 | |
I'd go with "Stop Right Now, Thank You Very Much." | 0:01:05 | 0:01:09 | |
What else has been happening this week? | 0:01:09 | 0:01:11 | |
Well, despite there being doubts over her leadership, | 0:01:11 | 0:01:14 | |
Prime Minister Theresa May was out and about having fun. | 0:01:14 | 0:01:17 | |
Here she is playing ball with a dog. | 0:01:17 | 0:01:20 | |
"Leave, leave!" is what everyone is telling her. | 0:01:21 | 0:01:25 | |
If Theresa were to quit, some Conservatives would like to see | 0:01:26 | 0:01:29 | |
Jacob Rees-Mogg put his hat in the ring. | 0:01:29 | 0:01:32 | |
AUDIENCE GROAN | 0:01:32 | 0:01:33 | |
It would look better there than on his head. | 0:01:33 | 0:01:35 | |
Jacob Rees-Mogg, the man of the people. | 0:01:35 | 0:01:37 | |
He wants to drag the Tory party kicking and screaming | 0:01:37 | 0:01:40 | |
into the 18th century. | 0:01:40 | 0:01:42 | |
He doesn't have a job in the Cabinet at the moment, | 0:01:42 | 0:01:44 | |
but earlier in his career he was the Minister for Silly Walks. | 0:01:44 | 0:01:47 | |
Supporters claim Jacob embraces the Churchillian spirit. | 0:01:50 | 0:01:54 | |
Although it's not actually Churchill he reminds me of. | 0:01:54 | 0:01:57 | |
LAUGHTER AND APPLAUSE | 0:01:58 | 0:02:02 | |
Let's get some guests on! | 0:02:02 | 0:02:05 | |
Later we'll have music from breakout star from The Greatest Showman, | 0:02:05 | 0:02:09 | |
Keala Settle! | 0:02:09 | 0:02:13 | |
But first, this award-winning comedian is the new face | 0:02:13 | 0:02:16 | |
of Saturday night TV, hosting All Together Now on BBC One. | 0:02:16 | 0:02:19 | |
Please welcome the Mouth from he South, it's Rob Beckett! | 0:02:19 | 0:02:22 | |
CHEERING AND APPLAUSE THROUGHOUT | 0:02:22 | 0:02:26 | |
Hello. Have a seat, have a seat. | 0:02:26 | 0:02:30 | |
This duo are the stars of the ground-breaking sitcom | 0:02:30 | 0:02:33 | |
that became a global hit. | 0:02:33 | 0:02:35 | |
Now, after 11 years away, they've made a happy return to our screens. | 0:02:35 | 0:02:40 | |
Please welcome Will and Grace themselves | 0:02:40 | 0:02:42 | |
Eric McCormack and Debra Messing! | 0:02:42 | 0:02:45 | |
So lovely to see you! | 0:02:48 | 0:02:50 | |
It's like television has come to life! | 0:02:50 | 0:02:54 | |
And she's a Golden Globe winner and triple Oscar nominee | 0:02:59 | 0:03:03 | |
who's wowed us in films like Atonement, Brooklyn | 0:03:03 | 0:03:06 | |
and now the critically-acclaimed Lady Bird. | 0:03:06 | 0:03:08 | |
My Irish eyes are smiling! It's Saoirse Ronan! | 0:03:08 | 0:03:11 | |
Good to see you. Hello, hello, hello, hello. | 0:03:14 | 0:03:18 | |
Come in and sit down. | 0:03:18 | 0:03:19 | |
Oh, the bonding and, yeah, yeah. | 0:03:24 | 0:03:26 | |
This is good. Good, fake showbiz helloing. | 0:03:26 | 0:03:30 | |
We are just pretending. | 0:03:30 | 0:03:32 | |
We were making out backstage. | 0:03:32 | 0:03:35 | |
Before we do another thing - | 0:03:35 | 0:03:38 | |
huge congratulations on the Oscar nomination, Saoirse. | 0:03:38 | 0:03:41 | |
CHEERING AND APPLAUSE | 0:03:41 | 0:03:43 | |
Mind you, it's crazy, you're so young, this is the third one. | 0:03:43 | 0:03:47 | |
-I know. Another one! -You must be like, "Whatever." -Yeah. | 0:03:47 | 0:03:51 | |
So, good luck to you but also good luck to the person reading out | 0:03:51 | 0:03:54 | |
the nominations because Americans do struggle with your name. | 0:03:54 | 0:03:57 | |
-They can't get it. -Eric, Debra, did you practise? | 0:03:57 | 0:04:02 | |
We had a kind of practice because you were going to be a joke | 0:04:02 | 0:04:05 | |
in the opening scene on Will And Grace a few weeks ago. | 0:04:05 | 0:04:08 | |
-Swear to God. -Stop! Why wasn't I? | 0:04:08 | 0:04:11 | |
Because we couldn't get it right. | 0:04:11 | 0:04:13 | |
-It was cut. -It was a joke about how hard it is your programme, | 0:04:13 | 0:04:17 | |
your Netflix or whatever. She said, | 0:04:17 | 0:04:21 | |
"What's the name of that actress we like so much?" | 0:04:21 | 0:04:24 | |
"But we can't pronounce her name." | 0:04:24 | 0:04:25 | |
I said Saoirse Ronan, and so the whole thing was just her going... | 0:04:25 | 0:04:30 | |
-"S..." -E...R...something... | 0:04:30 | 0:04:33 | |
-You were almost... -I was almost on Will And Grace. | 0:04:35 | 0:04:39 | |
Then I got cut! | 0:04:39 | 0:04:41 | |
Now, when you hosted SNL you came up with handy way | 0:04:41 | 0:04:45 | |
-to tell Americans how to say your name. -I did. -Can you do it? | 0:04:45 | 0:04:51 | |
It goes... If I can remember it... | 0:04:51 | 0:04:54 | |
# It's Saoirse with an R Not Saoirse with an OR | 0:04:54 | 0:04:56 | |
# Cos Saoirse with an OR goes OR, not ER | 0:04:56 | 0:04:58 | |
# It's SH instead of CS UH instead of EE | 0:04:58 | 0:05:00 | |
# Simple as can be, see, Saoirse. # | 0:05:00 | 0:05:03 | |
Very good! | 0:05:03 | 0:05:05 | |
And so you rehearse... | 0:05:05 | 0:05:09 | |
Am I the only one that's more confused? | 0:05:09 | 0:05:12 | |
The whole week leading up to it, | 0:05:14 | 0:05:16 | |
that was the only thing I kept thinking about | 0:05:16 | 0:05:18 | |
because it's so difficult to say. | 0:05:18 | 0:05:19 | |
It's supposed to make it easier, but it was just in my head. | 0:05:19 | 0:05:22 | |
"It's Saoirse with an R..." | 0:05:22 | 0:05:23 | |
So that's what I had in my head for the whole week leading up to it. | 0:05:23 | 0:05:26 | |
-Talking of awards, congratulations, you won the Golden Globe. -Yeah. | 0:05:26 | 0:05:29 | |
Very good. And Will And Grace has been nominated for, | 0:05:29 | 0:05:33 | |
-is it 29 or 30 Golden Globes? -29. | 0:05:33 | 0:05:37 | |
-Never won once. -Not once. | 0:05:37 | 0:05:40 | |
We are the biggest losers. | 0:05:40 | 0:05:42 | |
No-one has lost more than us. | 0:05:42 | 0:05:45 | |
We got to a point... | 0:05:45 | 0:05:47 | |
CHEERING | 0:05:47 | 0:05:49 | |
Thank you! | 0:05:49 | 0:05:50 | |
-You guys! -That's right, that's right. | 0:05:50 | 0:05:54 | |
But we got to a point after about season three where the show was | 0:05:54 | 0:05:58 | |
nominated, all four of us nominated - lost, lost. | 0:05:58 | 0:06:01 | |
And one, I think it was when the show lost or Sean lost, | 0:06:01 | 0:06:04 | |
-Max, who created the show, went, "Yes!" -Yeah! | 0:06:04 | 0:06:08 | |
And the cameras got confused and went to us - | 0:06:08 | 0:06:11 | |
though we had just lost - | 0:06:11 | 0:06:12 | |
and we started to do it every nomination, every loss. | 0:06:12 | 0:06:15 | |
Every time anyone lost, we could have another drink of champagne. | 0:06:15 | 0:06:19 | |
Confused the hell out of them. | 0:06:19 | 0:06:21 | |
They always put a big thing of chocolates on your plate | 0:06:21 | 0:06:23 | |
and so I would wait until I lost | 0:06:23 | 0:06:25 | |
and then I would open up the box and eat the whole thing and I'd be like, | 0:06:25 | 0:06:28 | |
"It doesn't matter now." | 0:06:28 | 0:06:30 | |
-Have you got 29 unused acceptance speeches? -Yeah. | 0:06:30 | 0:06:35 | |
I was nominated this year and I almost recycled the same thing | 0:06:35 | 0:06:38 | |
and I thought, you know, | 0:06:38 | 0:06:40 | |
"I can't reference Al Gore - that makes no sense!" | 0:06:40 | 0:06:43 | |
But I feel the Golden Globes realise you are not taking it | 0:06:43 | 0:06:49 | |
that seriously. I think this is you guys at the Golden Globes. | 0:06:49 | 0:06:52 | |
That is not how winners behave. | 0:06:54 | 0:06:57 | |
That was the last Golden Globes and we got in front of the press | 0:06:57 | 0:07:01 | |
and we weren't even nominated, we were there just cos it was | 0:07:01 | 0:07:04 | |
last season and the press so didn't care that I said, | 0:07:04 | 0:07:08 | |
"Fuck this, I'm dropping my pants." | 0:07:08 | 0:07:10 | |
And they still didn't care. | 0:07:10 | 0:07:13 | |
They took that picture, look at Sean. Nobody cares. | 0:07:13 | 0:07:17 | |
They are looking away, "Whatever." | 0:07:17 | 0:07:19 | |
