Browse content similar to 18/11/1980. Check below for episodes and series from the same categories and more!
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I expected, Grace, that you might be | 0:00:23 | 0:00:26 | |
a little more overstated than you are. | 0:00:26 | 0:00:28 | |
I thought that your costume would probably be more lavish | 0:00:28 | 0:00:33 | |
-than that which you appear to be wearing. -I am overestimated. | 0:00:33 | 0:00:37 | |
LAUGHTER | 0:00:37 | 0:00:39 | |
By the world at large, or by your public? | 0:00:39 | 0:00:42 | |
By everybody, I think, yes. | 0:00:42 | 0:00:45 | |
How do you think you've received this overestimation? | 0:00:45 | 0:00:48 | |
Why is your reputation inflated? | 0:00:48 | 0:00:50 | |
-That's just a lyric from a song. -Oh, I do beg your pardon. | 0:00:50 | 0:00:53 | |
-I thought it was some sort of judgement you were making. -No. | 0:00:53 | 0:00:57 | |
-But have you calmed yourself down in clothes over the years? -Hm, try me. | 0:00:57 | 0:01:03 | |
LAUGHTER AND WOLF WHISTLING | 0:01:04 | 0:01:07 | |
-I don't know quite... Are you hearing what I say to you? -Mm-hm. | 0:01:08 | 0:01:12 | |
You have in fact... Let's pretend we haven't started. | 0:01:12 | 0:01:17 | |
In the past, and we have some photographs to prove it. | 0:01:17 | 0:01:20 | |
-You do? -Yes, we do. -Blackmail? | 0:01:20 | 0:01:22 | |
Well, black female, there's one of them, you see. | 0:01:22 | 0:01:25 | |
That's kind of more lavish than what you're wearing now. | 0:01:25 | 0:01:30 | |
-Yes, you think so? -Yeah. | 0:01:30 | 0:01:32 | |
And we have another one to follow that, which is you with your... | 0:01:32 | 0:01:37 | |
-It's still black, isn't it? -No, it isn't. | 0:01:37 | 0:01:40 | |
There you are with fans and a lot of stuff on the top of your head. | 0:01:40 | 0:01:43 | |
What is that on the top of your head? | 0:01:43 | 0:01:44 | |
That's Chloe. Karl Lagerfeld sitting on my... | 0:01:44 | 0:01:49 | |
Did you have a late night last night? | 0:01:51 | 0:01:56 | |
-They have bleepers, don't they now? -Where were you last night? | 0:01:56 | 0:01:59 | |
-No, I haven't slept in three days. -That explains it. | 0:01:59 | 0:02:01 | |
Do you understand what I'm saying to you? | 0:02:01 | 0:02:04 | |
No, your accent is a bit foreign. | 0:02:04 | 0:02:08 | |
Oh, dear. | 0:02:09 | 0:02:11 | |
Now, how shall I go round the back of this, I wonder? | 0:02:11 | 0:02:14 | |
Have you been photographed recently? | 0:02:14 | 0:02:16 | |
Just now, no. Right now? | 0:02:16 | 0:02:20 | |
-On television? -No, have you been photographed as a model recently? | 0:02:20 | 0:02:24 | |
Oh, no, no. Is that what it is, yes? No, no, not recently. | 0:02:24 | 0:02:30 | |
-I think I'm homesick maybe, right? -I don't know what's wrong with you. | 0:02:30 | 0:02:34 | |
I think there's something... | 0:02:34 | 0:02:36 | |
GRACE LAUGHS | 0:02:36 | 0:02:39 | |
How would you like to be photographed tonight by a man | 0:02:39 | 0:02:41 | |
called Patrick Lichfield? | 0:02:41 | 0:02:43 | |
-Oh, I think we've just made a date. -Back there? -Uh-huh. | 0:02:43 | 0:02:47 | |
-Has he promised to photograph you? -Uh-huh. | 0:02:47 | 0:02:49 | |
In order that we may find out whether this is a promise or a threat from Patrick, | 0:02:49 | 0:02:53 | |
let's introduce Patrick Lichfield. Ladies and gentlemen, Patrick Lichfield. | 0:02:53 | 0:02:57 | |
APPLAUSE | 0:02:57 | 0:02:58 | |
I've met him before, you know. | 0:03:03 | 0:03:05 | |
-Good evening to you. -Hello, Russell. | 0:03:12 | 0:03:14 | |
-She says that she has just met you... -Don't turn your back to me. | 0:03:14 | 0:03:18 | |
-He's got to. -She says she has just met you behind there | 0:03:18 | 0:03:21 | |
and that you've promised to photograph her. | 0:03:21 | 0:03:24 | |
I'll move my chair back so I'm looking at both of you. | 0:03:24 | 0:03:26 | |
You're actually engaged in photographing the 100 most famous, | 0:03:26 | 0:03:30 | |
most beautiful women in the world at this precise moment. | 0:03:30 | 0:03:33 | |
-That's it. -How many of the 100 have you photographed? | 0:03:33 | 0:03:35 | |
Since she's just said what she's said, I'm up to 99. | 0:03:35 | 0:03:39 | |
-You mean, she... -I get 100? | 0:03:39 | 0:03:40 | |
She gets the last because... Well, I would like to photograph her, | 0:03:40 | 0:03:44 | |
-I'd love to. -Had you heard of her before? | 0:03:44 | 0:03:46 | |
Of course, but we've made a date for Thursday next week in New York. | 0:03:46 | 0:03:51 | |
So you're jetting over there to do it? | 0:03:51 | 0:03:53 | |
Nobody else will work on Thanksgiving day, so she's agreed. | 0:03:53 | 0:03:56 | |
-He's going to see you? -Yes. | 0:03:56 | 0:03:58 | |
Get some rest before he comes over to see you. | 0:03:58 | 0:04:00 | |
