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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
OK, I'll bring my guests out, I'll be behind here, you know the system. | 0:00:04 | 0:00:07 | |
Is Paul here tonight? I'm quite excited. You are! | 0:00:07 | 0:00:10 | |
MICHAEL LAUGHS AUDIENCE CHEERS | 0:00:10 | 0:00:13 | |
-How are you? -Yeah, good. | 0:00:13 | 0:00:15 | |
-Have you been recognised this week? -A few people. | 0:00:15 | 0:00:18 | |
-Has that really happened? -In this building. Yeah. | 0:00:18 | 0:00:21 | |
-Just in... -In this building, yeah. | 0:00:21 | 0:00:23 | |
Paul, that's supposed to happen anyway. | 0:00:23 | 0:00:25 | |
You work in this building. | 0:00:25 | 0:00:27 | |
So no-one in the street has noticed? Oh. | 0:00:27 | 0:00:30 | |
-ALL: -Aw...! | 0:00:30 | 0:00:32 | |
But he's on the show again. | 0:00:32 | 0:00:33 | |
Maybe if you say something funny... | 0:00:33 | 0:00:36 | |
Sorry. | 0:00:38 | 0:00:39 | |
CHEERING AND APPLAUSE | 0:00:41 | 0:00:45 | |
On tonight's show - | 0:00:52 | 0:00:55 | |
Jeremy Clarkson, | 0:00:55 | 0:00:57 | |
Abbey Clancy | 0:00:57 | 0:00:59 | |
and Sir David Jason. | 0:00:59 | 0:01:01 | |
But now, please welcome your host, Mr Michael McIntyre. | 0:01:04 | 0:01:08 | |
CHEERING AND APPLAUSE | 0:01:08 | 0:01:13 | |
All right. All right. All right. | 0:01:21 | 0:01:23 | |
Calm yourselves. Very good. Thank you very much. | 0:01:23 | 0:01:26 | |
Good evening, ladies and gent... | 0:01:26 | 0:01:27 | |
Oh, sorry, they've already told me to stand back! | 0:01:27 | 0:01:30 | |
Apparently, I was too close. | 0:01:30 | 0:01:31 | |
You know we did our first show last week, so I'm new to everything. | 0:01:31 | 0:01:35 | |
Did you notice? I was too close. I started the show last week... | 0:01:35 | 0:01:38 | |
Good evening, ladies and gentlemen. | 0:01:42 | 0:01:45 | |
-SINISTER VOICE: -Welcome to my shooowww! | 0:01:45 | 0:01:48 | |
HE LAUGHS MANIACALLY | 0:01:48 | 0:01:50 | |
Where do you want me? | 0:01:50 | 0:01:52 | |
This is a bit shi... | 0:01:52 | 0:01:54 | |
It's a bit IKEA, isn't it? | 0:01:54 | 0:01:56 | |
Good evening, ladies and gentlemen | 0:02:01 | 0:02:03 | |
and welcome to The Michael McIntyre Chat Show. | 0:02:03 | 0:02:05 | |
Yes, this is my chat show. | 0:02:09 | 0:02:11 | |
It's a late night chat show | 0:02:11 | 0:02:12 | |
and thank you very much at home for staying up - | 0:02:12 | 0:02:15 | |
any later, there'd be someone doing sign language in that corner. | 0:02:15 | 0:02:19 | |
As you may have noticed, this show - | 0:02:21 | 0:02:24 | |
and you certainly would have noticed | 0:02:24 | 0:02:26 | |
if you are watching at home, | 0:02:26 | 0:02:27 | |
we're on after the news - | 0:02:27 | 0:02:29 | |
we're on after the regional news. | 0:02:29 | 0:02:31 | |
My favourite regional newsreader is from BBC London | 0:02:31 | 0:02:34 | |
and this is a picture of him. | 0:02:34 | 0:02:36 | |
Do you recognise this man from the BBC? | 0:02:36 | 0:02:38 | |
-AUDIENCE: -Yes! | 0:02:38 | 0:02:40 | |
It makes me laugh... I don't know if you share my sense of humour. | 0:02:40 | 0:02:42 | |
But it makes me laugh every time it starts because of his name - | 0:02:42 | 0:02:45 | |
it's as childish as that - but this is his name. | 0:02:45 | 0:02:48 | |
A very good evening, I'm Asad Ahmad. | 0:02:48 | 0:02:51 | |
Every time I watch that I go, | 0:02:51 | 0:02:53 | |
"Don't be sad, Ahmad." | 0:02:53 | 0:02:55 | |
"Maybe news reading isn't your thing." | 0:03:00 | 0:03:03 | |
OK. My first guest is a true global phenomenon. | 0:03:07 | 0:03:10 | |
His television show is viewed in 174 countries, | 0:03:10 | 0:03:13 | |
making it the making it the most watched factual TV programme on the planet. | 0:03:13 | 0:03:16 | |
He's the top presenter of the top show | 0:03:16 | 0:03:18 | |
that's at the top of the TV charts. | 0:03:18 | 0:03:20 | |
Please welcome a man at the very top of his game - | 0:03:20 | 0:03:22 | |
yes, it's Top Gear's Jeremy Clarkson. | 0:03:22 | 0:03:24 | |
TOP GEAR THEME MUSIC | 0:03:24 | 0:03:31 | |
Jeremy Clarkson is here, isn't that exciting? | 0:03:42 | 0:03:44 | |
CHEERING | 0:03:44 | 0:03:46 | |
It is even more exciting because you've come a long way. | 0:03:46 | 0:03:50 | |
I have. I came from Holland Park. | 0:03:50 | 0:03:53 | |
But before that I was in Australia. | 0:03:53 | 0:03:55 | |
-But I'm here. -This is part of the tour? | 0:03:55 | 0:03:57 | |
-Yes. -Tell me about it. | 0:03:57 | 0:03:59 | |
I hear you go on these tours, but I don't know what that entails. | 0:03:59 | 0:04:02 | |
Cars go around and around in circles and stuff blows up. | 0:04:02 | 0:04:05 | |
People like it though and we take it around the world. | 0:04:05 | 0:04:08 | |
Only on the basis that we can behave like rock stars. | 0:04:08 | 0:04:10 | |
The three of us have no talent at all. None whatsoever. | 0:04:10 | 0:04:13 | |
-That isn't true. -No, we really don't. | 0:04:13 | 0:04:16 | |
We can't play an instrument, we can't sing, we can't do anything. | 0:04:16 | 0:04:19 | |
But we live like rock gods! | 0:04:19 | 0:04:21 | |
We have super yachts with helicopters on the back of them. | 0:04:21 | 0:04:23 | |
-Not licence fee money! -Is this true? -Yes. | 0:04:23 | 0:04:25 | |
So, this rock star thing... Living like rock stars. | 0:04:25 | 0:04:28 | |
Do you get treated like it? | 0:04:28 | 0:04:30 | |
Are there fanatics... Do you have groupies, and things? | 0:04:30 | 0:04:33 | |
Not... Well, there are groupies, | 0:04:33 | 0:04:35 | |
but they send to wear Subaru jackets and they're called Wayne. | 0:04:35 | 0:04:38 | |
Not groupies like Mick Jagger would ever have had. | 0:04:39 | 0:04:42 | |
"Y'all right, Jezza?" | 0:04:42 | 0:04:43 | |
That's the level of it, really. | 0:04:43 | 0:04:45 | |
This is on account of the fact that your show is on, what, | 0:04:45 | 0:04:48 | |
their channels, or is it on BBC Worldwide? | 0:04:48 | 0:04:51 | |
It's on obscure channels in places. It's on everywhere. | 0:04:51 | 0:04:55 | |
There's no escape. | 0:04:55 | 0:04:56 | |
It's mostly, I suspect, businessmen watching in hotels | 0:04:56 | 0:05:00 | |
because they can't watch pornography | 0:05:00 | 0:05:02 | |
because it'll show up on the bill. | 0:05:02 | 0:05:04 | |
So it's like this... | 0:05:04 | 0:05:06 | |
Sometimes it doesn't show up on the bill. | 0:05:07 | 0:05:10 | |
Pornography? | 0:05:10 | 0:05:12 | |
Because it warns you, it says, "This will show up as Room Service One." | 0:05:12 | 0:05:16 | |
But everybody knows that Room Service One means strong pornography. | 0:05:16 | 0:05:21 | |
-You take it to your boss and it says Room Service One... -I know. I know. | 0:05:21 | 0:05:24 | |
There's no film called Room Service One. | 0:05:24 | 0:05:26 | |
-How often do you do these tours? -A lot. A lot. | 0:05:27 | 0:05:30 | |
That's how we live. | 0:05:30 | 0:05:31 | |
We have to come back and make this annoying show. | 0:05:31 | 0:05:34 | |