-Now, Rob Beckett. -Yes. -Welcome to the world of show business, | 0:07:19 | 0:07:24 | |
-working the red carpet at the NTAs. -You didn't bring up my award. | 0:07:24 | 0:07:27 | |
I was second place in Bath New Comedian of the Year 2009. | 0:07:27 | 0:07:31 | |
-I'm so sorry! -It's not an Oscar or a Golden Globe | 0:07:31 | 0:07:34 | |
but it meant a lot to me at the time. Runner-up in Bath. | 0:07:34 | 0:07:37 | |
-Are you saying "barf"? -Bath. | 0:07:37 | 0:07:40 | |
LAUGHTER | 0:07:40 | 0:07:43 | |
I knew this was going to happen. | 0:07:43 | 0:07:45 | |
We need an interpreter. | 0:07:45 | 0:07:47 | |
-Bath. You know Bath? -No. -Near Bristol? -Oh, "Bath"! -Bath! | 0:07:47 | 0:07:53 | |
It's going to be a long night. | 0:07:53 | 0:07:56 | |
You were on the red carpet at the NTAs with your new friend | 0:07:56 | 0:08:00 | |
-Geri Horner, Spice Girl. Ginger Spice. -She looks great. -Yeah. | 0:08:00 | 0:08:04 | |
-Did you enjoy working the red carpet with her? -It's interesting | 0:08:04 | 0:08:07 | |
doing the red carpet because when you are walking on the red carpet | 0:08:07 | 0:08:10 | |
with a Spice Girl, no-one cares about you whatsoever, | 0:08:10 | 0:08:13 | |
to the point where the photographers go, "Get out of the photo, Rob." | 0:08:13 | 0:08:17 | |
They get more money for one of her. I actually devalue a photo. | 0:08:17 | 0:08:22 | |
They're earning less money, so I'm just standing there going, | 0:08:24 | 0:08:28 | |
"How much? | 0:08:28 | 0:08:30 | |
"How much to get out the photo?" | 0:08:30 | 0:08:32 | |
LAUGHTER AND APPLAUSE | 0:08:32 | 0:08:35 | |
Big film tonight is Lady Bird. It is out 23rd February | 0:08:39 | 0:08:43 | |
and, Saoirse, this was meant to be an art house kind of indie film, | 0:08:43 | 0:08:48 | |
-but it defied all expectations, it's a big hit. -It's mad. | 0:08:48 | 0:08:52 | |
It's done so well, it came out in November, yeah, it was | 0:08:52 | 0:08:57 | |
a tiny little film, it is Greta Gerwig, who did Frances Ha | 0:08:57 | 0:09:01 | |
and Mistress America, you know, really great films but very small | 0:09:01 | 0:09:05 | |
films, and within the industry people really respected her, | 0:09:05 | 0:09:11 | |
but this has become this big sort of commercial hit, and, I don't know, | 0:09:11 | 0:09:15 | |
just the way young people in particular have reacted to it | 0:09:15 | 0:09:18 | |
is amazing, girls coming up to you, going, | 0:09:18 | 0:09:21 | |
"I feel like somebody gets me now." You know? | 0:09:21 | 0:09:24 | |
-Oh! -So it's really nice. -Yeah, yeah, yeah. | 0:09:24 | 0:09:26 | |
Everyone is calling their mam after the film cos they feel so guilty | 0:09:26 | 0:09:29 | |
about being horrible to them when they were younger. | 0:09:29 | 0:09:32 | |
The movie is doing gangbusters in America and then | 0:09:32 | 0:09:35 | |
your mum arrives in America and wants to go and see it. | 0:09:35 | 0:09:39 | |
Yeah, she wanted to go and see it and she was proud | 0:09:39 | 0:09:42 | |
and heard it was doing well and all that sort of stuff and I was like, | 0:09:42 | 0:09:44 | |
"Mam, it's doing really well, let's go and see it | 0:09:44 | 0:09:48 | |
"with a real audience, it's probably going to be sold out, | 0:09:48 | 0:09:51 | |
"but we'll see if we can get in there." | 0:09:51 | 0:09:54 | |
So I got us tickets to a 4 o'clock screening or something like that | 0:09:54 | 0:09:58 | |
in LA, it was like, "Keep your head down." | 0:09:58 | 0:10:01 | |
There's posters everywhere, it's been sold out, | 0:10:01 | 0:10:04 | |
the film is doing well, all that sort of stuff. | 0:10:04 | 0:10:07 | |
We go into the cinema - there's a total of six people in there. | 0:10:07 | 0:10:11 | |
All on their phones. | 0:10:11 | 0:10:14 | |
Nobody was interested at all. I was like, | 0:10:14 | 0:10:16 | |
"Just keep your head down." | 0:10:16 | 0:10:18 | |
We go to the back and there was a girl texting for the first | 0:10:18 | 0:10:21 | |
ten minutes of the film. I was like, "Get off the phone." | 0:10:21 | 0:10:23 | |
Then her friend turns up late. | 0:10:23 | 0:10:25 | |
But she loved it, she loved it, | 0:10:25 | 0:10:27 | |
and I think the other six people loved it. | 0:10:27 | 0:10:31 | |
They're probably all texting their mates, going, | 0:10:31 | 0:10:34 | |
"That girl from the film's in the cinema!" | 0:10:34 | 0:10:36 | |
-Trying to spell it! -Yeah, yeah! | 0:10:36 | 0:10:39 | |
DROWNED OUT BY LAUGHTER | 0:10:39 | 0:10:42 | |
"Someone get me Scrabble bag!" | 0:10:42 | 0:10:45 | |
"Scheme is here." | 0:10:45 | 0:10:47 | |
We've got a clip from Lady Bird. This is a great scene, | 0:10:49 | 0:10:53 | |
you and your mum, played brilliantly by Laurie Metcalf - | 0:10:53 | 0:10:56 | |
-she's Oscar-nominated as well. -Yeah, she got nominated. | 0:10:56 | 0:10:59 | |
-This is the two of you having the argument in a car. -Yeah. | 0:10:59 | 0:11:04 | |
I want to go where culture is, like New York, at least Connecticut | 0:11:04 | 0:11:08 | |
-or New Hampshire where writers live in the woods. -You won't get into those schools anyway. | 0:11:08 | 0:11:12 | |
-Mom! -You can't even pass your driver's test. | 0:11:12 | 0:11:14 | |
-Because you wouldn't let me practise! -The way that you work - or the way that you don't work - | 0:11:14 | 0:11:17 | |
you're not even worth state tuition, Christine. | 0:11:17 | 0:11:20 | |
-My name is Lady Bird. -Well, actually, it's not | 0:11:20 | 0:11:22 | |
-and it's ridiculous. -Call me Lady Bird like you said you would. | 0:11:22 | 0:11:25 | |
You should go to City College, you know, with your work ethic, | 0:11:25 | 0:11:28 | |
and then to jail, and back to City College | 0:11:28 | 0:11:30 | |
and maybe you would learn to pull yourself up and not expect | 0:11:30 | 0:11:33 | |
everybody to do everything. SHE SCREAMS | 0:11:33 | 0:11:35 | |
LAUGHTER | 0:11:35 | 0:11:37 | |
That is such a great film. | 0:11:37 | 0:11:39 | |
DROWNED OUT BY APPLAUSE | 0:11:39 | 0:11:43 | |
I just remembered, you did make it into the show | 0:11:43 | 0:11:46 | |
because there was a scene where you and I were driving... | 0:11:46 | 0:11:49 | |
-Oh, that's right! -..and you're driving me to a place I don't want | 0:11:49 | 0:11:51 | |
to go, to see your family, and I act like I'm common and suddenly | 0:11:51 | 0:11:54 | |
I try to get the door open and she said, | 0:11:54 | 0:11:56 | |
"Easy, Lady Bird, I locked the door." | 0:11:56 | 0:11:59 | |
-That's all I wanted. -It's there. | 0:11:59 | 0:12:02 | |
That's the only reason I'm here. | 0:12:02 | 0:12:04 | |
I love the fact, twice... you've debated. | 0:12:04 | 0:12:07 | |
It's not a big budget film. Watching it, there is a sense | 0:12:07 | 0:12:11 | |
-of you did just throw yourself out of a moving car. -I did, yeah, | 0:12:11 | 0:12:14 | |
it's a wonder I survived. | 0:12:14 | 0:12:17 | |
No, we had a rig round the car, so just do a drop and roll. | 0:12:17 | 0:12:21 | |
It still must be quite scary. | 0:12:21 | 0:12:24 | |
Yeah, it was a moving car, it was a moving car and there was nobody | 0:12:24 | 0:12:27 | |
round except us and it was at the end of the film, | 0:12:27 | 0:12:33 | |
so they could have left me there if they wanted to. | 0:12:33 | 0:12:36 | |
But, no, I... | 0:12:36 | 0:12:38 | |
Your own mum you have a great relationship with, | 0:12:38 | 0:12:41 | |
but cars are the one place you and your mum... | 0:12:41 | 0:12:44 | |
We don't see eye-to-eye in the car. I don't know about you guys | 0:12:44 | 0:12:48 | |
but it feels like pressure is just immense when you get in the car | 0:12:48 | 0:12:52 | |
with someone that you really love, and we get on so well | 0:12:52 | 0:12:57 | |
in our normal life, and then we get into the car, and something happens, | 0:12:57 | 0:13:01 | |
and, like, we learned to drive the car at the same time, | 0:13:01 | 0:13:05 | |
we share a car, | 0:13:05 | 0:13:07 | |
and because of our love of Barbra Streisand we called her | 0:13:07 | 0:13:10 | |
