0:00:02 > 0:00:04Tonight, we're celebrating one of our most successful songwriters
0:00:04 > 0:00:09whose love affair with words is both irrepressible and inexhaustible -
0:00:09 > 0:00:11lyricist Sir Tim Rice.
0:00:11 > 0:00:14The man who took Jesus Christ from the page to the stage
0:00:14 > 0:00:17and crowned his talent with The Lion King.
0:00:17 > 0:00:22Flashback to the '60s, Tim Rice, legal intern and wannabe pop star
0:00:22 > 0:00:25meets Andrew Lloyd Webber, prolific young composer,
0:00:25 > 0:00:31a legendry partnership is born and Tim becomes a superstar writer.
0:00:31 > 0:00:33Tonight, some classics from Tim's Song Book
0:00:33 > 0:00:37are performed by stars including
0:00:37 > 0:00:38Tom Chaplin...
0:00:38 > 0:00:43# Can you feel the love tonight? #
0:00:43 > 0:00:44..Gemma Arterton...
0:00:44 > 0:00:49# I don't know how to love him. #
0:00:49 > 0:00:50..Alexander Armstrong...
0:00:50 > 0:00:54# John, sing in unison. #
0:00:54 > 0:00:56..Cynthia Erivo and Frances Ruffelle...
0:00:56 > 0:00:58# So good
0:00:58 > 0:01:01# Wasn't it fine? #
0:01:01 > 0:01:02..Rob Brydon...
0:01:02 > 0:01:05# It's easy for you. #
0:01:05 > 0:01:07..Sophie Ellis-Bextor...
0:01:07 > 0:01:10# So what happens now?
0:01:10 > 0:01:13# So what happens now? #
0:01:13 > 0:01:14..Roger Daltrey...
0:01:14 > 0:01:17# Won't you tell me
0:01:17 > 0:01:20# Cos I just want to know. #
0:01:20 > 0:01:21..Laura Mvula...
0:01:21 > 0:01:26# It's the circle of life. #
0:01:26 > 0:01:28..and Rufus Wainwright.
0:01:28 > 0:01:32# Don't cry for me Argentina. #
0:01:51 > 0:01:53Wow.
0:01:53 > 0:01:56Now, Tim, let's begin
0:01:56 > 0:01:58with the question you always get asked at school,
0:01:58 > 0:02:00what do you want to be when you grow up?
0:02:00 > 0:02:02Now, neither of us have grown up really, but
0:02:02 > 0:02:05what... Did you have an answer to that when you were at school?
0:02:05 > 0:02:07Well, not a really decent answer.
0:02:07 > 0:02:10I...I was supposed to be doing something very respectable,
0:02:10 > 0:02:15the law or accountancy or the church, but erm...
0:02:15 > 0:02:17And I did have a go at the law but what I really wanted to do secretly
0:02:17 > 0:02:21was to get into the pop world and I...I fancied myself as a...
0:02:21 > 0:02:23as a pop star and I still do sometimes.
0:02:23 > 0:02:25AUDIENCE LAUGHS
0:02:25 > 0:02:30Now, I've got a letter here, Tim, or a copy of a letter that you wrote,
0:02:30 > 0:02:32which was quite important in your life.
0:02:32 > 0:02:35It says, "Dear, whoever it is..."
0:02:35 > 0:02:37Will be revealed at the end. "..I've been given your name.
0:02:37 > 0:02:39"Mr Elliott told me you were looking for
0:02:39 > 0:02:43"a with-it writer of lyrics for your songs
0:02:43 > 0:02:46"and as I've been writing pop songs for a short while now
0:02:46 > 0:02:51"and particularly enjoy writing the lyrics, I wondered if you'd
0:02:51 > 0:02:53"consider it worth your while meeting me."
0:02:53 > 0:02:55Who was that to?
0:02:55 > 0:02:57Well, that, of course, was Andrew Lloyd Webber
0:02:57 > 0:03:02and erm, I was recommended him by Desmond Elliott, book publisher,
0:03:02 > 0:03:05erm, and the first thing I thought, "Andrew Lloyd Webber,
0:03:05 > 0:03:08"he'll have to change his name if he's going to make it."
0:03:08 > 0:03:10AUDIENCE LAUGHS
0:03:10 > 0:03:11But when I went round to meet him,
0:03:11 > 0:03:14I realised I was in the presence of a very, very talented young musician.
0:03:14 > 0:03:17- What did he play you?- He said, "How do you do? My name's Andrew
0:03:17 > 0:03:20"Lloyd Webber, I've written eight musicals. Here's one of them,"
0:03:20 > 0:03:23and he just sat down and began playing wonderful tunes
0:03:23 > 0:03:25and I thought, "I...I will get in on this."
0:03:25 > 0:03:29How early in the relationship did Superstar emerge?
0:03:29 > 0:03:32I guess it was probably two years after we'd been writing and failing
0:03:32 > 0:03:36with other projects that we finally got going on Superstar, but no-one
0:03:36 > 0:03:39wanted to know. We...we had to do it as a record instead of a show
0:03:39 > 0:03:43and that was a very last minute, desperate resort,
0:03:43 > 0:03:48but in fact that was what made it much better because it was more rock.
0:03:48 > 0:03:51Doing it on record really made Superstar the hit it was.
0:03:51 > 0:03:53Had you got any idea of the impact it was going to have
0:03:53 > 0:03:55and how it was going to change your lives?
0:03:55 > 0:03:59No, obviously not, you, you don't expect that sort of success.
0:03:59 > 0:04:02I mean, even now, well, one is very grateful if something works
0:04:02 > 0:04:04and that worked in a big, big way and we were just...
0:04:04 > 0:04:06It was good timing. Erm, it was a good idea,
0:04:06 > 0:04:08although we didn't think it was at the time,
0:04:08 > 0:04:11when everybody said, "No, we don't want to do it,"
0:04:11 > 0:04:12and we were very lucky.
0:04:12 > 0:04:14Well, I think it's time we heard some music.
0:04:14 > 0:04:17Our first guest is no stranger to creating a hit.
0:04:17 > 0:04:21His award-winning musical Matilda is playing to packed houses
0:04:21 > 0:04:23in the West End and on Broadway.
0:04:23 > 0:04:27He first sang Judas in his family living room. The rest is history.
0:04:27 > 0:04:31Singing Heaven On Their Minds from Jesus Christ Superstar,
0:04:31 > 0:04:34please welcome musician, composer, actor, comedian and writer,
0:04:34 > 0:04:36Tim Minchin.
0:04:36 > 0:04:38APPLAUSE
0:04:53 > 0:04:56# My mind is clearer now
0:04:58 > 0:04:59# At last
0:04:59 > 0:05:01# All too well
0:05:01 > 0:05:04# I can see
0:05:04 > 0:05:06# Where we all
0:05:06 > 0:05:08# Soon will be
0:05:10 > 0:05:15# If you strip away
0:05:15 > 0:05:17# The myth
0:05:17 > 0:05:18# From the man
0:05:18 > 0:05:21# You will see
0:05:21 > 0:05:23# Where we all
0:05:23 > 0:05:26# Soon will be
0:05:28 > 0:05:32# Jesus
0:05:32 > 0:05:36# You've started to believe the things they say of you
0:05:36 > 0:05:38# You really do believe
0:05:38 > 0:05:45# This talk of God is true
0:05:45 > 0:05:47# And all the good you've done
0:05:47 > 0:05:49# Will soon get swept away
0:05:49 > 0:05:51# You've begun to matter more
0:05:51 > 0:06:00# Than the things you say
0:06:02 > 0:06:03# Listen, Jesus
0:06:03 > 0:06:06# I don't like what I see
0:06:07 > 0:06:11# All I ask is that you listen to me
0:06:11 > 0:06:17# And remember I've been your right-hand man all along
0:06:18 > 0:06:21# But you have set them all on fire
0:06:21 > 0:06:22Ha!
0:06:22 > 0:06:27# They think they've found the new Messiah
0:06:27 > 0:06:31# And they'll hurt you when they find they're wrong
0:06:35 > 0:06:38# I remember when this whole thing began
0:06:38 > 0:06:42# No talk of God then We called you a man
0:06:42 > 0:06:45# And believe me
0:06:45 > 0:06:49# My admiration for you hasn't died
0:06:49 > 0:06:54# But every word you say today
0:06:54 > 0:06:59# Just gets twisted round some other way
0:06:59 > 0:07:04# And they'll hurt you if they think you've lied
0:07:06 > 0:07:10# Nazareth, your famous son should've stayed a great unknown
0:07:10 > 0:07:13# Like his father carving wood He'd have made good
0:07:13 > 0:07:17# Tables, chairs and oaken chests would have suited Jesus best
0:07:17 > 0:07:19# He'd have caused nobody harm
0:07:19 > 0:07:21# No-one alarm
0:07:21 > 0:07:25# Listen, Jesus Do you care for your race?
0:07:25 > 0:07:29# Can't you see we must keep in our place?
0:07:29 > 0:07:31# We are occupied
0:07:31 > 0:07:37# Have you forgotten how far down we are?
0:07:37 > 0:07:40# I am frightened by the crowds
0:07:41 > 0:07:44# For we are getting much too loud
0:07:45 > 0:07:50# And they'll crush us if we go too far
0:07:50 > 0:07:58# If we go too far
0:08:12 > 0:08:16# Listen, Jesus to the warning I give
0:08:16 > 0:08:20# Please remember I just want us to live
0:08:20 > 0:08:28# But it's sad to see our chances weakening with ev'ry hour
0:08:28 > 0:08:32# All of your followers are blind
0:08:32 > 0:08:37# They've too much heaven on their minds
0:08:37 > 0:08:41# It was beautiful but now it's sour
0:08:41 > 0:08:48# Yes, it's all gone sour
0:08:48 > 0:08:52# Listen, Jesus to the warning I give
0:08:52 > 0:08:56# Please remember that I want us to live
0:08:56 > 0:09:00# Come on, come on Why won't he listen to me?
0:09:00 > 0:09:03# Oh-oh
0:09:03 > 0:09:05# Oh-oh-oh
0:09:05 > 0:09:13# It's all
0:09:13 > 0:09:16# Gone
0:09:16 > 0:09:25# Sour. #
0:09:32 > 0:09:36Thank you, thank you, Tim. Thank you very much.
