0:00:01 > 0:00:03'It was a show that went out three nights a week...live...'
0:00:03 > 0:00:05Mr Wogan, you're on.
0:00:05 > 0:00:09'..with a live audience, and everyone who was anyone dropping in.
0:00:09 > 0:00:12'The great and the good, the bad and the ugly.
0:00:12 > 0:00:14'They called it Wogan.
0:00:14 > 0:00:15'I never knew why. So,
0:00:15 > 0:00:17'if you're sitting comfortably,
0:00:17 > 0:00:20'I'll show you something I made earlier.'
0:00:20 > 0:00:23God knows what they will make of us in 25 years' time.
0:00:23 > 0:00:25THEME MUSIC PLAYS
0:00:35 > 0:00:39Welcome to a show which is peopled by a very select group indeed,
0:00:39 > 0:00:42which probably lets me out.
0:00:42 > 0:00:45Oscar winners, the creme de la creme of the acting world,
0:00:45 > 0:00:48the proud owners of the top trophy in Tinseltown - I have all
0:00:48 > 0:00:49the phrases, you know,
0:00:49 > 0:00:51which today means Audrey Hepburn,
0:00:51 > 0:00:52Anne Bancroft,
0:00:52 > 0:00:54Gregory Peck,
0:00:54 > 0:00:57Gene Hackman, Sher and James Stewart.
0:00:57 > 0:01:00But our first Oscar winner is one of cinema's
0:01:00 > 0:01:02great creative funnymen, Mel Brooks.
0:01:02 > 0:01:06He picked up the Best Screenplay Academy Award
0:01:06 > 0:01:08for The Producers and when he came on my show
0:01:08 > 0:01:11he was quick to criticise how was it produced.
0:01:11 > 0:01:14The nerve of the man!
0:01:15 > 0:01:19- You are known as the master of bad taste.- Yes, I am.
0:01:19 > 0:01:23Is this justified or are you sorry now?
0:01:23 > 0:01:26No, no, it's justified.
0:01:26 > 0:01:31I am known for my exquisitely bad taste.
0:01:31 > 0:01:34In America, people say, "Mr Brooks,
0:01:34 > 0:01:37"you are in bad taste." I say, "Up yours."
0:01:38 > 0:01:41That's how we talk. It isn't nice but...
0:01:41 > 0:01:43The entertainer, eh?
0:01:43 > 0:01:45You know, I've been watching this show from the wings.
0:01:45 > 0:01:47I'm not going to criticise it, I love it.
0:01:50 > 0:01:53The cameras seem to have some problems knowing
0:01:53 > 0:01:58when you are going to speak and when your guest is going to speak.
0:01:58 > 0:02:00So, it occurred to me, to warn them
0:02:00 > 0:02:05so that they don't come in on a second syllable or a second word,
0:02:05 > 0:02:09if you say "ba-ba" and then talk, on the "ba-ba", they will cut to you.
0:02:09 > 0:02:13If I'm going to talk, I will say "ba-ba",
0:02:13 > 0:02:15and they'll cut to me. Now, it may sound
0:02:15 > 0:02:17like some African language but
0:02:17 > 0:02:19the cameras will get it right,
0:02:19 > 0:02:22even if the audience gets it a little mish-mushed.
0:02:22 > 0:02:24It sounds very...
0:02:24 > 0:02:27Of course that's why you're a director and producer
0:02:27 > 0:02:29and I'm just a common or garden...
0:02:29 > 0:02:32Ba-ba! I'll tell you, Terry...
0:02:32 > 0:02:35LAUGHTER AND APPLAUSE
0:02:39 > 0:02:42Ba-ba! I hadn't finished.
0:02:47 > 0:02:51I like that. I didn't "ba-ba", get the hell off me.
0:02:51 > 0:02:53Wait for the "ba-ba".
0:02:54 > 0:02:57Now that you've become a Hollywood mogul yourself
0:02:57 > 0:03:00with the Brooks films, has it changed you a lot?
0:03:00 > 0:03:05You were an innocent, open-faced Jewish boy writing comedy,
0:03:05 > 0:03:08now you're a mogul and it's different, isn't it?
0:03:08 > 0:03:10I'm a mogul, it's different, yes.
0:03:10 > 0:03:13I used to be innocent...
0:03:13 > 0:03:17I am mogul, it's different... Fire them
0:03:17 > 0:03:20and hire them, and hire them and fire them.
0:03:20 > 0:03:23Hire and fire, fire and hire.
0:03:23 > 0:03:25Show me a nice...
0:03:25 > 0:03:31But I used to be innocent and wonderful and intransigent...
0:03:31 > 0:03:34The last bit was more like you. That's more like you there.
0:03:34 > 0:03:36- That's you.- Yes, this is close.
0:03:36 > 0:03:41Dr Jekyll and Mr Goldman, right? Have I got it? Yes, very.
0:03:41 > 0:03:48I don't know. To tell you the truth, I miss the innocent lad that I was.
0:03:48 > 0:03:50Where does the director in you come into it?
0:03:50 > 0:03:54Do you like bossing people around and telling them what to do?
0:03:54 > 0:03:56Well, to be perfectly honest, yes.
0:03:56 > 0:03:59- There is no fooling you.- I knew you were power-crazed...
0:03:59 > 0:04:01You're too darn bright.
0:04:01 > 0:04:04- ..the minute you walked in. Yeah. - Yeah.
0:04:04 > 0:04:07In the dressing room when they were making me up I said,
0:04:07 > 0:04:09"Why the hell did Parkinson leave?
0:04:09 > 0:04:13"I've got to work with this stupid Irishman," but...
0:04:13 > 0:04:16I said that in the dressing room as well.
0:04:18 > 0:04:23- But then I thought on it, I thought hard on it.- Steady.
0:04:24 > 0:04:26Two points.
0:04:27 > 0:04:31What I came up with was, I love your vocal ping-pong,
0:04:31 > 0:04:34I love your alacrity and quickness of mind,
0:04:34 > 0:04:37I love your wit and I love that most of you hair is your own.
0:04:40 > 0:04:44Yes! Most, yes. Success, however, has not unspoiled you.
0:04:44 > 0:04:47I'm not crazy about your tie, I can tell you.
0:04:49 > 0:04:52- I shouldn't say that on the air. - Well, you're a guest.
0:04:52 > 0:04:57Yes, it's true. Solid ties have been in for six years now, you know that?
0:04:57 > 0:04:59- And out again.- And out again.
0:04:59 > 0:05:02- We're wearing something different in Britain, you know.- Underneath?