Barbra Streisand, so whenever we're driving Barbra around | 0:13:10 | 0:13:13 | |
she'll give me directions if she's the co-pilot. | 0:13:13 | 0:13:16 | |
And she's terrible at it. | 0:13:16 | 0:13:18 | |
She has a great sense of direction but when we get into the car | 0:13:18 | 0:13:21 | |
she is sort of like, "Right, you're taking the next left." | 0:13:21 | 0:13:23 | |
And I'll check the mirror, indicate, into the left lane, take the left, | 0:13:23 | 0:13:27 | |
and she's like, "What are you doing?" | 0:13:27 | 0:13:29 | |
"You told me to turn left." | 0:13:29 | 0:13:31 | |
"I didn't mean that left, I meant the next left. Obviously." | 0:13:31 | 0:13:34 | |
So we've gotten into full-blown arguments. | 0:13:34 | 0:13:37 | |
But, like, in the confines of Barbra Streisand. | 0:13:37 | 0:13:41 | |
-Then you park Barbra and you're fine. -We park Barbra, | 0:13:41 | 0:13:43 | |
we get out of Barbra and we're fine. | 0:13:43 | 0:13:45 | |
-Rob, you had to drive, is it your dad...? -My dad was a lorry driver, | 0:13:45 | 0:13:50 | |
then a cab driver, so proper, you know, loves a bit of driving. | 0:13:50 | 0:13:54 | |
I'm rubbish at it. He can't get enough of it, he's always driving. | 0:13:54 | 0:13:57 | |
And I passed in an automatic. I couldn't get my head round gears, | 0:13:57 | 0:14:01 | |
it stressed me out, I thought, "I'm quite busy, | 0:14:01 | 0:14:03 | |
"I don't want to change gears." | 0:14:03 | 0:14:05 | |
There's no point having gears. | 0:14:05 | 0:14:07 | |
But I'm rubbish at driving and I think my dad is ashamed of me | 0:14:07 | 0:14:10 | |
that I am not a proper driver. I picked him up from the hospital, | 0:14:10 | 0:14:13 | |
he had a cataract operation, he's half blind, got all the bandages | 0:14:13 | 0:14:16 | |
over his head. I get home and I can't get into this space, | 0:14:16 | 0:14:19 | |
and it was one of the most emasculating things | 0:14:19 | 0:14:22 | |
that has happened. | 0:14:22 | 0:14:23 | |
Het gets out, pulls me out of the car, parks it blind. | 0:14:23 | 0:14:26 | |
Sitting there like that. | 0:14:28 | 0:14:30 | |
So degrading! | 0:14:33 | 0:14:35 | |
I don't know if you've ever seen a blind man park a car, | 0:14:35 | 0:14:38 | |
it's quite a sight! | 0:14:38 | 0:14:41 | |
-So you are 23 now. -Yeah. | 0:14:41 | 0:14:44 | |
The odd thing for you is that because you have grown up | 0:14:44 | 0:14:47 | |
being on screen, you have never had to do the awkward teenage thing. | 0:14:47 | 0:14:53 | |
I did, but it was on camera. | 0:14:53 | 0:14:55 | |
-So I had a camera right there. -We really didn't notice it! | 0:14:55 | 0:14:59 | |
I think I can speak freely that we probably all had | 0:14:59 | 0:15:03 | |
slightly awkward teens. Now, Eric McCormack. | 0:15:03 | 0:15:06 | |
You posted this picture | 0:15:06 | 0:15:08 | |
so it's not like I broke into your house and found it. | 0:15:08 | 0:15:11 | |
How old were you in this picture? | 0:15:11 | 0:15:13 | |
-DEBRA: -Oh! | 0:15:13 | 0:15:15 | |
-LAUGHTER AND APPLAUSE Wow! -Yeah, that was... | 0:15:15 | 0:15:17 | |
That was my Bay City Rollers phase. | 0:15:19 | 0:15:22 | |
-I was 15. -Oh, my God. | 0:15:22 | 0:15:26 | |
You look 32. | 0:15:26 | 0:15:28 | |
Really? Really? | 0:15:28 | 0:15:31 | |
-ROB: -You look younger now! -I think I was... | 0:15:31 | 0:15:34 | |
You've grown into yourself. | 0:15:34 | 0:15:36 | |
I hadn't yet figured out how to pluck the centre, | 0:15:37 | 0:15:39 | |
so there's still a good amount of hair there. | 0:15:39 | 0:15:42 | |
Who was the guy who played the Incredible Hulk, was it Lou Ferrigno? | 0:15:42 | 0:15:46 | |
-Yes. -There's a whiff of Lou about this. -And a little David Cassidy. | 0:15:46 | 0:15:50 | |
Thank you, thank you. | 0:15:50 | 0:15:52 | |
I was just about to star in | 0:15:52 | 0:15:54 | |
my high school production of Godspell when I did that. | 0:15:54 | 0:15:57 | |
Oh! | 0:15:57 | 0:15:58 | |
I've never seen such a short fringe, but such long at the back. | 0:15:58 | 0:16:01 | |
-I know. -So precise. -It's not a mullet. | 0:16:01 | 0:16:05 | |
You're all being very... | 0:16:05 | 0:16:06 | |
It's more like a Farrah Fawcett flip. | 0:16:06 | 0:16:08 | |
Let's calm down, let's calm down, Debra. | 0:16:10 | 0:16:13 | |
-Because we've also got a picture of you. -OK. | 0:16:13 | 0:16:17 | |
This is... I think it's a particularly American thing, | 0:16:17 | 0:16:20 | |
that some American girls do look about 45. | 0:16:20 | 0:16:23 | |
LAUGHTER AND APPLAUSE | 0:16:23 | 0:16:26 | |
You look like a headmistress. | 0:16:28 | 0:16:29 | |
I mean, that hair, it's... it's got life in it, doesn't it? | 0:16:31 | 0:16:36 | |
-That is solid. You could hide pencils in that. -Yes, yeah. | 0:16:36 | 0:16:39 | |
-It's got its own postcode as well. -That's right. | 0:16:39 | 0:16:42 | |
-What was that photo for? -That was my high school graduation photo. | 0:16:42 | 0:16:46 | |
Did you think you were supposed to face this way | 0:16:46 | 0:16:48 | |
and then someone went, "The camera's over here." "Oh!" | 0:16:48 | 0:16:51 | |
You know, I grew up in rural Rhode Island | 0:16:53 | 0:16:55 | |
and I think that I knew that I had to find some drama in my life. | 0:16:55 | 0:17:00 | |
So I think that I felt like, "OK, I'm here." | 0:17:00 | 0:17:03 | |
-It's also perfectly lit as well. -Yeah. | 0:17:03 | 0:17:06 | |
-The school did an amazing job. -They did, right? | 0:17:06 | 0:17:08 | |
Because that's more than one light. | 0:17:08 | 0:17:11 | |
-Like, there's a bit here and a bit here. -Yeah, yeah. -Oh, yeah. | 0:17:11 | 0:17:14 | |
They went all out in East Greenwich, Rhode Island. | 0:17:14 | 0:17:17 | |
Yes, I feel in Lewisham they didn't. Here's Rob. | 0:17:17 | 0:17:21 | |
LAUGHTER AND APPLAUSE | 0:17:21 | 0:17:25 | |
That's just one light. | 0:17:28 | 0:17:30 | |
-Yeah. I mean... -What do you have in that bag?! | 0:17:30 | 0:17:33 | |
THEY ALL TALK AT ONCE | 0:17:33 | 0:17:35 | |
I understand, there's a lot of questions. | 0:17:35 | 0:17:37 | |
I like to refer to these as the "bad years". | 0:17:40 | 0:17:43 | |
What's in it? | 0:17:43 | 0:17:45 | |
Well, I think...well, I know what that is. I'm 15 years of age. | 0:17:45 | 0:17:49 | |
I'm on an Easter egg hunt that I'm too old for, let's be honest. | 0:17:49 | 0:17:52 | |
I've absolutely demolished the hunt though, to be fair to me. | 0:17:52 | 0:17:55 | |
I've caned 'em. Yeah. | 0:17:55 | 0:17:58 | |
-Yeah. -There's a lot of children over here crying. | 0:17:58 | 0:18:01 | |
This currently feels like an anxiety dream. It's awful, isn't it? | 0:18:01 | 0:18:06 | |
Yeah, I just smashed the Easter egg hunt. | 0:18:06 | 0:18:09 | |
It looks like police evidence, doesn't it? In the bag. | 0:18:09 | 0:18:12 | |
-The hair, the glasses. -I mean, let's talk about the fringe. | 0:18:15 | 0:18:18 | |
You were talking to him about the fringe. | 0:18:18 | 0:18:21 | |
We're the same age in those photos. | 0:18:21 | 0:18:23 | |
-Maybe we could... -Different times. -Who made it in Hollywood? | 0:18:29 | 0:18:33 | |
Let's put a bet on those two photos next to each other. | 0:18:35 | 0:18:38 | |
Easter Egg hunt, the Easter Egg serial killer | 0:18:38 | 0:18:41 | |
and grandad fringe. | 0:18:41 | 0:18:44 | |
Eric looked like a porn star. | 0:18:44 | 0:18:45 | |
-Working on it. -Oh, that's bold, isn't it? | 0:18:47 | 0:18:50 | |
APPLAUSE | 0:18:50 | 0:18:52 | |
Ladies and gentlemen, Will And Grace is back. | 0:18:52 | 0:18:54 | |
CHEERING | 0:18:54 | 0:18:56 | |
Yes! | 0:18:56 | 0:18:58 | |
There they all are. | 0:18:58 | 0:18:59 | |
It's showing here on Channel 5 every Friday at 10 o'clock. | 0:18:59 | 0:19:04 | |
And it's one of those things, you know, we knew you'd been away | 0:19:04 | 0:19:07 | |
but then you hear 11 years, was it really 11 years? | 0:19:07 | 0:19:10 | |
And the method of it coming back is so bizarre. | 0:19:10 | 0:19:13 | |