0:09:39 > 0:09:43All the lyrics are so simple and so deceptively simple, aren't they?
0:09:43 > 0:09:46Well, I'm trying to, always with characters, trying to make it that...
0:09:46 > 0:09:49that...that more or less you could read them
0:09:49 > 0:09:51and they would work as speech.
0:09:51 > 0:09:53We're going to hear I Don't Know How To Love Him.
0:09:53 > 0:09:55Did it come to you straight away or...?
0:09:55 > 0:09:57No, the original lyric I wrote for this tune
0:09:57 > 0:10:01was called Kansas Morning and obviously it wasn't in Superstar.
0:10:01 > 0:10:04Erm, and, and it was a very bad lyric
0:10:04 > 0:10:09when we were trying to sell this, this beautiful tune and my bad lyric
0:10:09 > 0:10:12as a pop song and nobody wanted to know because the lyric was so awful
0:10:12 > 0:10:16but when, erm, we came to write Superstar, Andrew said, "Well, I've
0:10:16 > 0:10:18"got that wonderful tune, Kansas Morning,"
0:10:18 > 0:10:21and I wrote a new lyric for it and it was a better lyric
0:10:21 > 0:10:22and...and the song became a hit.
0:10:22 > 0:10:25It all came together. Well, let's hear it.
0:10:25 > 0:10:28I Don't Know How To Love Him and to sing it,
0:10:28 > 0:10:31we're thrilled to have an artist from the James Bond film
0:10:31 > 0:10:33Quantum Of Solace, Gemma Arterton.
0:10:47 > 0:10:54# I don't know how to love him
0:10:55 > 0:11:00# What to do, how to move him
0:11:00 > 0:11:03# I've been changed
0:11:03 > 0:11:05# Yes, really changed
0:11:07 > 0:11:10# In these past few days
0:11:10 > 0:11:14# When I see myself
0:11:14 > 0:11:20# I seem like someone else
0:11:21 > 0:11:27# I don't know how to take this
0:11:28 > 0:11:34# I don't see why he moves me
0:11:34 > 0:11:36# He's a man
0:11:36 > 0:11:39# He's just a man
0:11:40 > 0:11:47# And I've had so many men before
0:11:47 > 0:11:53# In very many ways
0:11:53 > 0:11:57# He's just one more
0:11:59 > 0:12:02# Should I bring him down?
0:12:02 > 0:12:05# Should I scream and shout?
0:12:05 > 0:12:09# Should I speak of love?
0:12:09 > 0:12:12# Let my feelings out?
0:12:12 > 0:12:18# I never thought I'd come to this
0:12:20 > 0:12:24# What's it all about?
0:12:30 > 0:12:35# Don't you think it's rather funny
0:12:37 > 0:12:41# I should be in this position?
0:12:41 > 0:12:44# I'm the one
0:12:44 > 0:12:47# Who's always been
0:12:49 > 0:12:53# So calm, so cool
0:12:53 > 0:12:56# No lover's fool
0:12:56 > 0:13:02# Running every show
0:13:02 > 0:13:05# He scares me so
0:13:21 > 0:13:28# I never thought I'd come to this
0:13:29 > 0:13:33# What's it all about?
0:13:38 > 0:13:44# Yet, if he said he loved me
0:13:45 > 0:13:47# I'd be lost
0:13:47 > 0:13:51# I'd be frightened
0:13:51 > 0:13:54# I couldn't cope
0:13:54 > 0:13:57# Just couldn't cope
0:13:58 > 0:14:02# I'd turn my head
0:14:02 > 0:14:05# I'd back away
0:14:05 > 0:14:11# I wouldn't want to know
0:14:11 > 0:14:15# He scares me so
0:14:15 > 0:14:20# I want him so
0:14:20 > 0:14:30# I love him so. #
0:14:44 > 0:14:47Amazing. Is it hard to write for a woman?
0:14:47 > 0:14:50No, I think it's, erm, interesting really.
0:14:50 > 0:14:52It's like... I think it's...it's...
0:14:52 > 0:14:55Blokes don't normally like revealing too much of their emotion,
0:14:55 > 0:14:58so it's a good...good way of doing it by doing it through
0:14:58 > 0:15:00what you conceive to be the eyes of a woman.
0:15:00 > 0:15:03I'm going to reread all your feminine lyrics.
0:15:03 > 0:15:06Erm, do you, when you hear a song, do you know
0:15:06 > 0:15:08- if it's going to be a hit or not? - No.- Can you...?- No.
0:15:08 > 0:15:11You don't? Isn't there some story about you entering a competition,
0:15:11 > 0:15:13though, at some point?
0:15:13 > 0:15:17Well, er, yes. I entered a competition erm, in The Sun.
0:15:17 > 0:15:19Somebody else's copy, obviously.
0:15:19 > 0:15:21Erm...
0:15:21 > 0:15:26and it...it was just before we...we'd had success with Superstar
0:15:26 > 0:15:31and the idea was to prophesy the top 10 in a month's time.
0:15:31 > 0:15:34And erm, I prophesied, erm, that
0:15:34 > 0:15:39Lee Marvin's Wandering Star, which at that time was number 48
0:15:39 > 0:15:42or something on the chart, I...I put it down as number one on a hunch,
0:15:42 > 0:15:44mainly because I loved the lyrics of Alan Jay Lerner.
0:15:44 > 0:15:47And it went to number one, but I didn't get all the others right
0:15:47 > 0:15:51in the top 10, so I was a little bit disappointed and then I got a call
0:15:51 > 0:15:54from The Sun or a letter rather, saying, "Congratulations, Tim,
0:15:54 > 0:15:57"you have won first prize," which was to go to Luxemburg
0:15:57 > 0:15:59and be a disc jockey for 20 minutes.
0:15:59 > 0:16:01Wow, wow.
0:16:01 > 0:16:04And, and then after that, I heard nothing for about six weeks
0:16:04 > 0:16:06and I rang up The Sun and I said,
0:16:06 > 0:16:08"When am I going to Luxemburg?" And they said,
0:16:08 > 0:16:11"Oh, you don't really want to go, do you?"
0:16:11 > 0:16:15I said, "Yes, I do." And they, they got the gardening correspondent
0:16:15 > 0:16:17reluctantly to accompany me to Luxemburg.
0:16:17 > 0:16:19And when I got to Luxemburg, they said,
0:16:19 > 0:16:20"Who are you and why are you here?"
0:16:20 > 0:16:23But I got on air and I think I played Superstar by Murray Head.
0:16:23 > 0:16:26- You slipped it in?- Yes, well, it had just come out
0:16:26 > 0:16:27and Tony Prince, I think was the DJ,
0:16:27 > 0:16:29and I said, "Look, this is a great record," and he said,
0:16:29 > 0:16:33"Well, it's not bad," and we played it. Luxemburg were good to us.
0:16:33 > 0:16:36The British radio didn't want to know, but Luxemburg did.
0:16:36 > 0:16:40Let's hear that song now. The title song from Jesus Christ Superstar
0:16:40 > 0:16:43and here to sing it, an absolute superstar,
0:16:43 > 0:16:46who sang the role of Judas in 1996,
0:16:46 > 0:16:49believe it or not, Roger Daltrey.
0:17:29 > 0:17:33# Ev'ry time I look at you I don't understand
0:17:33 > 0:17:38# Why you let the things you do get so out of hand
0:17:38 > 0:17:42# You'd have managed better if you'd had it planned
0:17:42 > 0:17:46# So why'd you choose such a backward time and such a strange land?
0:17:46 > 0:17:50# If you'd come today you would've reached a whole nation
0:17:50 > 0:17:53# Israel, 4BC had no mass communication
0:17:53 > 0:17:55- # Don't you get me wrong - Don't you get me wrong
0:17:55 > 0:17:58- # Don't you get me wrong, now - Don't you get me wrong
0:17:58 > 0:18:00- # Don't you get me wrong - Don't you get me wrong
0:18:00 > 0:18:02- # Don't you get me wrong, now - Don't you get me wrong
0:18:02 > 0:18:04- # Only want to know - Only want to know
0:18:04 > 0:18:06- # Only want to know, now - Only want to know
0:18:06 > 0:18:08- # Only want to know - Only want to know
0:18:08 > 0:18:11- # Only want to know, now - Only want to know
0:18:11 > 0:18:15# Jesus Christ, Jesus Christ
0:18:15 > 0:18:19# Who are you? What have you sacrificed?
0:18:19 > 0:18:23# Jesus Christ, Jesus Christ
0:18:23 > 0:18:28# Who are you? What have you sacrificed?
0:18:28 > 0:18:32# Jesus Christ Superstar
0:18:32 > 0:18:36# Do you think you're what they say you are?
0:18:36 > 0:18:40# Jesus Christ Superstar
0:18:40 > 0:18:44# Do you think you're what they say you are?
0:18:52 > 0:18:56# Tell me what you think about your friends at the top
0:18:56 > 0:19:01# Who d'you think besides yourself was the pick of the crop?
0:19:01 > 0:19:05# Buddha was he where it's at? Is he where you are?
0:19:05 > 0:19:09# Could Mahomet move a mountain Or was that just great PR?
0:19:09 > 0:19:11# Did you mean to die like that?
0:19:11 > 0:19:13# Was that a mistake or
0:19:13 > 0:19:17# Did you know your messy death would be a record breaker?
0:19:17 > 0:19:19- # Don't you get me wrong - Don't you get me wrong
0:19:19 > 0:19:21- # Don't you get me wrong, now - Don't you get me wrong
0:19:21 > 0:19:23- # Don't you get me wrong - Don't you get me wrong
0:19:23 > 0:19:25- # Don't you get me wrong, now - Don't you get me wrong
0:19:25 > 0:19:27- # Only want to know - Want to know
0:19:27 > 0:19:29- # Only want to know, now - Only want to know
0:19:29 > 0:19:31- # Only want to know - Only want to know
0:19:31 > 0:19:34- # Only want to know, now - I only want to know
0:19:34 > 0:19:38# Jesus Christ, Jesus Christ
0:19:38 > 0:19:42# Who are you? What have you sacrificed?
