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TV, the magic box of delight. | 0:00:02 | 0:00:04 | |
As kids, it showed us a million different worlds | 0:00:04 | 0:00:06 | |
all from our living room. | 0:00:06 | 0:00:08 | |
-So funny! -That was state-of-the-art. | 0:00:09 | 0:00:12 | |
-Aah! -I loved this. | 0:00:12 | 0:00:14 | |
'Each day, I'm going to journey | 0:00:15 | 0:00:16 | |
'through the wonderful world of telly...' | 0:00:16 | 0:00:19 | |
-Cheers. -'..with one of our favourite celebrities...' | 0:00:19 | 0:00:22 | |
-'We're going into space.' -It is just so silly. | 0:00:22 | 0:00:24 | |
Oh, no! | 0:00:24 | 0:00:25 | |
-Yeah! -'..as they select the iconic TV moments...' | 0:00:28 | 0:00:31 | |
-My God, this is the scene! -Oh, dear. | 0:00:33 | 0:00:35 | |
'..that tell us the stories of their lives.' | 0:00:35 | 0:00:38 | |
-I absolutely adore this. -'Some will make you laugh...' | 0:00:39 | 0:00:42 | |
Don't watch the telly, Esther, watch me. | 0:00:42 | 0:00:44 | |
-'..some will surprise...' -HE LAUGHS | 0:00:44 | 0:00:46 | |
No way, where did you find this? | 0:00:46 | 0:00:49 | |
'..many will inspire...' | 0:00:50 | 0:00:51 | |
It used to transport us to places that we could only dream about. | 0:00:51 | 0:00:55 | |
'..and others will move us.' | 0:00:55 | 0:00:57 | |
-I am emotional now. -'Today, we look even more deeply.' | 0:00:57 | 0:01:01 | |
Why wouldn't you want to watch this? | 0:01:01 | 0:01:02 | |
So, come watch with us as we rewind to the classic telly | 0:01:02 | 0:01:06 | |
that helped shape those wide-eyed youngsters | 0:01:06 | 0:01:09 | |
into the much-loved stars they are today. | 0:01:09 | 0:01:11 | |
-APPLAUSE -Welcome to The TV That Made Me. | 0:01:19 | 0:01:21 | |
My guest today knows a thing or two about television. | 0:01:21 | 0:01:24 | |
He is the one and only Mr Richard Arnold. | 0:01:24 | 0:01:28 | |
Richard! Welcome, welcome to my flat. | 0:01:28 | 0:01:31 | |
Thank you. Thank you. | 0:01:31 | 0:01:33 | |
A radio and TV presenter for over 20 years, | 0:01:33 | 0:01:36 | |
Richard's made a career of knowing about what's on the box, | 0:01:36 | 0:01:40 | |
working as a TV critic for GMTV | 0:01:40 | 0:01:42 | |
and most recently, as the entertainment editor | 0:01:42 | 0:01:45 | |
on Good Morning Britain. | 0:01:45 | 0:01:47 | |
The TV that made him includes a very fashionable costume drama, | 0:01:49 | 0:01:54 | |
an inspirational talk show legend... | 0:01:54 | 0:01:56 | |
A veritable maelstrom of emotional carnage. | 0:01:56 | 0:01:59 | |
..and a TV show that kicked off his career. | 0:01:59 | 0:02:02 | |
Bless her heart. Well, Tina, who am I to refuse a damsel in distress? | 0:02:02 | 0:02:06 | |
Richard, you must know more about TV than anyone else does. | 0:02:06 | 0:02:10 | |
I mean, you're famed for being a TV critic, you know, | 0:02:10 | 0:02:13 | |
-and your magazine articles, things like that. -Yeah. | 0:02:13 | 0:02:15 | |
So, you should be an expert on this show. | 0:02:15 | 0:02:18 | |
See this is where you're always put... | 0:02:18 | 0:02:21 | |
under the cosh when people assume that you have seen absolutely | 0:02:21 | 0:02:24 | |
every hour of television over the last 30 years. | 0:02:24 | 0:02:26 | |
-I probably have, but I can't remember a lot of it. -Mm-hm. | 0:02:26 | 0:02:28 | |
You know, being at Good Morning Britain every day | 0:02:28 | 0:02:30 | |
as well, you fill your head with all sorts of nonsense, | 0:02:30 | 0:02:33 | |
so I always have to clear a space. | 0:02:33 | 0:02:35 | |
Do you find, when you're watching telly, | 0:02:35 | 0:02:37 | |
that you're constantly critiquing it, you're constantly sort of... | 0:02:37 | 0:02:40 | |
-pulling it apart... -These days. -..or you can relax? -Well, these days... | 0:02:40 | 0:02:43 | |
I sort of drift in and out of consciousness mostly these days | 0:02:43 | 0:02:46 | |
when I'm watching it, to be quite honest. | 0:02:46 | 0:02:48 | |
LAUGHTER It's interesting because, obviously, | 0:02:48 | 0:02:51 | |
filming a lot behind the scenes | 0:02:51 | 0:02:52 | |
certainly on the big shows of today like Strictly Come Dancing, | 0:02:52 | 0:02:55 | |
having been a part of that show even | 0:02:55 | 0:02:56 | |
was fantastic. | 0:02:56 | 0:02:57 | |
Once you get invited through that door - | 0:02:57 | 0:02:59 | |
and it's a real privilege - | 0:02:59 | 0:03:01 | |
and you see how it all works, | 0:03:01 | 0:03:02 | |
it takes away some of the mystique, but on the other hand, it's like... | 0:03:02 | 0:03:05 | |
you know, I can still sit there and watch an episode | 0:03:05 | 0:03:07 | |
of EastEnders or Coronation Street | 0:03:07 | 0:03:09 | |
and feel like I'm in The Vic or feel like I'm in The Rovers. | 0:03:09 | 0:03:11 | |
You know, even though I've actually been there myself | 0:03:11 | 0:03:13 | |
-and know there's only three walls. -Shh! Don't burst their bubble. | 0:03:13 | 0:03:16 | |
-No, don't burst their bubble. -Well, today is a celebration | 0:03:16 | 0:03:19 | |
of your favourite TV moments. | 0:03:19 | 0:03:20 | |
-Oh, you will have me tearing up. -Really? -Yeah. -Do you think so? | 0:03:20 | 0:03:23 | |
-Oh, yeah. -Yeah? -I love pressing that nostalgia button. | 0:03:23 | 0:03:26 | |
You know, when you start talking about TV of old, | 0:03:26 | 0:03:29 | |
it takes you right back. It's the best therapy... | 0:03:29 | 0:03:31 | |
-We're going to need a bigger couch, though. -You think so? Why? | 0:03:31 | 0:03:34 | |
-Well, cos if I'm in therapy, I like to stretch out. -OK. | 0:03:34 | 0:03:36 | |
-You can stretch out. -I can stretch out? | 0:03:36 | 0:03:38 | |
-You're good with that, aren't you? -Yeah. -Yeah. | 0:03:38 | 0:03:40 | |
-Of course he is. Of course he is. -Well, before we get started, | 0:03:40 | 0:03:43 | |
we're going to find out a little bit more about the young Richard Arnold. | 0:03:43 | 0:03:46 | |
-Right, OK. -Have a little look at this. | 0:03:46 | 0:03:49 | |
Born in 1969 in Hampshire, Richard grew up with his mum, Dot, | 0:03:49 | 0:03:54 | |
and his dad, Dave, who was a helicopter engineer. | 0:03:54 | 0:03:57 | |
The family moved to Aberdeenshire when he was 11, | 0:03:57 | 0:04:00 | |
and he went on to study at Edinburgh University. | 0:04:00 | 0:04:03 | |
After uni, Richard headed to London to take a course | 0:04:03 | 0:04:06 | |
in journalism. | 0:04:06 | 0:04:08 | |
This would eventually lead to him getting the job that would shape the | 0:04:08 | 0:04:11 | |
rest of his career when he became a reporter for Inside Soap magazine. | 0:04:11 | 0:04:16 | |
Richard's first TV gig was The Sunday Show in 1995, | 0:04:18 | 0:04:21 | |
and he's been a familiar face on our screens ever since. | 0:04:21 | 0:04:26 | |
-Takes you back, doesn't it? -Doesn't it? | 0:04:26 | 0:04:28 | |
TV, for us, was appointment to view. | 0:04:28 | 0:04:30 | |
It was actually quite unifying. | 0:04:30 | 0:04:33 | |
We always ate our dinner or whatever at the table, | 0:04:33 | 0:04:35 | |
but we went to the TV, obviously, and gathered around it. | 0:04:35 | 0:04:38 | |
And we would watch shows as a family. | 0:04:38 | 0:04:40 | |
I'm an only child, so it was me, Dot and Dave. | 0:04:40 | 0:04:42 | |
And they're still with us, you know. | 0:04:42 | 0:04:43 | |
And we still to this day, whenever they come and stay, | 0:04:43 | 0:04:45 | |
we'll sit down and watch the big shows like Strictly and X Factor. | 0:04:45 | 0:04:48 | |
-Yeah? -And the dramas and all that sort of... | 0:04:48 | 0:04:50 | |
How did they feel about you being on Strictly, Mum and Dad? | 0:04:50 | 0:04:52 | |
Ooh, they loved it. Well, I think my dad knew very early on | 0:04:52 | 0:04:55 | |
I was never going to kick a ball around, Brian, so... | 0:04:55 | 0:04:57 | |
LAUGHTER | 0:04:57 | 0:04:59 | |
When he knew, you know, I had a good sense of colour, fashion | 0:04:59 | 0:05:02 | |
and a bit light on my feet, you know, | 0:05:02 | 0:05:03 | |
it came as no surprise that I ended up under that glitter ball. | 0:05:03 | 0:05:07 | |