Not YOUR show - our show! | 0:05:35 | 0:05:36 | |
Bit early to turn on me! | 0:05:39 | 0:05:41 | |
Then you have to come back and go and do Top Gear. | 0:05:41 | 0:05:45 | |
-This could never have been a plan of yours? -No. | 0:05:45 | 0:05:47 | |
Beyond your wildest dreams. | 0:05:47 | 0:05:49 | |
If someone said, would you like to fill a football stadium? God, yes! | 0:05:49 | 0:05:52 | |
Cos I've got footage of your first ever Top Gear appearance. | 0:05:52 | 0:05:57 | |
Oh, God, jetlag's just caught up with my bowels, so...! | 0:05:57 | 0:06:01 | |
Oh, God, that actually hurt. | 0:06:02 | 0:06:04 | |
I've never seen this. | 0:06:04 | 0:06:06 | |
-So this is your very first Top Gear appearance. -Oh, God...! | 0:06:06 | 0:06:09 | |
Customising has been a very dirty word. | 0:06:09 | 0:06:13 | |
You customise a Ford Capri, | 0:06:13 | 0:06:15 | |
you do not customise a modern day Bentley or Rolls-Royce. | 0:06:15 | 0:06:18 | |
What Hooper, bespoke coach builders for more than a century, do | 0:06:18 | 0:06:22 | |
is Hooperise them. | 0:06:22 | 0:06:23 | |
It began life as a pretty standard Bentley Turbo R with four doors | 0:06:28 | 0:06:32 | |
and has been converted into a "two-door coupe" - | 0:06:32 | 0:06:35 | |
with one long door on either side. | 0:06:35 | 0:06:38 | |
That means there's pretty substantial alterations | 0:06:38 | 0:06:40 | |
between here and here. | 0:06:40 | 0:06:42 | |
"YAWNS" LOUDLY | 0:06:43 | 0:06:45 | |
That accent is incredible, isn't it? | 0:06:45 | 0:06:48 | |
I asked the researchers to try and find when you started to become | 0:06:48 | 0:06:50 | |
-more the Clarkson we...we recognise today. -"..in the world." | 0:06:50 | 0:06:55 | |
Three years later they came up with this footage. | 0:06:55 | 0:06:58 | |
Well, that may be the case for the F-40, | 0:06:58 | 0:07:01 | |
but what about the 348 here? | 0:07:01 | 0:07:02 | |
It only costs a miserable £76,000. | 0:07:02 | 0:07:04 | |
Surely you could live with one of these every day of the week. | 0:07:04 | 0:07:07 | |
-So... -Sorry. | 0:07:07 | 0:07:09 | |
There's an evolution. | 0:07:10 | 0:07:11 | |
Well, the hair had certainly evolved. | 0:07:11 | 0:07:14 | |
That was a last ditch "You're going bald in a minute, matey-boy." | 0:07:14 | 0:07:17 | |
-This is three years. -Yeah. | 0:07:19 | 0:07:22 | |
So you're able to just wear what you liked, obviously, at this point...? | 0:07:22 | 0:07:25 | |
LAUGHTER | 0:07:25 | 0:07:27 | |
-But this was an early Top Gear, was it? -Yeah. | 0:07:27 | 0:07:29 | |
When did Top Gear become revolutionised? | 0:07:29 | 0:07:31 | |
It changed in 2002 into what it is now, with May and Hammond. | 0:07:31 | 0:07:36 | |
Well, not May, the first series, | 0:07:36 | 0:07:37 | |
because he was lost, or he drove so slowly he didn't get there till... | 0:07:37 | 0:07:41 | |
the second series started. | 0:07:41 | 0:07:42 | |
But, yes, it started in 2002. | 0:07:42 | 0:07:44 | |
-And you cast them, didn't you? -I cast Hammond. | 0:07:44 | 0:07:46 | |
I'd known May for a long time. | 0:07:46 | 0:07:48 | |
Bless him, life wasn't going too well for him. | 0:07:48 | 0:07:51 | |
I found him on the streets of Bath, actually drinking meths | 0:07:51 | 0:07:53 | |
and rambling incoherently... | 0:07:53 | 0:07:57 | |
about Second World War aeroplanes. | 0:07:57 | 0:08:01 | |
We managed to tidy him up a bit, get him off the meths | 0:08:01 | 0:08:03 | |
and he's not a bad presenter now, with editing. | 0:08:03 | 0:08:06 | |
Tell me about it! | 0:08:07 | 0:08:10 | |
LAUGHTER | 0:08:10 | 0:08:11 | |
But your accent and your intonations are, you know, | 0:08:11 | 0:08:15 | |
what make you so, well, so hilarious and...yourself. | 0:08:15 | 0:08:18 | |
What, the "pause...in the world"? | 0:08:18 | 0:08:20 | |
When did that happen? | 0:08:20 | 0:08:22 | |
That's because when you go to do voiceover, | 0:08:22 | 0:08:24 | |
you do the voiceover lines | 0:08:24 | 0:08:26 | |
and getting your breathing right | 0:08:26 | 0:08:28 | |
if you smoke a lot's really tricky. | 0:08:28 | 0:08:30 | |
So "This is the fastest car in the world" - | 0:08:30 | 0:08:32 | |
it's really hard for a smoker to do that. | 0:08:32 | 0:08:34 | |
"It's the fastest car... in the world." | 0:08:34 | 0:08:37 | |
That's brilliant! | 0:08:38 | 0:08:41 | |
It is your fortune! It is your fortune! | 0:08:41 | 0:08:43 | |
-It's just smoking. -Smoking? Smoking? | 0:08:43 | 0:08:46 | |
I can't talk for a long time... without taking the pause. | 0:08:46 | 0:08:49 | |
So I've got some questions for you, if you don't mind, about driving. | 0:08:51 | 0:08:55 | |
Just things I want you to clear up. | 0:08:55 | 0:08:57 | |
-The amber light... -Yeah. | 0:08:57 | 0:09:00 | |
-You know the red and the green's separated by the amber one? -It is. | 0:09:00 | 0:09:04 | |
This is kind of basic... | 0:09:04 | 0:09:06 | |
Yes, but it's something I've always wanted to ask someone who'd know. | 0:09:06 | 0:09:09 | |
What is it for, that one? The yellow one? | 0:09:09 | 0:09:12 | |
It's to warn you that something else is about to happen. | 0:09:12 | 0:09:15 | |
If it just went red-green, like they have in France, | 0:09:15 | 0:09:17 | |
everybody's killed - like happens in France. | 0:09:17 | 0:09:20 | |
If you're driving towards it and it goes yellow, | 0:09:20 | 0:09:23 | |
my wife thinks that means stop, | 0:09:23 | 0:09:25 | |
and I think it means hurry up before it goes red. | 0:09:25 | 0:09:27 | |
So which is it? | 0:09:28 | 0:09:30 | |
It's either. | 0:09:30 | 0:09:32 | |
You're given the choice. | 0:09:32 | 0:09:34 | |
You can choose. You know you've got to do something... | 0:09:34 | 0:09:37 | |
The control is in the driver's hands. | 0:09:37 | 0:09:39 | |
Your wife thinks she has to stop, | 0:09:39 | 0:09:40 | |
you think you have to speed up, | 0:09:40 | 0:09:42 | |
but at least you know you must do something. | 0:09:42 | 0:09:44 | |
If you're there and it's red and suddenly it went green... | 0:09:44 | 0:09:46 | |
-That's right. -..it would be a disaster. | 0:09:46 | 0:09:49 | |
There's another one where it flashes yellow | 0:09:49 | 0:09:51 | |
and the pedestrians, they don't know if it's them, | 0:09:51 | 0:09:53 | |
the driver's, "Is it me?" | 0:09:53 | 0:09:55 | |
And you just look at each other - "I don't know." | 0:09:55 | 0:09:58 | |
The driver's, "I don't know either." | 0:09:58 | 0:10:00 | |
It's a very confusing moment. | 0:10:00 | 0:10:01 | |
I wanted to talk about road crossings. | 0:10:01 | 0:10:03 | |
How are you as a pedestrian, as opposed to a driver? | 0:10:03 | 0:10:06 | |
Oh, I'm fine at crossing the road, but I use my ears, | 0:10:06 | 0:10:08 | |
and this is where I get in a terrible tangle sometimes with cyclists. | 0:10:08 | 0:10:11 | |
I had Green Cross Code, "Look left, right..." | 0:10:11 | 0:10:13 | |
I haven't got time for all that. | 0:10:13 | 0:10:15 | |