0:19:42 > 0:19:47# Jesus Christ, Jesus Christ
0:19:47 > 0:19:51# Who are you? What have you sacrificed?
0:19:51 > 0:19:55- # Jesus Christ... - Jesus!
0:19:55 > 0:19:59# Do you think you're what they say you are?
0:19:59 > 0:20:03# Jesus Christ Superstar
0:20:03 > 0:20:07# Do you think you're what they say you are?
0:20:07 > 0:20:11# Jesus Christ, Jesus Christ
0:20:11 > 0:20:15# Don't get me wrong Don't you just get me wrong
0:20:15 > 0:20:19# Don't you get me wrong Don't get me wrong
0:20:19 > 0:20:23# Who are you? What have you sacrificed?
0:20:23 > 0:20:28# Jesus Christ Superstar
0:20:28 > 0:20:32# Do you think you're what they say you are?
0:20:32 > 0:20:36# Jesus Christ Superstar
0:20:36 > 0:20:38# Do you think you're what they say you are?
0:20:38 > 0:20:40# I really wanna know
0:20:40 > 0:20:44# Are you what they...
0:20:44 > 0:20:47# Say you...
0:20:47 > 0:20:55- # Please, tell me - ..Are? #
0:21:03 > 0:21:07Wow, thank you, thank you, Roger.
0:21:10 > 0:21:14- As, as a child, were you Meccano mad?- No.- Were you...?
0:21:14 > 0:21:17Typewriter, that was my favourite toy. My mum's typewriter. Fantastic.
0:21:17 > 0:21:20- I couldn't keep... That I had to play with. I loved it.- Really?
0:21:20 > 0:21:23And in the end, she... I mean, I wrecked it because I was just
0:21:23 > 0:21:24bashing away at it from the age of four
0:21:24 > 0:21:27and, erm, eventually I inherited it.
0:21:27 > 0:21:31And it still worked and she...she got an electric one as a big boost.
0:21:31 > 0:21:34Did you, did you go and watch the Disney movies of the day?
0:21:34 > 0:21:37Yes, I loved the Disney, erm, films, really loved them.
0:21:37 > 0:21:39I must have seen Peter Pan, Cinderella,
0:21:39 > 0:21:43all those great early ones, Snow White, Bambi, Dumbo
0:21:43 > 0:21:46literally dozens of times. I absolutely adored them.
0:21:46 > 0:21:50So, how was it you ended up working for Disney?
0:21:50 > 0:21:53Well, animation had faded away a bit in the '70s and '80s
0:21:53 > 0:21:55and Jeffrey Katzenberg and Michael Eisner were determined to bring
0:21:55 > 0:21:59the Disney brand back in a big way. And they did that with Alan Menken
0:21:59 > 0:22:04and Howard Ashman who wrote two beautiful scores for Little Mermaid,
0:22:04 > 0:22:06erm, and Beauty and the Beast, which were mega hits.
0:22:06 > 0:22:10And they were so successful, they then wanted to do more than one film
0:22:10 > 0:22:13at once. So, while Alan was working on, erm, Aladdin,
0:22:13 > 0:22:16I was...I was brought in to work on Lion King and I was told,
0:22:16 > 0:22:21"You can have any composer you want," so I said, "Well, Elton John."
0:22:21 > 0:22:22And they said, "All right, we'll get him."
0:22:22 > 0:22:24I said, "You won't get him," but they got him.
0:22:24 > 0:22:26AUDIENCE LAUGHS
0:22:26 > 0:22:28And that's how you ended up working with Elton.
0:22:28 > 0:22:30And once I got Elton, erm,
0:22:30 > 0:22:34I would say that the greatest favour I did Disney was to get Elton John
0:22:34 > 0:22:37into the team because he, he wrote just a wonderful,
0:22:37 > 0:22:40- wonderful score for The Lion King. - I think it's time we heard one.
0:22:40 > 0:22:43Disney's classic love song from The Lion King.
0:22:43 > 0:22:471994 Academy Award winner for Best Song can still be heard
0:22:47 > 0:22:51on the West End stage, after its premiere, 15 years ago.
0:22:51 > 0:22:56Tonight, sung by Keanes lead singer, the sublime-voiced Tom Chaplin.
0:23:03 > 0:23:04Thank you.
0:23:20 > 0:23:23# There's a calm surrender
0:23:23 > 0:23:27# To the rush of day
0:23:27 > 0:23:30# When the heat of the rolling world
0:23:30 > 0:23:33# Can be turned away
0:23:34 > 0:23:36# An enchanted moment
0:23:37 > 0:23:41# And it sees me through
0:23:41 > 0:23:45# It's enough for this restless warrior
0:23:45 > 0:23:48# Just to be with you
0:23:48 > 0:23:55# And can you feel the love tonight?
0:23:57 > 0:24:00# It is where we are
0:24:04 > 0:24:11# It's enough for this wide-eyed wanderer
0:24:11 > 0:24:15# That we got this far
0:24:18 > 0:24:24# And can you feel the love tonight?
0:24:26 > 0:24:30# How it's laid to rest?
0:24:33 > 0:24:35# It's enough
0:24:35 > 0:24:39# To make kings and vagabonds
0:24:39 > 0:24:45# Believe the very best
0:25:32 > 0:25:35# There's a time for everyone
0:25:35 > 0:25:38# If they only learn
0:25:39 > 0:25:43# That the twisting kaleidoscope
0:25:43 > 0:25:46# Moves us all in turn
0:25:47 > 0:25:50# There's a rhyme and reason
0:25:50 > 0:25:53# To the wild outdoors
0:25:54 > 0:25:58# When the heart of this star-crossed voyager
0:25:58 > 0:26:01# Beats in time with yours
0:26:05 > 0:26:12# Can you feel the love tonight?
0:26:14 > 0:26:19# It is where we are
0:26:21 > 0:26:27# It's enough for this wide-eyed wanderer
0:26:27 > 0:26:35# That we got this far
0:26:35 > 0:26:41# And can you feel the love tonight?
0:26:43 > 0:26:48# How it's laid to rest?
0:26:50 > 0:26:53# It's enough
0:26:53 > 0:26:57# To make kings and vagabonds
0:26:57 > 0:27:05# Believe the very best
0:27:05 > 0:27:08# It's enough
0:27:08 > 0:27:12# To make kings and vagabonds
0:27:12 > 0:27:20# Believe the very best. #
0:27:33 > 0:27:34Thank you.
0:27:37 > 0:27:40Gorgeous, thank you, thank you, Tom.
0:27:43 > 0:27:46It was... I've got a book here that may bring back some memories.
0:27:46 > 0:27:49There's some amazing illustrations in here.
0:27:49 > 0:27:51Does that look familiar at all to you?
0:27:51 > 0:27:53- Is that something you had at home? - Yeah, we did.
0:27:53 > 0:27:57The Wonder Book Of The Bible, this was, erm... I mean, I've often said
0:27:57 > 0:28:02I use this for the story of Joseph, but I did also go back to Genesis.
0:28:02 > 0:28:06It's my favourite school story, erm, from the Bible and I never dreamt
0:28:06 > 0:28:10that it would lead to so much good fortune for me,
0:28:10 > 0:28:13but this was the book. This was the book where I was browsing through it
0:28:13 > 0:28:15for the best Bible story that we could have a go at
0:28:15 > 0:28:18cos we were writing for, for a kids' school and I thought, "Yes, Joseph,
0:28:18 > 0:28:21"that...that really works." It's a great story.
0:28:21 > 0:28:24Do you remember writing Any Dream Will Do?
0:28:24 > 0:28:27Yes, erm, I do remember. It was a very catchy tune.
0:28:27 > 0:28:30The first lyric I wrote for it was called, I Fancy You...
0:28:30 > 0:28:32AUDIENCE LAUGHS
0:28:32 > 0:28:35..and erm, it was...it was going to be for Herman's Hermits.
0:28:35 > 0:28:38Erm, and we...we thought Herman will love this one,
0:28:38 > 0:28:40HE HUMS: I fancy you, I think you're lovely.
0:28:40 > 0:28:44But it...but it never, it never got to Herman...
0:28:44 > 0:28:45THEY LAUGH
0:28:45 > 0:28:48..to his great relief, I think. Er...
0:28:48 > 0:28:52You talk about it being a jaunty melody, a jaunty tune,
0:28:52 > 0:28:55but if you... The lyrics are... There's some sadness in the lyrics.
0:28:55 > 0:28:58- It's rather a melancholy lyric in a way.- I'm just going to quote,
0:28:58 > 0:29:01"Far, far away, someone was weeping,
0:29:01 > 0:29:04"but the world was sleeping. Any dream will do."
0:29:04 > 0:29:06- Now that's quite sad, isn't it? - Well, it's...
0:29:06 > 0:29:08Is there a sad side to you?
0:29:08 > 0:29:12I guess so, I mean, not tonight, I hope, but erm, now and then,
0:29:12 > 0:29:14occasionally. Well, everybody is, I hope,
0:29:14 > 0:29:16a mixture of...of happiness and sadness. This is getting
0:29:16 > 0:29:20philosophically rather corny, but erm, I... In, in that song,
0:29:20 > 0:29:23I think the, the very pretty tune that Andrew wrote,
0:29:23 > 0:29:27coupled with a slightly melancholy lyric,
0:29:27 > 0:29:30made it a stronger song. And people don't get that it's sad, really,
0:29:30 > 0:29:32because of the lovely tune.
0:29:32 > 0:29:36Well, I think we should hear it. Any Dream Will Do was a number one hit
0:29:36 > 0:29:38and here to sing it tonight, with his own rendition,
0:29:38 > 0:29:41a big welcome for Devon-born folk singer, songwriter
0:29:41 > 0:29:45and multi-instrumentalist, Seth Lakeman and his viola.