0:05:02 > 0:05:05- All over.- All over, yes.
0:05:05 > 0:05:09- I understand you are bit of a wine snob.- No, no.
0:05:09 > 0:05:12Come on, you bring your own bottle of wine to dinner.
0:05:12 > 0:05:16Yes, I drank some of the swill you had in the dressing room.
0:05:16 > 0:05:19- What's this about bringing your own bottle to dinner?- I do.
0:05:19 > 0:05:21I bring my own bottle to dinner.
0:05:21 > 0:05:25- Does this not offend your host or hostess?- Who gives a...?
0:05:26 > 0:05:31Who cares? Rather. Do you know what Jewish foreplay is?
0:05:33 > 0:05:36- Let me tell you what Jewish foreplay is. May I?- please.
0:05:37 > 0:05:3920 minutes of begging.
0:05:39 > 0:05:42LAUGHTER AND APPLAUSE
0:05:50 > 0:05:52Terry, you are a saucy devil.
0:05:52 > 0:05:54I watched your interview with Bob Fosse,
0:05:54 > 0:05:58who was good. You were wonderful. But you did ask questions that
0:05:58 > 0:06:01were really unseemly.
0:06:01 > 0:06:05- Saucy?- Yes, saucy. You said... - You're a fine one to talk.
0:06:05 > 0:06:08Well! I'm vulgar, so I can say anything.
0:06:08 > 0:06:12But you said, "Is there still a casting couch?
0:06:12 > 0:06:14"Is it still a practice?"
0:06:14 > 0:06:16I was going to ask you that.
0:06:16 > 0:06:20- Then you said, "Do YOU use?" What could he say?- Yes.
0:06:20 > 0:06:24Well, even if he did, would he admit it?
0:06:24 > 0:06:26- He nearly did.- He nearly did.
0:06:26 > 0:06:30- What about you?- I admit it.
0:06:31 > 0:06:33I admit it.
0:06:33 > 0:06:36Look, you don't need a casting couch. With your attraction,
0:06:36 > 0:06:39you could've got the girls without it. Why use it?
0:06:39 > 0:06:41You will pay for that.
0:06:43 > 0:06:45That hasn't gone unnoticed.
0:06:46 > 0:06:47I like you, swear to God.
0:06:49 > 0:06:51Yet, you married an Italian.
0:06:51 > 0:06:55Wogan, there is little green thing on this side of your nose. Get it...
0:06:57 > 0:07:00LAUGHTER AND APPLAUSE
0:07:00 > 0:07:01It's gone now.
0:07:02 > 0:07:06Don't try and evade the issue. Ba-ba!
0:07:06 > 0:07:09- And yet you married an Italian? - Yes. I did.
0:07:09 > 0:07:13Well, she's an American, born in the United States of America,
0:07:13 > 0:07:16of Italian ancestry, Italian parentage.
0:07:16 > 0:07:18- That's easy for you to say.- Yes.
0:07:18 > 0:07:21Her mother and father were born in the US,
0:07:21 > 0:07:24but her grandparents were from good old Italy.
0:07:24 > 0:07:28- Is she taller than you? - Ba-ba. yes.
0:07:29 > 0:07:32When she wears her spiked Cuban heels,
0:07:32 > 0:07:35which I demand that she wear on Sunday nights.
0:07:36 > 0:07:39We can drive the audience insane with this kind of talk.
0:07:39 > 0:07:43All she wears is spiked Cuban heels,
0:07:43 > 0:07:45- a large feather...- Oh!
0:07:45 > 0:07:47..and an Indian bathrobe.
0:07:47 > 0:07:51- Ah!- No, my wife is actually a very conservative lady.
0:07:51 > 0:07:54She is a dramatic actress and she adores me because I'm the other
0:07:54 > 0:07:56side of her life. I am merriment,
0:07:56 > 0:07:57I'm fun, I'm silly.
0:07:57 > 0:08:00When are we going to see that side of you?
0:08:08 > 0:08:11You've actually worked together. Is this the first time you've worked
0:08:11 > 0:08:14- together in your new movie?- I don't like it when you really funny.
0:08:14 > 0:08:17When you're nearly funny, I like.
0:08:17 > 0:08:22Then the audience at home says, "The Irishman thinks he's funny.
0:08:24 > 0:08:27"The Jewish... He's the one, he's funny.
0:08:27 > 0:08:30"But the other one thinks he's funny.
0:08:30 > 0:08:31"He's really funny.
0:08:31 > 0:08:36"The Irishman is nearly funny. But the Jew, he's hysterical."
0:08:36 > 0:08:40But sometimes you're really funny and it's very disappointing...
0:08:42 > 0:08:45It takes the heart out of one, I'll tell you the truth.
0:08:45 > 0:08:48Ba-ba. I'm sorry.
0:08:50 > 0:08:53Now, you heard Mel Brooks and I discussing his wife,
0:08:53 > 0:08:57the Oscar-winning actress Anne Bancroft.
0:08:57 > 0:08:59Could a couple be more different?
0:08:59 > 0:09:01Whereas Mel talked nineteen to the dozen,
0:09:01 > 0:09:04Anne made for one of my toughest encounters.
0:09:04 > 0:09:06Couldn't get a word out of her.
0:09:06 > 0:09:09She was promoting the film, 84 Charing Cross Road,
0:09:09 > 0:09:13joining Ben Elton, unfortunately for him, on the Wogan sofa.
0:09:13 > 0:09:17But she only realised the show was live once it started
0:09:17 > 0:09:19and became as nervous as Dustin Hoffman
0:09:19 > 0:09:22in The Graduate seduction scene.
0:09:22 > 0:09:24APPLAUSE
0:09:25 > 0:09:28SHE MOUTHS
0:09:31 > 0:09:33I caught you counting there.
0:09:33 > 0:09:36Four, five, six, seven, eight, nine. Hold it a second.
0:09:36 > 0:09:39- Hello.- This is Ben. - Nice to meet you.- Ben Elton.
0:09:39 > 0:09:40- Nice to meet you.- Welcome.
0:09:40 > 0:09:44- Is it Benjamin?- It is Benjamin, yes, indeed. But to my friends...
0:09:44 > 0:09:46- I once knew a Benjamin. - You did.- You know another one.
0:09:46 > 0:09:48In The Graduate, Benjamin.
0:09:48 > 0:09:50- That's right.- Yes. - I didn't think you'd get that one.
0:09:50 > 0:09:54Why, do I appear slow?
0:09:54 > 0:09:57- Have I been slow all evening? - No, I've only just met you.