I walk out and there's INVARIABLY a cyclist coming. | 0:10:15 | 0:10:17 | |
And THEN you hear them - God, they shout! | 0:10:17 | 0:10:20 | |
And then they go past, shaking their head. | 0:10:22 | 0:10:25 | |
They go away doing that... | 0:10:25 | 0:10:28 | |
Or they look back. | 0:10:28 | 0:10:30 | |
That's a great look. | 0:10:31 | 0:10:33 | |
My chair hasn't got wheels on, but, yes! | 0:10:33 | 0:10:35 | |
That's... Yes! | 0:10:35 | 0:10:37 | |
Have you seen the new crossings that have the timers? | 0:10:37 | 0:10:40 | |
Oh, they're brilliant. They're really good. | 0:10:40 | 0:10:43 | |
You can get it into first and ready to go - I love those! | 0:10:43 | 0:10:45 | |
-Can you see the time as a motorist? -Yeah, yeah. | 0:10:45 | 0:10:48 | |
Because they're for pedestrians, really. | 0:10:48 | 0:10:51 | |
-It is not a countdown like at Grand Prix. -It is! | 0:10:52 | 0:10:56 | |
You are not there going, it's - Go! Go! Go! | 0:10:56 | 0:10:59 | |
This was on the news the other day | 0:11:00 | 0:11:02 | |
when they were talking about how long | 0:11:02 | 0:11:03 | |
it takes the elderly to get across a road, | 0:11:03 | 0:11:06 | |
and should pedestrian lights be longer? | 0:11:06 | 0:11:10 | |
Should they take longer? | 0:11:10 | 0:11:13 | |
"Because motorists rev their engines" - I've NEVER seen that happen. | 0:11:13 | 0:11:16 | |
I've never seen a car driver going - Rrrrrrrm... | 0:11:16 | 0:11:19 | |
"Get out of the way, old woman!" | 0:11:19 | 0:11:20 | |
It only happens in the mind of Jeremy Vine. | 0:11:20 | 0:11:23 | |
You can see it - I don't know if it's 25 seconds or 30 seconds... | 0:11:24 | 0:11:29 | |
It's plenty. You could crawl across! | 0:11:29 | 0:11:32 | |
But it's when there's only seven seconds left, | 0:11:32 | 0:11:34 | |
and you can see an old person thinking, "Can I do it in seven?" | 0:11:34 | 0:11:38 | |
And they just set off, | 0:11:38 | 0:11:39 | |
and you can see the clock and... and it's gone, | 0:11:39 | 0:11:42 | |
and they're nowhere near and they're like, | 0:11:42 | 0:11:45 | |
"I thought I could do it in seven." | 0:11:45 | 0:11:46 | |
The thing is, here I am, you're there - I'm in my car, | 0:11:46 | 0:11:49 | |
I'm not going to say, "Well, ... you. I'm going to run you down." | 0:11:49 | 0:11:52 | |
"You're an old person, you fought in the war, off you go." | 0:11:52 | 0:11:57 | |
That's very kind of you. Because what do is, I rush the first bit, | 0:11:57 | 0:12:00 | |
and then I just spend some time in the middle. | 0:12:00 | 0:12:02 | |
You'd get knocked down. | 0:12:06 | 0:12:08 | |
Idiot. You idiot. | 0:12:10 | 0:12:12 | |
So what I've noticed on my travels - | 0:12:14 | 0:12:16 | |
and you will have obviously noticed this on your travels - | 0:12:16 | 0:12:20 | |
is the green man and the red man when you're crossing the road. | 0:12:20 | 0:12:22 | |
So there's the red man, he's put weight on! | 0:12:22 | 0:12:25 | |
And there's the green man setting off. | 0:12:25 | 0:12:27 | |
-But around the world this changes. -Yeah. | 0:12:27 | 0:12:30 | |
So, in America... It's very literal in America. | 0:12:30 | 0:12:33 | |
They don't have anyone speaking other languages there, | 0:12:33 | 0:12:36 | |
which is why American cars always have what it is | 0:12:36 | 0:12:39 | |
written on the switches. | 0:12:39 | 0:12:41 | |
It says cigarette lighter, horn, light... | 0:12:41 | 0:12:44 | |
Whereas everywhere else in the world, | 0:12:44 | 0:12:46 | |
where there are other languages, it's symbols. | 0:12:46 | 0:12:48 | |
That's just how stupid they are! | 0:12:48 | 0:12:50 | |
LAUGHTER | 0:12:50 | 0:12:52 | |
They are very literal like that. | 0:12:52 | 0:12:54 | |
It's like they call glasses - or spectacles - eye glasses. | 0:12:54 | 0:12:57 | |
They have to specify where they go on your face. | 0:12:57 | 0:13:01 | |
Every other word is wrong. I mean, vest. No. Pants. No. | 0:13:01 | 0:13:05 | |
When it gets to cars - | 0:13:05 | 0:13:07 | |
sedan, hood, fender, freeway, interstate, sidewalk... | 0:13:07 | 0:13:13 | |
-Trunk. -Trunk. | 0:13:14 | 0:13:16 | |
Trunk is on the front of an elephant, not on the back of a saloon car, | 0:13:16 | 0:13:19 | |
but they have no idea. | 0:13:19 | 0:13:21 | |
Gas... Gas! | 0:13:21 | 0:13:22 | |
They call a liquid "gas"! | 0:13:22 | 0:13:24 | |
LAUGHTER AND APPLAUSE | 0:13:24 | 0:13:28 | |
Mental. | 0:13:28 | 0:13:29 | |
In France. | 0:13:33 | 0:13:35 | |
I love this one. | 0:13:35 | 0:13:36 | |
This is... How cool! | 0:13:37 | 0:13:39 | |
This guy is in, like, a tailored... | 0:13:39 | 0:13:41 | |
a perfectly tailored suit. | 0:13:41 | 0:13:42 | |
He's just the coolest guy. | 0:13:42 | 0:13:44 | |
"I will cross when I want to." | 0:13:44 | 0:13:46 | |
Then he just sets off, he's the most relaxed. "OK..." | 0:13:46 | 0:13:49 | |
This is Germany. | 0:13:53 | 0:13:54 | |
Look at that. | 0:13:54 | 0:13:56 | |
-SHOUTS: -Nobody Move! | 0:13:59 | 0:14:01 | |
Let us go! | 0:14:01 | 0:14:03 | |
Do you know what's really annoying about all this? | 0:14:07 | 0:14:09 | |
We've been doing Top Gear for 11 years | 0:14:09 | 0:14:11 | |
and never thought to bring that up | 0:14:11 | 0:14:13 | |
and you have on only your second show! | 0:14:13 | 0:14:14 | |
And it isn't even a car show. | 0:14:14 | 0:14:17 | |
WILD CHEERING | 0:14:17 | 0:14:19 | |
Jeremy, it's been amazing, you coming in with all this jet lag. | 0:14:21 | 0:14:24 | |
You've been wonderful and hilarious... | 0:14:24 | 0:14:26 | |
Oh, it's just a joy to see a man starting out in his career. | 0:14:26 | 0:14:29 | |
Ladies and gentlemen, the absolutely fantastic Mr Jeremy Clarkson! | 0:14:31 | 0:14:34 | |
Thank you, everybody. Thank you, thank you. | 0:14:34 | 0:14:38 | |
-Thank you so much. That was really, really brilliant. -Pleasure. | 0:14:38 | 0:14:41 | |
-Hilarious. -Thank you very much. | 0:14:41 | 0:14:43 | |
-Jeremy Clarkson! -Thank you so much. | 0:14:43 | 0:14:45 | |
Right. | 0:14:47 | 0:14:49 | |
OK, if you saw the show last week, | 0:14:50 | 0:14:52 | |
you'll know I played a game with someone in the audience, | 0:14:52 | 0:14:55 | |
and I've had a lot of very good feedback about this | 0:14:55 | 0:14:57 | |
and I'd very much like to do it again. | 0:14:57 | 0:14:59 | |
But, of course, it depends on you! | 0:14:59 | 0:15:01 | |
This was the Send To All game that led to so much hilarity. | 0:15:01 | 0:15:05 | |
So what I'm looking for now is a volunteer | 0:15:05 | 0:15:08 | |
who'll give me their mobile phone. | 0:15:08 | 0:15:10 | |
If you'll raise your hand. | 0:15:10 | 0:15:12 | |
We've got a bloke here. | 0:15:12 | 0:15:14 | |
What's your name? | 0:15:14 | 0:15:16 | |
-Andrew. -Where you from? | 0:15:16 | 0:15:18 | |
-I'm from Liverpool. -MIMICS ACCENT: -Liverpool. | 0:15:18 | 0:15:21 | |
Thank you so much for this. | 0:15:21 | 0:15:22 | |
We'll have a lot of fun, and it'll all work out in the end. | 0:15:22 | 0:15:25 | |