0:30:07 > 0:30:10# I closed my eyes
0:30:10 > 0:30:15# Drew back the curtain
0:30:15 > 0:30:18# To see for certain
0:30:18 > 0:30:23# What I thought I knew
0:30:23 > 0:30:26# Far, far away
0:30:26 > 0:30:31# Someone was weeping
0:30:31 > 0:30:35# As the world was sleeping
0:30:35 > 0:30:38# Any dream will do
0:30:39 > 0:30:43# I wore my coat
0:30:43 > 0:30:47# With golden lining
0:30:47 > 0:30:51# Bright colours shining
0:30:51 > 0:30:55# Wonderful and new
0:30:55 > 0:30:59# And in the east
0:30:59 > 0:31:03# The dawn was breaking
0:31:03 > 0:31:06# As the world was waking
0:31:07 > 0:31:10# Any dream will do
0:31:10 > 0:31:12# A crash of drums
0:31:12 > 0:31:14# A flash of light
0:31:14 > 0:31:16# My golden coat
0:31:16 > 0:31:18# Flew out of sight
0:31:18 > 0:31:22# Colours faded into darkness
0:31:22 > 0:31:27# I was left alone
0:31:27 > 0:31:31# May I return
0:31:31 > 0:31:34# To the beginning
0:31:34 > 0:31:39# As the light is dimming
0:31:39 > 0:31:42# And the dream is too
0:31:42 > 0:31:46# The world and I
0:31:46 > 0:31:50# We are still waiting
0:31:50 > 0:31:55# Still hesitating
0:31:55 > 0:31:58# Any dream will do
0:31:58 > 0:32:00# A crash of drums
0:32:00 > 0:32:02# A flash of light
0:32:02 > 0:32:04# My golden coat
0:32:04 > 0:32:06# Flew out of sight
0:32:06 > 0:32:10# Colours faded into darkness
0:32:10 > 0:32:14# I was left alone
0:32:15 > 0:32:18# May I return
0:32:18 > 0:32:22# To the beginning
0:32:22 > 0:32:26# As the light is dimming
0:32:26 > 0:32:30# And the dream is too
0:32:30 > 0:32:35# The world and I
0:32:35 > 0:32:39# We are still waiting
0:32:39 > 0:32:43# Still hesitating
0:32:43 > 0:32:46# Any dream will do. #
0:33:23 > 0:33:25Back to the day job.
0:33:25 > 0:33:29Do you...do you like making lists. Are you a good list man?
0:33:29 > 0:33:32- I do nothing else in life, but make lists.- Really?- Yes.
0:33:32 > 0:33:34I get up in the morning, I make a list of...
0:33:34 > 0:33:37Well, I've got a huge running list. It's been going since 1964
0:33:37 > 0:33:40of...of things to do and some of those things have been
0:33:40 > 0:33:42- on the list since 1964.- Ah.
0:33:42 > 0:33:45Well, in Joseph, there is a list song, isn't there,
0:33:45 > 0:33:48which is a well-known technique for lyric writers.
0:33:48 > 0:33:51- Oh, well, the...- Which is Coat Of Many Colours.- Coat Of Many Colours.
0:33:51 > 0:33:53Yes, well, actually I feel a bit of a cheat on that because,
0:33:53 > 0:33:56erm, we had a very good review, I think in the Financial Times
0:33:56 > 0:34:00of all papers, for erm, the lyrics of Coat Of Many Colours
0:34:00 > 0:34:04and the critic, erm, listed all the colours and said, you know,
0:34:04 > 0:34:07red, yellow and green, orange, blue and purple, and whatever it is
0:34:07 > 0:34:10and he said, "This is pure poetry. Tim Rice is a genius."
0:34:10 > 0:34:12Actually, I hadn't written that.
0:34:12 > 0:34:14All I'd written was red and yellow and green and brown and blue.
0:34:14 > 0:34:17And the boys of Colet Court, we were...
0:34:17 > 0:34:19erm, added lots of colours themselves,
0:34:19 > 0:34:21so they should get the credit,
0:34:21 > 0:34:23but they won't be getting the royalties.
0:34:23 > 0:34:25THEY LAUGH
0:34:25 > 0:34:30One of the key tools in a...in a lyric writer's armoury is rhyming.
0:34:30 > 0:34:35- Yes.- And are there any words that you've found impossible to rhyme?
0:34:35 > 0:34:39A piece I wrote with the late, great Steven Oliver, erm, a musical,
0:34:39 > 0:34:43which was not wildly successful, erm, called Blondel, erm, we had a song
0:34:43 > 0:34:47in it which addressed this problem of rhyming.
0:34:47 > 0:34:49And erm, Blondel is the court musician
0:34:49 > 0:34:52who is trying to write a song for King Richard, the Lion Heart,
0:34:52 > 0:34:56and John, the evil nasty Prince John, points out that Richard is a word
0:34:56 > 0:34:59that doesn't rhyme with anything, so he would be much better off
0:34:59 > 0:35:01writing a song about John.
0:35:01 > 0:35:05Let's hear the song, No Rhyme For Richard and here to prove a point
0:35:05 > 0:35:08is Pointless, Alexander Armstrong.
0:35:19 > 0:35:23# There's no rhyme for Richard
0:35:23 > 0:35:25# Which'd be suitable
0:35:25 > 0:35:30# You won't find a rhyme that'll fit
0:35:31 > 0:35:34# When rhyming with Richard
0:35:34 > 0:35:37# A hitch'd be indisputable
0:35:37 > 0:35:41# Re-Richard, my tip is to quit
0:35:43 > 0:35:45# But John
0:35:45 > 0:35:49# The problems are gone
0:35:49 > 0:35:52# Observe how the rhymes flow
0:35:52 > 0:35:55# It's a phenomenon
0:35:55 > 0:35:58# When you write your chanson
0:35:58 > 0:36:01# It's easy with John
0:36:01 > 0:36:04# A name with no rivals
0:36:04 > 0:36:07# Well, maybe Yvonne
0:36:09 > 0:36:10# Where upon
0:36:10 > 0:36:15# I must now recommend
0:36:15 > 0:36:21# You improve certain stanzas my friend
0:36:21 > 0:36:23# With John
0:36:23 > 0:36:27# This isn't a con
0:36:27 > 0:36:30# For all your creations
0:36:30 > 0:36:33# John's a sine qua non
0:36:33 > 0:36:37# Oh, the plusses of John
0:36:37 > 0:36:40# I'll continue anon
0:36:40 > 0:36:43# For at our disposal's
0:36:43 > 0:36:46# The whole lexicon
0:36:46 > 0:36:50# So, poet, write on
0:36:50 > 0:36:52# For instance
0:36:52 > 0:36:56# There's venison and stone of scone
0:36:56 > 0:36:59# I'm sure you will concede
0:36:59 > 0:37:02# That in 1189 they're rhymes you may not need
0:37:02 > 0:37:05# My growing reputation
0:37:05 > 0:37:07# From here to Runnymede
0:37:07 > 0:37:11# Gives you the chance to be the second Venerable Bede
0:37:11 > 0:37:15# There's mastodon, automaton and don should not be missed
0:37:15 > 0:37:17# Hoots mon, Peron pantechnicon,
0:37:17 > 0:37:19# Can Richard match this list?
0:37:19 > 0:37:21# I see no use for skeleton
0:37:21 > 0:37:23# But on the other hand
0:37:23 > 0:37:26# The use of John with paragon
0:37:26 > 0:37:28# Is something rather grand
0:37:28 > 0:37:30# There's silicon and Amazon
0:37:30 > 0:37:32# And more at your command
0:37:32 > 0:37:34# Or tarragon
0:37:34 > 0:37:36# Accordion
0:37:36 > 0:37:37# Iguanodon
0:37:37 > 0:37:39# Decathlon, Armageddon
0:37:39 > 0:37:40# Celine Dion
0:37:40 > 0:37:43# Jean Valjean 24601
0:37:43 > 0:37:44# Colon
0:37:44 > 0:37:45# Chiffon
0:37:45 > 0:37:46# Oberon
0:37:46 > 0:37:52# Cameron, Bab-y-lon
0:37:52 > 0:37:53# Tradition
0:37:57 > 0:37:58# Tradition
0:38:08 > 0:38:12# Ooh, John
0:38:12 > 0:38:13# Coupon!
0:38:13 > 0:38:14# Each time I swan
0:38:14 > 0:38:16# Dyson!
0:38:16 > 0:38:18# Around this great Kingdom
0:38:18 > 0:38:19# Strap on!
0:38:19 > 0:38:21# Mere Dicks are outshone
0:38:21 > 0:38:24# In comparison
0:38:24 > 0:38:25# Moron!
0:38:25 > 0:38:28# All others seem wan
0:38:28 > 0:38:31# My name in itself will
0:38:31 > 0:38:34# Attract hangers on
0:38:35 > 0:38:39# So be gone to the hole
0:38:39 > 0:38:40# Where you write
0:38:42 > 0:38:47# And erase every Richard in sight
0:38:47 > 0:38:51# Won't you shout it for John
0:38:51 > 0:38:54# Sing in unison
0:38:54 > 0:38:57# Let the rest be consigned to
0:38:57 > 0:39:01# Oblivion
0:39:01 > 0:39:04# And let no simpleton
0:39:04 > 0:39:07# Say, "Well, what about Ron?"
0:39:07 > 0:39:11# Cos Ron's really Ronald
0:39:11 > 0:39:14# And I am sheer John
0:39:14 > 0:39:17# I'm nothing but John
0:39:17 > 0:39:21# Immaculate John
0:39:21 > 0:39:24# So, poet
0:39:24 > 0:39:27# The time has come to spell it out
0:39:27 > 0:39:30# Away with subtle hints
0:39:30 > 0:39:34# Yes, I propose that you compose a tribute to your Prince
0:39:34 > 0:39:38# A rose by any other name but John might smell as sweet
0:39:38 > 0:39:40# My time has come, prepare to strum
0:39:40 > 0:39:42# You'll love this job
0:39:42 > 0:39:45# You have the perfect subject
0:39:45 > 0:39:47# Me
0:39:47 > 0:39:49# Go hit the quill
0:39:49 > 0:39:53# Give me a thrill
0:39:53 > 0:39:55# You'll love this job
0:39:57 > 0:40:03# Cos Richard's obsolete
0:40:03 > 0:40:07# What d'ya say? #
0:40:21 > 0:40:24Thank you, thank you, Alexander.
0:40:24 > 0:40:27I should have, I should have counted the John rhymes there.
0:40:27 > 0:40:29- There must have been... - It's about 70 or 80,
0:40:29 > 0:40:32but I mean, the evil characters are always much more fun
0:40:32 > 0:40:36and easier to write for. I mean, Scar in The Lion King,
0:40:36 > 0:40:39that song came quickest. That was a very quick one to write.