-As long as I don't eat the turkey. -Right, or the stuffing even. | 0:04:00 | 0:04:03 | |
-Urgh! -You're going to make a lot of enemies if you're going to | 0:04:03 | 0:04:08 | |
photograph the 100 most beautiful women in the world. | 0:04:08 | 0:04:13 | |
Yes, I suppose you are. | 0:04:13 | 0:04:14 | |
If you promise that you'll photograph people and not use them, | 0:04:14 | 0:04:18 | |
but, nevertheless, you can't just say, "Here are 100 and I'll photograph only those 100," | 0:04:18 | 0:04:22 | |
because one might not look good that day, | 0:04:22 | 0:04:25 | |
or I might take a predictably bad photograph. | 0:04:25 | 0:04:28 | |
But who decides who are the 100? | 0:04:28 | 0:04:31 | |
I'm afraid I do, because it's my opinion and I think that's fair. | 0:04:31 | 0:04:35 | |
I mean, don't you? You can't say, "Let's have a committee," | 0:04:35 | 0:04:39 | |
and you and she and I all decide | 0:04:39 | 0:04:41 | |
the hundred most beautiful women in the world, because I could just... | 0:04:41 | 0:04:45 | |
I could take a general list but I don't think it'll be worthwhile. | 0:04:45 | 0:04:48 | |
You've left out people we would naturally think of, | 0:04:48 | 0:04:51 | |
including Elizabeth Taylor, Brigitte Bardot. | 0:04:51 | 0:04:55 | |
Yes. My vision of Bardot is actually before I photographed her, | 0:04:55 | 0:05:01 | |
before in fact now and I haven't photographed her except briefly | 0:05:01 | 0:05:04 | |
at a party in Paris and I just don't think that to do her again, | 0:05:04 | 0:05:08 | |
however marvellous she is for her age, | 0:05:08 | 0:05:11 | |
would really make her worth the book at the moment. | 0:05:11 | 0:05:13 | |
People would say, "God, what are you doing? You made her awful." | 0:05:13 | 0:05:18 | |
-I think I took her place. -Perhaps you did. | 0:05:18 | 0:05:20 | |
-Let me take your snap. -He's doing it now. Look out. | 0:05:20 | 0:05:23 | |
-Do you want to do it now? -I won't do it now, actually, | 0:05:23 | 0:05:25 | |
-because I'd rather have her more relaxed. -I am. | 0:05:25 | 0:05:30 | |
If you relax her any more, she'll slip off the chair and fall away. | 0:05:30 | 0:05:33 | |
I can't help it, I'm sitting like this. | 0:05:33 | 0:05:35 | |
I do not know where your head is at this moment. | 0:05:35 | 0:05:37 | |
I know it's on the top of your shoulders, | 0:05:37 | 0:05:40 | |
but I mean, it's like... Have you ever tried to climb the north face | 0:05:40 | 0:05:43 | |
of the Eiger in high-heel shoes? | 0:05:43 | 0:05:45 | |
It's like trying to squeeze blood out of a stone at the moment, | 0:05:45 | 0:05:48 | |
but no doubt she'll relax and you'll get along. | 0:05:48 | 0:05:52 | |
-Fall out of the chair? -Yeah, that's right. Fall back on it. | 0:05:52 | 0:05:55 | |
-Help. -I'll help. | 0:05:55 | 0:05:57 | |
Are there any of the 99 women you've actually photographed, | 0:05:57 | 0:06:00 | |
are any of those Miss Worlds? | 0:06:00 | 0:06:02 | |
Yes, I photographed a number of beauty queens. | 0:06:02 | 0:06:05 | |
There was actually, oddly enough, | 0:06:05 | 0:06:08 | |
I compered with Sacha Distel the '76 Miss World thing | 0:06:08 | 0:06:14 | |
and, in fact, the girl who came second in that | 0:06:14 | 0:06:18 | |
was Miss Australia and she didn't know how to cook something or other, | 0:06:18 | 0:06:22 | |
so she didn't win it because of those questions. | 0:06:22 | 0:06:24 | |
The girl who came fifth as Miss World is Wonder Woman. | 0:06:24 | 0:06:28 | |
-Right. Lynda Carter. -She was very tall. | 0:06:28 | 0:06:31 | |
-I asked some questions. Everything went wrong that year. -What went wrong? | 0:06:31 | 0:06:36 | |
There was this ghastly moment during... | 0:06:36 | 0:06:38 | |
You know about television, there is a link | 0:06:38 | 0:06:42 | |
when those who are talking on the stage have to retire | 0:06:42 | 0:06:46 | |
and the ladies get into their national costumes, | 0:06:46 | 0:06:49 | |
and Sacha and I had five minutes, | 0:06:49 | 0:06:51 | |
hidden in television because of the butting it up all together, | 0:06:51 | 0:06:55 | |
we just sped down to our room and he asked me some rather searching | 0:06:55 | 0:07:00 | |
questions about what I thought about the ladies who were the contestants. | 0:07:00 | 0:07:04 | |
I agreed with a lot of his comments and also asked him some | 0:07:04 | 0:07:09 | |
very intimate questions about what he thought about the contestants. | 0:07:09 | 0:07:13 | |
When we got to a certain point, the most horrific noise started | 0:07:13 | 0:07:17 | |
and we could hear running footsteps from miles away - | 0:07:17 | 0:07:20 | |
"Clomp, clomp, clomp" - | 0:07:20 | 0:07:22 | |
all the way down the corridor and so we both froze and the door | 0:07:22 | 0:07:26 | |