Ladies and gentlemen, a huge hand for the very, very generous Andrew! | 0:15:25 | 0:15:28 | |
RIGHT, so here I have your phone. | 0:15:32 | 0:15:35 | |
What do you do for a living? | 0:15:35 | 0:15:36 | |
I work at the National Physical Laboratory, as a scientist. | 0:15:36 | 0:15:40 | |
ALL: Ooooh...! | 0:15:40 | 0:15:42 | |
It's amazing, you never know what occupation | 0:15:43 | 0:15:46 | |
is going to get a whoop from an audience. | 0:15:46 | 0:15:49 | |
-What you do for a living? -I'm a student. | 0:15:49 | 0:15:51 | |
Nothing. | 0:15:51 | 0:15:53 | |
Why don't you elaborate slightly on what kind of science? | 0:15:53 | 0:15:56 | |
Well, the National Physical Laboratory | 0:15:56 | 0:15:58 | |
is the national measurement institute. | 0:15:58 | 0:16:00 | |
So it makes sure a kilogram is a kilogram, a metre is a metre. | 0:16:00 | 0:16:05 | |
LAUGHTER | 0:16:05 | 0:16:10 | |
No, no, no...! | 0:16:10 | 0:16:12 | |
LAUGHTER CONTINUES | 0:16:12 | 0:16:13 | |
No. You've got, like, a weighing machine? | 0:16:13 | 0:16:16 | |
Yeah. Yeah. Pretty much. | 0:16:16 | 0:16:18 | |
I don't understand. | 0:16:20 | 0:16:21 | |
You went to John Lewis, you bought some scales, | 0:16:21 | 0:16:24 | |
and now you're telling people... | 0:16:24 | 0:16:26 | |
"I'm basically a scientist." | 0:16:26 | 0:16:28 | |
"Did you see what happened? I put a kilo of flour, which I bought, | 0:16:30 | 0:16:33 | |
"and I put on top of the weighing machine and it says a kilo." | 0:16:33 | 0:16:37 | |
"Well, that's me. I'm basically a scientist." | 0:16:37 | 0:16:40 | |
APPLAUSE | 0:16:40 | 0:16:42 | |
I don't understand! | 0:16:42 | 0:16:44 | |
Do you just get a tape measure... | 0:16:45 | 0:16:49 | |
"Yeah, that's a metre." | 0:16:49 | 0:16:51 | |
"I've over qualified!" | 0:16:51 | 0:16:54 | |
You've got a very confusing job. | 0:16:55 | 0:16:57 | |
Are you in a relationship? | 0:16:57 | 0:16:59 | |
-Yeah, I'm engaged. -Aw, that's very sweet. | 0:16:59 | 0:17:02 | |
Erm, to...? | 0:17:02 | 0:17:03 | |
Nina. | 0:17:03 | 0:17:05 | |
Nina. | 0:17:05 | 0:17:06 | |
Nina. I like the name Nina. | 0:17:06 | 0:17:08 | |
It's a bit like a siren - Nina. Nina. | 0:17:08 | 0:17:12 | |
There's a newsreader called Nina Nanar. | 0:17:12 | 0:17:14 | |
What kind of a name is that? | 0:17:15 | 0:17:17 | |
Who would name their child Ni-na Na-nar? | 0:17:17 | 0:17:20 | |
Maybe when they were naming her there was an ambulance going past. | 0:17:21 | 0:17:24 | |
"I like the sound of that!" | 0:17:24 | 0:17:27 | |
"Shall we go for Barbara or Nina Nanar?" | 0:17:27 | 0:17:29 | |
Oh, bless you for having Mary Berry's app! | 0:17:31 | 0:17:34 | |
Oh, you're adorable! | 0:17:34 | 0:17:36 | |
Does she come to you for measurements? | 0:17:36 | 0:17:38 | |
-MIMICS MARY: -"Andrew, I am making a cake at the moment, | 0:17:40 | 0:17:44 | |
"how much flour is it, again?" | 0:17:44 | 0:17:46 | |
-LIVERPUDLIAN ACCENT: -"Well, according to my calculations, | 0:17:47 | 0:17:52 | |
"it's EXACTLY one kilogram." | 0:17:52 | 0:17:54 | |
"Well, it's so lovely to speak to an actual scientist about this!" | 0:17:58 | 0:18:03 | |
OK. So the text message I'm going to write into Andrew's phone | 0:18:03 | 0:18:06 | |
and send to all of his contacts is, | 0:18:06 | 0:18:09 | |
"You and me need to spend more time together. | 0:18:09 | 0:18:12 | |
"This weekend, I'll hire a car and we'll just drive." | 0:18:12 | 0:18:16 | |
You...and me... | 0:18:23 | 0:18:25 | |
need to spend... | 0:18:25 | 0:18:28 | |
more...time...together. | 0:18:28 | 0:18:33 | |
"This weekend, I'll hire a car and we'll just drive." | 0:18:33 | 0:18:36 | |
And then I'll go - "You in?" | 0:18:38 | 0:18:40 | |
OK, so I'm going to send that. | 0:18:42 | 0:18:44 | |
Ladies and gentlemen, a huge hand for the very generous and wonderful | 0:18:44 | 0:18:47 | |
Andrew from Liverpool! | 0:18:47 | 0:18:49 | |
Thank you very much. Thank you! | 0:18:49 | 0:18:51 | |
My next guest is the sultry, seductive, Scouse sensation | 0:18:58 | 0:19:01 | |
who went from runway to rumba. | 0:19:01 | 0:19:04 | |
She's a lingerie model, fashion designer | 0:19:04 | 0:19:06 | |
and the reigning champion of Strictly Come Dancing - | 0:19:06 | 0:19:08 | |
please welcome the beautiful, wonderful, fabulous, | 0:19:08 | 0:19:11 | |
wondrous, glorious... | 0:19:11 | 0:19:12 | |
It's Abbey Clancy! | 0:19:12 | 0:19:14 | |
Abbey, darling, thank you for coming on my show. | 0:19:19 | 0:19:22 | |
Abbey Clancy! | 0:19:22 | 0:19:24 | |
APPLAUSE AND CHEERING | 0:19:24 | 0:19:25 | |
-Abbey, darling, thank you for being here. -Thanks for having me. | 0:19:30 | 0:19:33 | |
Abbey, congratulations. | 0:19:33 | 0:19:34 | |
-Strictly Come Dancing was just amazing. -Amazing. | 0:19:34 | 0:19:38 | |
It was the most incredible experience I have ever had, | 0:19:38 | 0:19:41 | |
learning how to dance. | 0:19:41 | 0:19:43 | |
Had you danced at all before? | 0:19:43 | 0:19:45 | |
No. I used to do dancing when I was a little girl, | 0:19:45 | 0:19:48 | |
but I got thrown out for just looking in the mirror and fixing my hair. | 0:19:48 | 0:19:52 | |
It was just incredible. I loved it and did not expect to get so far. | 0:19:53 | 0:19:58 | |
Why do people love it so much? It is as if they get almost hypnotised. | 0:19:58 | 0:20:03 | |
You see them when they are standing and being judged. | 0:20:03 | 0:20:06 | |
They are out of breath and it's always very tactile | 0:20:06 | 0:20:09 | |
and they love each other so much and they look into each other's eyes | 0:20:09 | 0:20:12 | |
and say, "I love you so much," | 0:20:12 | 0:20:14 | |
-and they have been training for three days! -I know! | 0:20:14 | 0:20:16 | |
It is so weird. It completely takes over your life. | 0:20:16 | 0:20:20 | |
-It's amazing. -Incredibly intense. -It is intense. | 0:20:20 | 0:20:23 | |
-How many hours a week? -I was doing seven hours a day. -No! | 0:20:23 | 0:20:28 | |
-Yeah. -Every day? -Every day, yeah. -Seven hours? -Mm. | 0:20:28 | 0:20:31 | |
-That's too long! -Ten till six, I did. -And who was your partner? -Aljaz. | 0:20:31 | 0:20:37 | |
This was my favourite dance. Amazing. | 0:20:37 | 0:20:39 | |
This is when I wanted you to win, when I saw this. | 0:20:39 | 0:20:42 | |
I was very firm on it in my house. I could not believe it. | 0:20:42 | 0:20:46 | |
-Which one is it? -When you got all tens. | 0:20:46 | 0:20:48 | |
-Is it a Latin dance? -It is a Latin dance. | 0:20:48 | 0:20:49 | |
-A salsa. -I like that one cos there's lots of moving. | 0:20:49 | 0:20:52 | |
I don't like the one where you just walk around like that. | 0:20:52 | 0:20:57 | |
That is the one I love, the tango! | 0:20:57 | 0:21:01 | |
LAUGHTER | 0:21:01 | 0:21:02 | |
Your posture is all wrong, Michael. | 0:21:03 | 0:21:05 | |
I think that was shit. | 0:21:05 | 0:21:07 | |
I like the ones where... I don't think the men do much, am I wrong? | 0:21:07 | 0:21:12 | |