0:40:39 > 0:40:42If... I don't know what it is, it's about, you know, nasty blokes.
0:40:42 > 0:40:45There's something, maybe I identify with them.
0:40:45 > 0:40:47One of the...one of the things I know about you
0:40:47 > 0:40:48and I think lots of people do,
0:40:48 > 0:40:52is that you have a fantastic encyclopaedic knowledge and love for
0:40:52 > 0:40:55the charts and all the songs that have gone into the charts.
0:40:55 > 0:40:59Well, yes, only up to about Duran Duran's fourth single.
0:40:59 > 0:41:02Erm, I lost track of it, really,
0:41:02 > 0:41:04about the end of...end of the '80s, I think.
0:41:04 > 0:41:07Erm, but I'm pretty good if you're going to ask me questions
0:41:07 > 0:41:10- of sort of '54 to '65 and I'll get them.- Very good.
0:41:10 > 0:41:14When did you first become aware of the ABBA phenomenon?
0:41:14 > 0:41:17Well, erm, Waterloo, obviously, and erm...
0:41:17 > 0:41:20- Did you watch the Eurovision that night?- Er, I guess...
0:41:20 > 0:41:22I've seen it so many times, I can't remember,
0:41:22 > 0:41:26erm, but probably yes. I mean, they were clearly very gifted.
0:41:26 > 0:41:29I mean, it was an unusually good record that was already being a hit
0:41:29 > 0:41:30before even the Eurovision.
0:41:30 > 0:41:33Extraordinary that the lyrics written in a second language.
0:41:33 > 0:41:37Bjorn Ulvaeus is one of the best English lyric writers I know
0:41:37 > 0:41:40and he's Swedish. He's, I mean, some of those ABBA lyrics
0:41:40 > 0:41:42are just magnificent.
0:41:42 > 0:41:45How did it come about that you worked with them?
0:41:45 > 0:41:48Well, I was a very huge fan of Bjorn and Benny
0:41:48 > 0:41:53and indeed all of ABBA by the ninth or tenth number one,
0:41:53 > 0:41:57as most of the world was and I had this idea for a musical
0:41:57 > 0:42:00about the Cold War, based around chess and it was romance.
0:42:00 > 0:42:04And it was inspired by the Bobby Fischer, Boris Spassky
0:42:04 > 0:42:07chess match in Iceland, which in 1972, at the height of the Cold War,
0:42:07 > 0:42:09was very important, even a chess board in Iceland mattered
0:42:09 > 0:42:13in the Cold War and the confusing thing was, that the American guy
0:42:13 > 0:42:16who was meant to be our guy, was a bastard
0:42:16 > 0:42:20and the Russian guy, who was meant to be the enemy, was a jolly, nice chap.
0:42:20 > 0:42:23- That was, the original idea was yours.- Yeah, and I took it to Bjorn
0:42:23 > 0:42:26and Benny. I thought, "Well, they'll never want to do it,"
0:42:26 > 0:42:28but I got them just at the right time. They were thinking that ABBA
0:42:28 > 0:42:32had almost run its course and they liked the idea.
0:42:32 > 0:42:34- Wow.- I was, I mean, it was a terrific thrill
0:42:34 > 0:42:37- for me to work with them.- Well, let's hear some songs from Chess.
0:42:37 > 0:42:42I Know Him So Well is a classic unforgettable duet from Chess
0:42:42 > 0:42:47about two women loving the same man, another number one hit here
0:42:47 > 0:42:50and to sing it tonight, please welcome Frances Ruffelle
0:42:50 > 0:42:51and Cynthia Erivo.
0:43:29 > 0:43:35# Nothing is so good it lasts eternally
0:43:36 > 0:43:42# Perfect situations must go wrong
0:43:44 > 0:43:48# But this has never yet prevented me
0:43:50 > 0:43:55# Wanting far too much for far too long
0:43:56 > 0:44:02# Looking back I could have played it differently
0:44:03 > 0:44:10# Won a few more moments who can tell
0:44:11 > 0:44:17# But it took time to understand the man
0:44:17 > 0:44:23# Now at least I know I know him well
0:44:23 > 0:44:27- # Wasn't it good? - Oh, so good
0:44:27 > 0:44:30- # Wasn't he fine? - Oh, so fine
0:44:30 > 0:44:33# Isn't it madness
0:44:33 > 0:44:37- BOTH:- # He can't be mine?
0:44:37 > 0:44:43# But in the end, he needs a little bit more than me
0:44:43 > 0:44:46# More security
0:44:46 > 0:44:48# He needs his fantasy
0:44:48 > 0:44:50# And freedom
0:44:50 > 0:44:55# I know him so well
0:44:59 > 0:45:06# No-one in your life is with you constantly
0:45:06 > 0:45:12# No-one is completely on your side
0:45:14 > 0:45:20# And though I'd move my world to be with him
0:45:20 > 0:45:26# Still the gap between us is too wide
0:45:26 > 0:45:29# Looking back I could Have played things
0:45:29 > 0:45:34# Looking back I could have played some other way
0:45:34 > 0:45:38# Learned about the man before I fell
0:45:38 > 0:45:41# I was just a little careless maybe
0:45:41 > 0:45:45# But I was ever so much younger then
0:45:45 > 0:45:47# Now at least I know him well
0:45:47 > 0:45:49# But now at least
0:45:49 > 0:45:53# I know I know him well
0:45:53 > 0:45:57- # Wasn't it good? - So good
0:45:57 > 0:46:00- # Wasn't he fine? - Oh, so fine
0:46:00 > 0:46:03# Isn't it madness
0:46:03 > 0:46:07# He won't be mine?
0:46:07 > 0:46:10# Didn't I know
0:46:10 > 0:46:12# How it would go?
0:46:12 > 0:46:18# If I knew from the start
0:46:18 > 0:46:22# Why am I falling apart?
0:46:22 > 0:46:27# Wasn't it good?
0:46:27 > 0:46:28# Wasn't he fine?
0:46:28 > 0:46:31# Isn't it madness
0:46:31 > 0:46:36# He won't be mine?
0:46:36 > 0:46:41# But in the end he needs a little bit more than me
0:46:41 > 0:46:44# More security
0:46:44 > 0:46:48# He needs his fantasy and freedom
0:46:48 > 0:46:52# I know him so well
0:46:52 > 0:46:57# It took time to understand him
0:47:00 > 0:47:12# I know him so well. #
0:47:17 > 0:47:21CHEERING AND APPLAUSE
0:47:27 > 0:47:30Thank you, thank you.
0:47:34 > 0:47:37And now, Someone Else's Story from Chess,
0:47:37 > 0:47:41a poignant ballad sung tonight by Cynthia Erivo.
0:47:48 > 0:47:55# Long ago in someone else's lifetime
0:47:55 > 0:47:58# Someone with my name
0:47:58 > 0:48:03# Who looked a lot like me
0:48:03 > 0:48:09# Came to know a man and made a promise
0:48:09 > 0:48:15# He only had to say and that's where she would be
0:48:15 > 0:48:22# Lately although the feelings run just as deep
0:48:22 > 0:48:30# The promise she made has grown impossible to keep
0:48:30 > 0:48:35# And yet I wish it wasn't so
0:48:35 > 0:48:41# Will he miss me if I go?
0:48:45 > 0:48:49# In a way
0:48:49 > 0:48:52# It's someone else's story
0:48:52 > 0:48:59# Someone else's life as taking part at all
0:48:59 > 0:49:06# Yesterday the girl that I was fond of
0:49:06 > 0:49:13# Finally could see the writing on the wall
0:49:13 > 0:49:20# Sadly she realised she'd left him behind
0:49:20 > 0:49:27# And sadder than that she knew he wouldn't even mind
0:49:27 > 0:49:32# And though there's nothing left to say
0:49:32 > 0:49:39# Would he listen if I stay?
0:49:39 > 0:49:46# It's all very well to say You fool, it's now or never
0:49:46 > 0:49:50# I could be choosing
0:49:50 > 0:49:57# No choices whatsoever
0:49:57 > 0:50:00# I could be
0:50:00 > 0:50:04# In someone else's story
0:50:04 > 0:50:11# In someone else's life and he could be in mine
0:50:11 > 0:50:17# I don't see a reason to be lonely
0:50:17 > 0:50:24# I should take my chances further down the line
0:50:24 > 0:50:31# And if that girl I knew should ask my advice
0:50:31 > 0:50:38# Oh, I wouldn't hesitate She needn't ask me twice
0:50:38 > 0:50:43# Go now! I'd tell her that for free
0:50:43 > 0:50:50# Trouble is, the girl is me
0:50:50 > 0:51:05# The story is, the girl is me. #
0:51:05 > 0:51:09APPLAUSE
0:51:18 > 0:51:21Tim, I'm just going to take the liberty of quoting
0:51:21 > 0:51:24a bit of your lyric from the next song -
0:51:24 > 0:51:28"She is eternal, long before nations lines were drawn,
0:51:28 > 0:51:32"where no flags flew and no army stood.
0:51:32 > 0:51:34"My land was born."
0:51:34 > 0:51:37This was about the Cold War but it's...
0:51:37 > 0:51:40it's scarily relevant today, isn't it?
0:51:40 > 0:51:43Well, I guess so. I mean, that song,
0:51:43 > 0:51:46The Anthem, is particularly about the fact that
0:51:46 > 0:51:50it's hard for people to cast aside where they're from and indeed people
0:51:50 > 0:51:53don't want to. And it was inspired a bit by the hymn
0:51:53 > 0:51:54I learnt in my childhood -
0:51:54 > 0:51:57I Vow To Thee My Country - it's that sort of emotion I wanted
0:51:57 > 0:52:01to get, and Benny and Bjorn came up with a pretty strong tune for it.
0:52:01 > 0:52:03Well, let's hear it.
0:52:03 > 0:52:06Singing the show-stopper Anthem where the Russian chess master
0:52:06 > 0:52:11Anatoly explains why he's deserting his country, is the extremely
0:52:11 > 0:52:15charismatic and brilliant actor/singer, Julian Ovenden.