opened very quickly and a man rushed in and grabbed the little thing that | 0:07:26 | 0:07:30 | |
you've got round there because nobody had switched it off | 0:07:30 | 0:07:34 | |
and our comments about the contestants was going right round the Albert Hall. | 0:07:34 | 0:07:39 | |
-And round the world presumably? -Not around the world. | 0:07:39 | 0:07:42 | |
They confined it to the Albert Hall but my mother was there, | 0:07:42 | 0:07:45 | |
so when I got back up on stage again, | 0:07:45 | 0:07:47 | |
-it wasn't to great applause from her. -Right. Your face was... | 0:07:47 | 0:07:51 | |
-It was a little. -We know that you're very well connected. | 0:07:51 | 0:07:56 | |
You're a cousin... Not at this moment. You're a cousin of the Queen | 0:07:56 | 0:08:01 | |
and you're a titled gentleman in your own right. | 0:08:01 | 0:08:04 | |
Does that open easily doors for you | 0:08:04 | 0:08:06 | |
and does it, in fact, open doors that you'd rather... | 0:08:06 | 0:08:10 | |
LAUGHTER | 0:08:10 | 0:08:12 | |
-I was listening to you. -I didn't know that. -You didn't know that? -No. | 0:08:12 | 0:08:17 | |
-Are you now more interested? -I'm impressed. Oh, yes. | 0:08:17 | 0:08:19 | |
Oh, dear. You see, it gets out. | 0:08:19 | 0:08:23 | |
Does it open doors that you didn't want to be opened? | 0:08:23 | 0:08:26 | |
It doesn't open many doors | 0:08:26 | 0:08:27 | |
because what most people really want is a decent picture. | 0:08:27 | 0:08:31 | |
You haven't asked me here because of all those things, have you? | 0:08:31 | 0:08:34 | |
No, I've asked you here because you take pictures | 0:08:34 | 0:08:36 | |
and because you're doing these 100 most beautiful women, | 0:08:36 | 0:08:39 | |
and because I hope you would help me out with Grace Jones, | 0:08:39 | 0:08:42 | |
-which you're going to have to! -I'm doing my best! | 0:08:42 | 0:08:45 | |
Keep going, Lichfield, you're doing well. | 0:08:45 | 0:08:47 | |
I shall do a monologue for you for about five minutes. | 0:08:47 | 0:08:51 | |
I seriously think that it doesn't really matter who you are. | 0:08:51 | 0:08:55 | |
I hope that I've got to where I am by taking decent pictures of women. | 0:08:55 | 0:08:58 | |
I like photographing ladies very much and I think that this is | 0:08:58 | 0:09:02 | |
just a chance to complete a list which I've done for a long time. | 0:09:02 | 0:09:05 | |
We all think of you... Well, I think of you | 0:09:05 | 0:09:08 | |
as leading a tremendously glamorous life, | 0:09:08 | 0:09:10 | |
that you sit in some kind of office in London, | 0:09:10 | 0:09:12 | |
the phone rings, you pick it up and somebody says, | 0:09:12 | 0:09:15 | |
"I want you, Lichfield, to jet off to Addis Ababa," and do whatever it is. | 0:09:15 | 0:09:20 | |
It's always to photograph a camel. You never actually get... | 0:09:20 | 0:09:24 | |
There's no point in ever imagining that photographers live that kind of life. | 0:09:24 | 0:09:28 | |
I remember when I was a young assistant, | 0:09:28 | 0:09:31 | |
thinking the telephone would ring and there'd be that kind of thing, and it didn't happen. | 0:09:31 | 0:09:35 | |
It doesn't happen unless you go out and try and make it work. | 0:09:35 | 0:09:38 | |
I simply like photographing ladies very much and because of that, | 0:09:38 | 0:09:43 | |
various people have agreed to be photographed for this book, | 0:09:43 | 0:09:48 | |
which I think might be great fun. | 0:09:48 | 0:09:50 | |
So it's not glamorous, it can often backfire into your own face? | 0:09:50 | 0:09:55 | |
It isn't glamorous because I could suddenly say, "I want to go | 0:09:55 | 0:09:58 | |
"and photograph so-and-so," and they don't turn out to be like | 0:09:58 | 0:10:01 | |
you remember them looking. That's the thing that worries me. | 0:10:01 | 0:10:03 | |
Did you ever give up in the early days? | 0:10:03 | 0:10:05 | |
-Was it ever such an appalling thing that... -I did. Don't eat him. | 0:10:05 | 0:10:10 | |
It's coming to life! It's coming to life! | 0:10:10 | 0:10:14 | |
Stay still, because it's very difficult for me to watch out | 0:10:14 | 0:10:18 | |
what you're going to do to him and for him to ask me questions. | 0:10:18 | 0:10:21 | |
Yes, I had problems in my early days. | 0:10:21 | 0:10:25 | |
In the early days, nobody knew that you were any good at anything | 0:10:25 | 0:10:30 | |
so you used to get sent off with journalists to odd places. | 0:10:30 | 0:10:33 | |
I remember one instance when I was told to go to some | 0:10:33 | 0:10:37 | |
foreign clime with a journalist I'd never worked with before, | 0:10:37 | 0:10:40 | |
and depressed as usual because it is a bit of a sweat all the time | 0:10:40 | 0:10:44 | |
getting onto an aeroplane, and I stopped by a breakfast party that | 0:10:44 | 0:10:47 | |