The men just do this sort of... | 0:21:12 | 0:21:15 | |
LAUGHTER | 0:21:15 | 0:21:16 | |
And then they just point at the girl. | 0:21:17 | 0:21:19 | |
"You do it. I'm just going to do this." | 0:21:19 | 0:21:21 | |
What is this shit anyway? What is this? | 0:21:23 | 0:21:25 | |
-That's fabulous! -Do they walk like that all the time? | 0:21:26 | 0:21:31 | |
They do, actually. | 0:21:31 | 0:21:32 | |
It is such a weird way to behave. | 0:21:34 | 0:21:36 | |
APPLAUSE | 0:21:39 | 0:21:40 | |
You should go on Strictly. You'd win it with them moves. | 0:21:41 | 0:21:45 | |
-Please go on it, I'll vote for you. -It is exhausting! | 0:21:45 | 0:21:48 | |
-This is my favourite one. It was magical. -Let me see. | 0:21:50 | 0:21:53 | |
APPLAUSE | 0:22:14 | 0:22:16 | |
-You were incredible. -I think it was the curly wig. | 0:22:19 | 0:22:22 | |
Does it excite you that you can do that? Are you going to keep it up? | 0:22:22 | 0:22:26 | |
You can do that. The music can start and you can do that. | 0:22:26 | 0:22:29 | |
I can only do that dance. | 0:22:29 | 0:22:31 | |
I don't know any other salsa dances. | 0:22:31 | 0:22:34 | |
That's enough! | 0:22:34 | 0:22:36 | |
People say, "Do you want to keep it up?" Where would I go? | 0:22:36 | 0:22:39 | |
To the local salsa club and say, | 0:22:39 | 0:22:41 | |
"I won Strictly, so I can just come in and be a professional." | 0:22:41 | 0:22:44 | |
So tell me about... Apparently, you are involved, | 0:22:47 | 0:22:51 | |
this sounds like I'm being a pervert, | 0:22:51 | 0:22:54 | |
but apparently this is something | 0:22:54 | 0:22:56 | |
-you wanted to talk about so I... -I wanted to talk about? | 0:22:56 | 0:22:58 | |
They tell me you are doing a campaign. | 0:22:58 | 0:23:00 | |
I felt very uncomfortable to be the one sitting here saying, | 0:23:00 | 0:23:03 | |
"Tell me about lingerie, Abbey." | 0:23:03 | 0:23:05 | |
They said you wanted to talk about it. | 0:23:05 | 0:23:07 | |
I said I don't want to talk about lingerie! | 0:23:07 | 0:23:10 | |
-I didn't want to talk about it, you did. -I never mentioned it. | 0:23:10 | 0:23:13 | |
I find lingerie... Lingerie is the most embarrassing subject. | 0:23:13 | 0:23:19 | |
I cannot get into lingerie. That came out wrong! | 0:23:19 | 0:23:22 | |
That is funny. That is funny. | 0:23:23 | 0:23:26 | |
-It is very embarrassing. I can't even say it. Lingerie. -Lingerie. | 0:23:26 | 0:23:30 | |
So... You advertise it, lingerie, Ultimo, is that right? | 0:23:32 | 0:23:37 | |
-Yes. -And you are the face/body of it? | 0:23:37 | 0:23:39 | |
-Yeah. -You're the Ultimo person. | 0:23:39 | 0:23:42 | |
There it is! | 0:23:42 | 0:23:43 | |
That is you just after the Top Gear recording! | 0:23:44 | 0:23:46 | |
LAUGHTER | 0:23:46 | 0:23:48 | |
-MIMICS JEREMY CLARKSON: -Get into...my car. | 0:23:49 | 0:23:54 | |
Do you design this? Take it off. | 0:23:54 | 0:23:57 | |
No, not take it off, I mean... | 0:23:57 | 0:23:59 | |
LAUGHTER | 0:23:59 | 0:24:00 | |
Take the picture off. | 0:24:01 | 0:24:03 | |
Tell me your involvement in the campaign. | 0:24:06 | 0:24:08 | |
-I don't design it, I just model it. -Right, OK. | 0:24:08 | 0:24:11 | |
But how do you manage? | 0:24:11 | 0:24:13 | |
Who is photographed more than you? | 0:24:13 | 0:24:16 | |
You are being photographed an awful... Today. | 0:24:16 | 0:24:20 | |
Tell me about your day-to-day. | 0:24:20 | 0:24:22 | |
OK, so today, you cannot open the blinds | 0:24:22 | 0:24:25 | |
because there are 15 paparazzi outside. | 0:24:25 | 0:24:27 | |
My daughter said, "Those men are there again, taking pictures." | 0:24:27 | 0:24:30 | |
It's insane. It drives me mad. | 0:24:30 | 0:24:32 | |
-What time do they get in? -They sit there all day. | 0:24:32 | 0:24:36 | |
I'm taking the baby to nursery, going to Tesco. I'm going to work. | 0:24:36 | 0:24:40 | |
It is the same picture, different outfit. | 0:24:40 | 0:24:42 | |
Today I wanted to go to the park with the baby and get an ice cream | 0:24:42 | 0:24:46 | |
and it's difficult when you have got ten men in the kids' park with you. | 0:24:46 | 0:24:51 | |
-It's a bit weird. -Very weird. | 0:24:51 | 0:24:53 | |
But then I've had a really happy career, so I can't complain. | 0:24:53 | 0:24:58 | |
-You just have to balance the two. -Selfies. You do some selfies. | 0:24:58 | 0:25:01 | |
I don't know anything about selfies. | 0:25:01 | 0:25:03 | |
-It is a very strange world, the selfie. -I know, it's weird. | 0:25:03 | 0:25:06 | |
People talk about selfies all the time. | 0:25:06 | 0:25:09 | |
What is the big deal of someone holding up a camera | 0:25:09 | 0:25:11 | |
and taking a picture of themselves? | 0:25:11 | 0:25:14 | |
I only do it because other people do it. I hate pictures of meself. | 0:25:14 | 0:25:18 | |
But you get a chance to choose it, though. | 0:25:18 | 0:25:21 | |
It takes about three hours to get the selfie right. | 0:25:21 | 0:25:24 | |
You are in a house surrounded by paparazzi | 0:25:24 | 0:25:26 | |
and you're inside, photographing your own face! | 0:25:26 | 0:25:29 | |
LAUGHTER I know! I know. | 0:25:29 | 0:25:32 | |
APPLAUSE | 0:25:32 | 0:25:33 | |
I know, it's weird, it's bizarre. | 0:25:36 | 0:25:38 | |
We have some selfies taken by you. This is taken by your own arm. | 0:25:38 | 0:25:42 | |
-This is what I'm talking about. -This is a drunk picture. | 0:25:42 | 0:25:45 | |
Pete's pouting more than I am! | 0:25:45 | 0:25:47 | |
-What is Peter doing there? -He is pouting. He's pouting. | 0:25:47 | 0:25:50 | |
How do you pout? | 0:25:50 | 0:25:52 | |
-Can you show me? -Oh, my God, that is remarkable! | 0:25:52 | 0:25:55 | |
So, this... | 0:25:57 | 0:25:59 | |
This is what they have done for us. | 0:25:59 | 0:26:01 | |
Apparently, this is my phone. | 0:26:01 | 0:26:03 | |
OK, so... AAAAGH! | 0:26:03 | 0:26:06 | |
CHEERING | 0:26:06 | 0:26:08 | |
Right. You have to tell me what to do. | 0:26:11 | 0:26:14 | |
-How far away? -Chin down a bit. -Chin down. | 0:26:14 | 0:26:17 | |
Oh, yes, you are right. | 0:26:17 | 0:26:19 | |
-My chins bunch up. -Put your head out a bit and you will lose all that. | 0:26:19 | 0:26:25 | |
I have lost weight! | 0:26:25 | 0:26:26 | |
This is amazing! | 0:26:28 | 0:26:29 | |
Head out. | 0:26:30 | 0:26:31 | |
Chin down. Pout your lips. | 0:26:31 | 0:26:34 | |
Perfect. | 0:26:35 | 0:26:36 | |
-Amazing! -Is that good? | 0:26:38 | 0:26:41 | |
LAUGHTER | 0:26:41 | 0:26:42 | |
All right. | 0:26:43 | 0:26:45 | |
Let's come round. | 0:26:45 | 0:26:46 | |
Don't take one of me. I look horrendous! | 0:26:49 | 0:26:52 | |
This is great. | 0:26:54 | 0:26:55 | |
This should be on the Daily Mail website by midnight. | 0:26:55 | 0:26:58 | |
-Are you pouting? -Of course! What else do you think I'm doing? | 0:27:00 | 0:27:03 | |
I'm not eating pasta. | 0:27:05 | 0:27:06 | |
That is awesome! Brilliant. | 0:27:10 | 0:27:13 | |
-Look at that! -APPLAUSE | 0:27:13 | 0:27:16 | |