-I want to take you back to your earliest TV memory now, Richard. -OK. | 0:05:11 | 0:05:15 | |
I'm not going to say any more, | 0:05:15 | 0:05:17 | |
but let's have a little look, shall we? | 0:05:17 | 0:05:19 | |
-Ooh. -La Maison de toutou. | 0:05:23 | 0:05:26 | |
-Yes. -The letterbox. | 0:05:26 | 0:05:27 | |
I'd forgotten that. | 0:05:27 | 0:05:28 | |
It was originally a production | 0:05:28 | 0:05:30 | |
from France. | 0:05:30 | 0:05:31 | |
-Was it? I had no idea. -Yeah, yeah. | 0:05:31 | 0:05:33 | |
They added British voices at a later date. | 0:05:33 | 0:05:35 | |
DOG WHISTLES | 0:05:35 | 0:05:38 | |
Why are you whistling, Hector? | 0:05:38 | 0:05:39 | |
I'm calling Mrs Frog. I'm bored. | 0:05:39 | 0:05:41 | |
-I feel like some company. -Oh, Hector. | 0:05:41 | 0:05:43 | |
First broadcast in the UK in the '60s, | 0:05:43 | 0:05:45 | |
Hector's House was a popular but rather basic hand puppet show. | 0:05:45 | 0:05:50 | |
..Mr Hector calling. | 0:05:50 | 0:05:51 | |
-That's brilliant! -Oh, the frog. -I'm regressing. -The frog. | 0:05:51 | 0:05:54 | |
I know, I'm regressing. | 0:05:54 | 0:05:56 | |
Weren't we easily pleased? LAUGHTER | 0:05:56 | 0:05:58 | |
We really were. | 0:05:58 | 0:05:59 | |
The funny thing, this is the sort | 0:05:59 | 0:06:01 | |
-of thing you can watch now and it's quite hypnotic, isn't it? -Yeah. | 0:06:01 | 0:06:04 | |
This gentle children's TV series featured Hector the Dog, | 0:06:04 | 0:06:08 | |
Zsazsa the Cat and Kiki the Frog, | 0:06:08 | 0:06:11 | |
as they got up to all sorts of adventures in Hector's back garden. | 0:06:11 | 0:06:15 | |
Nothing there? Oh, well, the postman hasn't been yet. | 0:06:16 | 0:06:19 | |
-Let's go and put it in the box. -Oh, yes. | 0:06:19 | 0:06:21 | |
What do you think of the puppetry? It's hilarious. | 0:06:21 | 0:06:23 | |
Well, it's state-of-the-art. It's state-of-the-art, who needs CGI(?) | 0:06:23 | 0:06:28 | |
-I don't. -What's not to love? | 0:06:28 | 0:06:30 | |
Could you imagine children today enjoying it? | 0:06:30 | 0:06:33 | |
STAMMERS: I think if you take these devices out of their hands | 0:06:33 | 0:06:37 | |
and stuff, you know, their imagination is just as vivid | 0:06:37 | 0:06:40 | |
as it was... | 0:06:40 | 0:06:41 | |
Goodness knows we needed imagination to fill in the gaps here, | 0:06:41 | 0:06:43 | |
didn't we, when we were younger? | 0:06:43 | 0:06:45 | |
Do you know what I mean? I wonder where those puppets are. | 0:06:45 | 0:06:47 | |
They're probably in an attic with a lot of old memories. | 0:06:47 | 0:06:50 | |
-HECTOR CLEARS THROAT READS: -"My dear Hector..." | 0:06:50 | 0:06:52 | |
-"My dear Hector..." -Yes, my dear Hector. | 0:06:52 | 0:06:54 | |
"You are a great big old Hector..." Ha, you see, they know me. | 0:06:54 | 0:06:58 | |
Oh, yes. | 0:06:58 | 0:06:59 | |
So, this is a very young Richard just getting | 0:06:59 | 0:07:01 | |
-engrossed into Hector's House, was it? -Mm-hm. Yeah. -Yeah? | 0:07:01 | 0:07:04 | |
Well, it was the narrative, very tightly woven plots, | 0:07:04 | 0:07:07 | |
Brian, that got me into it, I think(!) | 0:07:07 | 0:07:10 | |
LAUGHTER It was utterly gripping. | 0:07:10 | 0:07:12 | |
I wish there had been an omnibus, let's put it that way. | 0:07:12 | 0:07:15 | |
-Hector's House, you'd watch that with your mum and dad or...? -Yes. | 0:07:15 | 0:07:18 | |
-Yeah? -Yeah, Hector's House, something like that | 0:07:18 | 0:07:21 | |
or there were other shows | 0:07:21 | 0:07:23 | |
that were on at the time, it always reminded me of sort of | 0:07:23 | 0:07:26 | |
being off games, if you like. | 0:07:26 | 0:07:27 | |
-You know, when you were ill. -Oh, right, yeah. | 0:07:27 | 0:07:29 | |
At school, so you'd come home, and it was back in the days | 0:07:29 | 0:07:32 | |
when, you know, your mum would put you on the sofa | 0:07:32 | 0:07:34 | |
-and they'd throw a fizzy drink at you. We know the brand. -Yeah. | 0:07:34 | 0:07:37 | |
And, "You'll be all right." What could possibly go wrong? | 0:07:37 | 0:07:40 | |
Because, of course, they used to let you run free in the sunshine back | 0:07:40 | 0:07:43 | |
then without any protection. | 0:07:43 | 0:07:44 | |
My poor mum is going to... HE LAUGHS | 0:07:44 | 0:07:46 | |
I'm going to be across her knee for this. | 0:07:46 | 0:07:48 | |
Yeah, and then she'd slap on a bit of calamine lotion. | 0:07:48 | 0:07:50 | |
So it was back then when they thought... | 0:07:50 | 0:07:52 | |
Fizzy drink, that will cure all ills. | 0:07:52 | 0:07:54 | |
So, it just reminds me of... In fact, rather than the coffee, | 0:07:54 | 0:07:56 | |
we should have one of those on the go here now, | 0:07:56 | 0:07:58 | |
cos that would take me right back. | 0:07:58 | 0:08:00 | |
-I'll get foetal and start sucking my thumb. -Oh, really? -Yeah. | 0:08:00 | 0:08:03 | |
-Oh, well, it just so happens... -LAUGHTER | 0:08:03 | 0:08:05 | |
-You better enjoy your coffee. -Is that extra? -Yeah, yeah. -Brilliant. | 0:08:05 | 0:08:09 | |
We're going to go to Must See TV. | 0:08:13 | 0:08:16 | |
-And before we... -Oh, my God. | 0:08:16 | 0:08:19 | |
..we have Must See TV, there is a little clue as to what it might be. | 0:08:19 | 0:08:24 | |
-You sure this goes on the afternoon? -Yeah, yeah. | 0:08:24 | 0:08:27 | |
Can you guess what the show might be if we've given you this? | 0:08:27 | 0:08:30 | |
-If you've given me this? -No, no, no. You've got a little... | 0:08:30 | 0:08:33 | |
Is this like a dressing gown that I wore in my misspent youth | 0:08:33 | 0:08:35 | |
while I watched my favourite show? | 0:08:35 | 0:08:38 | |
-Well, I believe it's someone on that show... -Right. | 0:08:38 | 0:08:41 | |
..who used to wear something very similar to that. | 0:08:41 | 0:08:44 | |
-Come on. -Yeah, it's what I'm thinking about. -It's Dallas. | 0:08:44 | 0:08:47 | |
It's Dallas. Right. OK, yeah, this is my favourite show of all time. | 0:08:47 | 0:08:50 | |
I actually go to Southfork, well, | 0:08:50 | 0:08:52 | |
-have done for the last six years, every year. -Every year? -Every year. | 0:08:52 | 0:08:55 | |
-Like...to pay homage? -Well, yes, yeah! Give it a dust. | 0:08:55 | 0:08:58 | |
-Should we have a little look? -Yeah, go on. | 0:08:58 | 0:09:00 | |
Take me back, take me back. Here's a bit of Dallas. | 0:09:00 | 0:09:02 | |
Debuting in 1978 as a five-part miniseries, the original run of | 0:09:04 | 0:09:09 | |
Dallas was extended and went on to air for over 13 seasons | 0:09:09 | 0:09:14 | |
between 1978 and 1991. | 0:09:14 | 0:09:18 | |
Thanks to its gripping sensational storylines, | 0:09:18 | 0:09:21 | |
Dallas was a huge success and went on to be dubbed | 0:09:21 | 0:09:24 | |
in 67 languages, | 0:09:24 | 0:09:26 | |
broadcasting in more than | 0:09:26 | 0:09:29 | |
90 countries. | 0:09:29 | 0:09:31 | |
I'm a complete Dallas aficionado/fan. | 0:09:31 | 0:09:35 | |
It was the show that we watched as a family, again, | 0:09:35 | 0:09:37 | |
because you had to stay in for television then. | 0:09:37 | 0:09:39 | |
So, this was obviously pre-the VCR or whatever. | 0:09:39 | 0:09:42 | |
And so, when it started in 1978, | 0:09:42 | 0:09:45 | |
I remember sitting down and watched it. | 0:09:45 | 0:09:47 | |
Then, of course, the whole shooting of JR thing happened in 1980, | 0:09:47 | 0:09:50 | |
and it all took off. And I would sit in a... | 0:09:50 | 0:09:51 | |
HE LAUGHS | 0:09:51 | 0:09:53 | |
..not something too dissimilar. | 0:09:53 | 0:09:55 | |
-It was like a sort of quilted silk dressing gown. -Right. | 0:09:55 | 0:09:58 | |
You know, on Dallas, JR's favourite drink was bourbon and branch, | 0:09:58 | 0:10:01 | |
which is like a Scotch and water, I suppose, isn't it? Whatever. | 0:10:01 | 0:10:04 | |
So, I would... | 0:10:04 | 0:10:06 | |
get Mum to put lots of ice in Coca-Cola | 0:10:06 | 0:10:10 | |
so that when he drank, I would drink. | 0:10:10 | 0:10:12 | |
And it would rattle like it does on the show. | 0:10:12 | 0:10:14 | |
Like a young person's drinking game, isn't it? | 0:10:14 | 0:10:16 | |