-No-one was talking about it coming back. -No. -So, go on. -No. | 0:19:13 | 0:19:18 | |
You know, I had been campaigning for Hillary Clinton. | 0:19:18 | 0:19:22 | |
And we were talking about... about trying to help her. | 0:19:22 | 0:19:26 | |
And then it turned out that our entire set had been stored | 0:19:26 | 0:19:31 | |
pristinely on the college campus of our executive producer for 10 years. | 0:19:31 | 0:19:36 | |
-Emerson College in Boston. -Emerson College. | 0:19:36 | 0:19:38 | |
And then they got a call that said, | 0:19:38 | 0:19:40 | |
"We need you to move the entire set to storage, | 0:19:40 | 0:19:44 | |
"we need to do some fixes." | 0:19:44 | 0:19:46 | |
And so he realised, I have the entire set of Will And Grace, | 0:19:46 | 0:19:50 | |
maybe there's something I can do with it. | 0:19:50 | 0:19:52 | |
And that's when he wrote the four of us and said, | 0:19:52 | 0:19:55 | |
"Maybe, would you guys want to do | 0:19:55 | 0:19:57 | |
"a seven minute little film on YouTube to try and help Hillary?" | 0:19:57 | 0:20:02 | |
And within 10 minutes, all four of us had said yes. | 0:20:02 | 0:20:05 | |
And we came back and we did it | 0:20:05 | 0:20:07 | |
and we really thought it was going to be just a one-off. | 0:20:07 | 0:20:10 | |
And we said goodbye and we were like, oh, my God, how lucky, | 0:20:10 | 0:20:13 | |
10 years later we got to play with each other again. | 0:20:13 | 0:20:15 | |
And then 7.5 million views, and they were like, "Wait a second!" | 0:20:15 | 0:20:20 | |
Basically, Max flew the entire set, piece by piece, | 0:20:20 | 0:20:23 | |
across the country at his own expense. It was really expensive. | 0:20:23 | 0:20:26 | |
And we did this thing entirely in secret. | 0:20:26 | 0:20:29 | |
-Nobody knew except our few crew members. -Nobody knew. | 0:20:29 | 0:20:32 | |
Even the people that showed up - | 0:20:32 | 0:20:34 | |
it was an invited audience of about 100 people - | 0:20:34 | 0:20:36 | |
weren't told what they were about to see. | 0:20:36 | 0:20:38 | |
And when the curtain parted and it was that set | 0:20:38 | 0:20:41 | |
-and the four of us in costume, it was very awesome. -Incredible. | 0:20:41 | 0:20:45 | |
And because it came from a pro-Hillary place, | 0:20:45 | 0:20:48 | |
when Trump won, did that put you off bringing it back? | 0:20:48 | 0:20:52 | |
It was like, OK, well, 10 minutes didn't work, | 0:20:55 | 0:20:57 | |
what about if we do a whole season? | 0:20:57 | 0:20:59 | |
That was rough. That was rough. | 0:21:02 | 0:21:05 | |
Weirdly...it's still more rough than ever, | 0:21:05 | 0:21:08 | |
it's embarrassing to be here from America at the moment. | 0:21:08 | 0:21:11 | |
But refreshing, nice to be here. | 0:21:11 | 0:21:13 | |
But the idea that if Hillary had won, | 0:21:13 | 0:21:16 | |
and we could have taken some small credit, | 0:21:16 | 0:21:18 | |
-if we had come back, it was just a fun comedy show. -We'd just be happy. | 0:21:18 | 0:21:22 | |
But now it feels like we're the resistance somehow. | 0:21:22 | 0:21:25 | |
Yeah. | 0:21:25 | 0:21:26 | |
And in terms of restarting it, kind of rebooting it, | 0:21:26 | 0:21:30 | |
how much discussion was around... | 0:21:30 | 0:21:32 | |
Because you ended up in that last episode, you ended up | 0:21:32 | 0:21:36 | |
in a very different place to where you started this series. | 0:21:36 | 0:21:40 | |
Oh, yeah. We had kids. It was 25 years in the future. | 0:21:40 | 0:21:44 | |
And then we were like, well, how are we going to do this? | 0:21:44 | 0:21:46 | |
And they're like, "Oh, you're not going to have kids." | 0:21:46 | 0:21:49 | |
-It never happened. -It was like, what? | 0:21:49 | 0:21:51 | |
The first scene of the first series, or the ninth series, | 0:21:51 | 0:21:53 | |
which started here, basically, | 0:21:53 | 0:21:55 | |
we wrote the whole thing off as a dream. | 0:21:55 | 0:21:58 | |
Because we just... The idea of Will and Grace having kids | 0:21:58 | 0:22:01 | |
and making the whole show about that was like, "Ugh, can we just be gay?" | 0:22:01 | 0:22:04 | |
We don't want to be parents. | 0:22:04 | 0:22:07 | |
We've got a clip. | 0:22:07 | 0:22:08 | |
This is from next week's episode. | 0:22:08 | 0:22:10 | |
And this is the two of you discovering that you're sharing | 0:22:10 | 0:22:14 | |
-more than an apartment. -Yes. | 0:22:14 | 0:22:15 | |
-You two didn't know about this? -You told me not to tell! | 0:22:17 | 0:22:20 | |
I meant don't put it on Instagram. | 0:22:20 | 0:22:22 | |
The two of you live together, | 0:22:22 | 0:22:24 | |
what have you been talking about for the past three days? | 0:22:24 | 0:22:26 | |
-Fine things. -Shows we watch. | 0:22:26 | 0:22:28 | |
But now that we all know what we know, we know. | 0:22:28 | 0:22:33 | |
-Sure do. -Guess that's true. | 0:22:35 | 0:22:36 | |
Goodbye, Will. I had a lovely night with you. | 0:22:36 | 0:22:40 | |
And Grace. | 0:22:44 | 0:22:46 | |
An equally lovely night with you the night before. | 0:22:46 | 0:22:49 | |
APPLAUSE | 0:23:03 | 0:23:05 | |
And that, am I right, that's Megan Mullally... | 0:23:10 | 0:23:12 | |
-That's Megan Mullally's husband. -Husband. -So now we've all had him. | 0:23:12 | 0:23:16 | |
And of course, huge success and then you had all those incredible | 0:23:18 | 0:23:22 | |
-celebrities and star cameos and things. -Yeah. | 0:23:22 | 0:23:25 | |
I mean, you were in scenes with Madonna. | 0:23:25 | 0:23:28 | |
And she didn't even know who I was. | 0:23:28 | 0:23:30 | |
I heard that - is that true? | 0:23:30 | 0:23:32 | |
It's true. Or me. | 0:23:32 | 0:23:34 | |
So, she came in, she came in late to the first read-through, | 0:23:34 | 0:23:36 | |
she kept her sunglasses on, and she sat down. | 0:23:36 | 0:23:39 | |
-DRAWLS: -She started talking like that. | 0:23:39 | 0:23:41 | |
I think it was a vaguely Sacramento accent, I'm not sure. | 0:23:41 | 0:23:44 | |
And she went, "I'm so not sorry I'm late." | 0:23:44 | 0:23:48 | |
And then she started reading the script | 0:23:48 | 0:23:50 | |
and at one point she said, "Listen, Jack... Which one's Jack? | 0:23:50 | 0:23:54 | |
And Sean went, "Hi, hi, Sean Hayes, I play Jack McFarland, hi, hi!" | 0:23:54 | 0:23:58 | |
And so I remember the week, | 0:23:58 | 0:24:00 | |
and most of her scenes were with Megan, that every day she went | 0:24:00 | 0:24:03 | |
to Debra and I and she said, "I'm sorry, I don't remember your name." | 0:24:03 | 0:24:07 | |
And finally, I was like... This was when she was really into kabbalah, | 0:24:08 | 0:24:12 | |
and I said, "Oh, I'm Rachal." | 0:24:12 | 0:24:15 | |
Then she went, "Rachal? That's my Kabbalah name." | 0:24:17 | 0:24:20 | |
And I was like, "How about that?!" | 0:24:20 | 0:24:22 | |
And literally, for the rest of the week, she called me Rachal, | 0:24:22 | 0:24:26 | |
and that night, we always have a tradition where we hug and kiss | 0:24:26 | 0:24:29 | |
each other right before we go on, | 0:24:29 | 0:24:30 | |
and he said, "Have a good show, Deb." | 0:24:30 | 0:24:34 | |
And Madonna turned to him and was like, | 0:24:34 | 0:24:36 | |
"Her name's not Deb. Her name's Rachal." | 0:24:36 | 0:24:38 | |
And that's when he informed her that my name was Debra, | 0:24:38 | 0:24:42 | |
and the next day, after the whole episode was over, | 0:24:42 | 0:24:45 | |
I got six dozen roses that said, | 0:24:45 | 0:24:48 | |
"Dear Debra, thank you for a great week. Madonna." | 0:24:48 | 0:24:52 | |
So I... The same thing - on the Friday, we'd been rehearsing | 0:24:52 | 0:24:54 | |
for three days, she said, "I'm sorry, I don't remember your name." | 0:24:54 | 0:24:57 | |
I said... This is the third time. | 0:24:57 | 0:24:59 | |
I said, "My name is so easy to remember. | 0:24:59 | 0:25:01 | |
"It's the one at the very, very beginning | 0:25:01 | 0:25:04 | |
"of every single episode of the show you are on." | 0:25:04 | 0:25:06 | |
And she went, "Oh, I'm sorry." | 0:25:06 | 0:25:08 | |