Abbey Clancy, thank you so, so very much for coming on the show. | 0:27:16 | 0:27:19 | |
Thank you. | 0:27:19 | 0:27:21 | |
Ladies and gentlemen, the beautiful, | 0:27:21 | 0:27:25 | |
wonderful, darling... Thank you so much. Abbey Clancy! | 0:27:25 | 0:27:30 | |
APPLAUSE AND CHEERING | 0:27:30 | 0:27:32 | |
Right, OK, now... | 0:27:35 | 0:27:36 | |
Of course, we have a phone here that belongs to Andrew. | 0:27:36 | 0:27:40 | |
We had better check in. | 0:27:40 | 0:27:42 | |
A quick reminder of the text I sent out, which was, | 0:27:42 | 0:27:45 | |
"You and me need to spend more time together. | 0:27:45 | 0:27:48 | |
"This weekend, I'll hire a car and we'll just drive. | 0:27:48 | 0:27:51 | |
"Are you in?" | 0:27:51 | 0:27:54 | |
Well, I can tell you, Andrew, that 31 people have responded. | 0:27:54 | 0:27:56 | |
LAUGHTER | 0:27:56 | 0:27:58 | |
I think I might come to you, actually. You're too far away. | 0:27:58 | 0:28:03 | |
We have somebody called Tara. | 0:28:05 | 0:28:08 | |
-A work colleague. -A work colleague. | 0:28:08 | 0:28:11 | |
OK, well, um... | 0:28:11 | 0:28:12 | |
She's in. She says, "Yeah, that sounds good." | 0:28:15 | 0:28:18 | |
You might have some explaining to do there. | 0:28:20 | 0:28:23 | |
-Richard Miller, friend of yours? -A good friend. -Is he from Liverpool? | 0:28:25 | 0:28:29 | |
-He is from Newcastle. -Newcastle! | 0:28:29 | 0:28:31 | |
He has just done, "Mate, are you pissed?" | 0:28:31 | 0:28:34 | |
LAUGHTER | 0:28:34 | 0:28:35 | |
It's actually a really good one. | 0:28:37 | 0:28:39 | |
He's gone, "Mate, RU pissed? | 0:28:39 | 0:28:42 | |
"I'd never go anywhere without planning a route first." | 0:28:42 | 0:28:45 | |
LAUGHTER | 0:28:45 | 0:28:46 | |
Oh, my goodness. Kenny is so up for this. Who is Kenny? | 0:28:53 | 0:28:57 | |
He was meant to be coming tonight. | 0:28:57 | 0:28:59 | |
Kenny's like, "Sure, I'll be busy Saturday but Sunday is good for me." | 0:28:59 | 0:29:03 | |
Then it's got a follow up text. | 0:29:03 | 0:29:05 | |
-"Also, FYI, trains to Teddington are a bit -BLEEP -at the moment. | 0:29:05 | 0:29:09 | |
"Something about a damaged bridge. | 0:29:09 | 0:29:10 | |
"Might be sorted by the time you're heading back, though." | 0:29:10 | 0:29:13 | |
LAUGHTER | 0:29:13 | 0:29:17 | |
Nina. Who's Nina? | 0:29:17 | 0:29:19 | |
-Oh, Nina, of course, is your fiancee. -Yeah. | 0:29:19 | 0:29:21 | |
Oh, sweet! No. | 0:29:21 | 0:29:24 | |
LAUGHTER AND APPLAUSE | 0:29:24 | 0:29:28 | |
-Nina, your fiancee. Is she from Liverpool? -No, she's from Wales. | 0:29:31 | 0:29:35 | |
-She's gone... -WELSH ACCENT: -"Where are we going? | 0:29:35 | 0:29:37 | |
"I'm in, but you're paying." | 0:29:37 | 0:29:40 | |
That's so sweet. | 0:29:40 | 0:29:42 | |
OK. Somebody called Jay Mac. | 0:29:42 | 0:29:44 | |
He's gone, "Hmmm. | 0:29:44 | 0:29:46 | |
"Sounds tempting, but could do with knowing A, who are you, | 0:29:46 | 0:29:50 | |
"and B, Can you drive?" | 0:29:50 | 0:29:52 | |
LAUGHTER AND APPLAUSE | 0:29:52 | 0:29:55 | |
Very good. Very good. | 0:29:55 | 0:29:57 | |
Big round of applause. This is awesome. | 0:29:57 | 0:30:00 | |
I love it all! | 0:30:00 | 0:30:03 | |
All right. | 0:30:03 | 0:30:05 | |
My next guest is acting royalty. | 0:30:07 | 0:30:09 | |
He is arguably the biggest star in British television history. | 0:30:09 | 0:30:13 | |
And he put the phrase "lovely jubbly" | 0:30:13 | 0:30:15 | |
into the Oxford English dictionary. | 0:30:15 | 0:30:17 | |
Ladies and gentlemen, please welcome the icon | 0:30:17 | 0:30:19 | |
and living legend that is Sir David Jason. | 0:30:19 | 0:30:23 | |
MUSIC: "Theme from Only Fools And Horses" | 0:30:23 | 0:30:28 | |
CHEERING AND APPLAUSE | 0:30:28 | 0:30:31 | |
Out of your seat! Everybody up! | 0:30:31 | 0:30:35 | |
David Jason. Come on! | 0:30:39 | 0:30:42 | |
APPLAUSE | 0:30:42 | 0:30:46 | |
Cor, what a welcome, I'll come again, I think! | 0:30:49 | 0:30:52 | |
I can't tell you what an absolute pleasure to have you here. | 0:30:52 | 0:30:55 | |
-And for me, love. -It's really incredible. | 0:30:55 | 0:30:58 | |
-So, you are a Knight of the Realm. -Yes. | 0:30:58 | 0:31:00 | |
I want to know how it works. | 0:31:00 | 0:31:02 | |
How do you become a Knight of the Realm? | 0:31:02 | 0:31:04 | |
Do they write to you or something, you have to keep it a secret? | 0:31:04 | 0:31:06 | |
Just, you know, the sheer talent and weightiness of it. | 0:31:06 | 0:31:11 | |
Humility and good works and being a mate of the Queen does help, yeah. | 0:31:12 | 0:31:20 | |
No, I don't know, I really don't know. | 0:31:20 | 0:31:23 | |
I just got a letter, saying, "from Number Ten Downing Street." | 0:31:23 | 0:31:27 | |
-Did you have to sign for it? -No! | 0:31:27 | 0:31:30 | |
It was just on the mat? | 0:31:30 | 0:31:32 | |
There isn't some guy with a big top hat going, "Sign this?" | 0:31:32 | 0:31:35 | |
No. It was just a letter with a nice little logo, I can't remember | 0:31:35 | 0:31:39 | |
-if it was on the back, but it does say 10 Downing Street. -Lovely. | 0:31:39 | 0:31:42 | |
You go, hello, this is something... | 0:31:42 | 0:31:45 | |
-IN COCKNEY ACCENT: -This is proper, this ain't no gas bill! -No! | 0:31:45 | 0:31:48 | |
LAUGHTER | 0:31:48 | 0:31:50 | |
-Oi-oi! -Yeah. | 0:31:50 | 0:31:52 | |
I might sit down for this one! | 0:31:52 | 0:31:54 | |
-How very exciting. So you accept that. -Yeah. | 0:31:55 | 0:31:58 | |
I don't really know what it means. Are you a knight? | 0:31:58 | 0:32:00 | |
Do you get called upon in war and stuff? | 0:32:00 | 0:32:04 | |
I mean, if there is a war out there... | 0:32:04 | 0:32:06 | |
Bloody hell, I hope not! | 0:32:06 | 0:32:08 | |
Is it you and Bruce Forsyth and Wogan? | 0:32:08 | 0:32:10 | |
Yeah. We'll all go into battle. | 0:32:12 | 0:32:14 | |
"Hello, it's me, I'm Wogan! Wahey!" | 0:32:14 | 0:32:18 | |
APPLAUSE | 0:32:18 | 0:32:21 | |
"They don't like it up 'em. They don't like it up 'em, sir!" | 0:32:23 | 0:32:26 | |
LAUGHTER | 0:32:26 | 0:32:28 | |
So there's a real excitement | 0:32:28 | 0:32:30 | |
-because you've done a sketch for Sport Relief. -Yes, I have. | 0:32:30 | 0:32:34 | |
Are you aware of this? | 0:32:34 | 0:32:36 | |
-You've revived Only Fools and Horses. -Yeah. | 0:32:36 | 0:32:40 | |
-You haven't done this for how long? -You tell me, I don't know. | 0:32:40 | 0:32:44 | |
20 odd years. | 0:32:44 | 0:32:45 | |
Had you intended to ever do it again, | 0:32:45 | 0:32:47 | |
-had you pretty much said goodbye to it? -No, we didn't. | 0:32:47 | 0:32:50 | |
I never did because, as you know, unfortunately, bless him, | 0:32:50 | 0:32:54 | |
John Sullivan, the creator of it all, | 0:32:54 | 0:32:57 | |
he very unfortunately died. As he... | 0:32:57 | 0:33:00 | |
As Nick Lyndhurst used to say, John Sullivan made the ammunition | 0:33:00 | 0:33:05 | |
and we just fired it. | 0:33:05 | 0:33:07 | |
So he was the brains behind the whole thing. | 0:33:07 | 0:33:10 | |