0:52:17 > 0:52:20APPLAUSE
0:52:51 > 0:52:57# No man, no madness
0:52:57 > 0:53:02# Though their sad power may prevail
0:53:02 > 0:53:09# Can possess, conquer my country's heart
0:53:09 > 0:53:16# They rise to fail
0:53:16 > 0:53:22# She is eternal
0:53:22 > 0:53:27# Long before nations' lines were drawn
0:53:28 > 0:53:35# When no flags flew and no armies stood
0:53:35 > 0:53:42# My land was born
0:53:42 > 0:53:48# And you ask me why I love her
0:53:48 > 0:53:56# Through wars, death and despair
0:53:56 > 0:54:02# She is the constant
0:54:02 > 0:54:08# We who don't care
0:54:08 > 0:54:15# And you wonder will I leave her
0:54:15 > 0:54:18# But how?
0:54:23 > 0:54:28# I cross over borders
0:54:28 > 0:54:39# But I'm still there now
0:55:06 > 0:55:13# How could I leave her?
0:55:13 > 0:55:21# Where would I start?
0:55:21 > 0:55:27# Let men's petty nations
0:55:27 > 0:55:36# Tear themselves apart
0:55:36 > 0:55:42# My land's only borders
0:55:42 > 0:55:48# Lie around...
0:55:48 > 0:56:04# My heart. #
0:56:04 > 0:56:08APPLAUSE
0:56:16 > 0:56:19Thank you. Thank you, Julian.
0:56:21 > 0:56:23What was the first record you ever bought?
0:56:23 > 0:56:26Tommy Steele's Singing The Blues, on Decca.
0:56:26 > 0:56:28Which was a cover, wasn't it?
0:56:28 > 0:56:31It was a cover of Guy Mitchell and I admire Guy Mitchell,
0:56:31 > 0:56:34but I have to say that Tommy Steele was a rare example of the
0:56:34 > 0:56:37British cover being better than the American original, cos Tommy was a...
0:56:37 > 0:56:42had a real rock'n'roll and he slurred the words a bit, you know?
0:56:42 > 0:56:45Singing the blues, and Guy Mitchell was very sort of straight.
0:56:45 > 0:56:47He was lovely, Guy, but it was...
0:56:47 > 0:56:50He wasn't rock'n'roll and Tommy then was.
0:56:50 > 0:56:53And Elvis was a bit of a slurrer too, wasn't he?
0:56:53 > 0:56:57Elvis was... Oh, Elvis, I mean, he was...he was Elvis.
0:56:57 > 0:57:00Well, I have to tell you I met Elvis. I actually met Elvis.
0:57:00 > 0:57:02AUDIENCE: Ooh.
0:57:04 > 0:57:05- Did you meet him?- I did.
0:57:09 > 0:57:11Very, very briefly.
0:57:11 > 0:57:14I shook his hand for about... Well, obviously not for that long,
0:57:14 > 0:57:16but I mean, the...
0:57:16 > 0:57:17LAUGHTER
0:57:17 > 0:57:19The conversation that we had with
0:57:19 > 0:57:24Elvis was very brief, as we were leaving a very distinguished party,
0:57:24 > 0:57:29erm, a post-Elvis Presley, post-Las Vegas concert party
0:57:29 > 0:57:32and we made the mistake after he hadn't turned up for three hours
0:57:32 > 0:57:35of deciding to leave and just as we were leaving, he came and we were
0:57:35 > 0:57:38too overcome to say, "Well, actually, we don't have to go now, we'll stay."
0:57:38 > 0:57:41That was it and we thought, we'll meet him again but we never did.
0:57:41 > 0:57:43- Ah, and you wrote a song for him. - We did.
0:57:43 > 0:57:46We wrote two, really, specifically for Elvis -
0:57:46 > 0:57:47one which was not recorded by the King,
0:57:47 > 0:57:51was called Please Don't Let Lorraine Come Down and that was...
0:57:51 > 0:57:53- HE LAUGHS - Sorry.
0:57:53 > 0:57:58No, no. That was a song about a bloke living on the second
0:57:58 > 0:58:01floor of an apartment block and there was a rather dodgy girl called
0:58:01 > 0:58:06Lorraine on the third floor and he was trying to resist temptation,
0:58:06 > 0:58:07hence the title.
0:58:07 > 0:58:11But Elvis didn't like that one...
0:58:12 > 0:58:13So he recorded a song called
0:58:13 > 0:58:18It's Easy For You, which was a ballad which I kind of put Elvis'
0:58:18 > 0:58:22personal situation into. His marriage had broken up and it was a ballad.
0:58:22 > 0:58:25Andrew wrote a lovely tune for it. It's almost a country song, really.
0:58:25 > 0:58:27Well, let's hear it.
0:58:27 > 0:58:31Let's hear It's Easy For You, sung by a man who claims to know every
0:58:31 > 0:58:33single Elvis song.
0:58:33 > 0:58:36A big welcome please for Rob Brydon.
0:58:37 > 0:58:40APPLAUSE
0:58:50 > 0:58:52No...no pianist.
0:58:54 > 0:58:56There is a pian... Good evening.
0:58:56 > 0:58:58Er, there is piano in the song.
0:58:58 > 0:59:03Don't panic, Michael, Tim, I met a man in the wings who says
0:59:03 > 0:59:05he can play the piano.
0:59:06 > 0:59:09Now, I don't know if he's telling the truth,
0:59:09 > 0:59:11but let's give him a chance.
0:59:11 > 0:59:13What was his name?
0:59:13 > 0:59:14Andrew Lloyd Webber.
0:59:14 > 0:59:17CHEERING AND APPLAUSE
0:59:45 > 0:59:51# You may not mind that it's over
0:59:51 > 0:59:55# But I've a different point of view
0:59:57 > 1:00:01# Even though I am shattered
1:00:04 > 1:00:08# It's easy for you
1:00:10 > 1:00:14# You don't have to face the music
1:00:16 > 1:00:20# You don't have to face the crowd
1:00:22 > 1:00:26# Just go back where you came from
1:00:28 > 1:00:33# You ain't even proud
1:00:33 > 1:00:39# I had a wife and I had children
1:00:40 > 1:00:44# I threw them all away
1:00:46 > 1:00:52# And now you tell me You dare to tell me
1:00:52 > 1:00:55# I should go back to them
1:00:55 > 1:00:59# What do you think I should say?
1:01:03 > 1:01:08# I found it hard to leave them
1:01:10 > 1:01:14# Saddest thing I ever had to do
1:01:16 > 1:01:20# My problems haven't started
1:01:23 > 1:01:26# It's easy for you
1:01:28 > 1:01:33# I had a wife and I had children
1:01:35 > 1:01:38# I threw them all away
1:01:40 > 1:01:43# And now you tell me
1:01:43 > 1:01:49# You dare to tell me I should go back to them
1:01:49 > 1:01:57# What do you think, what on earth do you think I should say?
1:01:58 > 1:02:02# If you ever tire of the good life
1:02:05 > 1:02:09# Call me in a year or two
1:02:11 > 1:02:15# I've got no choice I'll forgive you
1:02:17 > 1:02:22# It's easy for you
1:02:23 > 1:02:29# You only have to call me
1:02:30 > 1:02:34# It's easy for you
1:02:36 > 1:02:43# You only have to call me
1:02:43 > 1:02:50# It's easy for you. #
1:02:54 > 1:02:58APPLAUSE
1:03:06 > 1:03:10- Terrible, terrible. - Congratulations, great to see you.
1:03:11 > 1:03:13Thank you very much.
1:03:26 > 1:03:32We must move on now to the final section, which is, of course, Evita.
1:03:32 > 1:03:34APPLAUSE They've heard of that one.
1:03:36 > 1:03:40It's your third collaboration with Andrew, I think.
1:03:40 > 1:03:42Well, it is, yes, if you don't count the first one, the, erm,
1:03:42 > 1:03:45The Likes Of Us, which didn't really get anywhere at the time.
1:03:45 > 1:03:48And you cast aside the Bible, for once?
1:03:48 > 1:03:52- Yes, yes, we switched to...- Where on Earth did the idea come from?
1:03:52 > 1:03:55It came really from a radio programme I heard in my car.
1:03:55 > 1:04:00I was late for a dinner and lost driving around the streets somewhere
1:04:00 > 1:04:04in London and, erm, I heard the beginning of a programme
1:04:04 > 1:04:06about Eva Peron and I thought, "This sounds interesting."
1:04:06 > 1:04:08I knew a little bit about her.
1:04:08 > 1:04:11I'd...I can recall her from collecting stamps as a kid
1:04:11 > 1:04:14and her face was on the Argentine stamps and I knew she was dead.
1:04:14 > 1:04:17That was about all I knew, but when I heard the beginning of the story,
1:04:17 > 1:04:19I thought, "This is very interesting."
1:04:19 > 1:04:22And at the time we were looking for something to follow up Superstar
1:04:22 > 1:04:24which was a tough act to follow.
1:04:24 > 1:04:25It certainly was.
1:04:25 > 1:04:29It's a most unlikely subject for a musical, it seems to me,
1:04:29 > 1:04:30but you pulled it off.
1:04:30 > 1:04:33Yes, I often think that the obvious subjects for musicals,
1:04:33 > 1:04:36if they're really obvious, somebody would have already had a hit
1:04:36 > 1:04:40with them and I think it's often the wacky left-field ideas that work.
1:04:40 > 1:04:44What you created in that show was a massive star role.
1:04:44 > 1:04:48I mean, the whole thing evolves on the personality and the drive
1:04:48 > 1:04:51and the performance of Evita.
1:04:51 > 1:04:54Today, I'm not sure you'd take a chance with an unknown
1:04:54 > 1:04:59but you did take a huge gamble picking an unknown to play Evita
1:04:59 > 1:05:01and carry the whole show.
1:05:01 > 1:05:05Well, Elaine Paige was the unknown. She wasn't unknown in the business,
1:05:05 > 1:05:07she was unknown to the public at large, but she'd worked
1:05:07 > 1:05:11for ten years in shows and musicals and she'd been progressing
1:05:11 > 1:05:15up the stage to gradually take the second or third lead in one or
1:05:15 > 1:05:17two musicals, but the public didn't really know her
1:05:17 > 1:05:19and she was brilliant.
1:05:19 > 1:05:22She was 29, 30 at the time. She'd paid her dues and she
1:05:22 > 1:05:26came through a competition of about 400 or 500 people.