So, same thing, I got a giant box of roses with a card that | 0:25:08 | 0:25:10 | |
I just found the other day - I thought I'd lost it - | 0:25:10 | 0:25:13 | |
which said, "If my husband would let me, | 0:25:13 | 0:25:14 | |
"I'd tattoo your name on my arm. Love, Madonna." | 0:25:14 | 0:25:17 | |
So all's forgiven, all's forgiven. | 0:25:17 | 0:25:19 | |
-Well...I'm not sure. -My thing was... | 0:25:19 | 0:25:21 | |
LAUGHTER | 0:25:21 | 0:25:24 | |
Uh-oh. You've opened up a rift. | 0:25:24 | 0:25:26 | |
My thing was shit! | 0:25:26 | 0:25:28 | |
Well, you've seen pictures of Madonna lately. | 0:25:29 | 0:25:32 | |
It's got "Rachal" right there. | 0:25:32 | 0:25:33 | |
LAUGHTER | 0:25:33 | 0:25:36 | |
And now, were you responsible, Eric, for getting Elton John on the show? | 0:25:36 | 0:25:40 | |
Well, yeah. So, I mentioned my high school production of Godspell. | 0:25:40 | 0:25:46 | |
You know who starred in it with me, in 1979? It was David Furnish. | 0:25:46 | 0:25:50 | |
-We grew up together outside of... -Good trivia, good trivia. | 0:25:50 | 0:25:53 | |
Yeah, good trivia. Outside Toronto. | 0:25:53 | 0:25:55 | |
We lost touch for a number of years, | 0:25:55 | 0:25:56 | |
but when I finally ran into him again, | 0:25:56 | 0:25:58 | |
I was like, "I'm dating a girl, I think I'm going to marry her." | 0:25:58 | 0:26:01 | |
And he's like, "Great! I'm dating Elton John." | 0:26:01 | 0:26:03 | |
And so we got to know Elton a little bit, but never really close. | 0:26:03 | 0:26:08 | |
And there was one day David phoned, and... | 0:26:08 | 0:26:11 | |
This was before Elton did the show, and he said, "I'm in town." | 0:26:11 | 0:26:15 | |
My wife said, "Have him come over." | 0:26:15 | 0:26:17 | |
I said, "Come over to the house for dinner." | 0:26:17 | 0:26:18 | |
He said, "OK, we'll be there at eight." | 0:26:18 | 0:26:20 | |
And I said to my wife, "He said 'we'. He said 'we'. | 0:26:20 | 0:26:23 | |
"I think Elton John's coming to our house for dinner." | 0:26:23 | 0:26:26 | |
And sure enough, they show up, and they're both in, like, | 0:26:26 | 0:26:29 | |
velvet tracksuits, and they sit down and I'm trying to be cool. | 0:26:29 | 0:26:34 | |
We have dinner, just the four of us. My kid is, like, six months old. | 0:26:34 | 0:26:37 | |
And we have a new piano that I can barely play, | 0:26:37 | 0:26:40 | |
but I had just enough wine at one point that I said to Elton, | 0:26:40 | 0:26:42 | |
"You know you're going to have to christen the piano?" | 0:26:42 | 0:26:45 | |
And he got up and he walked into the next room and he sat down, | 0:26:45 | 0:26:49 | |
and he looked up at me and said... | 0:26:49 | 0:26:51 | |
-IMITATES ELTON: -"What would you like me to play?" | 0:26:51 | 0:26:53 | |
And I... This is my moment, cos I want him to know... | 0:26:53 | 0:26:56 | |
I'm not going to say Rocket Man like some schmuck. | 0:26:56 | 0:26:59 | |
So I said, "Um... | 0:26:59 | 0:27:01 | |
"..I've Seen That Movie Too, from Goodbye Yellow Brick Road." | 0:27:01 | 0:27:05 | |
And he looked up at me and said, | 0:27:05 | 0:27:07 | |
"Oh, fuck off, I don't remember that song!" | 0:27:07 | 0:27:09 | |
LAUGHTER AND APPLAUSE | 0:27:09 | 0:27:12 | |
So he came on, he was himself, and it was such a funny scene. | 0:27:14 | 0:27:17 | |
It was amazing. | 0:27:17 | 0:27:19 | |
Now, talking of hanging out with big musical stars - Ed Sheeran, | 0:27:19 | 0:27:23 | |
-the Galway Girl video. -Yeah. -So how did that happen, Saoirse? | 0:27:23 | 0:27:26 | |
Did you know him already? | 0:27:26 | 0:27:27 | |
No, I didn't know him, but we have a lot of mutual friends, | 0:27:27 | 0:27:31 | |
friends from Suffolk, which is where he grew up, | 0:27:31 | 0:27:35 | |
and friends in New Zealand, and things like that. | 0:27:35 | 0:27:37 | |
And I was out one night, I was out with my friends in London, | 0:27:37 | 0:27:40 | |
and the casting agent who was casting for the video just | 0:27:40 | 0:27:45 | |
e-mailed me and said, "Here, do you want to be in an Ed Sheeran video?" | 0:27:45 | 0:27:48 | |
And I was like, "Yeah, all right." | 0:27:48 | 0:27:50 | |
And it was going to be on my birthday. | 0:27:50 | 0:27:53 | |
12th April, just so you know. | 0:27:53 | 0:27:55 | |
And, yeah, and I did it, and it was brilliant. | 0:27:57 | 0:28:00 | |
He filmed the whole thing. He had, like, a camera on a rig, | 0:28:00 | 0:28:04 | |
and we just ran around Galway for an entire night, and he had... | 0:28:04 | 0:28:09 | |
Because he's... I mean, he's huge everywhere, | 0:28:09 | 0:28:11 | |
but he's beloved in Ireland. | 0:28:11 | 0:28:13 | |
Like, everyone loves him so much. | 0:28:13 | 0:28:15 | |
And so all of Galway just, like, | 0:28:15 | 0:28:17 | |
followed us around from place to place. | 0:28:17 | 0:28:20 | |
But the tattoo in the video, | 0:28:20 | 0:28:22 | |
-the Galway Grill... -Yeah. | 0:28:22 | 0:28:23 | |
..so he really did get...? | 0:28:23 | 0:28:24 | |
There's something not quite right about that. | 0:28:24 | 0:28:26 | |
-He got that really tattooed? -He did, yeah. -That's your handwriting? | 0:28:26 | 0:28:30 | |
-That's my handwriting. -So you wrote it on him? And did you mean...? | 0:28:30 | 0:28:33 | |
No, I was very, very nervous about it, so I practised | 0:28:33 | 0:28:36 | |
for about half an hour before they actually tattooed it on. | 0:28:36 | 0:28:39 | |
And that's what you came up with? | 0:28:39 | 0:28:41 | |
LAUGHTER | 0:28:41 | 0:28:43 | |
I can't change it now. | 0:28:44 | 0:28:45 | |
To be fair, the state of his arm, he ain't picky, is he? | 0:28:45 | 0:28:48 | |
-No, it was... -You did better than that. -What is that, actually? | 0:28:48 | 0:28:52 | |
-I don't know. -That's a stamp from a nightclub. | 0:28:52 | 0:28:54 | |
Went out the night before. | 0:28:56 | 0:28:58 | |
But did you mean to do the bad spelling? | 0:28:58 | 0:29:01 | |
No, it wasn't my idea to do the bad spelling. | 0:29:01 | 0:29:04 | |
He's been saying to people at his gig | 0:29:04 | 0:29:06 | |
that I just misspelled the word "girl", but I didn't. | 0:29:06 | 0:29:09 | |
The tour manager, in Dublin, we'd had a few drinks during the show, | 0:29:09 | 0:29:14 | |
cos he did two shows in Dublin after we did the music video, | 0:29:14 | 0:29:18 | |
and the tour manager was going by, and he was like, | 0:29:18 | 0:29:20 | |
"You know what'd be gas? If you misspelled the word 'girl' | 0:29:20 | 0:29:24 | |
"and tattooed something else onto him." | 0:29:24 | 0:29:26 | |
And so we did Galway Grill instead, and we got a tattoo artist | 0:29:26 | 0:29:28 | |
to come in at, like, 12 o'clock at night, to Dublin, | 0:29:28 | 0:29:31 | |
during a birthday party that was being had in town. | 0:29:31 | 0:29:35 | |
-And... -You can't get good ones, that time of night, though, can you? | 0:29:35 | 0:29:39 | |
-No, no... -The emergency ones tend to be not so good. | 0:29:39 | 0:29:42 | |
Even the locksmiths that come out, they just kick your door in. | 0:29:42 | 0:29:45 | |
But he came in, and he was terrified, like, | 0:29:47 | 0:29:50 | |
this poor fella was having to, like, tattoo onto Ed Sheeran's arm. | 0:29:50 | 0:29:54 | |
With the arm that he plays the guitar with, so... | 0:29:54 | 0:29:56 | |
He must have been like, "I've been told to spell it wrong!" | 0:29:56 | 0:29:59 | |
Yeah, yeah. | 0:29:59 | 0:30:01 | |
Was there a Galway Grill that actually benefited from this...? | 0:30:01 | 0:30:04 | |
-Probably is now. -There probably is now, yeah. | 0:30:04 | 0:30:07 | |
-It's a thing now, it's a thing now. -Look it up. -Yeah. | 0:30:07 | 0:30:10 | |
Now, talking of working with ginger musical icons... | 0:30:10 | 0:30:13 | |
Well, that is the greatest segue way in television history. | 0:30:15 | 0:30:18 | |
That is incredible. | 0:30:18 | 0:30:19 | |
Who knew that we'd have two of them? | 0:30:19 | 0:30:22 | |
Spice Girls' Geri Horner. | 0:30:22 | 0:30:24 | |