0:09:57 > 0:09:59LAUGHTER
0:09:59 > 0:10:02I had the pleasure of interviewing your husband, Mel Brooks,
0:10:02 > 0:10:03about four years ago.
0:10:03 > 0:10:06- And he told me that I had to talk to you.- Why?
0:10:06 > 0:10:09Because he said you do most of the stuff for him,
0:10:09 > 0:10:11you write most of the gags and all that.
0:10:11 > 0:10:14- He said you're his inspiration. - Oh, that's not true.
0:10:14 > 0:10:16- Is he your inspiration?- No.
0:10:16 > 0:10:19- Is he a help to you? - LAUGHTER
0:10:19 > 0:10:21- You don't inspire each other at all? - No.
0:10:21 > 0:10:25- We barely see each other, to tell you the truth.- Really?- Yes.
0:10:25 > 0:10:30- That's not good, is it? - Well, it is. At times, it's good.
0:10:30 > 0:10:33Now, you haven't, in fact... In 84 Charing Cross Road...
0:10:33 > 0:10:35You're a very smart man.
0:10:35 > 0:10:38..you swap letters with old Anthony Hopkins,
0:10:38 > 0:10:40and you haven't met him either, have you? You acted separately.
0:10:40 > 0:10:43You acted apart from each other. That can't have been easy.
0:10:43 > 0:10:47- He's acting here, and you're acting in America.- Yes, right.
0:10:47 > 0:10:49So how do you do that?
0:10:49 > 0:10:52What do you mean, how? He acts here, and I act there.
0:10:52 > 0:10:54But surely if you're acting with somebody,
0:10:54 > 0:10:57- you want them to respond to you, don't you?- Oh, well, yes.
0:10:57 > 0:11:00I had a little thing in my ear, and he spoke through that.
0:11:00 > 0:11:02I had recordings of him in my ear.
0:11:02 > 0:11:08Stanislavski, that's real motivation, isn't it? In your ear.
0:11:08 > 0:11:11It must be difficult to generate a character when you're, you know...
0:11:11 > 0:11:14- Well, most of my character... - Like an interview, really.
0:11:14 > 0:11:17- I tell you, it's a lot easier than this.- You don't find this easy?
0:11:17 > 0:11:20No, I don't find this easy at all.
0:11:20 > 0:11:23- It's your job, Terry.- The character's based on the letters...
0:11:23 > 0:11:24LAUGHTER
0:11:24 > 0:11:27Sorry, I...
0:11:27 > 0:11:30- Carry on, the character and the letters.- Um. What was I saying?
0:11:30 > 0:11:32The character is based on the letters.
0:11:32 > 0:11:34The character is based on the letters.
0:11:34 > 0:11:38- So I have the letters in my ear, so I...- Yeah.
0:11:38 > 0:11:40You do a lot of addressing, perhaps not a lot,
0:11:40 > 0:11:44- but you do address the camera sometimes in the movie.- We do.
0:11:44 > 0:11:47- Did you find that difficult to do? - I did, that was really...
0:11:47 > 0:11:49That is difficult.
0:11:49 > 0:11:52Do you have to evolve a different technique for that,
0:11:52 > 0:11:56or work yourself up to a frenzy before you can do it?
0:11:56 > 0:11:58Do you convince yourself when you're doing it?
0:11:58 > 0:12:01Did you convince yourself when you watched the movie?
0:12:01 > 0:12:02Did you think that worked?
0:12:02 > 0:12:05Do you know, I haven't really seen the whole movie all the way through
0:12:05 > 0:12:07So I don't know.
0:12:07 > 0:12:10- Did you read the book?- That I did.
0:12:10 > 0:12:14And didn't Mel Brooks give you the book as a birthday present,
0:12:14 > 0:12:17- or an anniversary present?- Oh, no, that's a pack of lies.- Is it?
0:12:17 > 0:12:19Yes, a pack of lies.
0:12:19 > 0:12:21I'm glad we didn't have that in the research(!)
0:12:21 > 0:12:24- So it's a tissue of lies?- Yes.
0:12:24 > 0:12:27You were saying you find this kind of thing horrific?
0:12:27 > 0:12:29- This kind of thing? - Not the film, the interview.
0:12:29 > 0:12:31- No, the film was great. - The film was easy. This is hard.
0:12:31 > 0:12:36- Why do you hate this kind of thing so much? Is it me?- Probably.
0:12:36 > 0:12:38It's probably me, is it?
0:12:38 > 0:12:42- It's not the dried flowers, you don't think?- That too.
0:12:42 > 0:12:45- TERRY LAUGHS - Do you do any of this in America?
0:12:45 > 0:12:46- Do you ever do a talk show? - No.
0:12:46 > 0:12:49- Are you glad you did this one? - No.
0:12:49 > 0:12:53Some things are sent to try us.
0:12:53 > 0:12:57I need music to smooth my ruffled brow after watching that.
0:12:57 > 0:13:01Now, here's someone who bites lumps out of songs.
0:13:01 > 0:13:04The mellow bellow of Cher.
0:13:04 > 0:13:07APPLAUSE AND CHEERING
0:13:07 > 0:13:09MUSICAL INTRODUCTION
0:13:14 > 0:13:19# Don't you know
0:13:19 > 0:13:23# So many things they come and go?
0:13:23 > 0:13:28# Like your words that once rang true
0:13:28 > 0:13:32# Just like the love I thought I found in you
0:13:32 > 0:13:36# And I remember the thunder
0:13:36 > 0:13:41# Talking 'bout the fire in your eyes
0:13:41 > 0:13:46# But you walked away when I needed you most
0:13:46 > 0:13:51# Now, maybe, baby, maybe, baby
0:13:51 > 0:13:54# I found someone
0:13:54 > 0:13:59# To take away the heartache
0:13:59 > 0:14:03# To take away the loneliness
0:14:03 > 0:14:09# I've been feeling since you've been gone
0:14:09 > 0:14:12# Since you've been gone
0:14:15 > 0:14:20# Dry your eyes
0:14:20 > 0:14:24# I never could bear to see you cry
0:14:24 > 0:14:28# Some day your love will shine through
0:14:28 > 0:14:33# And show you the feelings if you never really knew
0:14:33 > 0:14:37# Baby, don't you lose that thunder
0:14:37 > 0:14:42# Talking 'bout the fire in your eyes
0:14:42 > 0:14:45# You're looking at me
0:14:45 > 0:14:48# But you still don't believe
0:14:48 > 0:14:52# That maybe, baby, maybe, baby
0:14:52 > 0:14:55# I found someone
0:14:55 > 0:15:00# To take away the heartache
0:15:00 > 0:15:05# To take away the loneliness
0:15:05 > 0:15:10# I've been feeling since you've been gone
0:15:10 > 0:15:14# Since you've been gone
0:15:26 > 0:15:31# Too long on the borderline
0:15:31 > 0:15:35# Wondering if your love was really mine
0:15:35 > 0:15:39# But you left me with open eyes
0:15:39 > 0:15:44# And when I realised
0:15:44 > 0:15:49# Baby, I found someone
0:15:49 > 0:15:54# To take away the heartache
0:15:54 > 0:15:58# To take away the loneliness
0:15:58 > 0:16:04# I've been feeling since you've been gone
0:16:04 > 0:16:08# Baby, I found someone
0:16:08 > 0:16:13# To take away the heartache
0:16:13 > 0:16:17# To take away the loneliness
0:16:17 > 0:16:22# I've been feeling since you've been gone
0:16:22 > 0:16:28# Since you've been gone. #
0:16:34 > 0:16:36APPLAUSE AND CHEERING
0:16:40 > 0:16:45Cher, who won a Best Actress Oscar in 1988 for the film Moonstruck.