HE LAUGHS That's where it started. | 0:10:16 | 0:10:20 | |
-Well, we have a scene here, and it involves Larry Hagman. -Go on. | 0:10:20 | 0:10:23 | |
Slightly risque. Well, you can almost see everything. | 0:10:23 | 0:10:27 | |
Well, just keep spreading the Bs, boy. | 0:10:27 | 0:10:29 | |
'Yes, sir.' | 0:10:29 | 0:10:30 | |
Booty, booze and broads. | 0:10:30 | 0:10:32 | |
The first thing you taught me | 0:10:32 | 0:10:33 | |
a good lobbyist likes. | 0:10:33 | 0:10:34 | |
Oh, close your... | 0:10:34 | 0:10:36 | |
-BOTH: -Ooh! | 0:10:36 | 0:10:37 | |
That could have gone either way. | 0:10:37 | 0:10:39 | |
Oil baron JR Ewing was only meant to be a supporting role, | 0:10:39 | 0:10:43 | |
but this addictive villain proved hugely popular with viewers | 0:10:43 | 0:10:47 | |
and soon became a lead. | 0:10:47 | 0:10:49 | |
Brilliantly played by Larry Hagman, | 0:10:50 | 0:10:52 | |
JR was the only character to appear in all 357 episodes. | 0:10:52 | 0:10:59 | |
-Well, what have we here? -GLASS CLINKS | 0:10:59 | 0:11:02 | |
Now, that's a dressing gown, Richard. | 0:11:02 | 0:11:04 | |
Well, it's a little closer to what I normally wear at home, actually. | 0:11:04 | 0:11:07 | |
-Really? -Yeah, the company I keep is marginally different. | 0:11:07 | 0:11:10 | |
LAUGHTER | 0:11:10 | 0:11:12 | |
-But the gaping kimono, I do own. -Really? -Yes, I do own. Yes. | 0:11:12 | 0:11:15 | |
So, did you have a favourite character within the show? | 0:11:15 | 0:11:18 | |
It was Linda Gray, Sue Ellen and JR. | 0:11:18 | 0:11:21 | |
It was all about them for me. | 0:11:21 | 0:11:22 | |
But what about when it came back and it was all a dream? | 0:11:22 | 0:11:26 | |
-Oh, Bobby? Yeah, the shower? -Yeah. | 0:11:26 | 0:11:28 | |
In one of the most bizarre plot lines ever seen on primetime | 0:11:28 | 0:11:31 | |
television, Bobby Ewing returned to Dallas a year after being | 0:11:31 | 0:11:35 | |
killed off. | 0:11:35 | 0:11:37 | |
And the explanation of his return - | 0:11:37 | 0:11:39 | |
that the whole previous season's | 0:11:39 | 0:11:41 | |
events had been a dream. | 0:11:41 | 0:11:42 | |
Good morning. | 0:11:46 | 0:11:47 | |
How did that sit with you? | 0:11:47 | 0:11:48 | |
-I loved it cos it was great to see Patrick Duffy back. -Yes. | 0:11:48 | 0:11:52 | |
So, I would forgive them anything, | 0:11:52 | 0:11:53 | |
if it was getting the whole family back together, | 0:11:53 | 0:11:56 | |
so that didn't bother me. | 0:11:56 | 0:11:57 | |
I managed to suspend disbelief. I mean, I think the show went | 0:11:57 | 0:12:00 | |
a little downhill then, but nevertheless, I stuck with it | 0:12:00 | 0:12:03 | |
all the way to the end. Watched every episode. | 0:12:03 | 0:12:05 | |
You are without doubt a Dallas expert, | 0:12:05 | 0:12:08 | |
so we would like to put you to the test right now. | 0:12:08 | 0:12:10 | |
I'd like to remind everyone that you actually did this... | 0:12:10 | 0:12:12 | |
this is your specialist subject on Mastermind. | 0:12:12 | 0:12:15 | |
-Yeah, it was, yeah. -It was. | 0:12:15 | 0:12:16 | |
Starting now. After the initial pilot episodes of Dallas, | 0:12:16 | 0:12:19 | |
Duncan Acres became the location for which fictional Texas ranch, | 0:12:19 | 0:12:22 | |
the home of the Ewing family? | 0:12:22 | 0:12:24 | |
-Southfork Ranch. -Yes. | 0:12:24 | 0:12:25 | |
-Richard. -Yes. -This is your Dallas quiz. | 0:12:25 | 0:12:28 | |
-STOPWATCH CLICKS -When JR was first shot | 0:12:28 | 0:12:31 | |
on March 21st, 19... | 0:12:31 | 0:12:35 | |
-'80. -See, you know all that. | 0:12:35 | 0:12:36 | |
..who did it? | 0:12:36 | 0:12:38 | |
Was it Kristin Shepard, Sue Ellen, Cliff Barnes or Miss Ellie? | 0:12:38 | 0:12:43 | |
-Kristin Shepard. -Absolutely correct. -Sue Ellen's sister. Yes. | 0:12:43 | 0:12:46 | |
-HE LAUGHS -Won that. | 0:12:49 | 0:12:52 | |
-That is your...that is your... -Do I have to put it on? -Yes, you do. | 0:12:52 | 0:12:56 | |
I'm not sure it goes with my kimono, but I'll give it a shot, Brian, | 0:12:56 | 0:12:58 | |
just cos I'm a big fan. | 0:12:58 | 0:13:00 | |
Shall I just put it on my nose? I mean, we'll just do that. | 0:13:00 | 0:13:03 | |
OK, we are good. | 0:13:03 | 0:13:05 | |
-Name... -AUDIENCE LAUGHS | 0:13:06 | 0:13:08 | |
This is a serious quiz, ladies and gentlemen. | 0:13:08 | 0:13:10 | |
I'm on a knife's edge, ladies and gentlemen, here. | 0:13:10 | 0:13:13 | |
-Well, my career is, anyway. -Name... -THEY LAUGH | 0:13:13 | 0:13:16 | |
-Name the Dallas spin-off series that ran from 1979 to 1993. -That... | 0:13:16 | 0:13:22 | |
-Was it...? Oh, you don't even need these. -Go on. | 0:13:22 | 0:13:24 | |
..Santa Barbara, Knots Landing, | 0:13:24 | 0:13:27 | |
The Colbys, The Ewings? | 0:13:27 | 0:13:29 | |
It was Knots Landing, and I've been there too. Three times. | 0:13:29 | 0:13:32 | |
-A cul-de-sac in California. -Great. -Yep. -You've upgraded now. -Have I? | 0:13:32 | 0:13:37 | |
To a slightly bigger hat. You can take that one off. | 0:13:37 | 0:13:39 | |
-Well, that might work. I can take that one off, can I? -Yes. -Right. | 0:13:39 | 0:13:42 | |
Oh, OK. Right, I might have to wear at a jaunty angle for now. | 0:13:42 | 0:13:46 | |
Is that all right? | 0:13:46 | 0:13:47 | |
Which Academy award-winning actress replaced | 0:13:47 | 0:13:50 | |
Barbara Bel Geddes in the role of Miss Ellie for just one season? | 0:13:50 | 0:13:54 | |
Was it A - Donna Reed, B - Elizabeth Taylor, | 0:13:54 | 0:13:57 | |
C - Jessica Tandy or D - Katharine Hepburn? | 0:13:57 | 0:14:00 | |
The late great Donna Reed. | 0:14:00 | 0:14:02 | |
-Donna Reed. -APPLAUSE | 0:14:02 | 0:14:07 | |
We're getting there. HE CHUCKLES | 0:14:07 | 0:14:11 | |
In 1987, which Hollywood heart-throb had an early role as Randy, | 0:14:11 | 0:14:16 | |
the boyfriend of Charlie Wade? | 0:14:16 | 0:14:18 | |
Was it A -Brad Pitt, B - Johnny Depp, | 0:14:18 | 0:14:21 | |
C - John Cusack or D - Ben Affleck? | 0:14:21 | 0:14:24 | |
-Brad Pitt. -That is correct. -Yeah, yeah, that's right. | 0:14:25 | 0:14:29 | |
APPLAUSE | 0:14:29 | 0:14:33 | |
-OK, slightly bigger. -Well, it's a bit... | 0:14:33 | 0:14:35 | |
-It's Tex-Mex, I'll give you that. It's Tex-Mex. -Final question. | 0:14:35 | 0:14:39 | |
Name all four Ewing brothers. | 0:14:39 | 0:14:42 | |
Gary, Ray, Bobby and JR. | 0:14:42 | 0:14:44 | |
-Absolutely right. -Thank you very much. | 0:14:44 | 0:14:46 | |
Do I get the full ten gallons now? | 0:14:46 | 0:14:48 | |
LAUGHTER | 0:14:50 | 0:14:53 | |
Did you win this in a raffle? | 0:14:53 | 0:14:54 | |
-Your applause, please... -APPLAUSE | 0:14:56 | 0:14:59 | |
-..to the king of Dallas. -Thank you. | 0:14:59 | 0:15:01 | |
The man who pretty much knows it all. Well done indeed. | 0:15:01 | 0:15:04 | |
Thank you, ma'am. | 0:15:04 | 0:15:05 | |
Can I show you something now that is very intimidating to a young | 0:15:14 | 0:15:18 | |
Richard Arnold? | 0:15:18 | 0:15:20 | |
-And it is Hammer House Of Horror. -HE SIGHS | 0:15:20 | 0:15:24 | |
EERIE MUSIC | 0:15:24 | 0:15:27 | |
In 1980, the well-known British | 0:15:27 | 0:15:29 | |
film company Hammer Films | 0:15:29 | 0:15:31 | |
decided to branch out and make a series of scary short stories for TV | 0:15:31 | 0:15:35 | |
and so, Hammer House Of Horror was born. | 0:15:35 | 0:15:38 | |
EERIE MUSIC CONTINUES | 0:15:38 | 0:15:41 | |
Did you find the title scary? | 0:15:41 | 0:15:43 | |
The music is taking me back a bit, but it's that statue one, isn't it? | 0:15:43 | 0:15:47 | |
-It's the little... -Charlie Boy. -Charlie Boy, yeah. | 0:15:47 | 0:15:50 | |
All of that sort of stuff. | 0:15:50 | 0:15:51 | |
I mean, I can't watch any horror films. | 0:15:51 | 0:15:53 | |
I mean, watching it now, it seems a bit kitsch, | 0:15:53 | 0:15:55 | |
but as a youngster, you know, my imagination was far too furtive... | 0:15:55 | 0:16:01 | |
-I can't wait forever. -'Raise your share of the money.' | 0:16:01 | 0:16:03 | |
-I can't wait... -'The money, Graham.' -..forever. | 0:16:03 | 0:16:05 | |