Now, so, did you have meetings with Geri beforehand? How does it work? | 0:30:24 | 0:30:27 | |
We were supposed to meet up for a cup of tea, but then it never | 0:30:27 | 0:30:30 | |
happened cos it was quite a short time between she was confirmed | 0:30:30 | 0:30:32 | |
to do it and we started filming, so I met up with her at the studio | 0:30:32 | 0:30:35 | |
when we was filming it. But she's amazing, she's so lovely. | 0:30:35 | 0:30:38 | |
But have you broken it to her, that growing up, | 0:30:38 | 0:30:40 | |
she wasn't your favourite? | 0:30:40 | 0:30:42 | |
-Well, she was. -She was my... -She was. | 0:30:42 | 0:30:44 | |
She was my favourite, you know? | 0:30:44 | 0:30:47 | |
She was my favourite. Erm... No... | 0:30:47 | 0:30:49 | |
She was my favourite, but I dressed up as Baby Spice for | 0:30:49 | 0:30:52 | |
a school assembly at primary school cos I was the blond one. | 0:30:52 | 0:30:55 | |
And there was a ginger kid in the class, | 0:30:55 | 0:30:57 | |
and I couldn't nick Ginger Spice off him - it were all he had! | 0:30:57 | 0:31:01 | |
Sheeran hadn't been invented. | 0:31:01 | 0:31:03 | |
So we got the egg hunt picture, | 0:31:03 | 0:31:05 | |
-but we didn't get the Baby Spice picture? -I know. | 0:31:05 | 0:31:08 | |
I was saying to the researcher, like, "Did we get that?!" | 0:31:08 | 0:31:11 | |
I was quite cute when I was about eight. | 0:31:11 | 0:31:13 | |
It was 15, it all went wrong, so... | 0:31:13 | 0:31:14 | |
That's the worst it got, I think - the Easter egg hunt. | 0:31:14 | 0:31:17 | |
Because, Debra, did Ginger Spice do great things | 0:31:17 | 0:31:19 | |
for redheads all over the world? | 0:31:19 | 0:31:21 | |
-I don't know! Did she? -I don't know. | 0:31:21 | 0:31:26 | |
You know what? In America, redheads on television, | 0:31:26 | 0:31:31 | |
it's equated with being funny. | 0:31:31 | 0:31:33 | |
Like, I Love Lucy, Carol Burnett, and so... | 0:31:33 | 0:31:37 | |
And you. | 0:31:37 | 0:31:39 | |
Well, I was a dark auburn, and when I got my first comedy, | 0:31:39 | 0:31:43 | |
my TV show, they were like, | 0:31:43 | 0:31:44 | |
"Oh, you've got to make your hair redder." | 0:31:44 | 0:31:47 | |
And I was like, "Well, why?" And they were like, "It's funnier." | 0:31:47 | 0:31:50 | |
LAUGHTER | 0:31:50 | 0:31:54 | |
-It's more clown-like. -And I was like... | 0:31:54 | 0:31:57 | |
I'm like, "Ronald McDonald?" Like, what are you talking about? | 0:31:57 | 0:32:01 | |
So I guess that's the rule in America. | 0:32:01 | 0:32:04 | |
Well, Rob's new show with Geri | 0:32:04 | 0:32:06 | |
is this new singing competition, All Together Now. | 0:32:06 | 0:32:08 | |
It's Saturday nights, BBC One, 7.15. | 0:32:08 | 0:32:11 | |
We're two weeks in, it's going really well, | 0:32:11 | 0:32:13 | |
and it is...it's a really... | 0:32:13 | 0:32:15 | |
-I just think it's a big-hearted show. -Yeah. | 0:32:15 | 0:32:18 | |
It's kind of a lovely watch. So talk us through the premise. | 0:32:18 | 0:32:21 | |
Well, it's not like another singing show, | 0:32:21 | 0:32:23 | |
it's more of a game show with singing in it, | 0:32:23 | 0:32:24 | |
and there's, instead of, like, the classic two or three judges, | 0:32:24 | 0:32:27 | |
there's 100 judges made up of people that have worked in the music | 0:32:27 | 0:32:30 | |
industry, and they're all characters in their own right, | 0:32:30 | 0:32:32 | |
and they're miked up, so when someone's singing, you can hear | 0:32:32 | 0:32:35 | |
what they're thinking and saying during it. | 0:32:35 | 0:32:37 | |
Geri's in there, she's sort of the leader of them. | 0:32:37 | 0:32:39 | |
And then when someone comes up, they start singing, | 0:32:39 | 0:32:41 | |
and then, if they like it, the judges, they stand up | 0:32:41 | 0:32:44 | |
and join in and sing along. | 0:32:44 | 0:32:45 | |
And if they don't, they stay sitted, so... Seated. Stay "sitted"! | 0:32:45 | 0:32:49 | |
I've already got the PR patter down, haven't I? | 0:32:49 | 0:32:51 | |
I've got to learn the word "seated". "They stay sitted..." | 0:32:51 | 0:32:54 | |
LAUGHTER | 0:32:54 | 0:32:56 | |
And then I come out and tell them what they got. | 0:32:56 | 0:32:59 | |
The thing is, I really take the mickey and mess about, | 0:32:59 | 0:33:01 | |
which doesn't normally happen on those sorts of talent shows. | 0:33:01 | 0:33:04 | |
It's so much fun, it's really warm-hearted and silly, | 0:33:04 | 0:33:07 | |
it doesn't take itself too serious, and it's a joy to make. | 0:33:07 | 0:33:10 | |
It looks like it was fun... | 0:33:10 | 0:33:12 | |
I knew it was decent because all the camera crew were enjoying it, | 0:33:12 | 0:33:15 | |
and I've not seen cameramen smile for about 15 years. | 0:33:15 | 0:33:18 | |
-Yeah! Getting into it. -They're smiling. Some of them. | 0:33:20 | 0:33:23 | |
-Just about. -Yeah. | 0:33:23 | 0:33:25 | |
This is a clip of tomorrow night's show, | 0:33:25 | 0:33:27 | |
and it's kind of the end of a performance. | 0:33:27 | 0:33:29 | |
Well, you'll see, you'll see. | 0:33:29 | 0:33:31 | |
# My tears, as they dry... # | 0:33:31 | 0:33:33 | |
Oh, yeah. | 0:33:33 | 0:33:34 | |
# I'm gonna... # | 0:33:34 | 0:33:38 | |
Oh, yes! | 0:33:38 | 0:33:40 | |
CHEERING AND APPLAUSE | 0:33:40 | 0:33:42 | |
-Oh, God. Oh, my God. -Sorry, sorry. | 0:33:42 | 0:33:45 | |
-You all right, buddy? -I think I'll just take the stairs next time. | 0:33:46 | 0:33:49 | |
-Lili? -Oh, God. | 0:33:51 | 0:33:53 | |
Lili, let's be honest, you've stood up for everyone so far. | 0:33:53 | 0:33:56 | |
-You know you don't have to? You can just... -I know. | 0:33:56 | 0:33:59 | |
I understand the premises of the game. | 0:33:59 | 0:34:01 | |
LAUGHTER AND APPLAUSE | 0:34:01 | 0:34:04 | |
Absolutely burned. | 0:34:04 | 0:34:06 | |
Fair enough. | 0:34:06 | 0:34:07 | |
APPLAUSE | 0:34:07 | 0:34:11 | |
-Who's she? Who's Lili? -Lili? | 0:34:11 | 0:34:13 | |
Lili is from Romania and now lives in he East End | 0:34:13 | 0:34:17 | |
and sings Cockney songs in a local pub, and she's amazing. | 0:34:17 | 0:34:20 | |
And her and Geri got on so well, it was sort of freaky. | 0:34:20 | 0:34:23 | |
And that's good cos you get all the little snippets | 0:34:23 | 0:34:25 | |
of just Geri chatting to all these people. It's great. | 0:34:25 | 0:34:27 | |
-And the running around...? -Yes. | 0:34:27 | 0:34:29 | |
You see, I just think, if I was you, | 0:34:29 | 0:34:31 | |
I'd have gone, "No. I won't be doing that." | 0:34:31 | 0:34:33 | |
I think we're at different points of our career, Graham. | 0:34:33 | 0:34:36 | |
You know, give it a few years, I might ask for, you know, | 0:34:38 | 0:34:41 | |
-I need some help up and down the stairs. -"I'll have a chair." | 0:34:41 | 0:34:43 | |
"Can I have a stairlift, is that all right?" | 0:34:43 | 0:34:45 | |
No, it was fun. | 0:34:45 | 0:34:47 | |
It was pretty tiring, but, you know, I've done proper jobs. | 0:34:47 | 0:34:50 | |
I used to work at a flower market, | 0:34:50 | 0:34:51 | |
so chatting to people about a song ain't a killer. | 0:34:51 | 0:34:54 | |
I actually sold you a bag of compost. | 0:34:54 | 0:34:56 | |
LAUGHTER | 0:34:56 | 0:34:59 | |
-Did you really? -Columbia Road Flower Market. | 0:34:59 | 0:35:01 | |
-Oh, my God. -I worked there from 14 and I remember seeing you | 0:35:01 | 0:35:04 | |
-and I sold you a pot. -Wow! -I think I actually carried it for you, | 0:35:04 | 0:35:07 | |
-you gave me a tip. -Thank God! -I know. | 0:35:07 | 0:35:10 | |
-Can you imagine that? -Always tip, ladies and gentlemen. | 0:35:10 | 0:35:13 | |
-This could happen. -Yeah. "That's Graham Norton! It's Graham Norton!" | 0:35:14 | 0:35:18 | |
Well, I think that's the only bag of compost I've ever bought. | 0:35:18 | 0:35:21 | |
I even sort of remember it. | 0:35:23 | 0:35:25 | |
Yeah, that was my first job, selling bags of shit in the street. | 0:35:26 | 0:35:29 | |
In the morning, east London, brutal. | 0:35:31 | 0:35:35 | |
"Anyone want a bag of shit? | 0:35:35 | 0:35:36 | |
