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It was a show that went out three nights a week, live... | 0:00:02 | 0:00:04 | |
Mr Wogan, you're on. You're on. | 0:00:04 | 0:00:05 | |
With a live audience | 0:00:05 | 0:00:07 | |
and everyone who's anyone dropping in. | 0:00:07 | 0:00:09 | |
The great and the good, the bad and the ugly. | 0:00:09 | 0:00:12 | |
They called it Wogan. | 0:00:12 | 0:00:13 | |
Ha, I never knew why. | 0:00:13 | 0:00:15 | |
So, if you're sitting comfortably, | 0:00:15 | 0:00:18 | |
I'll show you something I made earlier. | 0:00:18 | 0:00:20 | |
God knows what they'll make of us in 25 years' time. | 0:00:20 | 0:00:23 | |
Today it's all about the special relationship and my particular part | 0:00:35 | 0:00:40 | |
in keeping it going because the Americans are coming. | 0:00:40 | 0:00:44 | |
In the shape of Stevie Wonder, Tony Curtis, Victoria Principal, | 0:00:44 | 0:00:48 | |
and Michael J Fox. | 0:00:48 | 0:00:50 | |
Yes, there was always a little frisson of excitement | 0:00:51 | 0:00:54 | |
on the show when our presence was graced by a big name | 0:00:54 | 0:00:57 | |
from across the pond, | 0:00:57 | 0:00:58 | |
bringing a bit of Hollywood sparkle to dear old Shepherd's Bush. | 0:00:58 | 0:01:03 | |
And one such visitor was Rock Hudson, | 0:01:03 | 0:01:05 | |
one of the cinema's most popular leading men. | 0:01:05 | 0:01:07 | |
Unknown to anyone, | 0:01:07 | 0:01:08 | |
Rock had been diagnosed with HIV three months before this interview, | 0:01:08 | 0:01:13 | |
and the year after he came on the show, sadly he passed away. | 0:01:13 | 0:01:16 | |
I found him warm and funny and unaffected by his fame. | 0:01:17 | 0:01:22 | |
When were you first in Europe? | 0:01:22 | 0:01:24 | |
-First? -Yeah, when did you come over here? | 0:01:24 | 0:01:26 | |
-Were you an actor when you came over here? -Yes, | 0:01:26 | 0:01:28 | |
-1950. Huh. -Yes. | 0:01:28 | 0:01:29 | |
-PLUMMY ACCENT: -Yah. | 0:01:29 | 0:01:31 | |
AUDIENCE CHUCKLES | 0:01:31 | 0:01:32 | |
Were you over here to make a movie? | 0:01:32 | 0:01:34 | |
Yes. In London, Channel Islands. | 0:01:34 | 0:01:37 | |
What was that one? | 0:01:37 | 0:01:39 | |
-Do you r...? -ALL LAUGH | 0:01:39 | 0:01:41 | |
Erm, the Sea Devil, it was called. | 0:01:41 | 0:01:44 | |
-You obviously... -Don't ask me what it was called, I don't remember. | 0:01:44 | 0:01:47 | |
I was going to say you remember it with a great deal of affection. | 0:01:47 | 0:01:50 | |
LAUGHTER | 0:01:50 | 0:01:52 | |
And now you're back here again with us. Do you visit very often? | 0:01:52 | 0:01:55 | |
And is it easy for you to travel around? | 0:01:55 | 0:01:57 | |
Well, I love England, I love London, so as much as I can, yes. | 0:01:57 | 0:02:02 | |
-Um... -But it can't be easy for you to be anonymous. | 0:02:02 | 0:02:05 | |
-Oh, yes, it can. -Can it? -Oh, yes. | 0:02:05 | 0:02:08 | |
-And I walk fast. -Oh. -AUDIENCE LAUGHS | 0:02:08 | 0:02:11 | |
I would have recognised you immediately. | 0:02:11 | 0:02:13 | |
-No, you wouldn't. -Wouldn't I? -No. | 0:02:13 | 0:02:14 | |
I walk too fast. | 0:02:14 | 0:02:15 | |
-Who were your idols when you decided to go into movies? -Spencer Tracy. | 0:02:15 | 0:02:20 | |
-Is that who you wanted to be? -Oh, yes. | 0:02:20 | 0:02:22 | |
-You were too tall for Spencer Tracy. -I know, I know. I don't care. | 0:02:22 | 0:02:25 | |
LAUGHTER | 0:02:25 | 0:02:26 | |
I don't care, I loved him. | 0:02:26 | 0:02:29 | |