1:05:26 > 1:05:28But we also had balancing Elaine,
1:05:28 > 1:05:30we had a brilliant performance from David Essex
1:05:30 > 1:05:34who was then as well-known as he is now, a wonderful performer.
1:05:34 > 1:05:37APPLAUSE
1:05:37 > 1:05:39So the combination of Elaine and David was, you know,
1:05:39 > 1:05:42for my money, unbeatable before or since. It was fantastic.
1:05:42 > 1:05:46Hollywood then had its go with Evita.
1:05:46 > 1:05:49It was very funny because Evita kept being taken on by some studio
1:05:49 > 1:05:52and we were paid an advance, and then it was...
1:05:52 > 1:05:55The studio didn't do it and they were paid another advance.
1:05:55 > 1:05:57Did they see it as a vehicle for a star?
1:05:57 > 1:05:59I don't know, it just never quite happened.
1:05:59 > 1:06:01The rumours were that Meryl Streep looked at it, Michelle Pfeiffer.
1:06:01 > 1:06:04No, Warners wanted to do it. Meryl Streep and all these artists,
1:06:04 > 1:06:07and it kept being... We were being paid all the time
1:06:07 > 1:06:08but for the film not being done.
1:06:08 > 1:06:10And I remember David Land saying,
1:06:10 > 1:06:13ringing and saying, "I've got terrible news, boys,
1:06:13 > 1:06:15"Evita's going to be done.
1:06:15 > 1:06:16HE LAUGHS
1:06:16 > 1:06:19"No more advances."
1:06:19 > 1:06:21Let's take a moment to remind ourselves of the movie -
1:06:21 > 1:06:23one of my favourite clips.
1:06:23 > 1:06:25# But who is this Santa Evita?
1:06:25 > 1:06:29# Why all this howling hysterical sorrow?
1:06:29 > 1:06:32# What kind of goddess has lived among us?
1:06:32 > 1:06:36# How will we ever get by without her?
1:06:39 > 1:06:44# She had her moments She had some style
1:06:44 > 1:06:46# The best show in town was the crowd
1:06:46 > 1:06:51# Outside the Casa Rosada crying "Eva Peron"
1:06:51 > 1:06:54# But that's all gone now
1:06:54 > 1:06:57# As soon as the smoke from the funeral clears
1:06:57 > 1:07:01# We're all gonna see and how
1:07:01 > 1:07:04# She did nothing for years... #
1:07:04 > 1:07:08APPLAUSE
1:07:08 > 1:07:12Amazing change of pace there with the kind of the narrative song,
1:07:12 > 1:07:14you know, really telling the story.
1:07:14 > 1:07:18That was almost the first lyric I wrote.
1:07:18 > 1:07:21I think Andrew's score is flawless frankly, on that one,
1:07:21 > 1:07:25and it's such a wonderful variety and yet it all hangs together
1:07:25 > 1:07:29as one piece of music. It's a terrific score.
1:07:29 > 1:07:34I think one of the many, many phrases in your lyrics
1:07:34 > 1:07:36that live with me forever is,
1:07:36 > 1:07:39- "Another suitcase, another town," which is...- Another hall.
1:07:39 > 1:07:41Another hall, sorry.
1:07:41 > 1:07:45LAUGHTER
1:07:45 > 1:07:48- Sorry.- It's all right.- This heart-rending ballad from Evita.
1:07:48 > 1:07:51On stage, sung by Peron's teenage mistress,
1:07:51 > 1:07:55Another Suitcase, Another Hall was meant to be the show's big hit,
1:07:55 > 1:07:58peaking at number seven in the charts in 1997.
1:07:58 > 1:08:01Now performed by the captivating singer-songwriter
1:08:01 > 1:08:03Sophie Ellis-Bextor.
1:08:03 > 1:08:07APPLAUSE
1:08:28 > 1:08:36# I don't expect my love affairs to last for long
1:08:36 > 1:08:44# Never fool myself that my dreams will come true
1:08:44 > 1:08:52# Being used to trouble I anticipate it
1:08:52 > 1:08:56# But all the same, I hate it
1:08:56 > 1:08:59# Wouldn't you?
1:08:59 > 1:09:03- # So what happens now? - Another suitcase in another hall
1:09:03 > 1:09:07- # So what happens now? - Take your picture off another wall
1:09:07 > 1:09:09# Where am I going to?
1:09:09 > 1:09:12# You'll get by You always have before
1:09:12 > 1:09:15# Where am I going to?
1:09:22 > 1:09:30# Time and time again I've said that I don't care
1:09:30 > 1:09:38# That I'm immune to gloom That I'm hard through and through
1:09:38 > 1:09:42# But every time it matters
1:09:42 > 1:09:46# All my words desert me
1:09:46 > 1:09:53# So anyone can hurt me and they do
1:09:53 > 1:09:58- # So what happens now? - Another suitcase in another hall
1:09:58 > 1:10:02- # So what happens now? - Take your picture off another wall
1:10:02 > 1:10:04# Where am I going to?
1:10:04 > 1:10:07# You'll get by You always have before
1:10:07 > 1:10:10# Where am I going to?
1:10:17 > 1:10:24# Call in three months' time and I'll be fine, I know
1:10:25 > 1:10:32# Well, maybe not that fine but I'll survive anyhow
1:10:33 > 1:10:41# I won't recall the names and places of this sad occasion
1:10:41 > 1:10:48# But that's no consolation here and now
1:10:48 > 1:10:52- # So what happens now? - Another suitcase in another hall
1:10:52 > 1:10:56- # So what happens now? - Take your picture off another wall
1:10:56 > 1:10:58# Where am I going to?
1:10:58 > 1:11:01# You'll get by You always have before
1:11:01 > 1:11:10- # Where am I going to? - Don't ask any more. #
1:11:19 > 1:11:23APPLAUSE
1:11:28 > 1:11:32Thank you, Sophie. Wonderful.
1:11:32 > 1:11:34Don't Cry For Me Argentina.
1:11:34 > 1:11:37- Did that come easily? - All except the title.
1:11:37 > 1:11:40- I felt the first line wasn't right. - What was the first line?
1:11:40 > 1:11:43Well, the original one, we had terrible titles - all my fault,
1:11:43 > 1:11:47like, It's Only Your Lover Returning and All Through My Wild Days
1:11:47 > 1:11:49or something, I mean, it was... They were bad.
1:11:49 > 1:11:51But I used the phrase Don't Cry For Me Argentina
1:11:51 > 1:11:53earlier in the piece.
1:11:53 > 1:11:54It was in the funeral scene at
1:11:54 > 1:11:58the very beginning when the sort of dead Evita, if you like,
1:11:58 > 1:12:02or the ghost of Evita sings Don't Cry For Me Argentina at the funeral.
1:12:02 > 1:12:04And that line just sounded so good on that...
1:12:04 > 1:12:06on those notes that we said,
1:12:06 > 1:12:08"Well, let's put it in now and if it doesn't work,
1:12:08 > 1:12:10"we can change it if there's a show."
1:12:10 > 1:12:14But of course, it became THE phrase of the piece
1:12:14 > 1:12:16and became a very big hit.
1:12:16 > 1:12:19- Amazing.- So we were stuck with it. - Wonderful.
1:12:19 > 1:12:23Well, with his own interpretation, please welcome Rufus Wainwright.
1:12:23 > 1:12:26APPLAUSE
1:13:29 > 1:13:36# It won't be easy You'll think it strange
1:13:36 > 1:13:42# When I try to explain how I feel
1:13:42 > 1:13:49# That I still need your love after all that I've done
1:13:50 > 1:13:55# You won't believe me
1:13:55 > 1:14:01# All you will see is a girl you once knew
1:14:01 > 1:14:06# Although she's dressed up to the nines
1:14:06 > 1:14:13# At sixes and sevens with you
1:14:15 > 1:14:18# I had to let it happen
1:14:18 > 1:14:23# I had to change
1:14:23 > 1:14:29# Couldn't stay all my life down at heel
1:14:29 > 1:14:32# Looking out of the window
1:14:32 > 1:14:37# Staying out of the sun
1:14:37 > 1:14:42# So I chose freedom
1:14:42 > 1:14:48# Running around trying everything new
1:14:48 > 1:14:54# But nothing impressed me at all
1:14:54 > 1:15:01# I never expected it to
1:15:04 > 1:15:11# Don't cry for me Argentina
1:15:11 > 1:15:17# The truth is I never left you
1:15:17 > 1:15:21# All through my wild days
1:15:21 > 1:15:25# My mad existence
1:15:25 > 1:15:34# I kept my promise Don't keep your distance
1:15:40 > 1:15:48# And as for fortune and as for fame
1:15:48 > 1:15:54# I never invited them in
1:15:54 > 1:15:58# Though it seemed to the world
1:15:58 > 1:16:03# They were all I desired
1:16:03 > 1:16:08# They were illusions
1:16:08 > 1:16:14# They're not the solutions they promised to be
1:16:14 > 1:16:19# The answer was here all along
1:16:20 > 1:16:29# I love you and hope you love me
1:16:32 > 1:16:42# Don't cry for me, Argentina
1:17:12 > 1:17:18# Don't cry for me, Argentina
1:17:18 > 1:17:24# The truth is I never left you
1:17:24 > 1:17:31# All through my wild days My mad existence
1:17:31 > 1:17:38# I kept my promise Don't keep your distance
1:17:42 > 1:17:46# Have I said too much?
1:17:46 > 1:17:54# There's nothing more I can think of to say to you
1:17:58 > 1:18:04# But all you have to do is look at me to know
1:18:04 > 1:18:13# That every word is true
1:18:52 > 1:19:08# Don't cry for me, Argentina. #
1:19:09 > 1:19:13APPLAUSE
1:19:20 > 1:19:23Wow, thank you, Rufus.
1:19:25 > 1:19:27Now, Tim, you're not going to like answering this question cos
1:19:27 > 1:19:30I know you're a very modest man, I know you to be a very modest man,
1:19:30 > 1:19:33but how big is your trophy cabinet at home?
1:19:33 > 1:19:37I would say that they're won for either being around a long time
1:19:37 > 1:19:39or just for turning up to the ceremony.