'Can't wait forever, you know.' | 0:16:05 | 0:16:07 | |
This terrifying episode centres on an African wooden carving | 0:16:07 | 0:16:11 | |
nicknamed Charlie Boy, a voodoo doll with an appetite for death. | 0:16:11 | 0:16:16 | |
See, you wouldn't see that on Hector's House. | 0:16:16 | 0:16:18 | |
LAUGHTER | 0:16:18 | 0:16:20 | |
I mean, that's not ideal, is it, | 0:16:20 | 0:16:21 | |
if you're watching this and you're 11 years old? | 0:16:21 | 0:16:23 | |
It's so funny, though, that I remember this one in particular. | 0:16:23 | 0:16:27 | |
It was the statue. It's like clowns, you know, | 0:16:27 | 0:16:29 | |
there's something inherently sinister about, | 0:16:29 | 0:16:31 | |
or I find anyway, clowns and statues and... | 0:16:31 | 0:16:35 | |
I mean, this is fine. This is Black Beauty. | 0:16:36 | 0:16:38 | |
-We can live with this. -Yeah, we can live with this. | 0:16:38 | 0:16:40 | |
And it's much safer than watching it on Poldark, | 0:16:40 | 0:16:43 | |
cos he is always too near the cliff. LAUGHTER | 0:16:43 | 0:16:45 | |
-It's right, though, isn't it? -Yeah. | 0:16:45 | 0:16:46 | |
-Always too near the cliff on the horse. -I'm feeling tense, though. | 0:16:46 | 0:16:49 | |
-Are you feeling tense? -I'm feeling tense, yeah, but I think it's... | 0:16:49 | 0:16:53 | |
I think it's the sofa, Brian. Oh! | 0:16:53 | 0:16:55 | |
AUDIENCE GROAN Oh, no! | 0:16:55 | 0:16:57 | |
What could possibly go wrong, ladies and gentlemen(?) | 0:16:58 | 0:17:01 | |
Oh! Oh, look. Yeah, that's right, they cut back to statue every time. | 0:17:03 | 0:17:07 | |
EVERYONE SCREAMS | 0:17:07 | 0:17:10 | |
Oh, yeah, that's not ideal. | 0:17:10 | 0:17:12 | |
That must've hurt. | 0:17:12 | 0:17:14 | |
Course, because it's like the 1970s, your mum would go, | 0:17:14 | 0:17:17 | |
"Oh, don't make a fuss." | 0:17:17 | 0:17:18 | |
-Yeah. -Yeah. "Kiss it, it'll get better." -Yeah. -Yeah. | 0:17:18 | 0:17:22 | |
Many actors who appeared on Hammer House Of Horror | 0:17:23 | 0:17:26 | |
went on to become familiar faces on our TV screens | 0:17:26 | 0:17:29 | |
like Norman Beaton, who we fondly | 0:17:29 | 0:17:31 | |
think of as the lovable | 0:17:31 | 0:17:32 | |
hairdresser Desmond Ambrose in the Channel 4 show Desmond's. | 0:17:32 | 0:17:36 | |
Jeff Rawle also starred in an episode. | 0:17:41 | 0:17:43 | |
Most of us remember him | 0:17:43 | 0:17:44 | |
as a long-suffering George from Drop The Dead Donkey, | 0:17:44 | 0:17:47 | |
although the kids will probably know him | 0:17:47 | 0:17:49 | |
as the evil Silas from Hollyoaks. | 0:17:49 | 0:17:52 | |
And would you believe award-winning Scottish actor Brian Cox | 0:17:55 | 0:17:58 | |
even featured on the show? | 0:17:58 | 0:18:00 | |
Nowadays, he is all about Hollywood blockbusters | 0:18:00 | 0:18:03 | |
and top TV dramas like War And Peace. | 0:18:03 | 0:18:05 | |
Even the dashing Pierce Brosnan | 0:18:09 | 0:18:11 | |
got in on the action. | 0:18:11 | 0:18:12 | |
Long before Remington Steele | 0:18:12 | 0:18:14 | |
or Bond, | 0:18:14 | 0:18:15 | |
this suave Irish actor appeared | 0:18:15 | 0:18:17 | |
as the character called Last Victim. | 0:18:17 | 0:18:21 | |
Catchy. | 0:18:21 | 0:18:22 | |
-My goodness me, yeah. -So, as a child, you had a vivid imagination. | 0:18:22 | 0:18:25 | |
Yeah, very vivid imagination. | 0:18:25 | 0:18:27 | |
Yeah, I think... Also I had a lot of Legos, like most kids growing up, | 0:18:27 | 0:18:30 | |
and I had a Legos village set out. | 0:18:30 | 0:18:31 | |
And because I was into my telly back then as well, I would actually... | 0:18:31 | 0:18:37 | |
do a TV chart, like a ratings chart, of the top ten shows | 0:18:37 | 0:18:40 | |
for my little town that they were watching. | 0:18:40 | 0:18:42 | |
I had a set of pens, coloured pens - used to love all of that - | 0:18:42 | 0:18:45 | |
and I would to the logos exactly as they were on the telly. | 0:18:45 | 0:18:48 | |
Like Magnum PI, you know, all those shows that I loved. | 0:18:48 | 0:18:52 | |
So, yeah, like I said, I had to fill in a lot of blanks | 0:18:52 | 0:18:54 | |
when I was a nipper because I was the only one around. | 0:18:54 | 0:18:56 | |
Does it...move you? Does it upset you? | 0:18:56 | 0:18:59 | |
-What, being the only one around? -Yeah. -No, I used to love it! | 0:18:59 | 0:19:01 | |
Because, you know, I had loads of mates. | 0:19:01 | 0:19:04 | |
I think that's a bit of a myth about only children, to be honest. | 0:19:04 | 0:19:08 | |
Cos I was actually much more social | 0:19:08 | 0:19:09 | |
cos I was always out and about, you know? | 0:19:09 | 0:19:12 | |
But on the other hand, I do... | 0:19:12 | 0:19:14 | |
It's interesting because I love my job now | 0:19:14 | 0:19:16 | |
and I love being out and about, | 0:19:16 | 0:19:18 | |
but I also love coming home. | 0:19:18 | 0:19:22 | |
I remember... | 0:19:22 | 0:19:23 | |
Speaking of Strictly again, | 0:19:23 | 0:19:25 | |
we were at the National TV Awards one year and it was the year | 0:19:25 | 0:19:27 | |
that I was lucky enough to be in Strictly, so it was 2012. | 0:19:27 | 0:19:31 | |
And it was up for a gong, obviously, as Best Show and Tess Daly, | 0:19:31 | 0:19:34 | |
lovely woman, came up to me on the red carpet cos I was reporting on it | 0:19:34 | 0:19:37 | |
as well and she said, "Richard, if we win, | 0:19:37 | 0:19:39 | |
"we will get you up on stage." | 0:19:39 | 0:19:42 | |
And I thought, "OK, all right." | 0:19:42 | 0:19:44 | |
What I didn't have the heart to tell her is that | 0:19:44 | 0:19:46 | |
I wasn't going to go into the awards because I had a fast car waiting to | 0:19:46 | 0:19:49 | |
get me home cos it is so much nicer watching the awards at home. | 0:19:49 | 0:19:52 | |
And of course, they won! The only time I would have been up | 0:19:52 | 0:19:54 | |
on the stage, you know, at the National TV Awards. | 0:19:54 | 0:19:57 | |
-But I'm quite a homebody. -Yeah? | 0:19:57 | 0:19:59 | |
Yeah, once I get behind that door, I'm like, | 0:19:59 | 0:20:01 | |
"OK, we chill out now." | 0:20:01 | 0:20:04 | |
Yeah. "We relax." So, I think that's probably where the only child | 0:20:04 | 0:20:06 | |
thing lingers, is I'm very happy in my own company. | 0:20:06 | 0:20:09 | |
Yeah. | 0:20:09 | 0:20:11 | |
-And we're going to do an Advert Break now. -OK. | 0:20:15 | 0:20:17 | |
It's a VW advert. | 0:20:17 | 0:20:19 | |
-Oh, OK, right. -Starring... -Is this Paula...? -..Paula Hamilton. | 0:20:19 | 0:20:23 | |
-Yeah, yeah, I do remember this. -Yeah. -Oh, this was great. | 0:20:23 | 0:20:26 | |
# Everyone is going through changes... # | 0:20:26 | 0:20:32 | |
I can't believe you found this. | 0:20:32 | 0:20:33 | |
# And no-one knows what's going on. # | 0:20:33 | 0:20:35 | |
It's almost 30 years since Paula Hamilton reached the heights | 0:20:35 | 0:20:38 | |
of her modelling career, | 0:20:38 | 0:20:40 | |
starring in one of the most iconic TV ads of the '80s. | 0:20:40 | 0:20:43 | |
She going to keep that fur coat? | 0:20:43 | 0:20:45 | |
I think we've all had days like this, haven't we, ladies? | 0:20:45 | 0:20:48 | |
Or dates that have gone wrong like that? | 0:20:48 | 0:20:50 | |
So, she's, obviously, not in the best of moods. | 0:20:50 | 0:20:53 | |
Look at the shoulder pads on that. | 0:20:53 | 0:20:54 | |
Thinks about dropping the keys through the drain, | 0:20:54 | 0:20:56 | |
but she's not going to give up the motor. | 0:20:56 | 0:20:59 | |
And there she goes. | 0:20:59 | 0:21:00 | |
Now, which one of us hasn't re-enacted that moment? | 0:21:02 | 0:21:05 | |
LAUGHTER | 0:21:05 | 0:21:07 | |
# But the world goes on the same. # | 0:21:07 | 0:21:12 | |
And also, I think you hear the music then. | 0:21:14 | 0:21:17 | |
Adverts around that time in the '80s | 0:21:17 | 0:21:20 | |
had soundtracks, effectively, didn't they? | 0:21:20 | 0:21:22 | |
And the songs became hits off the back of them, | 0:21:22 | 0:21:24 | |
so Sam Cooke, the old Levi's adverts, you know? | 0:21:24 | 0:21:29 | |
It sort of all caught on. | 0:21:29 | 0:21:31 | |