0:16:45 > 0:16:47Now, we've got Gene Hackman,
0:16:47 > 0:16:49a man not known for making many television appearances,
0:16:49 > 0:16:53and one of the cinema's best and most enduring actors.
0:16:53 > 0:16:56He came by for a chat while over here filming Superman II,
0:16:56 > 0:17:01in which he played the hero's evil arch nemesis.
0:17:01 > 0:17:03How about playing Lex Luthor in Superman,
0:17:03 > 0:17:05did you enjoy playing the baddie?
0:17:05 > 0:17:08It's great fun. I must say, it's like a licence to steal.
0:17:08 > 0:17:11Almost anything you do is going to be OK,
0:17:11 > 0:17:13because he's a flamboyant character, and deranged,
0:17:13 > 0:17:16all the things that actors love to play.
0:17:16 > 0:17:19- It's the best part in the movie, really.- I think so.
0:17:19 > 0:17:21I wouldn't play Superman for anything.
0:17:21 > 0:17:23You don't envy Christopher getting into the cape?
0:17:23 > 0:17:28- He uses my body, of course! - Of course.- That's public knowledge.
0:17:28 > 0:17:31But I wouldn't want to play the part.
0:17:31 > 0:17:33Is your body your greatest asset
0:17:33 > 0:17:35- when it comes to acting? - Yes, that and my face.
0:17:35 > 0:17:37GENTLE LAUGHTER
0:17:37 > 0:17:38There's not much wrong with your face.
0:17:38 > 0:17:40Do you enjoy doing comedy parts?
0:17:40 > 0:17:43As you say, because of your face and physique,
0:17:43 > 0:17:45you tend to play the heavy a lot.
0:17:45 > 0:17:49Yes. Actually, I started in the theatre, on Broadway,
0:17:49 > 0:17:54in seven Broadway plays, all of them comedies.
0:17:54 > 0:17:57Light comedies, very light. They wouldn't allow them these days.
0:17:57 > 0:18:00They would be something you'd see on television.
0:18:00 > 0:18:05But my background was in improvisation and comedy.
0:18:05 > 0:18:08What I think is really encouraging about your career,
0:18:08 > 0:18:11particularly for those people who see young people coming up
0:18:11 > 0:18:13and being stars very quickly - "Oh, when did you start acting?"
0:18:13 > 0:18:16"When I was 15 and a half."
0:18:16 > 0:18:18- You didn't actually start until you were 30.- Yes.
0:18:18 > 0:18:21I think it's great that you've reached stardom
0:18:21 > 0:18:25and you're still a man of 40 or so...
0:18:25 > 0:18:2740 is right(!)
0:18:27 > 0:18:30I've done 50 films in ten years, amazing!
0:18:30 > 0:18:31LAUGHTER
0:18:31 > 0:18:33It hasn't been easy for you.
0:18:33 > 0:18:37What did you do in those 15, maybe more, years
0:18:37 > 0:18:40when you gave up school and decided... Did you always want to be an actor?
0:18:40 > 0:18:41Well, I did, secretly.
0:18:41 > 0:18:44I didn't want to tell anybody because I was ashamed.
0:18:44 > 0:18:48I thought maybe that was something that lightweights did.
0:18:48 > 0:18:50And, actually, I got into the business
0:18:50 > 0:18:53because I thought it would keep me from working
0:18:53 > 0:18:55and it was a way to meet girls.
0:18:55 > 0:18:57And it hasn't worked out that way at all.
0:18:57 > 0:18:59It's a lot of hard work, actually.
0:18:59 > 0:19:01That's so true. So many people go into acting
0:19:01 > 0:19:03- as it's a way to meet all the good-looking girls.- Yes.
0:19:03 > 0:19:07- But you haven't found them? - Elderly ladies at this point!
0:19:07 > 0:19:08Not all that elderly.
0:19:08 > 0:19:12It is funny, I never had any large goals as an actor.
0:19:12 > 0:19:15All I wanted to do was work. I loved it so much that
0:19:15 > 0:19:19I wanted off Broadway, and then a small part in television, maybe,
0:19:19 > 0:19:22and then Broadway. And that all kind of happened.
0:19:22 > 0:19:29And then, from a Broadway show, I was cast in a film called Lilith
0:19:29 > 0:19:32that Warren Beatty and Jean Seberg were in.
0:19:32 > 0:19:34And Warren then remembered me from that,
0:19:34 > 0:19:36and gave me a part in Bonnie And Clyde.
0:19:36 > 0:19:39- That was really when the bandwagon started.- That's right.
0:19:39 > 0:19:41Before that, you'd had hard times in New York
0:19:41 > 0:19:44along with Dustin Hoffman and Robert Duvall.
0:19:44 > 0:19:46We were all buddies together.
0:19:46 > 0:19:49Dustin and I had gone to the Pasadena Playhouse together
0:19:49 > 0:19:53and then we became great pals in New York.
0:19:53 > 0:19:56Did you ever confide in each other what your great dreams were?
0:19:56 > 0:19:58Do you ever, when you meet now, say, "Well, it worked out"?
0:19:58 > 0:20:03I think our great dreams were just to keep working, the tiny jobs,
0:20:03 > 0:20:05just anything.
0:20:05 > 0:20:10Bobby Duvall and I used to go around terrified that we would get a job,
0:20:10 > 0:20:13terrified to meet the agents.