I knew was happening and I saw a man who I thought was dead | 0:10:47 | 0:10:51 | |
because his head was absolutely buried in a plate of bacon and eggs. | 0:10:51 | 0:10:57 | |
I took compassion on him and I lifted his hair and I thought, | 0:10:57 | 0:10:59 | |
"Before I go to the airport, I can at least save his life." | 0:10:59 | 0:11:02 | |
-If no more. -Right. So I said, "Is there any problem?" | 0:11:02 | 0:11:05 | |
He said, "There's a terrible problem." | 0:11:05 | 0:11:07 | |
And I said, "What is it?" | 0:11:07 | 0:11:08 | |
He said, "I've to go away for two months," and I said, | 0:11:08 | 0:11:11 | |
"What's wrong with that?" He said, "I've got to go with some ... called Lichfield." | 0:11:11 | 0:11:15 | |
This wasn't so good, | 0:11:15 | 0:11:17 | |
but anyway, we got on very well and that's the way life went. | 0:11:17 | 0:11:22 | |
But after 15 years of photographing ladies, there are going to be 100, | 0:11:22 | 0:11:26 | |
which I suppose one should be able to produce after 15 years. | 0:11:26 | 0:11:29 | |
We've been out and about with our camera following you recently, | 0:11:29 | 0:11:32 | |
because you have just done an assignation with a lady called | 0:11:32 | 0:11:36 | |
Susan Hampshire and there she is coming to your house. | 0:11:36 | 0:11:40 | |
Yes, she's coming to my studio here. | 0:11:40 | 0:11:42 | |
Why has she got to come there rather than you go to her? | 0:11:42 | 0:11:45 | |
Because I think it's better to control the make-up and the hair. | 0:11:45 | 0:11:48 | |
You don't go to the front door to meet her, do you? | 0:11:48 | 0:11:51 | |
I didn't actually because I was setting the lights. | 0:11:51 | 0:11:56 | |
But the most important thing comes in now when I tell the make-up guy, | 0:11:56 | 0:12:01 | |
Clayton Howard, who I know very well and always, always does what I want. | 0:12:01 | 0:12:06 | |
-He's seen her before? -Yes, and he's seen what I need. | 0:12:06 | 0:12:10 | |
And he's going to work on her now so that she moves from one room | 0:12:10 | 0:12:13 | |
to another to have her photograph taken. | 0:12:13 | 0:12:15 | |
'She has a nose like mine.' | 0:12:15 | 0:12:17 | |
-Hello, you are done. -Yes, I'm ready. -That's smashing. | 0:12:17 | 0:12:21 | |
Let's just see the whole thing. | 0:12:21 | 0:12:24 | |
-What date is that dress? -About 1880, I think. | 0:12:24 | 0:12:29 | |
I think we'll try and do this one, | 0:12:29 | 0:12:31 | |
because it is tremendously symmetrical and everything, your hair is symmetrical, | 0:12:31 | 0:12:34 | |
and the only thing that's off which breaks it up is that, which is lovely. | 0:12:34 | 0:12:38 | |
We'll do a very straightforward, front-lit, pretty shot, I think. | 0:12:38 | 0:12:42 | |
Right. | 0:12:42 | 0:12:43 | |
-Right, we're ready. -Yes. | 0:12:46 | 0:12:47 | |
Oh, the dress is not done up. It doesn't matter, does it? | 0:12:47 | 0:12:50 | |
-No, we're not shooting the back. -Good. Well, you can if you wish. | 0:12:50 | 0:12:54 | |
After all that it will be better to shoot the front. | 0:12:54 | 0:12:57 | |
And only if these dresses are very tight do they stay done up | 0:12:58 | 0:13:02 | |
and it just sort of keeps flopping open. | 0:13:02 | 0:13:04 | |
-The top's important, isn't it? -Yes, just because I want a bit of bosom. | 0:13:04 | 0:13:09 | |
I haven't got much but what I've got I wanted to stick out. | 0:13:09 | 0:13:11 | |
-How does that feel? -That's lovely, thank you very much. | 0:13:11 | 0:13:15 | |
We need to do another one up here, actually. | 0:13:15 | 0:13:18 | |
That's it. That's absolutely right. | 0:13:18 | 0:13:20 | |
Just peer at me. | 0:13:20 | 0:13:22 | |
Across... I'm just getting an inkling of it under her right arm. | 0:13:24 | 0:13:29 | |
I tell you what, there. That's it. | 0:13:29 | 0:13:31 | |
That's perfect. OK, just straight into the camera. | 0:13:31 | 0:13:33 | |
That's lovely and just peer at me for a moment. | 0:13:33 | 0:13:36 | |
Good. Let's see what that looks like. Let it cook. | 0:13:36 | 0:13:41 | |
The arms. It's going to be better... Don't we have another Polaroid? | 0:13:45 | 0:13:49 | |
-Thank you. -Are you getting a thick top arm? | 0:13:51 | 0:13:54 | |
No, it's just that I'm not sure that the arms are right, because they... | 0:13:54 | 0:13:58 | |
Because it's red, black, black, it makes them look prominent. | 0:13:58 | 0:14:03 | |
I think it's probably a tougher picture than I thought. | 0:14:03 | 0:14:06 | |
Is there any hint, in that last Polaroid, of the edge of, um... | 0:14:09 | 0:14:13 | |
..the back? | 0:14:14 | 0:14:16 | |
No. Right, we'll go again. | 0:14:16 | 0:14:18 | |
That's... That's it. | 0:14:18 | 0:14:21 | |
Yes, give me a black-and-white after this. | 0:14:21 | 0:14:23 | |
Don't do anything at all. | 0:14:23 | 0:14:25 | |