"Bag of shit going here, ten for a fiver! | 0:35:38 | 0:35:40 | |
"I'll carry it to your car for 50p!" | 0:35:41 | 0:35:44 | |
-So, running up shiny stairs... -Oh, it's fun, you know, | 0:35:44 | 0:35:46 | |
-it's quite good exercise. -Yes! -Yeah. | 0:35:46 | 0:35:48 | |
But is it weird being recognised now? | 0:35:48 | 0:35:50 | |
It's weird in south-east London cos it's quite rough, | 0:35:50 | 0:35:53 | |
so the same look you get when someone thinks you're famous | 0:35:53 | 0:35:55 | |
is the same one they look at you with if they want to chin you. | 0:35:55 | 0:35:58 | |
Sort of just like that... | 0:36:00 | 0:36:01 | |
APPLAUSE | 0:36:05 | 0:36:08 | |
You're like, "Yes, it's me... Oh, God!" | 0:36:10 | 0:36:13 | |
Listen, it's time to meet our music act tonight | 0:36:13 | 0:36:15 | |
and this is a real treat. | 0:36:15 | 0:36:17 | |
This singer shot to fame as the Bearded Woman | 0:36:17 | 0:36:19 | |
in The Greatest Showman for which the soundtrack album | 0:36:19 | 0:36:22 | |
has broken all records. | 0:36:22 | 0:36:23 | |
Here performing the Oscar-nominated This Is Me, it is Keala Settle. | 0:36:23 | 0:36:28 | |
# I'm not a stranger to the dark | 0:36:43 | 0:36:47 | |
# Hide away, they say | 0:36:47 | 0:36:50 | |
# Cos we don't want your broken parts | 0:36:50 | 0:36:53 | |
# I've learned to be ashamed of all my scars | 0:36:53 | 0:36:58 | |
# Run away, they say | 0:36:58 | 0:37:01 | |
# No-one will love you as you are | 0:37:01 | 0:37:03 | |
# But I won't let them break me down to dust | 0:37:03 | 0:37:07 | |
# I know that there's a place for us | 0:37:07 | 0:37:10 | |
# For we are glorious | 0:37:10 | 0:37:15 | |
# When the sharpest words wanna cut me down | 0:37:17 | 0:37:22 | |
# I'm gonna send a flood Gonna drown them out | 0:37:22 | 0:37:27 | |
# I am brave, I am bruised | 0:37:27 | 0:37:29 | |
# I am who I'm meant to be | 0:37:29 | 0:37:31 | |
# This is me | 0:37:31 | 0:37:33 | |
# Look out cos here I come | 0:37:33 | 0:37:37 | |
# And I'm marching on to the beat I drum | 0:37:37 | 0:37:42 | |
# I'm not scared to be seen | 0:37:42 | 0:37:44 | |
# I make no apologies, this is me | 0:37:44 | 0:37:48 | |
# Oh-oh-oh | 0:37:48 | 0:37:50 | |
# Oh-oh-oh | 0:37:50 | 0:37:52 | |
# Oh-oh-oh | 0:37:52 | 0:37:55 | |
# Oh-oh-oh | 0:37:55 | 0:37:57 | |
-# Oh-oh-oh -Oh-oh-oh | 0:37:57 | 0:37:59 | |
# Oh-oh-oh-oh-oh | 0:37:59 | 0:38:02 | |
# Another round of bullets hits my skin | 0:38:02 | 0:38:07 | |
-# Well, fire away -Oh-oh | 0:38:07 | 0:38:09 | |
-# Cos today -Oh-oh | 0:38:09 | 0:38:10 | |
# I won't let the shame sink in | 0:38:10 | 0:38:12 | |
# We are bursting through the barricades | 0:38:12 | 0:38:15 | |
-# And reaching for the sun -We are warriors | 0:38:15 | 0:38:19 | |
-# Yeah, that's what we've become -Yeah, that's what we've become | 0:38:19 | 0:38:23 | |
# I won't let them break me down to dust | 0:38:23 | 0:38:25 | |
# I know that there's a place for us | 0:38:25 | 0:38:29 | |
# For we are glorious | 0:38:29 | 0:38:32 | |
# When the sharpest words wanna cut me down | 0:38:32 | 0:38:37 | |
# I'm gonna send a flood Gonna drown them out | 0:38:37 | 0:38:42 | |
# I am brave, I am bruised | 0:38:42 | 0:38:44 | |
# I am who I'm meant to be | 0:38:44 | 0:38:46 | |
# This is me | 0:38:46 | 0:38:48 | |
# Look out cos here I come | 0:38:48 | 0:38:52 | |
# And I'm marching on to the beat I drum | 0:38:52 | 0:38:57 | |
# I'm not scared to be seen | 0:38:57 | 0:38:59 | |
# I make no apologies, this is me | 0:38:59 | 0:39:03 | |
# Oh-oh-oh | 0:39:03 | 0:39:05 | |
# Oh-oh-oh | 0:39:05 | 0:39:07 | |
# Oh-oh-oh | 0:39:07 | 0:39:10 | |
# Oh-oh-oh | 0:39:10 | 0:39:12 | |
-# Oh-oh-oh -Oh-oh-oh | 0:39:12 | 0:39:14 | |
# Oh-oh-oh-oh-oh This is me | 0:39:14 | 0:39:17 | |
# Oh-oh-oh | 0:39:17 | 0:39:19 | |
# And I know that I deserve your love | 0:39:19 | 0:39:25 | |
# There's nothing I'm not worthy of | 0:39:25 | 0:39:31 | |
# When the sharpest words wanna cut me down | 0:39:32 | 0:39:37 | |
# I'm gonna send a flood Gonna drown them out | 0:39:37 | 0:39:42 | |
# This is brave, this is bruised | 0:39:42 | 0:39:45 | |
# This is who I'm meant to be This is me | 0:39:45 | 0:39:48 | |
-# Look out cos here I come -Look out cos here I come | 0:39:48 | 0:39:53 | |
# And I'm marching on to the beat I drum | 0:39:53 | 0:39:56 | |
-# Marching on, marching, marching on -To the beat I drum | 0:39:56 | 0:39:59 | |
# I'm not scared to be seen | 0:39:59 | 0:40:00 | |
# I make no apologies, this is me | 0:40:00 | 0:40:04 | |
# Whenever the words wanna cut me down | 0:40:04 | 0:40:06 | |
# I send a flood to drown them out | 0:40:06 | 0:40:09 | |
# I'm gonna send a flood | 0:40:09 | 0:40:12 | |
-# Gonna drown them out -Oh-oh-oh | 0:40:12 | 0:40:15 | |
-# Oh, yeah -Oh-oh-oh | 0:40:15 | 0:40:18 | |
# This is me. # | 0:40:18 | 0:40:20 | |
APPLAUSE AND CHEERING Wow! | 0:40:20 | 0:40:23 | |
Amazing! | 0:40:26 | 0:40:28 | |
Stunning. Keala, come and join us. | 0:40:30 | 0:40:33 | |
Wow! That was incredible. | 0:40:34 | 0:40:37 | |
-Thank you so, so much. -Thank you. -Come and say hello to everybody. | 0:40:37 | 0:40:41 | |
Keala Settle, everybody! | 0:40:41 | 0:40:43 | |
-That's Rob Beckett. -How you doing? -Yeah, good to meet you. | 0:40:43 | 0:40:45 | |
-Lovely to meet you. -Debra. -Unbelievable. | 0:40:45 | 0:40:48 | |
APPLAUSE DROWNS SPEECH | 0:40:48 | 0:40:51 | |
-Wow! -It was amazing, well done. It was so good. | 0:40:51 | 0:40:56 | |
That was stunning. | 0:40:56 | 0:40:57 | |
We haven't had a reaction to a performance like that in ages. | 0:40:57 | 0:40:59 | |
-That was amazing. -Is that a good thing? -Yes. -OK, good. | 0:40:59 | 0:41:02 | |
-Yeah, there was a good reaction. -It was amazing, | 0:41:02 | 0:41:04 | |
I counted, 100 standing up, you smashed it. | 0:41:04 | 0:41:07 | |
Seriously, fantastic. | 0:41:07 | 0:41:09 | |
And that, of course, is from the soundtrack of The Greatest Showman. | 0:41:09 | 0:41:11 | |
-Yes. -And that is out now. | 0:41:11 | 0:41:13 | |
And, of course, one of the next times you'll be performing that | 0:41:13 | 0:41:16 | |
-will be at the Oscars with Saoirse. -I know, I saw Saoirse earlier, | 0:41:16 | 0:41:19 | |
I went, "Sorry, darling, you have to hear this another time." | 0:41:19 | 0:41:22 | |
-Whatever, yeah. -Yeah! | 0:41:22 | 0:41:24 | |
How does that happen? I mean, do you...? When do rehearsals start? | 0:41:24 | 0:41:27 | |
-How do...? -No comment. -Oh, OK. -I'll get fired from the Oscars | 0:41:27 | 0:41:30 | |
-if I give you any information. -OK. | 0:41:30 | 0:41:32 | |
-But I will tell you that I do get to sing at it. -Wow! | 0:41:32 | 0:41:36 | |
Does she win? | 0:41:36 | 0:41:37 | |
I can't give you that information either. | 0:41:37 | 0:41:40 | |
Also get fired. | 0:41:40 | 0:41:42 | |
So, listen, this is a really special thing, | 0:41:42 | 0:41:45 | |
-here you are in this movie... -Thanks for having us. | 0:41:45 | 0:41:47 | |
..the soundtrack's gone well, you're at the Oscars | 0:41:47 | 0:41:49 | |
-but this was never meant to happen. -No! -How did you end up in the film? | 0:41:49 | 0:41:53 | |
-Tell us your story. -Oh, it's Hugh Jackman's fault. -OK. | 0:41:53 | 0:41:55 | |
It's all Hugh Jackman's fault. | 0:41:55 | 0:41:57 | |
I was successfully hiding from the world in New York City | 0:41:57 | 0:42:01 | |
for about 25 years and so because the hustle is the hustle | 0:42:01 | 0:42:05 | |
when you're on a Broadway show, | 0:42:05 | 0:42:07 | |
you always book a show and then you try and find another one. | 0:42:07 | 0:42:09 | |
They were trying to find a Bearded Lady for a reading of | 0:42:09 | 0:42:13 | |
The Greatest Show On Earth, which is what it was called at the time | 0:42:13 | 0:42:16 | |
and... Ooft. | 0:42:16 | 0:42:18 | |
And I said, "Yeah, sure, I'll do it, how much is it? | 0:42:18 | 0:42:21 | |
"Great, I'll pay my rent. Go ahead and hand it over, I'll do it." | 0:42:21 | 0:42:24 | |