-Did he sing the theme tune as well? -Yes, he did. -That's amazing. | 0:33:10 | 0:33:14 | |
-I don't know any writer who's done a theme tune. -Multi-talented. | 0:33:14 | 0:33:17 | |
Like you and me, multi-talented, mate. | 0:33:17 | 0:33:19 | |
So who wrote this sketch? | 0:33:19 | 0:33:21 | |
Apparently it was part of some notes that John had left in his, | 0:33:21 | 0:33:25 | |
you know, in his desk. | 0:33:25 | 0:33:28 | |
It was re-put together by his two sons, Jim and Dan. | 0:33:28 | 0:33:33 | |
But what had happened is | 0:33:33 | 0:33:36 | |
they wanted to do something for this Sport Relief. | 0:33:36 | 0:33:40 | |
They got a hold of David Beckham and they said, you know, | 0:33:40 | 0:33:44 | |
would he do something? He said yes. | 0:33:44 | 0:33:47 | |
During the course of the conversation he said he'd always wanted to | 0:33:47 | 0:33:50 | |
work with... He loved the show Fools and Horses, | 0:33:50 | 0:33:53 | |
and it would be great if you could do something with me and Nick. | 0:33:53 | 0:33:57 | |
So then the grapevine, as they do, it all started to work... | 0:33:57 | 0:34:01 | |
It came from Beckham? | 0:34:01 | 0:34:03 | |
Apparently, yes. | 0:34:03 | 0:34:05 | |
How does it feel for you then, reviving Del Boy? | 0:34:05 | 0:34:07 | |
Well, once I'd read the script that they intended to do | 0:34:07 | 0:34:11 | |
and I said yes, I would do it. | 0:34:11 | 0:34:13 | |
It smacked so much of Sullivan that I said, "Yeah, we'll do it." | 0:34:13 | 0:34:18 | |
And so when I got together with Nick for the first run through, | 0:34:18 | 0:34:23 | |
it came back like that. | 0:34:23 | 0:34:24 | |
As soon as I put on the gear and started to look at the script, | 0:34:24 | 0:34:28 | |
back it came! | 0:34:28 | 0:34:30 | |
He's as daft as a brush, but he's lovable, we like him. | 0:34:30 | 0:34:33 | |
He's a cheeky chappie. | 0:34:33 | 0:34:35 | |
As soon as you start putting the things together, | 0:34:35 | 0:34:37 | |
like, you know, he becomes a dopey bloke that you love. | 0:34:37 | 0:34:41 | |
He makes us all laugh. | 0:34:41 | 0:34:43 | |
And he's in the room with us right now! | 0:34:43 | 0:34:45 | |
CHEERING AND APPLAUSE | 0:34:45 | 0:34:50 | |
We've got an absolute treat, ladies and gentlemen. | 0:34:50 | 0:34:53 | |
We can show a very small snippet of this Sport Relief sketch, | 0:34:53 | 0:34:57 | |
which is this Friday, the revival of Only Fools and Horses. | 0:34:57 | 0:35:02 | |
-Why are you wearing them glasses? -These? -Yes. | 0:35:02 | 0:35:06 | |
To be honest, I thought that, you know, if I was to wear these, no-one | 0:35:06 | 0:35:10 | |
would recognise me and I could be a little bit, you know, incognitive. | 0:35:10 | 0:35:14 | |
Yeah, good thinking. | 0:35:14 | 0:35:17 | |
LAUGHTER AND APPLAUSE | 0:35:17 | 0:35:21 | |
It's going to be amazing. | 0:35:21 | 0:35:23 | |
I'm interested in... Some of the comedy of Del Boy | 0:35:28 | 0:35:32 | |
was a lot of these French phrases that would come up. | 0:35:32 | 0:35:34 | |
Quite an interesting and very funny characteristic trait that he had. | 0:35:34 | 0:35:39 | |
He would just get things wrong all the time and struggle. | 0:35:39 | 0:35:42 | |
-Where did that come from? -That basically was John Sullivan. | 0:35:42 | 0:35:45 | |
He wrote... In one of the episodes, | 0:35:45 | 0:35:48 | |
he said Del Boy would use a bit of French. | 0:35:48 | 0:35:52 | |
Rodney said, "You learn your French out of a Renault handbook." | 0:35:52 | 0:35:57 | |
I remember one of the things, I went to France. | 0:35:57 | 0:36:00 | |
When I was in this hotel, I went into the shower to have a shower. | 0:36:00 | 0:36:04 | |
And there hanging on a little book was a thing. | 0:36:04 | 0:36:08 | |
It said, "bonnet de douche". | 0:36:08 | 0:36:10 | |
LAUGHTER | 0:36:10 | 0:36:12 | |
I said, "What is a bonnet de douche?" | 0:36:12 | 0:36:14 | |
And he said, | 0:36:14 | 0:36:15 | |
"It's one of those things you put on to stop your hair from getting wet." | 0:36:15 | 0:36:19 | |
So when I came back and I said to John Sullivan, I said, | 0:36:19 | 0:36:22 | |
"We've got to use that, it's so funny." | 0:36:22 | 0:36:24 | |
He said, "What?" I said, "Bonnet de douche!" | 0:36:24 | 0:36:26 | |
So whenever you see "bonnet de douche", | 0:36:28 | 0:36:31 | |
that was one of my inventions. But basically... | 0:36:31 | 0:36:34 | |
It was just John's way of saying that this character was one that | 0:36:34 | 0:36:40 | |
wanted to impress. | 0:36:40 | 0:36:42 | |
And the way that you impressed girls, you know, | 0:36:42 | 0:36:45 | |
you throw in a bit of the old Francais, bonnet de douche, my dear. | 0:36:45 | 0:36:49 | |
LAUGHTER AND APPLAUSE | 0:36:49 | 0:36:54 | |
We've got some of your French here. | 0:36:54 | 0:36:56 | |
-Bonsoir. -Bonjour, monsieur. | 0:36:58 | 0:37:01 | |
Vous restez a l'hotel? | 0:37:01 | 0:37:02 | |
Defense de fumer. | 0:37:04 | 0:37:07 | |
-Avec vous Dubonnet? -Oui, merci. | 0:37:07 | 0:37:11 | |
Oh. Oi, garcon. | 0:37:11 | 0:37:13 | |
Dos Dubonnet, por favor. Danke schon. | 0:37:14 | 0:37:16 | |
LAUGHTER | 0:37:16 | 0:37:19 | |
De quelle partie de la France etes-vous? | 0:37:19 | 0:37:21 | |
Ah, oui. Je t'aime, je t'adore. Er... Sur le pont d'Avignon. | 0:37:22 | 0:37:28 | |
-Pardon, monsieur. -OK. | 0:37:29 | 0:37:32 | |
APPLAUSE | 0:37:32 | 0:37:37 | |
How did the, erm... | 0:37:37 | 0:37:39 | |
The absolutely classic moments from Only Fools and Horses, | 0:37:39 | 0:37:42 | |
what do you remember of those, have they become almost annoying? | 0:37:42 | 0:37:46 | |
I mean, these are historic clips. | 0:37:46 | 0:37:49 | |
I don't know, I suppose that everybody | 0:37:49 | 0:37:51 | |
and his brother has seen falling through the hatch. | 0:37:51 | 0:37:54 | |
Anybody here who hasn't seen falling through the hatch? | 0:37:54 | 0:37:57 | |
Put your hand up if you haven't seen falling through the hatch? | 0:37:57 | 0:38:01 | |
Who has seen it? That's probably going to look better on camera. | 0:38:01 | 0:38:04 | |
LAUGHTER | 0:38:04 | 0:38:06 | |
-Yeah, see, the whole audience loves it. -They've seen it. | 0:38:06 | 0:38:08 | |
They've all seen it. | 0:38:08 | 0:38:10 | |
But that was voted the funniest moment in television history, | 0:38:10 | 0:38:13 | |
and it's priceless and you can watch it over and over again. | 0:38:13 | 0:38:16 | |
Did you know when you were making it that it was that funny? | 0:38:16 | 0:38:19 | |
-Was it in front of a live audience, that bit? -Yeah. | 0:38:19 | 0:38:22 | |
-Did it get a monstrous laugh? -Yeah. You can imagine. | 0:38:22 | 0:38:25 | |
How it actually came about was that John Sullivan and I were in the bar | 0:38:25 | 0:38:30 | |
having a drink after one of the shows, and he said to me, | 0:38:30 | 0:38:33 | |
"I was in the wine bar the other..." | 0:38:33 | 0:38:35 | |
He says, "You might like this, David." He said, | 0:38:35 | 0:38:37 | |