-I don't think that's going to work for me. -It does, it does. | 0:14:25 | 0:14:28 | |
Very nice. And the dress... The whole thing, actually... | 0:14:28 | 0:14:31 | |
Is it symmetrical on the shoulders? It is. | 0:14:31 | 0:14:34 | |
And there, in fact, is the completed photograph. Has she seen this? | 0:14:34 | 0:14:39 | |
No, not yet. I haven't, before now. | 0:14:39 | 0:14:41 | |
-Do you like it? Do you approve of it? -Well, it's all right. | 0:14:41 | 0:14:45 | |
It's a funny colour, but it will be all right on the day. | 0:14:45 | 0:14:47 | |
Has anybody actually looked at a picture that you've taken | 0:14:47 | 0:14:51 | |
and said, "That's not me," or, "I don't like that"? | 0:14:51 | 0:14:53 | |
Yes, quite a lot of people, surprisingly. | 0:14:53 | 0:14:56 | |
Not surprisingly, perhaps. | 0:14:56 | 0:14:58 | |
But Lady Docker, I remember, once had a lot of letters, | 0:14:58 | 0:15:01 | |
which she sent on to me, saying that her friends had thought | 0:15:01 | 0:15:05 | |
she, you know, was dying and it was awful. | 0:15:05 | 0:15:07 | |
But the best trick, I've discovered, with people like that | 0:15:07 | 0:15:10 | |
is to photograph them and turn the photograph back-to-front | 0:15:10 | 0:15:14 | |
and send them the pictures, | 0:15:14 | 0:15:16 | |
because they're so used to looking at themselves in the mirror | 0:15:16 | 0:15:18 | |
that they say, "At last, he's got me!" | 0:15:18 | 0:15:20 | |
-Which is interesting. -We'll all try and put the mirror behind us | 0:15:20 | 0:15:24 | |
when we get home - that'll change our opinions. | 0:15:24 | 0:15:26 | |
Let me stop you there for a moment, | 0:15:26 | 0:15:28 | |
because also with us tonight, we have another photographer. | 0:15:28 | 0:15:31 | |
This one has a more particular regard | 0:15:31 | 0:15:33 | |
for the curves of the countryside than female anatomy. | 0:15:33 | 0:15:36 | |
He's a very fine landscape photographer. | 0:15:36 | 0:15:39 | |
But this photographer also has vigorous opinions | 0:15:39 | 0:15:41 | |
about elegance and style - he says, "To be elegant, | 0:15:41 | 0:15:44 | |
"you have wear gloves and perfume and make-up." | 0:15:44 | 0:15:48 | |
And this person wears all three, he's 89 years old on Saturday, | 0:15:48 | 0:15:52 | |
he's in our audience tonight. Welcome Mr Walter Poucher. | 0:15:52 | 0:15:55 | |
APPLAUSE | 0:15:55 | 0:16:00 | |
I know why I wear gloves - I never have my fingers manicured. | 0:16:06 | 0:16:10 | |
Right, she never has her fingers manicured, she's just told me. | 0:16:10 | 0:16:13 | |
You're 89 on Saturday, so we wish you many happy returns. | 0:16:13 | 0:16:15 | |
-Thank you very much. -And you're wearing make-up tonight. | 0:16:15 | 0:16:18 | |
-Yes, very special for you. -Er, you're... | 0:16:18 | 0:16:20 | |
LAUGHTER | 0:16:20 | 0:16:22 | |
Is it? | 0:16:22 | 0:16:23 | |
It was created by Cosmetics A La Carte especially for tonight. | 0:16:23 | 0:16:26 | |
-For tonight's gala performance. -Yes. | 0:16:26 | 0:16:28 | |
Now, let me put people further in the picture - | 0:16:28 | 0:16:30 | |
-you are happily married? -Yes. | 0:16:30 | 0:16:32 | |
-And you live in Reigate? -Yes. -And you play golf a lot? -I do, yes. | 0:16:32 | 0:16:37 | |
And do you wear make-up when you go out onto the golf course? | 0:16:37 | 0:16:39 | |
No, no, no. | 0:16:39 | 0:16:40 | |
I was hoping you would say, "Yes," as I was going to ask | 0:16:40 | 0:16:44 | |
what the other guys said when you were at the 13th or 14th tee. | 0:16:44 | 0:16:47 | |
When do you wear make-up, then? | 0:16:47 | 0:16:49 | |
Oh, well, normally, I don't wear eye shadow and lipstick, | 0:16:49 | 0:16:52 | |
unless it's a special occasion like tonight. | 0:16:52 | 0:16:54 | |
I wear very, very little - a trace of foundation, that is all. | 0:16:54 | 0:16:58 | |
And those are... Those are your gloves you're wearing? | 0:16:58 | 0:17:01 | |
These are special for tonight again. | 0:17:01 | 0:17:04 | |
Again. Those are gala gloves, are they? | 0:17:04 | 0:17:06 | |
-That's it. The girls asked me to put them on specially. -Right. | 0:17:06 | 0:17:09 | |
Now, how many years have you been working in | 0:17:09 | 0:17:11 | |
and around the cosmetic business? | 0:17:11 | 0:17:12 | |
Oh, well, I was 40 years in that. 40 years, yes. | 0:17:12 | 0:17:16 | |
-And how did you start? -Well, I started because after the war, | 0:17:16 | 0:17:21 | |
I wanted to do something different. | 0:17:21 | 0:17:22 | |
-We're talking about the First World War, are we? -The First World War. | 0:17:22 | 0:17:26 | |
See, I was in the Royal Army Medical Corps in the war. | 0:17:26 | 0:17:30 | |
And I'd already got degrees in science. | 0:17:30 | 0:17:34 | |
My father wanted me to become a doctor - | 0:17:34 | 0:17:37 | |