1:19:39 > 1:19:43But it's... I keep them in Cornwall, you know,
1:19:43 > 1:19:45people stare at them occasionally.
1:19:45 > 1:19:48- And you've got three Oscars, haven't you?- Yeah.- So far?
1:19:48 > 1:19:50Yes, Alan Menken has eight so, erm, you know,
1:19:50 > 1:19:53I'm in league division two compared with him.
1:19:53 > 1:19:56- Ah, but the first one was for Aladdin, wasn't it?- Er, yeah.
1:19:56 > 1:20:02And I think we're going to hear a song, er, the 1992 Oscar-winning
1:20:02 > 1:20:06song A Whole New World tonight
1:20:06 > 1:20:09sung by Diana Vickers and James Fox.
1:20:09 > 1:20:12APPLAUSE
1:20:27 > 1:20:32# I can show you the world
1:20:32 > 1:20:36# Shining, shimmering, splendid
1:20:36 > 1:20:41# Tell me, princess Now when did you last
1:20:41 > 1:20:44# Let your heart decide?
1:20:45 > 1:20:50# I can open your eyes
1:20:50 > 1:20:54# Take you wonder by wonder
1:20:54 > 1:21:01# Over, sideways, and under on a magic carpet ride
1:21:01 > 1:21:05# A whole new world!
1:21:05 > 1:21:10# A new fantastic point of view
1:21:10 > 1:21:15# No-one to tell us no or where to go
1:21:15 > 1:21:19# Or say we're only dreaming
1:21:19 > 1:21:23# A whole new world
1:21:23 > 1:21:28# A dazzling place I never knew
1:21:28 > 1:21:33# But now from way up here It's crystal clear
1:21:33 > 1:21:40# That now I'm in a whole new world with you!
1:21:42 > 1:21:47# Unbelievable sights
1:21:47 > 1:21:51# Indescribable feeling
1:21:51 > 1:21:58# Soaring, tumbling, freewheeling through an endless diamond sky
1:21:58 > 1:22:03- # A whole new world! - Don't you dare close your eyes
1:22:03 > 1:22:07- # A 100,000 things to see - Hold your breath, it gets better!
1:22:07 > 1:22:12# I'm like a shooting star I've come so far
1:22:12 > 1:22:16# I can't go back to where I used to be!
1:22:16 > 1:22:20- # A whole new world! - Every turn a surprise
1:22:20 > 1:22:24- # With new horizons to pursue - Every moment, red-letter
1:22:24 > 1:22:29BOTH: # I'll chase them anywhere There's time to spare
1:22:29 > 1:22:36# Let me share this whole new world with you
1:22:38 > 1:22:42- # A whole new world - A whole new world
1:22:42 > 1:22:46- # That's where we'll be - That's where we'll be
1:22:46 > 1:22:49# A thrilling chase
1:22:49 > 1:22:52# A wondrous place
1:22:52 > 1:23:01BOTH: # For you and me! #
1:23:04 > 1:23:08APPLAUSE
1:23:16 > 1:23:19Thank you, Diana and James.
1:23:19 > 1:23:22Which of your songs do you think, which of your lyrics do you think
1:23:22 > 1:23:27is really going to stand the real test of time?
1:23:27 > 1:23:29Well, I don't know. I mean, I think if
1:23:29 > 1:23:31any stand the test of time, it would probably be Joseph
1:23:31 > 1:23:34because that's, erm, you know for children of all ages
1:23:34 > 1:23:37and children, you know, there's a new generation every time appreciating it
1:23:37 > 1:23:42and it doesn't really date at all. You know, I mean, it's something
1:23:42 > 1:23:46which is just wonderful tunes and a good story, funny.
1:23:46 > 1:23:51I think that's the piece that will probably last longest, but who knows?
1:23:51 > 1:23:55It's up to my great-grandchildren to find that one out.
1:23:55 > 1:23:56What's next for Tim Rice?
1:23:56 > 1:23:59I don't know. I mean, you know, you listen to all this stuff
1:23:59 > 1:24:01and you think, quite difficult to top some of this and, erm,
1:24:01 > 1:24:05I'm...maybe I should just retire quietly into the background.
1:24:05 > 1:24:09We don't want you to retire, do we?
1:24:09 > 1:24:11It wasn't a very convincing no.
1:24:11 > 1:24:14LAUGHTER
1:24:14 > 1:24:18Now, the song we're going to end with tonight is The Circle Of Life.
1:24:18 > 1:24:19Right.
1:24:19 > 1:24:21How quickly did you write this?
1:24:21 > 1:24:27Circle Of Life, well, we had two goes at it. We, the first time, erm,
1:24:27 > 1:24:30for Circle Of Life, I wrote a rather jaunty, slightly comic lyric
1:24:30 > 1:24:33and Elton wrote a very nice jaunty little tune but it wasn't...
1:24:33 > 1:24:34it didn't have the oomph for the film
1:24:34 > 1:24:37and it had to be something that was going to go over the opening titles.
1:24:37 > 1:24:40And the second lyric was... Cos Elton likes the lyrics first,
1:24:40 > 1:24:43which is unusual, so I was supplying lyrics to Elton and
1:24:43 > 1:24:44then I'd get a tune.
1:24:44 > 1:24:49And the second lyric which was more or less the one that ended up,
1:24:49 > 1:24:50that was much heavier,
1:24:50 > 1:24:53- and Elton wrote this wonderful tune in about an hour and a half...- Wow.
1:24:53 > 1:24:57..in the studio and I was watching him do it. And halfway through,
1:24:57 > 1:24:58he was just playing the words,
1:24:58 > 1:25:01he had these words, "On the day we arrived on the planet,"
1:25:01 > 1:25:04and all that, and he was playing it over and over again with slight
1:25:04 > 1:25:07variations in tune and just singing it along. It was wonderful, I mean,
1:25:07 > 1:25:10if you recorded the whole thing you'd have a wonderful double album of
1:25:10 > 1:25:14one song with the tunes gradually changing and developing.
1:25:14 > 1:25:17And halfway through the session he said, "I need one more phrase,"
1:25:17 > 1:25:21cos he'd written this wonderful tune that ascends and I said,
1:25:21 > 1:25:24"On the path unwinding."
1:25:24 > 1:25:28I wasn't quite sure what I meant by that, but it just sounded right
1:25:28 > 1:25:31and it fitted beautifully and Elton finished the tune,
1:25:31 > 1:25:33as I said, in about an hour and a half from coming into the studio.
1:25:33 > 1:25:35Let's hear it.
1:25:35 > 1:25:38How better to end a marvellous evening than with Laura Mvula
1:25:38 > 1:25:41and the choir in The Circle Of Life.
1:25:43 > 1:25:46APPLAUSE
1:25:46 > 1:25:48Thank you, Tim, for making tonight possible
1:25:48 > 1:25:51and thank you for all your amazing, amazing lyrics.
1:25:51 > 1:25:54We wish you well and look forward to your next project.
1:25:54 > 1:25:55Thank you very much.
1:25:55 > 1:25:58CHEERING AND APPLAUSE
1:26:02 > 1:26:08# Nants ingonyama bagithi baba
1:26:08 > 1:26:15# Sithi, uhm, ingonyama
1:26:15 > 1:26:18# Ingonyama baba
1:26:18 > 1:26:24# Nants ingonyama bagithi baba
1:26:24 > 1:26:28# Sithi, uhm, ingonyama
1:26:28 > 1:26:32# Ingonyama
1:26:32 > 1:26:35# Ingonyama nengw' enamabala
1:26:35 > 1:26:38# Ingonyama nengw' enamabala
1:26:38 > 1:26:41# Ingonyama nengw' enamabala
1:26:41 > 1:26:45# Ingonyama nengw' enamabala
1:26:45 > 1:26:47# Ingonyama nengw' enamabala
1:26:47 > 1:26:50# Ingonyama nengw' enamabala
1:26:50 > 1:26:53# Ingonyama nengw' enamabala
1:26:53 > 1:26:56# Ingonyama nengw' enamabala
1:26:56 > 1:26:58# Ingonyama nengw' enamabala...
1:26:58 > 1:27:03# From the day we arrive on this planet
1:27:03 > 1:27:05# Ingonyama nengw' enamabala
1:27:05 > 1:27:09# And blinking, step into the sun
1:27:09 > 1:27:11# Ingonyama nengw' enamabala
1:27:11 > 1:27:16# There's more to be seen than can ever be seen
1:27:16 > 1:27:22# More to do than can ever be done
1:27:22 > 1:27:28# There is far too much to take in here
1:27:28 > 1:27:32# Or to find that can ever be found
1:27:34 > 1:27:37# But the sun rolling high
1:27:37 > 1:27:40# On the sapphire sky
1:27:40 > 1:27:45# Keeps great and small on the endless round
1:27:45 > 1:27:51# It's the circle of life
1:27:51 > 1:27:56# And it moves us all
1:27:56 > 1:28:01# Through despair and hope
1:28:03 > 1:28:07# Through faith and love
1:28:09 > 1:28:14# Till we find our place
1:28:14 > 1:28:21# On the path unwinding
1:28:21 > 1:28:26# In the circle
1:28:26 > 1:28:31# The circle of life
1:28:31 > 1:28:34# Ingonyama nengw' enamabala
1:28:34 > 1:28:37# Ingonyama nengw' enamabala
1:28:37 > 1:28:40# Ingonyama nengw' enamabala
1:28:40 > 1:28:43# Ingonyama nengw' enamabala
1:28:43 > 1:28:45# Ingonyama nengw' enamabala
1:28:45 > 1:28:48# Ingonyama nengw' enamabala
1:28:48 > 1:28:51# Ingonyama nengw' enamabala
1:28:51 > 1:28:54# Ingonyama nengw' enamabala
1:28:54 > 1:28:56# Ingonyama nengw' enamabala...
1:28:56 > 1:29:01# It's the circle of life
1:29:01 > 1:29:07# And it moves us all
1:29:07 > 1:29:13# Through despair and hope
1:29:13 > 1:29:18# Through faith and love
1:29:18 > 1:29:25# Till we find our place
1:29:25 > 1:29:31# On the path unwinding
1:29:31 > 1:29:36# In the circle
1:29:36 > 1:29:43# The circle of life. #