"I was in the wine bar the other... Funny thing happened." | 0:38:37 | 0:38:39 | |
He said, "I was there having a drink, and there was a bloke over | 0:38:39 | 0:38:42 | |
"by the bar, and a barman came out, lifted the hatch, | 0:38:42 | 0:38:45 | |
"and this bloke went to lean on it, and he sort of went like this." | 0:38:45 | 0:38:49 | |
He said, "The bloke was standing there like this," you know, giving | 0:38:49 | 0:38:52 | |
it some of that, and he said, "The patch went up and this bloke went..." | 0:38:52 | 0:38:56 | |
"And he went, 'Oh!' | 0:38:56 | 0:38:58 | |
"but then the bloke looked around and then he went, 'A-ha, yeah.'" | 0:38:58 | 0:39:02 | |
LAUGHTER | 0:39:02 | 0:39:03 | |
As if he meant it to happen, you see. | 0:39:05 | 0:39:07 | |
And John said he spotted this, and it's a bit like you observe and | 0:39:07 | 0:39:12 | |
then you see the funny side of it, so John said, "Should we put that... | 0:39:12 | 0:39:15 | |
"Do you think we could put that in the script?" | 0:39:15 | 0:39:18 | |
and I said, "Yes, but the only thing is, I'll fall. | 0:39:18 | 0:39:20 | |
"I've got to fall through the hatch." | 0:39:20 | 0:39:22 | |
And he said, "No, no, no, I didn't see that, | 0:39:22 | 0:39:25 | |
"I just saw the bloke do that and correct himself," | 0:39:25 | 0:39:29 | |
and I said, "Yes, but I used to do that on stage every night | 0:39:29 | 0:39:32 | |
"when I was in the theatre, | 0:39:32 | 0:39:33 | |
"and I got it to a point to where I understood what was really funny | 0:39:33 | 0:39:38 | |
"and what wasn't," and by that, I said, | 0:39:38 | 0:39:41 | |
"I could do it and I'll do it and I'll fall right through. | 0:39:41 | 0:39:44 | |
"Listen, I'll make it funny. | 0:39:44 | 0:39:48 | |
"I just know how to do it through experience." | 0:39:48 | 0:39:51 | |
-And that's experience of working with a live audience. -Yeah. | 0:39:51 | 0:39:54 | |
Was Del Boy based on somebody? | 0:39:54 | 0:39:56 | |
Because I've heard that he was based on an actual person. | 0:39:56 | 0:39:59 | |
I used to be an electrician, and my partner and I, | 0:39:59 | 0:40:02 | |
we got a contract down at the East End of London, | 0:40:02 | 0:40:05 | |
and we met a character there who got the contract to do all | 0:40:05 | 0:40:10 | |
the building works in the pubs, | 0:40:10 | 0:40:12 | |
and he was a builder and his name was Derek Hockley. | 0:40:12 | 0:40:17 | |
That is him. He was the smartest guy on the block. | 0:40:17 | 0:40:21 | |
He was amazing, and when I first met him, | 0:40:21 | 0:40:24 | |
he had a camelhair coat, the collar, the tie, immaculate. | 0:40:24 | 0:40:30 | |
But the thing that got me was, he spoke like an East End barrow boy. | 0:40:30 | 0:40:35 | |
His accent, you could cut with a knife. | 0:40:35 | 0:40:38 | |
You know, it was even stronger than that. | 0:40:38 | 0:40:40 | |
He was a right barrow boy, and yet he looked like a toff. | 0:40:40 | 0:40:44 | |
It was a contradiction in terms, and I couldn't get over this. | 0:40:44 | 0:40:49 | |
So, years now pass, and when I got the script | 0:40:49 | 0:40:53 | |
and I did the reading and they said, would I go | 0:40:53 | 0:40:56 | |
and play Del Boy, I said, "Yeah," | 0:40:56 | 0:40:59 | |
and I spoke to the writer and I said, how did he view Derek Trotter, | 0:40:59 | 0:41:03 | |
and he said, "Oh, he was a guy with a flat cap and a big beer belly | 0:41:03 | 0:41:08 | |
"and, you know, this..." and I said to him, "No, no, I know the guy. | 0:41:08 | 0:41:14 | |
"I know who he is." | 0:41:14 | 0:41:16 | |
So I decided that I'd go the opposite and take Derek as my master copy. | 0:41:16 | 0:41:24 | |
Did he have a bit of a swagger as well? | 0:41:24 | 0:41:26 | |
-So he had the whole sort of constant... -It's the walk, you know. | 0:41:26 | 0:41:29 | |
It's the walk. You've got to have the walk. | 0:41:29 | 0:41:32 | |
LAUGHTER AND CHEERING | 0:41:32 | 0:41:35 | |
You know what I mean? | 0:41:35 | 0:41:36 | |
It's true! I don't know how it helps. That's it. | 0:41:36 | 0:41:40 | |
-Cos I don't have the walk. My walk is very... -You do have a walk! | 0:41:41 | 0:41:46 | |
-I do walk. -Your walk is like this. | 0:41:46 | 0:41:49 | |
LAUGHTER | 0:41:49 | 0:41:51 | |
-I don't recognise this man! -You do! | 0:41:52 | 0:41:55 | |
-You do. -That is too camp! I'm not that camp! | 0:41:55 | 0:41:59 | |
You're pretty close! | 0:41:59 | 0:42:01 | |
APPLAUSE | 0:42:05 | 0:42:06 | |
So, listen, obviously, it's such a great, great, great, | 0:42:08 | 0:42:11 | |
enormous pleasure to have you here and a thrill to see you back | 0:42:11 | 0:42:13 | |
and to see you talking about these things. | 0:42:13 | 0:42:16 | |
I mean, we've talked so much about this bar scene, | 0:42:16 | 0:42:18 | |
we can't not show it. | 0:42:18 | 0:42:20 | |
This is the funniest thing British television has ever produced. | 0:42:20 | 0:42:24 | |
I think we're on a winner here, Trig, all right? | 0:42:25 | 0:42:28 | |
Play it nice and cool, son, nice and cool, you know what I mean? | 0:42:28 | 0:42:32 | |
LAUGHTER | 0:42:32 | 0:42:34 | |
LAUGHTER | 0:42:43 | 0:42:46 | |
Drink up, Trig, drink up. We're leaving. | 0:42:54 | 0:42:56 | |
LAUGHTER | 0:42:56 | 0:42:58 | |
Ain't you going to try for them birds? | 0:42:58 | 0:43:00 | |
No, no, you're cramping my style, mate, you're cramping my style. | 0:43:00 | 0:43:04 | |
LAUGHTER AND APPLAUSE | 0:43:04 | 0:43:05 | |
CHEERING | 0:43:08 | 0:43:11 | |
Ladies and gentlemen, | 0:43:11 | 0:43:12 | |
please join me in thanking the wonderful Sir David Jason! | 0:43:12 | 0:43:16 | |
CHEERING AND APPLAUSE | 0:43:16 | 0:43:19 | |
Thank you so much. Really a pleasure and an honour. Thank you so much. | 0:43:21 | 0:43:24 | |
-Thank you. -Sir David Jason. What about that? | 0:43:24 | 0:43:26 | |
CHEERING AND APPLAUSE | 0:43:26 | 0:43:29 | |
-Hey! -Thank you. | 0:43:29 | 0:43:30 | |
MICHAEL LAUGHS | 0:43:34 | 0:43:35 | |
CHEERING | 0:43:35 | 0:43:36 | |
Oh! All right! Andrew. Ladies and gentlemen, huge hand | 0:43:38 | 0:43:41 | |
for the wonderful and the generous, our volunteer tonight | 0:43:41 | 0:43:44 | |
for Send To All, it's Andrew! | 0:43:44 | 0:43:46 | |
CHEERING | 0:43:46 | 0:43:48 | |
Of course, there is a prize. Woo! Let's have some sound effects. | 0:43:49 | 0:43:54 | |
-AUDIENCE: -Wooo! | 0:43:54 | 0:43:55 | |
For being such a lovely sport, you get your own phone back. | 0:43:55 | 0:43:59 | |
Congratulations. And your Send To All phone. | 0:43:59 | 0:44:03 | |
Andrew, ladies and gentlemen! Well done. Thank you so, so much. | 0:44:03 | 0:44:08 | |
Right! Thank you to all tonight's guests. We had Jeremy Clarkson! | 0:44:08 | 0:44:13 | |
Abbey Clancy! | 0:44:14 | 0:44:17 | |
And the legendary Sir David Jason! | 0:44:17 | 0:44:20 | |
Join me next week, when my guests will be | 0:44:21 | 0:44:23 | |
Joanna Lumley, Tinie Tempah and Richard Madeley! | 0:44:23 | 0:44:27 | |
Thanks for watching. Good night! | 0:44:27 | 0:44:29 |