I was at Charing Cross Hospital and King's College. | 0:17:37 | 0:17:40 | |
And in the early days, a lecture was given in Bartholomew's, | 0:17:40 | 0:17:45 | |
where they invited the students to go | 0:17:45 | 0:17:48 | |
to see how things were done during the war. | 0:17:48 | 0:17:50 | |
And I attended that lecture | 0:17:50 | 0:17:52 | |
and the very first question the man asked was, | 0:17:52 | 0:17:55 | |
"Is there a chemist here?" And like a fool, I put my hand up. | 0:17:55 | 0:17:58 | |
-What happened? -He said, "Can you be in France in three days? | 0:17:58 | 0:18:01 | |
"We need a chemist out there very urgently." | 0:18:01 | 0:18:04 | |
-It wasn't very pleasant in France then? -It was terrible. | 0:18:04 | 0:18:07 | |
It was three months before I actually found the job I had to do. | 0:18:07 | 0:18:10 | |
What were you doing in France, then? | 0:18:10 | 0:18:12 | |
Oh, I was looking after the drugs and things like that. | 0:18:12 | 0:18:15 | |
The distribution of them. | 0:18:15 | 0:18:16 | |
Were you burying people at all? | 0:18:16 | 0:18:18 | |
No, but I saw a lot of dead people, of course. | 0:18:18 | 0:18:21 | |
I was in the Battle of the Somme, amongst other things - | 0:18:21 | 0:18:23 | |
Passchendaele later on, Ypres several times. | 0:18:23 | 0:18:26 | |
And what disgusted me was, of course, | 0:18:26 | 0:18:28 | |
the continuous burying of arms and legs, | 0:18:28 | 0:18:31 | |
which had to be burnt, got rid of, you know? | 0:18:31 | 0:18:34 | |
Is that why you shot into a perfume factory when you got back? | 0:18:34 | 0:18:37 | |
That's why. | 0:18:37 | 0:18:39 | |
I was very interested in the synthesis of flower aromas | 0:18:39 | 0:18:43 | |
like jasmine and rose and things like that. | 0:18:43 | 0:18:46 | |
And I studied up for three years. I got... | 0:18:46 | 0:18:49 | |
copyable results. | 0:18:49 | 0:18:52 | |
But, of course, nature, as you know, is the ideal thing | 0:18:52 | 0:18:55 | |
and you never get exactly like nature. | 0:18:55 | 0:18:57 | |
But we got very near and then I wrote a book about it. | 0:18:57 | 0:19:00 | |
-You've written books about all sorts of things. -Yes. | 0:19:00 | 0:19:03 | |
Why is good perfume, the best perfume, so hellishly expensive? | 0:19:03 | 0:19:07 | |
Well, it's expensive for this reason - | 0:19:07 | 0:19:09 | |
I retired from that business 20 years ago | 0:19:09 | 0:19:12 | |
and the price of jasmine essence then was 2,000 francs a kilo. | 0:19:12 | 0:19:16 | |
Today, it's 50,000 francs a kilo. | 0:19:16 | 0:19:19 | |
Well, now, you have the option | 0:19:19 | 0:19:20 | |
of keeping your formula exactly the same | 0:19:20 | 0:19:23 | |
and putting up the price sky-high so no-one can afford to buy it, | 0:19:23 | 0:19:27 | |
or you bring in an expert who can make synthetics | 0:19:27 | 0:19:31 | |
very nearly like some of the natural things and you supply them. | 0:19:31 | 0:19:34 | |
Now, a lady who is used to wearing exactly the same perfume, | 0:19:34 | 0:19:40 | |
she notices the deterioration. | 0:19:40 | 0:19:41 | |
-Are you wearing perfume? -Mm. | 0:19:41 | 0:19:44 | |
Can you smell her at all? | 0:19:44 | 0:19:45 | |
I've got my own body odour perfume. | 0:19:45 | 0:19:48 | |
LAUGHTER | 0:19:48 | 0:19:50 | |
Let's try and keep it on a slightly higher level, if we may. | 0:19:50 | 0:19:53 | |
-Angry? No, really... -Are you wearing perfume at this moment? -No, no. | 0:19:53 | 0:19:56 | |
I'm going to leave right this minute if you turn your back to me for one more minute. | 0:19:56 | 0:20:01 | |
I mean, really! This has been going on too long already. | 0:20:01 | 0:20:04 | |
It's only going to go on another six minutes | 0:20:04 | 0:20:06 | |
and you'll have another little part of it. | 0:20:06 | 0:20:08 | |
Well, maybe I should go right now, then. | 0:20:08 | 0:20:10 | |
Don't go right now unless you want to. | 0:20:10 | 0:20:12 | |
Well, don't turn your back on me any more! | 0:20:12 | 0:20:14 | |
I can't look at you... Argh! | 0:20:14 | 0:20:15 | |
Now, hold...hold...hold on. | 0:20:15 | 0:20:17 | |
No? APPLAUSE | 0:20:17 | 0:20:20 | |
Hold on just a moment. Just...just a moment. | 0:20:20 | 0:20:23 | |
Move your chair back or something. | 0:20:23 | 0:20:25 | |
I am talk... Can you listen to what he's saying? | 0:20:25 | 0:20:27 | |
Cos he's talking about his perfume making. | 0:20:27 | 0:20:30 | |
I love it - I wear four different kinds of perfume. | 0:20:30 | 0:20:32 | |
-Are you wearing any perfume at this precise moment? -No! | 0:20:32 | 0:20:36 | |
Well now, wait a minute. Let me just ask... | 0:20:36 | 0:20:38 | |
I'm wearing the ones from last night - | 0:20:38 | 0:20:40 | |
I had four different perfumes on last night, and I still have them on. | 0:20:40 | 0:20:44 | |