You know, these songs suddenly became big hits off the back of, | 0:21:31 | 0:21:38 | |
you know, obviously, being in adverts. | 0:21:38 | 0:21:40 | |
Now, Richard, we are moving onto your Family Favourite. | 0:21:46 | 0:21:50 | |
'This is my boss, Jonathan Hart.' | 0:21:52 | 0:21:55 | |
Oh, used to love this show! | 0:21:55 | 0:21:57 | |
Frothy amateur detective drama Hart to Hart | 0:21:57 | 0:22:00 | |
starred Robert Wagner and Stephanie Powers. | 0:22:00 | 0:22:03 | |
'This is Mrs H. She's gorgeous...' | 0:22:03 | 0:22:05 | |
They were a fabulously rich couple who were forever finding | 0:22:05 | 0:22:08 | |
themselves in the middle of a mystery. | 0:22:08 | 0:22:11 | |
And the late Lionel Stander joined them as their loyal servant Max. | 0:22:11 | 0:22:17 | |
'Which ain't easy cos their hobby is...murder.' | 0:22:17 | 0:22:21 | |
This is actually, ladies and gentlemen, | 0:22:21 | 0:22:23 | |
this is the first show we ever recorded on the VCR, right? | 0:22:23 | 0:22:26 | |
And I remember, we got it... I think we got the... | 0:22:26 | 0:22:29 | |
'82, '83 and I remember to this day, | 0:22:29 | 0:22:33 | |
Mum and Dad are sat | 0:22:33 | 0:22:35 | |
and I go forward - | 0:22:35 | 0:22:37 | |
cos it's one of those old VCRs | 0:22:37 | 0:22:38 | |
where you've got to actually lean forward and press the buttons - | 0:22:38 | 0:22:41 | |
and the minute I pressed record, | 0:22:41 | 0:22:42 | |
I turned around to Mum and Dad and say, "Shh, shh," | 0:22:42 | 0:22:45 | |
cos I thought their voices were going to come out on the machine. | 0:22:45 | 0:22:48 | |
LAUGHTER | 0:22:48 | 0:22:51 | |
True story. | 0:22:51 | 0:22:53 | |
If I'm feeling a little bit flat in the afternoon or something, | 0:22:53 | 0:22:55 | |
you know, and I put a bit of a brew on, | 0:22:55 | 0:22:58 | |
I could sit in Hoover this stuff up. | 0:22:58 | 0:22:59 | |
You know, just absolutely love it. | 0:22:59 | 0:23:01 | |
It is like putting on a little blanket and just... | 0:23:01 | 0:23:04 | |
Actually, it demands nothing of you. Look at the lack of frenzy. | 0:23:04 | 0:23:06 | |
This is the look I was trying to achieve this morning. | 0:23:06 | 0:23:09 | |
Stephanie Powers look, obviously. | 0:23:09 | 0:23:11 | |
I think she looks absolutely beautiful in it. | 0:23:11 | 0:23:14 | |
As though the killer being here was no surprise. | 0:23:14 | 0:23:17 | |
HE SNIFFS | 0:23:19 | 0:23:21 | |
-You getting a cold? -No. -You're sniffling. | 0:23:21 | 0:23:24 | |
The hugely popular series had a five-season run | 0:23:24 | 0:23:28 | |
followed by eight TV movies. | 0:23:28 | 0:23:30 | |
Viewers lapped up the killer chemistry | 0:23:30 | 0:23:32 | |
between Powers and Wagner as they made solving crimes sexy. | 0:23:32 | 0:23:37 | |
-Amazing. Look at that. And they were a terrific couple. -They were. | 0:23:38 | 0:23:41 | |
-They had a wonderful partnership. -Wonderful chemistry. -Yeah. | 0:23:41 | 0:23:45 | |
Rather like us today, Brian. | 0:23:45 | 0:23:46 | |
Yes, darling, yeah. | 0:23:46 | 0:23:48 | |
Oh, hello! | 0:23:48 | 0:23:49 | |
-Jennifer. -Hm? | 0:23:51 | 0:23:53 | |
Take a look at this. | 0:23:53 | 0:23:55 | |
What? | 0:23:55 | 0:23:56 | |
-Notice anything unusual? -No. | 0:23:56 | 0:23:58 | |
Jonathan and Jennifer's super sleuthing saw them solve cases | 0:23:58 | 0:24:02 | |
involving smuggling, theft, international espionage and murder. | 0:24:02 | 0:24:08 | |
I think they're in my closet. | 0:24:08 | 0:24:09 | |
LAUGHTER | 0:24:09 | 0:24:13 | |
Brilliant stuff. | 0:24:13 | 0:24:14 | |
Absolutely fantastic. | 0:24:14 | 0:24:16 | |
And the first part of the show always ended in the body, obviously, | 0:24:16 | 0:24:20 | |
being found. He's dead, or she's dead. "Oh, my God, he's dead." | 0:24:20 | 0:24:23 | |
"Oh, my God, she's dead." That was basically it, wasn't it? | 0:24:23 | 0:24:25 | |
And then it would take them another two parts to unravel it. | 0:24:25 | 0:24:28 | |
So, what do you think sucked you in? What gripped you so much? | 0:24:28 | 0:24:32 | |
Was it - once again, like Dallas - the glamour, you know? | 0:24:32 | 0:24:34 | |
-I mean, it was the '80s. -Cos it was very glamorous, wasn't it? | 0:24:34 | 0:24:38 | |
Yeah, I mean, the '80s... Obviously, growing up | 0:24:38 | 0:24:40 | |
as a teenager in the '80s, much of the TV that you watched, | 0:24:40 | 0:24:44 | |
or that came from America, was aspirational... | 0:24:44 | 0:24:49 | |
viewing, you know? It was... The sitcom was the dominant genre, | 0:24:49 | 0:24:53 | |
I suppose, in the 1970s, but then when the '80s kicked off for me | 0:24:53 | 0:24:56 | |
and I was thrust into the perils of pubescence, | 0:24:56 | 0:24:58 | |
I found myself hooked on these sort of shows. | 0:24:58 | 0:25:01 | |
I used to love them. Absolutely loved anything | 0:25:01 | 0:25:04 | |
that came out of the States. | 0:25:04 | 0:25:05 | |
Well, we've got something now that's got plenty frocks | 0:25:10 | 0:25:13 | |
and the odd shock. | 0:25:13 | 0:25:14 | |
RICHARD LAUGHS Oh, it's The House Of Eliott! | 0:25:19 | 0:25:22 | |
This 1920s period drama followed the fate of two sisters | 0:25:22 | 0:25:26 | |
after their philandering father dies, | 0:25:26 | 0:25:29 | |
leaving them penniless. | 0:25:29 | 0:25:31 | |
The sisters set their sights on starting up a dressmaking business. | 0:25:31 | 0:25:35 | |
I'll have it sorted out in a minute. | 0:25:35 | 0:25:38 | |
Louise Lombard, was it? | 0:25:38 | 0:25:39 | |
-Yes, she was. Louise Lombard. -Yeah, Louise Lombard. Yeah. | 0:25:39 | 0:25:42 | |
-It's been a very heavy day for all of us. -Right. | 0:25:42 | 0:25:45 | |
Um, right, well, there were 36 garments in the small store. | 0:25:45 | 0:25:49 | |
-Now, they're undamaged. -Only 36? -I'm afraid so. | 0:25:49 | 0:25:53 | |
-The House Of Eliott. Sunday nights. -Yeah. | 0:25:53 | 0:25:55 | |
And it was such kitsch viewing. | 0:25:55 | 0:25:58 | |
So, two women, obviously, setting up their own fashion house, | 0:25:58 | 0:26:01 | |
which was The House Of Eliott. | 0:26:01 | 0:26:03 | |
French and Saunders did a fantastic spoof of it | 0:26:03 | 0:26:05 | |
called The House Of Idiot. LAUGHTER | 0:26:05 | 0:26:07 | |
You know what French and Saunders are like, God bless them. | 0:26:07 | 0:26:09 | |
They got it absolutely bang on. Every episode would sort of open | 0:26:09 | 0:26:13 | |
-with a penny-farthing coming into view. -Yeah. | 0:26:13 | 0:26:16 | |
Um, it was all that sort of business. | 0:26:16 | 0:26:18 | |
But with a bit of overtime here and at Bayswater, | 0:26:18 | 0:26:20 | |
I reckon we could make up the lost time in about eight weeks. | 0:26:20 | 0:26:23 | |
As soon as that? | 0:26:23 | 0:26:24 | |
-I think that's a little optimistic. -Well, everyone's keen to try. | 0:26:24 | 0:26:28 | |
Well, I think we better err on the side of caution and say ten weeks. | 0:26:29 | 0:26:32 | |
-Don't you agree? -Yes, I do. | 0:26:32 | 0:26:35 | |
This became quite... It got quite a big following | 0:26:35 | 0:26:38 | |
because it was, you know, a very kitsch sort of show. | 0:26:38 | 0:26:43 | |
People couldn't understand | 0:26:43 | 0:26:44 | |
why it was so popular, I think, and it became... | 0:26:44 | 0:26:47 | |
-It was the Downton of its day, if you like. -Yeah, yeah. | 0:26:47 | 0:26:49 | |
Or certainly in a similar slot. | 0:26:49 | 0:26:51 | |
It's something you watched religiously? | 0:26:51 | 0:26:53 | |
Yeah, we used to watch it on Sunday nights. I'd just moved to London. | 0:26:53 | 0:26:56 | |
We were living hand-to-mouth, so we would always be staying in. | 0:26:56 | 0:26:59 | |
You know what I mean? Eating tuna pasta bake or whatever. | 0:26:59 | 0:27:02 | |
I was living with two friends at the time, Shona and Louise, | 0:27:02 | 0:27:05 | |
-and the three of us would re-enact scenes. -Really? -Yeah. | 0:27:05 | 0:27:09 | |
-With your Lego? -Not with the Lego. LAUGHTER | 0:27:09 | 0:27:12 | |
I was 22 by that point. LAUGHTER | 0:27:12 | 0:27:15 | |