0:20:13 > 0:20:16We had our 8x10 glossies with all this made-up stuff on the back,
0:20:16 > 0:20:20and we hadn't done anything. And we would go knock on the doors
0:20:20 > 0:20:23and slip our resumes under the door and run like thieves.
0:20:23 > 0:20:25I don't know what we expected to get from that.
0:20:25 > 0:20:29But it was amazing how things do work out,
0:20:29 > 0:20:32that all three of us have won Academy Awards,
0:20:32 > 0:20:36and have done some pretty interesting films.
0:20:36 > 0:20:39The major role that won you the Academy Award was Popeye Doyle
0:20:39 > 0:20:42in The French Connection.
0:20:42 > 0:20:45- You may not do anything better than that.- Why, thank you?!
0:20:45 > 0:20:47- GENTLE LAUGHTER - No, I...
0:20:48 > 0:20:50You know something I don't know?
0:20:50 > 0:20:54I mean it as a compliment, of course, to win an Oscar for it.
0:20:54 > 0:20:57But was there a great deal of yourself in that?
0:20:57 > 0:20:59Actually, at the beginning, very little,
0:20:59 > 0:21:02because I was pretty much over my head.
0:21:02 > 0:21:05As a matter of fact, on the second day of shooting,
0:21:05 > 0:21:07I'd asked the director to replace me
0:21:07 > 0:21:09because I just didn't feel I could do it.
0:21:09 > 0:21:14I was popping these guys in the mouth, and playing this tough guy.
0:21:14 > 0:21:19And it was real tough. I had never played a role quite that demanding.
0:21:19 > 0:21:22And after a while, you punch somebody long enough,
0:21:22 > 0:21:26- you get kind of used to it, you know. - You quite enjoy it.
0:21:26 > 0:21:28So, I kind of came around a bit.
0:21:28 > 0:21:31You're one of the few people who started as a character actor,
0:21:31 > 0:21:34and then went to stardom as a star role.
0:21:34 > 0:21:37Everyone remembers The Poseidon Adventure,
0:21:37 > 0:21:38you were playing a heroic role,
0:21:38 > 0:21:41but you haven't had too many of those subsequently.
0:21:41 > 0:21:44Did they decide that you weren't really cut out for heroism,
0:21:44 > 0:21:46- or did you decide? - I don't know.
0:21:46 > 0:21:53I'm always attracted to parts that extend me, that make me stretch.
0:21:53 > 0:21:56And I don't know that there's anyone who decided that.
0:21:56 > 0:21:58I suppose you do what you can do,
0:21:58 > 0:22:02you're cast pretty much close to type in films.
0:22:02 > 0:22:06- Do you do it for the art or for the money?- Absolutely art.
0:22:06 > 0:22:08The money comes secondary.
0:22:08 > 0:22:11It's funny that, after Superman, the first Superman,
0:22:11 > 0:22:14and I was paid quite well for that,
0:22:14 > 0:22:17and I didn't really like my work in it, after the film was over,
0:22:17 > 0:22:22and I decided to stop and I did quit for two years
0:22:22 > 0:22:24and then, when I wanted to come back to work,
0:22:24 > 0:22:26it took a long time to get a job.
0:22:26 > 0:22:30But I've decided since then that one can do those things where
0:22:30 > 0:22:34you're paid the money... obviously in a big budget film,
0:22:34 > 0:22:38and you're paid to bring a kind of a life to it.
0:22:38 > 0:22:40And it's kind of fun, it really is.
0:22:40 > 0:22:46One gets used to that bigger-than-life attitude
0:22:46 > 0:22:51about that kind of role in Superman, I really enjoy it.
0:22:51 > 0:22:52The great Gene Hackman there.
0:22:52 > 0:22:56Now, a four-time Oscar winner, the composer Henry Mancini,
0:22:56 > 0:23:00with a marvellous musical medley that includes a burst of
0:23:00 > 0:23:02one of the best loved, most iconic songs
0:23:02 > 0:23:06ever to grace a movie soundtrack.
0:23:06 > 0:23:08APPLAUSE
0:25:09 > 0:25:14MUSIC: "Moon River"
0:26:37 > 0:26:39APPLAUSE
0:26:48 > 0:26:52Moon River, of course, from Breakfast At Tiffany's.
0:26:52 > 0:26:55And the star of that classic film, Audrey Hepburn.
0:26:55 > 0:26:59Here she is. Was ever a star more admired for her beauty,
0:26:59 > 0:27:00more beloved?
0:27:00 > 0:27:05She begins by talking about the very early days of her career.
0:27:05 > 0:27:09I got a job in a musical, and that started a career of musicals...
0:27:09 > 0:27:13- As an actress.- ..and cabaret. No, dancing, I was still dancing then.
0:27:13 > 0:27:19And then I got a little part in a movie in Elstree,
0:27:19 > 0:27:22- and Ealing, and so forth. - Was that Laughter In Paradise?
0:27:22 > 0:27:26- Laughter In Paradise with Alistair Sim.- I think we have a picture of it.
0:27:26 > 0:27:28- Gosh. - AUDREY LAUGHS
0:27:28 > 0:27:32- What a very fetching little bow. - How about the bow on my hair?
0:27:32 > 0:27:36- Wonderful. Do you remember the lines you had to say?- No, I don't.
0:27:36 > 0:27:37It was only one line, too.
0:27:37 > 0:27:41It was something, "Do you want a ciggie?" Something like that.
0:27:41 > 0:27:45And then you went from strength to strength
0:27:45 > 0:27:46and your career began to burgeon
0:27:46 > 0:27:51and you made Roman Holiday with Gregory Peck.
0:27:51 > 0:27:55Gregory Peck, and directed by the great William Wyler.
0:27:55 > 0:27:58I think we also have a little excerpt from that
0:27:58 > 0:28:00to jog your memory.
0:28:00 > 0:28:02The mouth of truth.
0:28:02 > 0:28:06Legend is that if you're given to lying and put your hand in there,
0:28:06 > 0:28:08it will be bitten off.
0:28:08 > 0:28:10Oh, what a horrid idea.
0:28:10 > 0:28:12Let's see you do it.
0:28:35 > 0:28:37SHE LAUGHS NERVOUSLY Let's see you do it.
0:28:41 > 0:28:42Sure.
0:28:55 > 0:28:57HE SCREAMS SUDDENLY
0:28:57 > 0:28:58SHE CRIES OUT
0:28:58 > 0:29:00SHE SHRIEKS
0:29:00 > 0:29:02Hello!
0:29:02 > 0:29:04You beast!