Allow me, then, to ask one more question, then I will come back to you, right? | 0:20:44 | 0:20:47 | |
Hold on for one second. | 0:20:47 | 0:20:49 | |
Another of the things you have done, Mr Poucher, to some distinction, | 0:20:49 | 0:20:52 | |
-is you're a mountaineer and photographer. -Yes. | 0:20:52 | 0:20:55 | |
And there are a lot of jolly photographs in this particular book. | 0:20:55 | 0:20:58 | |
When you're mountaineering in Scotland, as you were there, | 0:20:58 | 0:21:01 | |
-what do you wear then? -Oh, I wear climbing clothes. | 0:21:01 | 0:21:04 | |
And they're very special to keep me dry. | 0:21:04 | 0:21:06 | |
I get caught in the rain like everybody else, you know, | 0:21:06 | 0:21:09 | |
and I've been trapped in bogs and then I hold the cameras up | 0:21:09 | 0:21:12 | |
so they don't get in the water and ruin the cameras. | 0:21:12 | 0:21:15 | |
When you carry three or four Leicas, like I do, it's an expensive job. | 0:21:15 | 0:21:19 | |
But whenever you wear perfume like this, do people ever laugh at you? | 0:21:19 | 0:21:23 | |
No, I very seldom wear perfume. | 0:21:23 | 0:21:26 | |
-I was the first man to create a cologne for men. -Right. | 0:21:26 | 0:21:29 | |
And that was years ago, when people rather worried | 0:21:29 | 0:21:32 | |
about anything for men, but it was an enormous success, | 0:21:32 | 0:21:35 | |
-and after that, shaving products and everything else for men. -Right. | 0:21:35 | 0:21:39 | |
Now, then, before we break any further apart, | 0:21:39 | 0:21:41 | |
let me just say to you that I... | 0:21:41 | 0:21:44 | |
Well, let me ask you a question - why is it, do you think, | 0:21:44 | 0:21:46 | |
that men rather than women seem reluctant to change their style? | 0:21:46 | 0:21:49 | |
Grace has said that she's not the same as she used to be. | 0:21:49 | 0:21:53 | |
And you're sitting there like I am, in a sort of suit and tie. | 0:21:53 | 0:21:56 | |
I wonder why it is that women are keen to change all the time | 0:21:56 | 0:21:59 | |
and men never. | 0:21:59 | 0:22:01 | |
Something imposes rules and regulations about what men wear. | 0:22:01 | 0:22:04 | |
Look at us all, as I said, in jackets and ties. | 0:22:04 | 0:22:06 | |
Women can get away with what they like - it's as if there were a uniform for men. | 0:22:06 | 0:22:09 | |
-Nevertheless, there are pioneers... -You know why? | 0:22:09 | 0:22:12 | |
-There are pioneers... -You know why? -Are you going to tell me why? | 0:22:12 | 0:22:15 | |
Because men always make the fashion for women, that's why. | 0:22:15 | 0:22:19 | |
-Here is a man who makes fashions for women, Tom Gilbey. -Fantasies. | 0:22:19 | 0:22:22 | |
And he's a designer for men and for women. | 0:22:22 | 0:22:24 | |
He's appalled by what he calls the rigidity | 0:22:24 | 0:22:26 | |
and banality of men's fashion. | 0:22:26 | 0:22:28 | |
Welcome Tom Gilbey. | 0:22:28 | 0:22:29 | |
CHEERING AND APPLAUSE | 0:22:29 | 0:22:33 | |
Do you know, I never thought I was going to get on! | 0:22:42 | 0:22:45 | |
LAUGHTER | 0:22:45 | 0:22:47 | |
I was back there, and I was listening to all this... | 0:22:47 | 0:22:49 | |
Now, is Patrick Lichfield a closet queen or a cousin to the Queen? | 0:22:49 | 0:22:53 | |
I didn't hear. | 0:22:53 | 0:22:54 | |
-He is cousin to the Queen. -Oh, right. | 0:22:54 | 0:22:57 | |
-What have you brought on in that? -Oh, right, right. | 0:22:57 | 0:23:00 | |
I brought just a little... How long have we got? | 0:23:00 | 0:23:03 | |
-Two minutes. -Oh, two minutes. Right. | 0:23:03 | 0:23:04 | |
Two minutes to have a quick change, come back here. | 0:23:04 | 0:23:07 | |
-This is for me. -Oh, it's for you, yes. | 0:23:07 | 0:23:09 | |
If you don't mind. I'm going to... | 0:23:09 | 0:23:11 | |
I'm going behind here to change, cos he says I have no taste. | 0:23:11 | 0:23:14 | |
-I'll take your seat, man. -She's taking my seat. | 0:23:14 | 0:23:17 | |
I'm going to change. | 0:23:17 | 0:23:18 | |
-Now, you've made a costume for me. -Oh, of course, Mr Russell. | 0:23:20 | 0:23:25 | |
And what did you make for me? | 0:23:25 | 0:23:27 | |
Ah, I made a most wonderful outfit for a woman, | 0:23:27 | 0:23:30 | |
but I'm sure you might get into it. | 0:23:30 | 0:23:32 | |
But, um, what I thought... | 0:23:32 | 0:23:34 | |
Oh, no, Russell, you don't need that, do you? | 0:23:34 | 0:23:36 | |
LAUGHTER | 0:23:36 | 0:23:38 | |
What is it? I haven't seen what it is. | 0:23:38 | 0:23:40 | |
You haven't seen what...? Don't worry. | 0:23:40 | 0:23:42 | |
-Listen, take that, put the leg in there. -Put my leg in there? -That's right. | 0:23:42 | 0:23:46 | |
-This is the first interview I've done behind a screen. -Don't worry. | 0:23:46 | 0:23:49 | |
Now, I don't think we'll get these on. | 0:23:49 | 0:23:51 | |