So, about two years before that, I'd put it in the loft. | 0:27:15 | 0:27:17 | |
Yeah, we used to love it. It was terrific. | 0:27:17 | 0:27:20 | |
Absolutely terrific. | 0:27:20 | 0:27:22 | |
-That takes me right back, that does. -Aw. | 0:27:22 | 0:27:24 | |
I mean, this was a costume drama, so were you into fashion? | 0:27:24 | 0:27:28 | |
Not really into fashion, you know, um, but I loved... | 0:27:28 | 0:27:33 | |
-Again, I suppose it is that sort of glamour... -Is it the romance? | 0:27:33 | 0:27:36 | |
..the romance, yeah. I loved all... | 0:27:36 | 0:27:38 | |
You know, like A Passage To India, A Jewel In The Crown. | 0:27:38 | 0:27:41 | |
-Loved all those shows. -Mm-hm. | 0:27:41 | 0:27:42 | |
Give me a sweeping saga, and as you say, frocks and shocks, | 0:27:42 | 0:27:46 | |
-and I'm a happy man. -Yeah. | 0:27:46 | 0:27:49 | |
And they're vintage, you know. Perhaps House Of Eliott less so, | 0:27:49 | 0:27:53 | |
with the greatest of respect to the creative team behind it. | 0:27:53 | 0:27:55 | |
But when you think about Brideshead Revisited | 0:27:55 | 0:27:58 | |
and shows like that, I mean, | 0:27:58 | 0:27:59 | |
I just think we set the standard in this country. | 0:27:59 | 0:28:02 | |
So, I do, I love shows like that. | 0:28:02 | 0:28:04 | |
So, when did you last see The House Of Eliott? | 0:28:04 | 0:28:06 | |
I bought the box set. LAUGHTER | 0:28:06 | 0:28:08 | |
-I've bought the box set. -Really? -Yeah. | 0:28:08 | 0:28:11 | |
So, rather embarrassingly, I think just before Christmas. | 0:28:11 | 0:28:14 | |
Is there any room left in your house, Richard? | 0:28:14 | 0:28:17 | |
Um, yeah, well, I'm very lucky to have space outside | 0:28:17 | 0:28:20 | |
that I can lock everything in, as it's my other half. | 0:28:20 | 0:28:23 | |
Cos you can't have all that tat floating around. | 0:28:23 | 0:28:25 | |
Um, but, yeah, I bought that. I... Yeah. | 0:28:25 | 0:28:29 | |
But I'm terrible. As I say, you see that these things, | 0:28:29 | 0:28:32 | |
these old shows that we love, | 0:28:32 | 0:28:33 | |
start coming out on DVD and you think, | 0:28:33 | 0:28:35 | |
"Ooh, that'll take me back. That'll take me back." | 0:28:35 | 0:28:38 | |
Do you think it was the soap of the sort of 1920s, you know? | 0:28:38 | 0:28:41 | |
Yeah! It's a frothy narrative, isn't it? | 0:28:41 | 0:28:43 | |
Again, it doesn't require much of you. | 0:28:43 | 0:28:45 | |
Let's face it - Sunday night is bath night, | 0:28:45 | 0:28:47 | |
so you've already got a lot on your plate. | 0:28:47 | 0:28:49 | |
So, I'd be sat there with cheese on toast watching that | 0:28:49 | 0:28:51 | |
and then, obviously, rinse out my tights to go to work the next day. | 0:28:51 | 0:28:54 | |
-You'd have the dressing gown on? -I'd have my dressing gown on. | 0:28:54 | 0:28:57 | |
-LAUGHTER I did indeed. -Yeah, that's a must. | 0:28:57 | 0:28:59 | |
As The House Of Eliott proved, we Brits love a show | 0:28:59 | 0:29:02 | |
set in a different era. | 0:29:02 | 0:29:04 | |
Just look at Downton Abbey. | 0:29:04 | 0:29:06 | |
For five years, millions of us were hooked. | 0:29:06 | 0:29:09 | |
We soaked up the lives of the Crawley family | 0:29:09 | 0:29:12 | |
and their servants, set from 1912 until 1926. | 0:29:12 | 0:29:16 | |
Moving on a decade and we hit | 0:29:19 | 0:29:21 | |
All Creatures Great And Small. | 0:29:21 | 0:29:24 | |
We lapped up this smash hit drama | 0:29:24 | 0:29:26 | |
set in the 1930s through to the 1950s, | 0:29:26 | 0:29:29 | |
as over 20 million of us tuned in | 0:29:29 | 0:29:32 | |
to follow the adventures of a veterinary office in Yorkshire. | 0:29:32 | 0:29:36 | |
The series Born And Bred | 0:29:37 | 0:29:39 | |
was also set in the 1950s. | 0:29:39 | 0:29:41 | |
Based in a Lancashire cottage hospital, | 0:29:41 | 0:29:44 | |
it centred around a city doctor | 0:29:44 | 0:29:46 | |
and his village GP father. | 0:29:46 | 0:29:48 | |
We were then transported to the swinging '60s | 0:29:50 | 0:29:53 | |
in the comedy series Hippies. | 0:29:53 | 0:29:55 | |
Starring Simon Pegg and Sally Phillips, | 0:29:55 | 0:29:57 | |
this sitcom lasted just six episodes. | 0:29:57 | 0:30:00 | |
The 1970s was the setting | 0:30:01 | 0:30:03 | |
for the sitcom The Kennedys. | 0:30:03 | 0:30:05 | |
It followed a family living in a new housing estate in Stevenage | 0:30:05 | 0:30:09 | |
and desperately trying to climb the social ladder. | 0:30:09 | 0:30:12 | |
Finally, we reach the excesses of the 1980s. | 0:30:12 | 0:30:16 | |
This was the decade that defined the drama Money, | 0:30:16 | 0:30:19 | |
an adaptation of Martin Amis's cult novel. | 0:30:19 | 0:30:22 | |
Richard, we're going for your Biggest TV Influence now. | 0:30:27 | 0:30:31 | |
I won't say anything, but have a look at this. | 0:30:31 | 0:30:34 | |
Here he is. The governor. | 0:30:34 | 0:30:35 | |
CHEERING AND APPLAUSE | 0:30:35 | 0:30:37 | |
-Aw. -He is a legend, isn't he? -Yeah, absolutely. | 0:30:37 | 0:30:41 | |
Compliments of the season to you, my people, | 0:30:41 | 0:30:43 | |
and a very happy Christmas. | 0:30:43 | 0:30:45 | |
In the decade that Wogan aired, | 0:30:45 | 0:30:46 | |
this hit talk show pulled in the biggest stars. | 0:30:46 | 0:30:49 | |
Generally broadcast live, the late, great Sir Terry | 0:30:49 | 0:30:53 | |
'was known for his unflappable and humorous interviewing skills.' | 0:30:53 | 0:30:57 | |
This is a Dallas one. I've got this on VHS. | 0:30:57 | 0:31:00 | |
-I've got this on VHS! -You are unbelievable. -Yes. | 0:31:00 | 0:31:03 | |
A good old Texas boy, John Ross Ewing Jr, | 0:31:03 | 0:31:06 | |
otherwise known as Larry Hagman. | 0:31:06 | 0:31:08 | |
CHEERING AND APPLAUSE | 0:31:08 | 0:31:11 | |
I can almost quote it word for word. | 0:31:11 | 0:31:13 | |
You cracked the old whip, didn't you, by bringing back Bobby? | 0:31:13 | 0:31:17 | |
Well, no. No, not at all. I... | 0:31:17 | 0:31:20 | |
My whole modus operandi | 0:31:20 | 0:31:22 | |
was to get the show back to where it was a year ago. | 0:31:22 | 0:31:24 | |
Because it had slumped in the ratings? | 0:31:24 | 0:31:26 | |
Not because it had slumped in the ratings. | 0:31:26 | 0:31:28 | |
Because it wasn't any fun any more. | 0:31:28 | 0:31:29 | |
-An absolute master of his game, Wogan. -Yeah. | 0:31:29 | 0:31:33 | |
-And remember, this show was going out live... -Mm-hm. | 0:31:33 | 0:31:35 | |
-..at minimum of three times a week, wasn't it? You know? -Yeah. | 0:31:35 | 0:31:38 | |
-I know that. I used to do the warm ups. -Did you? | 0:31:38 | 0:31:40 | |
Not all the time, but I used to do the Terry Wogan warm ups. | 0:31:40 | 0:31:43 | |
-Yeah. -It's all of your yesteryears as well. | 0:31:43 | 0:31:45 | |
That's the wonderful thing. We're very lucky. | 0:31:45 | 0:31:47 | |
I've come from a cul-de-sac in rural Aberdeenshire, really. | 0:31:47 | 0:31:51 | |
And so to end up working alongside people like Wogan... | 0:31:51 | 0:31:55 | |
-Your good self, even. -Oh. | 0:31:55 | 0:31:57 | |
Just being around it all, it's such an enormous privilege. | 0:31:57 | 0:32:01 | |
And Wogan, I just remember listening to on the radio. | 0:32:01 | 0:32:03 | |
Mum always had Wogan on. | 0:32:03 | 0:32:05 | |
And obviously, growing up... | 0:32:05 | 0:32:08 | |
Cos I would have been about sort of 13, 14, 15 | 0:32:08 | 0:32:10 | |
around this time anyway, so it was hugely influential. | 0:32:10 | 0:32:12 | |
I had no idea what I wanted to do. | 0:32:12 | 0:32:14 | |
Kids these days are much more driven, I think, | 0:32:14 | 0:32:16 | |
certainly when it comes to getting work experience | 0:32:16 | 0:32:19 | |
and getting out there in the big, wide world. | 0:32:19 | 0:32:21 | |
I had no idea what I wanted to do. | 0:32:21 | 0:32:22 | |
And just watching this, | 0:32:22 | 0:32:24 | |
-I used to pretend I was being interviewed by him. -Oh, no. | 0:32:24 | 0:32:27 | |
I was an only child, Brian, so you had to make a lot of it up, | 0:32:27 | 0:32:31 | |
fill in the blanks, and I used to pretend I was being interviewed. | 0:32:31 | 0:32:34 | |