0:29:06 > 0:29:08APPLAUSE
0:29:14 > 0:29:17Don't make them like that any more, as they say in the cliche.
0:29:17 > 0:29:18You looking so beautiful
0:29:18 > 0:29:21and Gregory Peck looking so extraordinarily handsome.
0:29:21 > 0:29:23Is there a bit of a story attaching to that?
0:29:23 > 0:29:25The hand and that? Were you expecting that to happen?
0:29:25 > 0:29:29No, but I must say that, you know, even tourists today,
0:29:29 > 0:29:32they don't really want to put their hand in there.
0:29:32 > 0:29:36I mean, it's a real tourist site, where everybody goes to.
0:29:36 > 0:29:42But, er...when we rehearsed it, I didn't know what he was going to do.
0:29:42 > 0:29:44And he didn't do it at the rehearsal.
0:29:44 > 0:29:45But he did it in the shot,
0:29:45 > 0:29:48- this terrible thing with the sleeve. - LAUGHTER
0:29:48 > 0:29:51- And you were...- It's one of those tricks that was played on me.
0:29:51 > 0:29:52You were a... I'm sure they did it
0:29:52 > 0:29:55because you were still an inexperienced actress at the time.
0:29:55 > 0:29:56I still am!
0:29:56 > 0:29:58No. Well, no, I wouldn't say that.
0:29:58 > 0:30:02Was William Wyler very important to you? Did you learn a lot from him?
0:30:04 > 0:30:06I would say almost everything.
0:30:06 > 0:30:08Because, as I said, I was a dancer
0:30:08 > 0:30:11and all of a sudden now I had to act,
0:30:11 > 0:30:14which I'd never really done before. I'd done a play,
0:30:14 > 0:30:19but I'd never been in front of a camera. But then I also...
0:30:19 > 0:30:21I was sort of joyfully innocent.
0:30:21 > 0:30:24You know, I'm much more worried today about coming here...
0:30:24 > 0:30:26No!
0:30:26 > 0:30:31..than I was then, because somehow Greg and Willy just made me feel,
0:30:31 > 0:30:35you know, very good and were so helpful and so kind.
0:30:35 > 0:30:39But he was a very exacting director, although I never realised it.
0:30:40 > 0:30:44Did he...? Somebody said he taught you how to cry.
0:30:44 > 0:30:46Well, no. I know why you ask me that.
0:30:46 > 0:30:48One of the last scenes in the picture,
0:30:48 > 0:30:52when I say goodbye to Greg after this wonderful time we've had...
0:30:52 > 0:30:54And we're sitting in this tiny, little car,
0:30:54 > 0:30:57and he takes me back to the embassy where I'm staying, and, erm...
0:30:59 > 0:31:03Obviously, we're saying goodbye and I'm supposed to burst into tears.
0:31:03 > 0:31:06And although I was terribly sad, the tears weren't coming.
0:31:06 > 0:31:09I didn't know how to just sort of fake it, or anything like that,
0:31:09 > 0:31:11and Willy, who was a dear man,
0:31:11 > 0:31:15had always been terribly gentle with me and very kind, after...
0:31:16 > 0:31:17..I won't say a few hours,
0:31:17 > 0:31:22but, I mean, quite a long time that the tears were not forthcoming,
0:31:22 > 0:31:25and he suddenly came up to me
0:31:25 > 0:31:27and started screaming at me and saying, "What is this?"
0:31:27 > 0:31:29And, "Who the hell do you think you are?"
0:31:29 > 0:31:32And, "We're not going to stay here all night!"
0:31:32 > 0:31:34And I was so upset with him talking to me that way that
0:31:34 > 0:31:37I burst into tears and they shot the scene and that's what you've got.
0:31:37 > 0:31:39- LAUGHTER - He had all kind of ways.
0:31:39 > 0:31:43- Bit of a cheat, that, isn't it? - All kinds of ways of making you act.
0:31:43 > 0:31:45You were often transformed in movies,
0:31:45 > 0:31:50- like in Funny Face or My Fair Lady, from the gauche to the grand.- Yes.
0:31:50 > 0:31:55- Cinderella.- Yeah. Which did you feel nearer to?
0:31:55 > 0:31:57Or do you fall somewhere in between?
0:31:57 > 0:32:00Oh, I was somewhere in between, I guess, but much more the gauche.
0:32:00 > 0:32:03I still have problems with that.
0:32:03 > 0:32:06- People think of you as extremely sophisticated and...- Well.
0:32:06 > 0:32:09- Very self-possessed. - That's in the beholder's eye.
0:32:09 > 0:32:14- But I don't feel...- Do you see yourself as very shy, withdrawn?
0:32:14 > 0:32:17- No, I don't...- Unable to cope? - ..have that much of a problem,
0:32:17 > 0:32:19but I don't see myself, you know, I don't look at myself,
0:32:19 > 0:32:21I don't think of myself as anything much.
0:32:21 > 0:32:23Once I'm home, it's just me
0:32:23 > 0:32:25and my life, you know.
0:32:25 > 0:32:28My Fair Lady was a great challenge for you.
0:32:28 > 0:32:30Yes, it was, and it was such a lovely part.
0:32:30 > 0:32:33Oh, of course, but which was the most difficult for you,
0:32:33 > 0:32:37the posh accent that Higgins transformed you into,
0:32:37 > 0:32:39or the cockney?
0:32:39 > 0:32:41Well, the cockney was a problem to a degree,
0:32:41 > 0:32:45because it had to be cockney and yet it couldn't be totally cockney
0:32:45 > 0:32:47because nobody would have understood a word I said.
0:32:47 > 0:32:48Because real cockney's hard to follow
0:32:48 > 0:32:50if you're not very familiar with it.
0:32:50 > 0:32:53So it had to be somewhere in between.
0:32:53 > 0:32:56You know? But it was but it was a wonderful experience.
0:32:56 > 0:32:58Yeah. It was a wonderful film.
0:32:58 > 0:33:01Marvellous music and terrific performances.
0:33:01 > 0:33:04We've got a little reminisce of that as well.
0:33:04 > 0:33:06This will bring you back a bit.
0:33:08 > 0:33:10HOOF BEATS
0:33:10 > 0:33:12Come on. Come on, Dover.
0:33:12 > 0:33:15Come on. Come on, Dover!
0:33:15 > 0:33:16Come on.
0:33:20 > 0:33:22Come on, Dover!
0:33:22 > 0:33:24Move your bloomin' arse!
0:33:24 > 0:33:27LAUGHTER
0:33:27 > 0:33:30APPLAUSE
0:33:30 > 0:33:31Oh, my dear.