And then I ended up doing it two more times | 0:42:24 | 0:42:26 | |
and the last time ended up being the green light | 0:42:26 | 0:42:29 | |
that Fox gave for us to do it. | 0:42:29 | 0:42:31 | |
And you were in the room and... | 0:42:31 | 0:42:33 | |
Yeah, I did it and it was the first time that they had heard This Is Me. | 0:42:33 | 0:42:38 | |
It was actually one of the last two songs written for the film | 0:42:38 | 0:42:41 | |
and it was written a week before that whole thing and they said, | 0:42:41 | 0:42:44 | |
"Do you want to sing it?" I said, "Absolutely not. | 0:42:44 | 0:42:47 | |
"Find somebody else and I'll sing soprano or alto, | 0:42:47 | 0:42:49 | |
"just go find somebody else." | 0:42:49 | 0:42:51 | |
And the story goes with my director, he said, | 0:42:51 | 0:42:53 | |
"What will it take for you to do this?" | 0:42:53 | 0:42:56 | |
"I said, "You buy me a bottle of Jameson, I'll do it." | 0:42:56 | 0:42:58 | |
-Nice! -Showed up the next day with them little black liquor bags | 0:42:58 | 0:43:02 | |
that you get in New York City, pulled the bag down | 0:43:02 | 0:43:05 | |
and there was my bottle of Jameson. I was like, "Dang it!" | 0:43:05 | 0:43:07 | |
-I did the song. -You're cheap. -Well, yeah. | 0:43:07 | 0:43:10 | |
-Simple. -I think you need a new agent, to be honest with you. | 0:43:10 | 0:43:13 | |
It was very simple, you know? | 0:43:13 | 0:43:16 | |
At least ask for a case. | 0:43:16 | 0:43:18 | |
And, you know, budget, I had no idea what the budget was. | 0:43:18 | 0:43:21 | |
Listen, we've got a little surprise for you | 0:43:21 | 0:43:22 | |
because somebody heard you were on the show | 0:43:22 | 0:43:24 | |
-and a very famous Australian sent you this message. -No. -Yes. | 0:43:24 | 0:43:27 | |
Hi. I hope you're having a great time there with Graham, | 0:43:27 | 0:43:30 | |
I'm sure you are. Hi, Graham. | 0:43:30 | 0:43:32 | |
So, I've got one little message for you | 0:43:32 | 0:43:36 | |
because you took this song through four workshops, | 0:43:36 | 0:43:39 | |
you crushed it so well, it became an anthem | 0:43:39 | 0:43:42 | |
for many, many people around the world, | 0:43:42 | 0:43:44 | |
you sing it so well that you got yourself nominated for an Oscar | 0:43:44 | 0:43:48 | |
and topped the charts in a lot of countries | 0:43:48 | 0:43:50 | |
and I have four words for you, Keala. | 0:43:50 | 0:43:53 | |
It's all your fault. | 0:43:53 | 0:43:55 | |
No, it's not! | 0:43:55 | 0:43:57 | |
Aw, that's sweet. | 0:43:57 | 0:43:58 | |
APPLAUSE | 0:43:58 | 0:44:01 | |
Oh, my God, so wonderful. | 0:44:01 | 0:44:04 | |
How did you know he was going to say it's all your fault? | 0:44:06 | 0:44:09 | |
Because I tell him that, I mean, I told you when I first sat down, | 0:44:09 | 0:44:13 | |
it is his fault. This is the only reason why I was in this film | 0:44:13 | 0:44:16 | |
was because of Hugh Jackman and Hugh Jackman alone | 0:44:16 | 0:44:19 | |
and he continued to believe in me when I refused to, refused to. | 0:44:19 | 0:44:24 | |
I fought so hard to not to believe in myself and he said, | 0:44:24 | 0:44:27 | |
"Oh, stuff that, come on, let's go." | 0:44:27 | 0:44:29 | |
And I should mention, in this country, | 0:44:29 | 0:44:31 | |
The Greatest Showman has taken on another new life, | 0:44:31 | 0:44:33 | |
they're doing these special singalong... | 0:44:33 | 0:44:35 | |
I know, I'm so glad they're finally here! | 0:44:35 | 0:44:37 | |
But, let me say, good luck singing along with that, but... | 0:44:37 | 0:44:41 | |
But here's what happens, you go into these singalongs | 0:44:41 | 0:44:43 | |
and some people go by themselves cos obviously they're going, | 0:44:43 | 0:44:46 | |
"I'm the only person in the world who's going to watch this | 0:44:46 | 0:44:48 | |
for the ninth time," and then they go into these sold-out theatres | 0:44:48 | 0:44:51 | |
going, "That person's been here for the sixth time." | 0:44:51 | 0:44:53 | |
And you don't know them, but by the time the music starts, | 0:44:53 | 0:44:55 | |
you become best friends and all of you are dancing | 0:44:55 | 0:44:58 | |
whatever you want to dance and singing whatever you want to sing | 0:44:58 | 0:45:01 | |
-within the film and it's... -Oh, my God. | 0:45:01 | 0:45:02 | |
That song will be butchered at karaoke for years and years. | 0:45:02 | 0:45:07 | |
They all will, they all will. | 0:45:07 | 0:45:08 | |
It starts around the country on the 23rd of February. | 0:45:08 | 0:45:12 | |
-I'm so pleased for you. It's fantastic. -Thank you. | 0:45:12 | 0:45:14 | |
-What a great story... -Thank you so much. -..and what a great performance | 0:45:14 | 0:45:18 | |
-and good luck to both of you at the Oscars. -Yeah. | 0:45:18 | 0:45:20 | |
Keala Settle, everybody. APPLAUSE AND CHEERING | 0:45:20 | 0:45:24 | |
Right, that's nearly it, but before we go, | 0:45:25 | 0:45:28 | |
just time for a quick visit to the big red chair. | 0:45:28 | 0:45:32 | |
-Hello! -Hello! Hi, Graham. -Hi, what's your name? | 0:45:32 | 0:45:35 | |
-My name's Debbie. -Debbie, lovely. And where are you from, Debbie? | 0:45:35 | 0:45:38 | |
-I'm from Kent. -Lovely, and what do you do down there? | 0:45:38 | 0:45:41 | |
I'm an airline cabin crew member. | 0:45:41 | 0:45:43 | |
-Ooh! Can you say which airline it is? -No. -Ooh. | 0:45:43 | 0:45:46 | |
LAUGHTER DROWNS SPEECH | 0:45:46 | 0:45:47 | |
Wow, that good. Or maybe it reflects on the story. | 0:45:47 | 0:45:51 | |
-Off you go with your story. -OK. | 0:45:51 | 0:45:53 | |
Well, it happened 30 years ago, almost, | 0:45:53 | 0:45:56 | |
my youngest daughter was a baby, just a few months old | 0:45:56 | 0:46:00 | |
and she was still being fed in the night, so... | 0:46:00 | 0:46:03 | |
My ex-husband had a particular aversion to breastmilk | 0:46:03 | 0:46:07 | |
for some peculiar reason. | 0:46:07 | 0:46:09 | |
Anyway, she woke up in the middle of the night | 0:46:09 | 0:46:12 | |
and I got her out of her cot, took her into bed with me, | 0:46:12 | 0:46:15 | |
rested her in that arm, feeding her nicely, | 0:46:15 | 0:46:18 | |
the right side started to leak profusely and was squirting... | 0:46:18 | 0:46:21 | |
-Oh, God. -..all over his face and woke him up | 0:46:21 | 0:46:25 | |
and he went, "Ugh! Ugh! | 0:46:25 | 0:46:27 | |
"Get it off me." | 0:46:27 | 0:46:29 | |
And I thought, "Hm, that's not a very nice reaction." | 0:46:29 | 0:46:31 | |
So the next day, I made him a lovely apple crumble | 0:46:31 | 0:46:34 | |
with some very special breast milk custard. | 0:46:34 | 0:46:36 | |
APPLAUSE Well done, that lady. You can walk. | 0:46:36 | 0:46:39 | |
-Well done! -You can walk. -Well done! | 0:46:39 | 0:46:41 | |
Well done! Well done! | 0:46:41 | 0:46:44 | |
Love that one! | 0:46:44 | 0:46:46 | |
And of course she said ex-husband. | 0:46:50 | 0:46:51 | |
I know, ex-husband, he was her ex-husband, yeah. | 0:46:51 | 0:46:55 | |
-And then the marriage went tits up. -APPLAUSE AND CHEERING | 0:46:55 | 0:46:59 | |
-Ting! -Ting! | 0:47:01 | 0:47:03 | |
If you'd like to join us on the show and have a go in that red chair, | 0:47:03 | 0:47:06 | |
you can contact us via our website at this address. | 0:47:06 | 0:47:09 | |
Sadly that is it for tonight. | 0:47:09 | 0:47:10 | |
Please say a huge thank you to my guests, Keala Settle... | 0:47:10 | 0:47:13 | |
APPLAUSE AND CHEERING ..Rob Beckett... | 0:47:13 | 0:47:16 | |
..Debra Messing... | 0:47:18 | 0:47:20 | |
..Eric McCormack... | 0:47:20 | 0:47:21 | |
..and Saoirse Ronan. | 0:47:23 | 0:47:26 | |
Join me next week with singer-songwriter Camila Cabello, | 0:47:26 | 0:47:29 | |
brand-new Lara Croft Alicia Vikander, | 0:47:29 | 0:47:32 | |
rising British star Daniel Kaluuya, and from I, Tonya, | 0:47:32 | 0:47:35 | |
the Oscar-nominated Allison Janney and Margot Robbie. | 0:47:35 | 0:47:38 | |
I'll see you, then. Goodnight, everybody, bye-bye! | 0:47:38 | 0:47:41 | |
APPLAUSE | 0:47:41 | 0:47:44 |