-There was no singing in a hairbrush for me. -No. | 0:32:34 | 0:32:36 | |
But there was sort of, you know, imagining being interviewed, | 0:32:36 | 0:32:39 | |
-rather like you're doing now. -Yeah. -Yeah. | 0:32:39 | 0:32:41 | |
Um, and Wogan was always my preferred... | 0:32:41 | 0:32:44 | |
No disrespect, but, you know... LAUGHTER | 0:32:44 | 0:32:47 | |
He's a cocky devil, isn't he? | 0:32:47 | 0:32:49 | |
-Why would you say that? -LAUGHTER | 0:32:49 | 0:32:51 | |
There is something about his demeanour. | 0:32:51 | 0:32:53 | |
What do you think of Wogan's technique? | 0:32:53 | 0:32:55 | |
He just... He has... He had a... | 0:32:55 | 0:32:58 | |
-His charm. -Mm-hm. -You know? | 0:32:58 | 0:33:01 | |
I think it was that twinkle in the eye, his charm, | 0:33:01 | 0:33:04 | |
-he sort of affectionately ribbed people. -Mm-hm. | 0:33:04 | 0:33:07 | |
It felt very inclusive. | 0:33:07 | 0:33:09 | |
You know, I just think, as I say, a master of his game. | 0:33:09 | 0:33:12 | |
He was indeed. | 0:33:14 | 0:33:15 | |
Legendary entertainer Sir Terry Wogan started his career | 0:33:15 | 0:33:18 | |
on Irish radio before joining the BBC in the mid-'60s. | 0:33:18 | 0:33:22 | |
Thanks to his quick wit, wisdom and charm, | 0:33:24 | 0:33:28 | |
he became a broadcasting superstar of both radio and television. | 0:33:28 | 0:33:32 | |
Sir Terry could turn his hand to anything, | 0:33:33 | 0:33:36 | |
from fronting a hit game show to co-hosting Children In Need. | 0:33:36 | 0:33:40 | |
Not only did the world's biggest celebrities | 0:33:41 | 0:33:43 | |
flock to be interviewed by the great man... | 0:33:43 | 0:33:46 | |
..his Radio 2 breakfast show regularly boasted | 0:33:47 | 0:33:50 | |
eight million listeners, including the Queen, | 0:33:50 | 0:33:54 | |
which made him the most popular radio host in Europe. | 0:33:54 | 0:33:57 | |
Speaking of Europe, Sir Terry was, of course, | 0:33:57 | 0:34:00 | |
famed for his cheeky commentary on the Eurovision Song Contest. | 0:34:00 | 0:34:04 | |
Yeah, I think I've made a little mistake. | 0:34:06 | 0:34:09 | |
That's OK. You're fired. | 0:34:09 | 0:34:10 | |
Without doubt one of the most popular | 0:34:11 | 0:34:14 | |
and best-loved broadcasters in Britain, | 0:34:14 | 0:34:16 | |
Sir Terry, we miss you. | 0:34:16 | 0:34:18 | |
So, as a young man, Richard Arnold will be looking at this | 0:34:20 | 0:34:23 | |
dreaming of being the Terry Wogan interviewing many guests. | 0:34:23 | 0:34:27 | |
Yeah, absolutely. | 0:34:27 | 0:34:28 | |
As I say, the fact that I've ended up being in a position | 0:34:28 | 0:34:31 | |
to interview all these big names over the years - | 0:34:31 | 0:34:33 | |
could be sportsmen, you're shaking hands with prime ministers, | 0:34:33 | 0:34:36 | |
-you've met all your TV heroes... -Yeah. | 0:34:36 | 0:34:39 | |
..it's extraordinary. | 0:34:39 | 0:34:41 | |
I mean, who have you been in awe of when...? | 0:34:41 | 0:34:44 | |
-You know, present company... -LAUGHTER | 0:34:44 | 0:34:47 | |
-Oh, I'm a bag of nerves just sat here opposite you. -I know, I know. | 0:34:47 | 0:34:50 | |
But is there...you know, that's really sort of touched you? | 0:34:50 | 0:34:54 | |
I think, for me, yeah, | 0:34:54 | 0:34:56 | |
I remember there are two standout ones in recent years. | 0:34:56 | 0:35:01 | |
I was flown to New York to interview Barbra Streisand. | 0:35:01 | 0:35:06 | |
StreisAND. | 0:35:06 | 0:35:07 | |
And... | 0:35:07 | 0:35:09 | |
Cos I called her Barbra Streisand, which you tend to do in Britain. | 0:35:09 | 0:35:12 | |
Of course, she's quick to correct. She said, "It's StreisAND." | 0:35:12 | 0:35:14 | |
But she was wonderful. | 0:35:14 | 0:35:16 | |
You get showed into the room. You're sat there and she's there. | 0:35:16 | 0:35:18 | |
There's this lighting rig going on. Everything is fabulous. | 0:35:18 | 0:35:21 | |
Anyway, it's a very hot day in New York. | 0:35:21 | 0:35:23 | |
It's early autumn and we're in this hotel, as I say. | 0:35:23 | 0:35:26 | |
The lights are up | 0:35:26 | 0:35:28 | |
and I started to get a bead of sweat on my top lip. | 0:35:28 | 0:35:30 | |
It wasn't nerves at all because I think if you've done your prep - | 0:35:30 | 0:35:33 | |
and obviously being a big Barbra fan, | 0:35:33 | 0:35:35 | |
which may come as a shock to you... LAUGHTER | 0:35:35 | 0:35:39 | |
..I was, you know, giddy more than anything. Really excited. | 0:35:39 | 0:35:42 | |
Anyway, the interview, I think, is going really, really well | 0:35:42 | 0:35:45 | |
and she's tittering away. | 0:35:45 | 0:35:47 | |
She said, "You're my leading man for today." | 0:35:47 | 0:35:49 | |
I thought "Great, I'll have that." | 0:35:49 | 0:35:51 | |
And she then stopped the interview. | 0:35:51 | 0:35:55 | |
And she just leant forward with a tissue and mopped my top lip | 0:35:55 | 0:35:59 | |
and she said, "We've got to take care of each other, right?" | 0:35:59 | 0:36:02 | |
-It was unbelievable. I was like... -Lovely. | 0:36:02 | 0:36:05 | |
Extraordinary. | 0:36:05 | 0:36:06 | |
-And the second time was also in New York. -You've got a bogey. | 0:36:06 | 0:36:08 | |
Have I got a...? Have I? LAUGHTER | 0:36:08 | 0:36:11 | |
She did with a bit more panache. | 0:36:14 | 0:36:17 | |
Well done. She did it with... And there it is. | 0:36:17 | 0:36:20 | |
-I love the way you bit. "Have I? Have I?" -Yeah. | 0:36:22 | 0:36:26 | |
We were in Tony Bennett's apartment in New York. | 0:36:28 | 0:36:31 | |
-Oh, my God. -My dad thought I'd won the World Cup. This was his idol. | 0:36:31 | 0:36:35 | |
And it was extraordinary being shown into Tony Bennett's apartment. | 0:36:35 | 0:36:38 | |
You've got a piano. There's presidents on the piano. | 0:36:38 | 0:36:40 | |
Not literally, obviously. Pictures of them. | 0:36:40 | 0:36:42 | |
There's a picture of him with Sinatra. And there's... | 0:36:42 | 0:36:47 | |
It looks right over Central Park. | 0:36:47 | 0:36:50 | |
His TV is basically the view of Central Park. | 0:36:50 | 0:36:53 | |
But what an absolute legend he was. | 0:36:53 | 0:36:55 | |
-Cos I'm a big fan of all the crooners, you know. -Mm-hm. | 0:36:55 | 0:36:59 | |
Like your good self. | 0:36:59 | 0:37:00 | |
But it's extraordinary when you're standing there | 0:37:00 | 0:37:03 | |
and you're chatting to a man who... | 0:37:03 | 0:37:05 | |
It's a phrase that's bandied around a lot, you know - | 0:37:05 | 0:37:07 | |
the soundtrack of our lives - | 0:37:07 | 0:37:08 | |
-but also a man who's lived so many lives in his 80-odd years. -Mm-hm. | 0:37:08 | 0:37:13 | |
He's got a little dog called Happy | 0:37:13 | 0:37:14 | |
who's the fluffiest little thing ever. | 0:37:14 | 0:37:16 | |
No wonder it's called Happy, skittering around the apartment. | 0:37:16 | 0:37:19 | |
-And it was just wonderful. -Yeah. | 0:37:19 | 0:37:20 | |
They're magical moments because you don't think you're paths | 0:37:20 | 0:37:23 | |
-are going to cross with legends like that. -No. | 0:37:23 | 0:37:26 | |
What was your first break into television then, Richard? | 0:37:31 | 0:37:33 | |
How did you go from being interviewed, | 0:37:33 | 0:37:35 | |
pretending to be interviewed by Wogan to...? | 0:37:35 | 0:37:37 | |
To getting on the telly? | 0:37:37 | 0:37:38 | |
I was working for a magazine in London at the time. | 0:37:38 | 0:37:41 | |
It was one of its kind at the time. | 0:37:41 | 0:37:44 | |
It was a magazine about soap operas, | 0:37:44 | 0:37:45 | |
and this was my sort of work experience | 0:37:45 | 0:37:47 | |
when I came down from Scotland, | 0:37:47 | 0:37:49 | |
cos I actually started off studying law at Edinburgh. | 0:37:49 | 0:37:51 | |
Gave it up after about three weeks. It was a little too... | 0:37:51 | 0:37:54 | |
It wasn't like Crown Court - let's put it that way. | 0:37:54 | 0:37:57 | |
And so moved down and a phone call came into the office saying, | 0:37:57 | 0:38:00 | |
"We're looking for someone to come on and talk about telly | 0:38:00 | 0:38:02 | |
"on this new show." | 0:38:02 | 0:38:04 | |