Let's get rid of that for a start. | 0:23:51 | 0:23:53 | |
LAUGHTER | 0:23:53 | 0:23:54 | |
And we don't need that, either. | 0:23:54 | 0:23:56 | |
What's he taking out? | 0:23:56 | 0:23:57 | |
We don't need that. No, we don't need it. | 0:23:57 | 0:23:59 | |
-Oh, we dropped another one. -Patrick! | 0:23:59 | 0:24:01 | |
-Dropped another one, we don't need those. -Patrick! | 0:24:01 | 0:24:04 | |
-What do you think he'll come out in? -Patrick! | 0:24:04 | 0:24:06 | |
-It's all right. No, we're OK. -Russell, what are you putting on? | 0:24:06 | 0:24:09 | |
-Patrick, can you hear me? -He'll come out as Sheena, Queen of the Jungle! | 0:24:09 | 0:24:13 | |
LAUGHTER | 0:24:13 | 0:24:14 | |
I'm sorry, we've almost got it on. | 0:24:14 | 0:24:16 | |
What do you think it might be? White tie? Top hat? | 0:24:16 | 0:24:19 | |
I'm nearly ready. I don't know what it is I'm wearing. | 0:24:19 | 0:24:22 | |
-A policeman? Or a traffic warden? -Yes, something like that. | 0:24:22 | 0:24:24 | |
-Traffic warden. What would you...? -Mickey Mouse. | 0:24:24 | 0:24:27 | |
If you had to go in there and change quickly, | 0:24:27 | 0:24:29 | |
-what would you come out as? -A cartoon. | 0:24:29 | 0:24:31 | |
-A cartoon. You almost are, my dear. -SHE LAUGHS | 0:24:31 | 0:24:34 | |
-What would you come back as? -Oh, I'd come back as a... | 0:24:34 | 0:24:37 | |
LAUGHTER AND APPLAUSE DROWN RESPONSE | 0:24:37 | 0:24:39 | |
You know, I feel a right pozzock in this. I really do. | 0:24:48 | 0:24:52 | |
May we say you look it? | 0:24:52 | 0:24:53 | |
Well, I feel like something from room service, | 0:24:53 | 0:24:55 | |
like someone'll press a bell and I'll have to whizz off with a thing. | 0:24:55 | 0:24:59 | |
What do you call it? | 0:24:59 | 0:25:00 | |
Well, I call it my new pyjama creation. | 0:25:00 | 0:25:02 | |
It's supposed to be worn in bed - | 0:25:02 | 0:25:04 | |
I don't know what the hell you're doing with it on on television. | 0:25:04 | 0:25:07 | |
Really, I would wear it out. I would wear it out. | 0:25:07 | 0:25:10 | |
-You'd walk out in it, would you? -Yes. Oh, yes. | 0:25:10 | 0:25:12 | |
-Now, Mr Poucher...? -You look better. | 0:25:12 | 0:25:14 | |
You ought to be in mountaineering clothes with red stockings. | 0:25:14 | 0:25:17 | |
Mountaineering clothes with stockings. | 0:25:17 | 0:25:19 | |
I agree about the room service thing. | 0:25:19 | 0:25:21 | |
You'd not be much good getting out of bed in it, | 0:25:21 | 0:25:23 | |
but you might look good going into it. | 0:25:23 | 0:25:25 | |
LAUGHTER | 0:25:25 | 0:25:26 | |
Does it considerably alter me at all? | 0:25:26 | 0:25:28 | |
Enormously. You look twice the weight. | 0:25:28 | 0:25:30 | |
LAUGHTER | 0:25:30 | 0:25:33 | |
No, one of my things is always to be on show | 0:25:33 | 0:25:36 | |
and do the most amazing thing, and I wanted to send you up. | 0:25:36 | 0:25:38 | |
-I think you look awful. -You certainly... | 0:25:38 | 0:25:41 | |
LAUGHTER | 0:25:41 | 0:25:42 | |
No, look at the name. | 0:25:42 | 0:25:43 | |
You sent me so far up, I may never come down again. Thank you. | 0:25:43 | 0:25:46 | |
Look at the name - I put "Russell Tarty" on the name. | 0:25:46 | 0:25:49 | |
LAUGHTER AND APPLAUSE | 0:25:49 | 0:25:51 | |
Take it all off! | 0:25:51 | 0:25:53 | |
Before we dissolve any further, | 0:25:55 | 0:25:56 | |
I must mention my next two programmes | 0:25:56 | 0:25:58 | |
so that you can book your seat in front of the television. | 0:25:58 | 0:26:01 | |
On Thursday night, we are going to Dublin to meet Rod Stewart | 0:26:01 | 0:26:04 | |
and to join his live concert from that fair city. | 0:26:04 | 0:26:08 | |
But before that, tomorrow night, in London's Wigmore Hall, Eric Fenby, | 0:26:08 | 0:26:12 | |
the man who 50 years ago became the eyes and the hands | 0:26:12 | 0:26:14 | |
of the blind, paralysed composer Delius, | 0:26:14 | 0:26:16 | |
will be giving a rare performance of one of Delius's works | 0:26:16 | 0:26:20 | |
with the cellist Julian Lloyd Webber. | 0:26:20 | 0:26:22 | |
And then they will come here next Tuesday night to join us | 0:26:22 | 0:26:26 | |
in the company of a most unexpected Delius fan by the name of Kate Bush. | 0:26:26 | 0:26:29 | |
And I hope it's a slightly quieter evening next Tuesday. | 0:26:29 | 0:26:32 | |
Until then, another song from Grace Jones - Love Is The Drug. | 0:26:32 | 0:26:36 | |
Off you go, Grace. | 0:26:36 | 0:26:37 | |
APPLAUSE | 0:26:37 | 0:26:39 | |
CHEERS AND WHISTLES | 0:26:47 | 0:26:50 | |
# T'ain't no big thing | 0:26:59 | 0:27:02 | |
# To wait for the bell to ring | 0:27:02 | 0:27:04 | |
# T'ain't no big thing | 0:27:06 | 0:27:08 | |
# The toll of the bell | 0:27:08 | 0:27:10 | |
# Aggravated - spare for days | 0:27:12 | 0:27:15 | |
# I stroll downtown... # | 0:27:15 | 0:27:17 |