As your film career developed... | 0:02:29 | 0:02:31 | |
and I watched it closely cos I was your great fan - still am. | 0:02:31 | 0:02:35 | |
-Thank you. -As you... I'm not a fan of many people. | 0:02:35 | 0:02:37 | |
-You didn't see the Sea Devils. -I didn't see the Sea... | 0:02:37 | 0:02:39 | |
Who says I didn't see the Sea Devils? | 0:02:39 | 0:02:41 | |
-You don't remember if you did. -I was testing you. | 0:02:41 | 0:02:43 | |
AUDIENCE LAUGHS | 0:02:43 | 0:02:45 | |
What was it about? | 0:02:45 | 0:02:46 | |
It was about these people on the sea playing a very vital role in the | 0:02:46 | 0:02:50 | |
struggle to keep Europe and mankind free from the fascist threat. | 0:02:50 | 0:02:56 | |
Was it?! LAUGHTER | 0:02:56 | 0:02:59 | |
You were in it. | 0:02:59 | 0:03:00 | |
I don't remember, I really don't. | 0:03:02 | 0:03:04 | |
THEY LAUGH | 0:03:04 | 0:03:06 | |
Films like Pillow Talk seem very tame now by comparison with | 0:03:06 | 0:03:12 | |
today's more explicit standards. | 0:03:12 | 0:03:14 | |
Do you regret the way films have gone | 0:03:14 | 0:03:15 | |
in terms of being more explicit? | 0:03:15 | 0:03:17 | |
No, I don't. I must tell you something I find interesting, | 0:03:17 | 0:03:22 | |
Pillow Talk was, I don't know, 20 years ago, 25 years ago. | 0:03:22 | 0:03:27 | |
We almost didn't do it because it was too dirty. | 0:03:28 | 0:03:30 | |
SMATTERING OF LAUGHTER | 0:03:32 | 0:03:34 | |
Were those the days you had to keep a foot on the floor | 0:03:34 | 0:03:36 | |
-when you got on the bed? -Yes. | 0:03:36 | 0:03:38 | |
It had to be single beds, didn't it? | 0:03:38 | 0:03:40 | |
Yes, but also, in getting back to your question... | 0:03:40 | 0:03:43 | |
AUDIENCE LAUGHS | 0:03:45 | 0:03:47 | |
I... | 0:03:48 | 0:03:49 | |
I, like, remember vividly in a Western, I was cut off at the pass | 0:03:53 | 0:03:58 | |
-by... -I fairly saw it. | 0:03:58 | 0:03:59 | |
LAUGHTER Yes. And I had to say, "Oh, darn it." | 0:03:59 | 0:04:03 | |
There's better things to say at that moment, right? | 0:04:04 | 0:04:08 | |
-Today you can say them. -Yeah. | 0:04:08 | 0:04:10 | |
We couldn't say them then. | 0:04:10 | 0:04:11 | |
It might have dented the old image a bit | 0:04:11 | 0:04:13 | |
though if they'd heard you using more... | 0:04:13 | 0:04:16 | |
-Why? -..rigorous language, mightn't it? -Why? | 0:04:17 | 0:04:20 | |
Well, because I think the heroes in those days had to be more clean-cut. | 0:04:20 | 0:04:24 | |
-Do you think so? -More... Yes. | 0:04:24 | 0:04:26 | |
-I mean, I think... -Isn't tall enough? | 0:04:27 | 0:04:30 | |
LAUGHTER | 0:04:30 | 0:04:31 | |
Tall is good. | 0:04:31 | 0:04:33 | |
Tall is very, very good. | 0:04:33 | 0:04:35 | |
I've tried to say that but sometimes it doesn't work. | 0:04:35 | 0:04:39 | |
I bump my head a lot. | 0:04:39 | 0:04:41 | |
What about breaking into the films first, | 0:04:41 | 0:04:43 | |
to get back to how you got in the first place? | 0:04:43 | 0:04:45 | |
Before Sea Devils? | 0:04:45 | 0:04:46 | |
Was there anything before Sea Devils?! | 0:04:48 | 0:04:50 | |
Yes. | 0:04:50 | 0:04:52 | |
Only the silent, surely. | 0:04:52 | 0:04:53 | |
HE SIGHS | 0:04:55 | 0:04:56 | |
LAUGHTER | 0:04:56 | 0:04:57 | |
How did you actually break in? | 0:04:59 | 0:05:01 | |
Uh, this is going to sound smug - and I don't mean it to - | 0:05:01 | 0:05:04 | |
I applied for a job and got it. | 0:05:04 | 0:05:06 | |
Um... | 0:05:06 | 0:05:08 | |