It was a youth show called The Sunday Show. | 0:38:04 | 0:38:06 | |
It was out on Sundays, funnily enough. | 0:38:06 | 0:38:08 | |
Did exactly what it said on the tin. | 0:38:08 | 0:38:09 | |
And it was about '94, '95, | 0:38:09 | 0:38:12 | |
and my nickname on the show was Soapy Dick. | 0:38:12 | 0:38:16 | |
LAUGHTER | 0:38:16 | 0:38:18 | |
-That's a moniker that can stick with a gentleman. -Yes, yes. | 0:38:19 | 0:38:23 | |
And so that's how it started, | 0:38:23 | 0:38:26 | |
and we did a sort of surreal take on the week's TV. | 0:38:26 | 0:38:31 | |
Well, let's have a look, shall we, at your big break? | 0:38:31 | 0:38:35 | |
We've got this rather heart-rending letter from... | 0:38:35 | 0:38:37 | |
HE LAUGHS 'Oh, no way!' | 0:38:37 | 0:38:39 | |
-This is you on The Sunday Show, Richard. -No way! | 0:38:39 | 0:38:42 | |
Where did you find this? | 0:38:42 | 0:38:43 | |
Broadcast on a Sunday lunchtime, | 0:38:43 | 0:38:46 | |
the show gave the lowdown on what was happening | 0:38:46 | 0:38:48 | |
in the world of entertainment. | 0:38:48 | 0:38:49 | |
"..why we are so unpopular. | 0:38:49 | 0:38:50 | |
"I just want people to accept us the way we are, pigs and all. | 0:38:50 | 0:38:53 | |
"Can you help? Love always, Tina." Bless her heart. | 0:38:53 | 0:38:55 | |
Well, Tina, who am I to refuse a damsel in distress? | 0:38:55 | 0:38:58 | |
So, I've brought in a couple of media moguls | 0:38:58 | 0:39:00 | |
into the studio today to help boost and polish up the Dingles' image. | 0:39:00 | 0:39:03 | |
'I remember the shirt. Notice the sheen on it.' | 0:39:03 | 0:39:07 | |
And the bouff, look at the bouff, girls. | 0:39:07 | 0:39:09 | |
-Oh, yeah. -It's not bad. Well, I've still got my hair at least. | 0:39:09 | 0:39:12 | |
So, save our bacon. And his going to... | 0:39:12 | 0:39:14 | |
'How old am I here then? 24?' | 0:39:14 | 0:39:16 | |
-You've got to be in your early 20s, haven't you? -'Yeah.' | 0:39:16 | 0:39:19 | |
-'Been around a while, haven't we?' -You have, love. Not me. | 0:39:19 | 0:39:22 | |
HE LAUGHS | 0:39:22 | 0:39:25 | |
-This was Sunday morning hangover television. -Yeah. | 0:39:26 | 0:39:29 | |
That was just me presenting it, but... | 0:39:29 | 0:39:31 | |
-Was it nerve-racking? -Yeah, it was. It was. It was very nerve-racking. | 0:39:31 | 0:39:34 | |
This is the first national live television that I did. | 0:39:34 | 0:39:36 | |
I did a bit of cable as a pundit before that, | 0:39:36 | 0:39:38 | |
and then a couple of years later, | 0:39:38 | 0:39:40 | |
the phone call came from breakfast TV and that was it. | 0:39:40 | 0:39:43 | |
I've never had a lie-in since. | 0:39:43 | 0:39:45 | |
I mean, I suppose the practicality of actually, you know, | 0:39:47 | 0:39:52 | |
getting up every morning at the crack of dawn, | 0:39:52 | 0:39:54 | |
how difficult is it? | 0:39:54 | 0:39:56 | |
Uh, do you know, it's not as bad as people... | 0:39:56 | 0:39:59 | |
I am a bit of a morning person. | 0:39:59 | 0:40:01 | |
I do like to be tucked up in my bed, the earlier the better. | 0:40:01 | 0:40:04 | |
But, yeah, I've been woken up by the driver once | 0:40:04 | 0:40:07 | |
-in the best part of 20 years, yeah. -Oh, right. -Yeah. | 0:40:07 | 0:40:09 | |
And it's like anyone who oversleeps for work - | 0:40:09 | 0:40:13 | |
it throws you completely. | 0:40:13 | 0:40:14 | |
Mum, God bless her, she's all of 79 years of age, and very robust. | 0:40:14 | 0:40:18 | |
-Can I touch some teak? -Yeah, of course you can. | 0:40:18 | 0:40:20 | |
And it's funny, cos she'll ring up - | 0:40:20 | 0:40:24 | |
and I know when the call is coming | 0:40:24 | 0:40:26 | |
cos I'm feeling a little bit under the weather. | 0:40:26 | 0:40:28 | |
And about sort of ten o'clock at night | 0:40:28 | 0:40:30 | |
and Dad will have told her not to bother me... | 0:40:30 | 0:40:31 | |
You know, "Leave the boy alone." | 0:40:31 | 0:40:33 | |
..she'll ring up and say, "Everything all right?" | 0:40:33 | 0:40:35 | |
I said, "Yeah. What?" | 0:40:35 | 0:40:37 | |
"You looked a bit tired this morning." | 0:40:37 | 0:40:39 | |
I said, "Mum, you're the only woman who still knows | 0:40:39 | 0:40:42 | |
"what her 46-year-old son is wearing to school, effectively," you know. | 0:40:42 | 0:40:47 | |
So, they enjoy that, | 0:40:47 | 0:40:48 | |
because I'm still living with them at home, essentially, | 0:40:48 | 0:40:51 | |
cos they can get up every morning... | 0:40:51 | 0:40:52 | |
Mum's always like, "What's he said now? | 0:40:52 | 0:40:54 | |
"Oh, he can't say that," you know. | 0:40:54 | 0:40:56 | |
"Leave him alone, Dot. Leave him alone, Dot." | 0:40:56 | 0:40:58 | |
So, Richard, what TV do you watch now? | 0:41:03 | 0:41:05 | |
I don't watch a lot of television in real-time any more. | 0:41:05 | 0:41:08 | |
The only things I will sit down for are the big shiny floor shows, | 0:41:08 | 0:41:12 | |
you know, like Strictly and The X Factor, | 0:41:12 | 0:41:14 | |
so I tend to download a lot of television. | 0:41:14 | 0:41:17 | |
-But, yeah, it's all those sort of... -What about Downton? | 0:41:17 | 0:41:19 | |
Downton, I love Downton. | 0:41:19 | 0:41:20 | |
Downton, I was on the very first series. | 0:41:20 | 0:41:28 | |
I was working below stairs. | 0:41:28 | 0:41:31 | |
I was on set for the very first series, | 0:41:31 | 0:41:33 | |
and that was quite extraordinary being part of that | 0:41:33 | 0:41:35 | |
and getting to know the cast then | 0:41:35 | 0:41:37 | |
and then obviously watching as the show took off, | 0:41:37 | 0:41:39 | |
and it's impossible to overestimate | 0:41:39 | 0:41:42 | |
the popularity of that show in America. | 0:41:42 | 0:41:44 | |
-Oh, really? -It's extraordinary. | 0:41:44 | 0:41:46 | |
And to be part of every series, | 0:41:46 | 0:41:49 | |
to go down and visit the set every series | 0:41:49 | 0:41:51 | |
and get to know the cast - Dan Stevens, Michelle Dockery... | 0:41:51 | 0:41:53 | |
-So, you would be on interviewing the guests? -That's right. | 0:41:53 | 0:41:56 | |
-And so you would be on that journey, if you like, with them... -Mm-hm. | 0:41:56 | 0:41:59 | |
..cos they remember you coming to the very first episode. | 0:41:59 | 0:42:02 | |
That's been a real privilege, | 0:42:02 | 0:42:03 | |
-being part of that, albeit from a very, you know... -Yeah. | 0:42:03 | 0:42:06 | |
Removed from it. That is extraordinary, that success. | 0:42:06 | 0:42:09 | |
Now, we give our guests a chance to choose their theme tune | 0:42:09 | 0:42:12 | |
-that we're going to play out. -Oh, right. OK. Right. | 0:42:12 | 0:42:15 | |
So, what's it going to be? | 0:42:15 | 0:42:16 | |
OK, well, obviously, Dallas is too much of an obvious one, | 0:42:16 | 0:42:22 | |
and I hear that enough, but there is one particular theme | 0:42:22 | 0:42:26 | |
which I guess was the Dallas of its day | 0:42:26 | 0:42:28 | |
as far as we had over here. | 0:42:28 | 0:42:32 | |
-Howards' Way. Do you remember Howards' Way? -Yeah. | 0:42:32 | 0:42:35 | |
Used to love it. | 0:42:35 | 0:42:36 | |
I was brought up in Hampshire, as I said, | 0:42:36 | 0:42:37 | |
so the fact that this was down on the Solent | 0:42:37 | 0:42:39 | |
and you could actually go and drink in the local pub | 0:42:39 | 0:42:41 | |
and all that sort of business... Not at that age, clearly, but... | 0:42:41 | 0:42:44 | |
-Shall we have it? -Shall we? -OK. -Let's go. Take it away. -My thanks... | 0:42:44 | 0:42:48 | |
-I've got to do the bye bit! -Do you? LAUGHTER | 0:42:48 | 0:42:50 | |
-Yeah! -Sorry. -It was going so well. -MUSIC: Howards' Way theme | 0:42:50 | 0:42:52 | |
Thanks to Richard, and we're going to listen to Howards' Way. | 0:42:52 | 0:42:56 | |
And I would like to say thank you for watching The TV That Made Me. | 0:42:56 | 0:42:59 | |
-Can I say bye-bye? -Um... | 0:42:59 | 0:43:01 | |
Bye-bye. | 0:43:01 | 0:43:03 | |
Thank you. APPLAUSE | 0:43:03 | 0:43:06 | |
# Always there | 0:43:08 | 0:43:10 | |
# Our love is | 0:43:10 | 0:43:12 | |
-BOTH: -# Always there... # | 0:43:12 | 0:43:15 |