0:33:37 > 0:33:39- Still works, doesn't it? - Yes, it does. The audience...
0:33:39 > 0:33:41That's the part the audience love best.
0:33:43 > 0:33:48So, there we got Audrey Hepburn's take on that famous scene
0:33:48 > 0:33:50from Roman Holiday, but there are two sides to every story
0:33:50 > 0:33:54as you know, so let's get the great Gregory Peck's version as well.
0:33:56 > 0:33:58So we were going to play that little scene
0:33:58 > 0:34:02and I said to Willy Wyler, the director,
0:34:02 > 0:34:07on the side, I said, "You know the old shtick...
0:34:07 > 0:34:10"that Red Skelton used to do all the time?"
0:34:10 > 0:34:13And I think the Crazy Gang used to do it.
0:34:13 > 0:34:16"What if I put my hand in the stone statue
0:34:16 > 0:34:17"and what if I bring it out like that,
0:34:17 > 0:34:19"and we don't tell Audrey?"
0:34:19 > 0:34:22He said, "It's corny, but go ahead and do it."
0:34:22 > 0:34:25LAUGHTER So we didn't tell Audrey.
0:34:25 > 0:34:31I did it, and... And I screamed. And she just went out of her mind.
0:34:32 > 0:34:34You insisted that Audrey Hepburn,
0:34:34 > 0:34:37although she was merely a young ingenue at that time,
0:34:37 > 0:34:41you insisted that she be given extra billing with you in that film.
0:34:41 > 0:34:45I did. But you know, it wasn't all that altruistic. I...
0:34:45 > 0:34:47We could see from the very first day
0:34:47 > 0:34:50that Audrey was born to play this role.
0:34:50 > 0:34:53She was the princess from day one,
0:34:53 > 0:34:59and after a week or so... And I had sole star billing.
0:35:00 > 0:35:03Gregory Peck in Roman Holiday.
0:35:03 > 0:35:07And as I thought about it and I watched this marvel of a girl
0:35:07 > 0:35:10give this lovely performance, I thought...
0:35:10 > 0:35:15"Now, Greg, you're just going to look like a damn fool
0:35:15 > 0:35:18"if your name is up there on top all by yourself."
0:35:20 > 0:35:23So I called my agent in Hollywood and I said,
0:35:23 > 0:35:28"You've got to speak to Paramount and it has to be co-star billing."
0:35:28 > 0:35:30He said, "You can't do that.
0:35:30 > 0:35:33"You can't give up this prerogative that you've earned."
0:35:33 > 0:35:36I said, "Yes, I can and I will.
0:35:36 > 0:35:39"And believe me, it's the right thing to do."
0:35:39 > 0:35:43And it was, because when the picture came out...
0:35:45 > 0:35:47..people just went wild about Audrey
0:35:47 > 0:35:51and all the little girls in Japan cut their hair short.
0:35:51 > 0:35:53And it was a worldwide hit and...
0:35:53 > 0:35:56- Nobody noticed you at all?- Hmm? LAUGHTER
0:35:56 > 0:35:57Just barely!
0:35:59 > 0:36:01Yeah, well, I was in there too.
0:36:01 > 0:36:03It was a nice picture and I admit
0:36:03 > 0:36:06it's a very happy memory that we have
0:36:06 > 0:36:09of six months in Rome making that film.
0:36:09 > 0:36:11Did you grow up with acting ambitions?
0:36:12 > 0:36:15- Oh, not at all, no. - How did you start?
0:36:15 > 0:36:17Well...
0:36:17 > 0:36:21I graduated from college and I went...
0:36:21 > 0:36:23I was... I was...
0:36:24 > 0:36:29Fell in love with the thing, the theatre, when I was in college.
0:36:29 > 0:36:34And I thought, "Well, I'll go to New York and I'll see what I can do.
0:36:34 > 0:36:36"I'll give it a try for a few years."
0:36:36 > 0:36:40So I went to drama school and at the end of two years,
0:36:40 > 0:36:44they had what they called a demonstration play.
0:36:44 > 0:36:47And agents and talent scouts came...
0:36:49 > 0:36:51..to have a look and to see us do our stuff.
0:36:51 > 0:36:53And then it was the custom for the students
0:36:53 > 0:36:56to go back to the school the next morning
0:36:56 > 0:36:59and, er, wait for the phone calls
0:36:59 > 0:37:01that sometimes came, sometimes didn't.
0:37:01 > 0:37:03There was a call,
0:37:03 > 0:37:06and the receptionist put her hand over the phone
0:37:06 > 0:37:08and she looked at me and she said, "It's for you."
0:37:08 > 0:37:12And it was a famous producer named Guthrie McClintic,
0:37:12 > 0:37:16interested to see me about a small role in a play called
0:37:16 > 0:37:17The Doctor's Dilemma by Shaw.
0:37:19 > 0:37:22Well, I didn't wait for the end of the sentence. I took off.
0:37:22 > 0:37:26I knew exactly where his office was, it was six blocks away.
0:37:26 > 0:37:31And for your viewers who don't know Manhattan geography,
0:37:31 > 0:37:35I dashed across 46th Street, four blocks up 6th Avenue,
0:37:35 > 0:37:38to the building where Guthrie McClintic's office was.
0:37:38 > 0:37:40Into the elevator, up to the eighth floor,
0:37:40 > 0:37:42skidded down the hall into his office.
0:37:42 > 0:37:45He's still talking on the phone to the receptionist.
0:37:45 > 0:37:47LAUGHTER
0:37:48 > 0:37:50And he just... He stared at me.
0:37:51 > 0:37:53And there I was, the fellow he...
0:37:53 > 0:38:00And he began to laugh and then that segued into a cough
0:38:00 > 0:38:03and he went into a kind of a fit
0:38:03 > 0:38:07and slid off of the seat, laughing, coughing
0:38:07 > 0:38:10and he said, "You've got the job."
0:38:10 > 0:38:12LAUGHTER
0:38:12 > 0:38:14So that was the beginning.
0:38:14 > 0:38:16It had nothing to do with anything except
0:38:16 > 0:38:19that I was a pretty fast runner in those days.
0:38:20 > 0:38:22The American Film Institute
0:38:22 > 0:38:25made a presentation of the Life Achievement Award.
0:38:25 > 0:38:28You know, the Life Achievement Award has,
0:38:28 > 0:38:31if you think about it, a slightly ominous ring to it.
0:38:33 > 0:38:37And I remember I got up there and I said...