Only because I didn't know any better. | 0:05:08 | 0:05:10 | |
I just sent some pictures around and asked for interviews | 0:05:10 | 0:05:14 | |
and I got one interview and... | 0:05:14 | 0:05:17 | |
Got the part from there? | 0:05:17 | 0:05:18 | |
Well, no, that man became my agent a couple of years later and... | 0:05:18 | 0:05:22 | |
he took me around to a director and the director said, | 0:05:22 | 0:05:24 | |
"Fine, put him in the... | 0:05:24 | 0:05:26 | |
"Put him in this film, see what he looks like, | 0:05:26 | 0:05:28 | |
"give him some lines here and there." | 0:05:28 | 0:05:30 | |
And that's how it started. | 0:05:30 | 0:05:31 | |
What about the lovely ladies with whom you've acted, | 0:05:31 | 0:05:34 | |
Liz Taylor in Giant? | 0:05:34 | 0:05:36 | |
-Do you keep on touch with them? -Oh, yes, yes, yes. | 0:05:36 | 0:05:40 | |
She's a very, very good friend. | 0:05:40 | 0:05:42 | |
-And Doris Day? -Yes. | 0:05:42 | 0:05:45 | |
She lives just below San Francisco now. | 0:05:45 | 0:05:48 | |
She doesn't live in Los Angeles any more. | 0:05:48 | 0:05:50 | |
Was she as sweet and bubbly in real life as she was on the films? | 0:05:50 | 0:05:55 | |
We never...stopped laughing. We had uncontrollable giggles. | 0:05:55 | 0:06:00 | |
We couldn't stop. | 0:06:00 | 0:06:02 | |
We couldn't look at each other. | 0:06:02 | 0:06:04 | |
Um, I remember one... | 0:06:04 | 0:06:07 | |
-I'm going to take a little time. -Of course. -I have to explain this. | 0:06:07 | 0:06:10 | |
We were doing this shot supposedly on the beach. This was in a sound stage. | 0:06:10 | 0:06:14 | |
We were lying on the sand, you see, | 0:06:14 | 0:06:16 | |
and the camera was up here shooting straight down. | 0:06:16 | 0:06:19 | |
And this was to be just a couple of shots before lunch. | 0:06:19 | 0:06:22 | |
And then during lunch they would move to another sound stage | 0:06:22 | 0:06:25 | |
to do another scene. | 0:06:25 | 0:06:26 | |
And it was a scene where I was trying to get her to kiss me. | 0:06:28 | 0:06:31 | |
I was trying to make her be aggressive | 0:06:31 | 0:06:34 | |
and I was playing the innocent. | 0:06:34 | 0:06:35 | |
And I had lines like, "I'd like to kiss you but I don't know how." | 0:06:37 | 0:06:42 | |
And... AUDIENCE LAUGHS | 0:06:44 | 0:06:45 | |
And then she had to say... | 0:06:45 | 0:06:48 | |
She had to say, "Oh, well, that's easy," | 0:06:48 | 0:06:49 | |
and lean over and plant one on me. | 0:06:49 | 0:06:51 | |
And then of course the joke is over. | 0:06:51 | 0:06:53 | |
Now I'm supposed to take over and give her a proper one. | 0:06:53 | 0:06:56 | |
Well... | 0:06:56 | 0:06:57 | |
You can't roll over smoothly | 0:06:57 | 0:07:01 | |
and our teeth clicked. | 0:07:01 | 0:07:02 | |
-TERRY LAUGHS -The first kiss? | 0:07:04 | 0:07:06 | |
And then... | 0:07:06 | 0:07:08 | |
We were there a day and a half trying... | 0:07:09 | 0:07:11 | |
LAUGHTER | 0:07:11 | 0:07:12 | |
..to get the scene and we just couldn't. | 0:07:12 | 0:07:15 | |
I mean, we would look at each other, we would spew in each other's faces. | 0:07:15 | 0:07:18 | |
Great fun, I love it. | 0:07:20 | 0:07:21 | |
Rock Hudson, one of my favourite guests. | 0:07:23 | 0:07:26 | |
And here's another great Hollywood character | 0:07:26 | 0:07:29 | |
and another heart-throb from the golden age of cinema, | 0:07:29 | 0:07:32 | |
a man of many more parts than a famous '60s hairdo - Tony Curtis. | 0:07:32 | 0:07:38 | |
Looking back to those '50s and '60s, you were the trendsetter. | 0:07:38 | 0:07:42 | |
You were Tony Curtis, people copied you in everything you did. | 0:07:42 | 0:07:45 | |
-Were you conscious that you were setting trends? -I was unconscious. | 0:07:45 | 0:07:48 | |
LAUGHTER | 0:07:48 | 0:07:50 | |
Really unconscious. I never... I really have never planned anything. | 0:07:50 | 0:07:54 | |
You know, everything has always been somewhat spontaneous | 0:07:54 | 0:07:56 | |
and just...I just let it happen. | 0:07:56 | 0:07:59 | |
I didn't try to imagine myself as a trendsetter one way or the other, | 0:07:59 | 0:08:04 | |
I just wanted to get through the day. | 0:08:04 | 0:08:05 | |
Do you know, the meaning comes after the work. | 0:08:05 | 0:08:08 | |
-Yeah. -Life is only... | 0:08:08 | 0:08:10 | |
The only way you can come to any conclusion about life | 0:08:10 | 0:08:13 | |
is after you've lived it. | 0:08:13 | 0:08:14 | |
-People ask me, when am I going to... -But then you're dead! | 0:08:14 | 0:08:16 | |
Yeah, but... People have asked me to write an autobiography. | 0:08:16 | 0:08:19 | |
I said, "But I can't do it, I don't know how it'll end." | 0:08:19 | 0:08:21 | |
-Yes, but it'll be too late by the time... -Yeah, right. | 0:08:21 | 0:08:24 | |
And then who would want to read it? | 0:08:24 | 0:08:25 | |
Well, I mean, a lot of people are writing sort of Hollywood exposes. | 0:08:25 | 0:08:28 | |
Oh, well, yes. | 0:08:28 | 0:08:29 | |
But, like, Jackie Collins writing Hollywood Wives, | 0:08:29 | 0:08:32 | |
I've had more Hollywood wives than she has! | 0:08:32 | 0:08:34 | |
AUDIENCE LAUGHS | 0:08:34 | 0:08:36 | |
-I mean, you know, it's crazy. -Boasting again. -Yeah, I know! | 0:08:36 | 0:08:38 | |
ALL LAUGH | 0:08:38 | 0:08:41 | |
-It's not like that anyway, is it? -No, no, no. -Of course, it's worse. | 0:08:41 | 0:08:45 | |
Worse, worse, worse! And you, Terry, how are you? | 0:08:45 | 0:08:47 | |
I'm bearing up under the unequal strain. It's the throat, you know. | 0:08:47 | 0:08:50 | |
How many of these shows have you done so far? | 0:08:50 | 0:08:52 | |
-AUDIENCE: -Ahh. -Oh, shut up! | 0:08:52 | 0:08:54 | |
-They couldn't care less about me. -No? | 0:08:54 | 0:08:57 | |
Just before the show started, I went down and I breathed on them | 0:08:57 | 0:08:59 | |
and they all ran out. | 0:08:59 | 0:09:01 | |
It's the barber you go to. | 0:09:01 | 0:09:04 | |
I shouldn't have had that garlic last night. | 0:09:04 | 0:09:06 | |
Listen, how did you get on to talking about me? | 0:09:06 | 0:09:08 | |
This interview is about you. | 0:09:08 | 0:09:09 | |
-Yeah, you think so? -You, you! -Yeah, OK. | 0:09:09 | 0:09:11 | |
It's just cos, do you ever say to yourself... | 0:09:11 | 0:09:13 | |
-"Here's me, the boy from the Bronx"? -No, I don't. -Why not? | 0:09:13 | 0:09:17 | |
Well, because I didn't come from the Bronx. | 0:09:17 | 0:09:19 | |
LAUGHTER | 0:09:19 | 0:09:20 | |
APPLAUSE | 0:09:20 | 0:09:22 | |
I came from Manhattan. | 0:09:26 | 0:09:28 | |
And I was born and raised in Manhattan. | 0:09:29 | 0:09:31 | |
I lived in the Bronx once but that's... | 0:09:31 | 0:09:32 | |
Listen, if I'd wanted a geography lesson, I would have asked you! | 0:09:32 | 0:09:36 | |
-Right. -Why didn't you come from the Bronx? | 0:09:36 | 0:09:38 | |
-Oh, yeah, right. -You ruined the whole thing about coming from the Bronx! | 0:09:38 | 0:09:41 | |
Well, you know, you've kind of put me... | 0:09:41 | 0:09:43 | |
May I stand up for a minute? I'm going to button my jacket. | 0:09:43 | 0:09:45 | |