0:38:37 > 0:38:40You know, James Mason was a friend of mine and I said,
0:38:40 > 0:38:43"James was not a man of a lot of jokes,
0:38:43 > 0:38:45"but he had one joke that he liked to tell."
0:38:45 > 0:38:47Had to do with his filming in Dublin,
0:38:47 > 0:38:50going out one evening for a walk and window shopping.
0:38:50 > 0:38:53And he had a trench coat and a hat,
0:38:53 > 0:38:55didn't think he'd be recognised.
0:38:55 > 0:38:58And, er, a little lady trailed along behind him,
0:38:58 > 0:38:59and finally worked up the nerve,
0:38:59 > 0:39:02and she tapped him on the should and she said...
0:39:02 > 0:39:04IRISH ACCENT: "Begging your pardon, sir.
0:39:04 > 0:39:07"But wouldn't you be James Mason in his later years?"
0:39:07 > 0:39:09LAUGHTER
0:39:13 > 0:39:18And I liked... I liked that good Irish phrase, "later years".
0:39:18 > 0:39:22I like it because it's candid and it's dispassionate,
0:39:22 > 0:39:24but it's comfortable.
0:39:24 > 0:39:28Because it leaves the possibility of more to come.
0:39:30 > 0:39:33Finally, another Oscar-winning legend
0:39:33 > 0:39:36and a moment I'll certainly never forget.
0:39:36 > 0:39:40James Stewart, so many people's favourite actor,
0:39:40 > 0:39:42came on the show in 1988.
0:39:42 > 0:39:46And as you'd expect, he charmed and delighted everybody,
0:39:46 > 0:39:50and then left everyone else welling up with a poem he'd written
0:39:50 > 0:39:54for his much-loved, recently deceased pet dog.
0:39:56 > 0:39:58He never came to me when I would call
0:39:58 > 0:40:01Unless I had a tennis ball
0:40:01 > 0:40:03Or he felt like it
0:40:03 > 0:40:06But mostly, he didn't come at all
0:40:06 > 0:40:08When he was young
0:40:08 > 0:40:11He never learned to heel or sit or stay
0:40:11 > 0:40:13He did things his way
0:40:13 > 0:40:15Discipline was not his bag
0:40:15 > 0:40:18But when you were with him things sure didn't drag
0:40:18 > 0:40:21He'd dig up a rose bush just to spite me
0:40:21 > 0:40:23And when I'd grab him
0:40:23 > 0:40:24He'd turn and bite me
0:40:24 > 0:40:27He bit lots of folks from day to day
0:40:27 > 0:40:31The delivery boy was his favourite prey
0:40:31 > 0:40:33He gas man would read our meter
0:40:33 > 0:40:36He said we owned a real man-eater
0:40:37 > 0:40:40He set the house on fire
0:40:40 > 0:40:42But the story's too long to tell
0:40:42 > 0:40:44But suffice to say, that he survived
0:40:44 > 0:40:46And the house survived as well
0:40:46 > 0:40:48And on evening walks
0:40:48 > 0:40:51When Mom took him
0:40:51 > 0:40:53He was always first out the door
0:40:53 > 0:40:55The old one and I brought up the rear
0:40:55 > 0:40:57Because our bones were sore
0:40:57 > 0:41:00And he'd charge up the street
0:41:00 > 0:41:02With Mom hanging on
0:41:02 > 0:41:04What a beautiful sight they were
0:41:04 > 0:41:05And if it was still light
0:41:05 > 0:41:07And the tourists were out
0:41:07 > 0:41:09They created a bit of a stir
0:41:09 > 0:41:11But every once in a while
0:41:11 > 0:41:13He'd stop in his track
0:41:13 > 0:41:15And with a frown on his face turn around
0:41:15 > 0:41:18Just to make sure that the old one was there
0:41:18 > 0:41:21To follow him where he was bound
0:41:22 > 0:41:24We're early-to-bedders in our house
0:41:24 > 0:41:27I guess I'm the first to retire
0:41:28 > 0:41:29As I leave the room
0:41:29 > 0:41:31He'd look up at me
0:41:31 > 0:41:33And get up from his place by the fire
0:41:33 > 0:41:36He knew where the tennis balls were upstairs
0:41:36 > 0:41:38And I'd give him one for a while
0:41:38 > 0:41:41And he'd shove it under the bed with his nose
0:41:41 > 0:41:43And I'd dig it out with a smile
0:41:44 > 0:41:46But before very long
0:41:46 > 0:41:47He'd tyre of the ball
0:41:47 > 0:41:49And be asleep in his corner
0:41:49 > 0:41:51In no time at all
0:41:52 > 0:41:54And there were nights
0:41:54 > 0:41:57When I'd feel him climb up on our bed,
0:41:57 > 0:41:59And lie between us
0:41:59 > 0:42:02And I'd pat his head
0:42:02 > 0:42:03And there were nights
0:42:03 > 0:42:06When I'd feel this stare
0:42:06 > 0:42:08And I'd wake up
0:42:08 > 0:42:10And he'd be sitting there
0:42:10 > 0:42:13And I'd reach out my hand to stroke his hair
0:42:13 > 0:42:17And sometimes I'd feel him sigh
0:42:17 > 0:42:20And I think, I know the reason why
0:42:21 > 0:42:24He'd wake up and night
0:42:24 > 0:42:26And he would have this fear
0:42:28 > 0:42:29Of the dark, of life
0:42:29 > 0:42:32Of lots of things
0:42:32 > 0:42:35And he'd be glad to have me near
0:42:37 > 0:42:39And now he's dead
0:42:40 > 0:42:43And...there are nights...
0:42:44 > 0:42:46When I think I feel him
0:42:46 > 0:42:49Climb up on our bed
0:42:49 > 0:42:51And lie between us
0:42:53 > 0:42:55And I pat his head
0:42:55 > 0:42:57And there are nights
0:42:57 > 0:43:00When I think I feel that stare
0:43:02 > 0:43:04And I reach out my hand
0:43:04 > 0:43:06To stroke his hair
0:43:06 > 0:43:08But he's not there
0:43:09 > 0:43:12Oh, how I wish that wasn't so
0:43:15 > 0:43:18I'll always love a dog named Beau.
0:43:18 > 0:43:20APPLAUSE
0:43:22 > 0:43:24INAUDIBLE
0:43:35 > 0:43:38Ah, gets you every time, doesn't it?
0:43:38 > 0:43:42There's no way to top that, so we'll call a close on the proceedings.
0:43:42 > 0:43:43But do join me again
0:43:43 > 0:43:48for more Wogan Best Bits next time. Till then...