You just told me about buttoning jackets and sitting down. | 0:09:45 | 0:09:48 | |
-Then sit down again. -Getting up and down. | 0:09:48 | 0:09:50 | |
As a matter of fact, I'm going to stand up and open it again. | 0:09:50 | 0:09:52 | |
If you were from the Bronx, you would have done that | 0:09:52 | 0:09:54 | |
properly in the first place. | 0:09:54 | 0:09:55 | |
-Right. -Now it turns out you come from Manhattan. | 0:09:55 | 0:09:57 | |
-Yeah. I've forgotten what you said. -Yeah. | 0:09:57 | 0:09:59 | |
But when you got down, did you think... | 0:09:59 | 0:10:01 | |
Because remembering the parts that you had and all the rest of it, | 0:10:01 | 0:10:04 | |
you had a very marked Bronx accent, although you came from Manhattan. | 0:10:04 | 0:10:07 | |
Let me say this, living is living from the first day you're born. | 0:10:07 | 0:10:11 | |
The fact that you end up in the movies doesn't make you any | 0:10:11 | 0:10:14 | |
more special than before you ended up in the movies. | 0:10:14 | 0:10:17 | |
-Course not. -So, you know, I don't reflect that. | 0:10:17 | 0:10:19 | |
I don't pull "a little boy from the Bronx or Manhattan ends up | 0:10:19 | 0:10:22 | |
"a famous movie actor." | 0:10:22 | 0:10:23 | |
To me, both are distinct, strong and positive. | 0:10:23 | 0:10:27 | |
One cannot forget your past and you cannot forget your present. | 0:10:27 | 0:10:30 | |
And you hope for the future. | 0:10:30 | 0:10:31 | |
You know, one... | 0:10:31 | 0:10:33 | |
I've learned a very important lesson. | 0:10:33 | 0:10:35 | |
I've come through a very serious illness. | 0:10:35 | 0:10:38 | |
I'm an alcoholic and have a drug addiction | 0:10:38 | 0:10:41 | |
and this really almost killed me | 0:10:41 | 0:10:44 | |
and I didn't know it. | 0:10:44 | 0:10:45 | |
I thought I was weak-willed, and this was what usually people | 0:10:45 | 0:10:49 | |
thought of people who drank a lot or used drugs. | 0:10:49 | 0:10:52 | |
But I have since found out through research that's been | 0:10:52 | 0:10:55 | |
done in America that it's a disease. | 0:10:55 | 0:10:58 | |
And it's a disease that you have to fight as a disease. | 0:10:58 | 0:11:00 | |
It's an incurable disease that can be cured only by abstinence. | 0:11:00 | 0:11:05 | |
So therefore, I thank God that I'm still alive and able to battle it | 0:11:05 | 0:11:10 | |
and able to help as many friends as possible in that. | 0:11:10 | 0:11:13 | |
So you see, that, the fact that I'm alive talking with you here, | 0:11:13 | 0:11:17 | |
with these fine people here, that in itself is the blessing. | 0:11:17 | 0:11:21 | |
And also it's full marks to you for the strength of character | 0:11:21 | 0:11:24 | |
-that it takes. -Well, the character only comes from the researching | 0:11:24 | 0:11:28 | |
and I can't spread the gospel enough. | 0:11:28 | 0:11:31 | |
There was a time where I said, "Oh, it's all just a rhetoric | 0:11:31 | 0:11:34 | |
"and it's all political, you know, drinking and drugs, | 0:11:34 | 0:11:39 | |
"they're just saying that because they don't want..." Whatever. | 0:11:39 | 0:11:41 | |
But it's true. | 0:11:41 | 0:11:42 | |
It is killing and it's doing a lot of damage to a lot of young | 0:11:42 | 0:11:45 | |
people in the world and we all are, I feel owed to somehow | 0:11:45 | 0:11:50 | |
give a lift and confidant support to as many young people as possible. | 0:11:50 | 0:11:53 | |
Good for you. Well, thank you for saying that. | 0:11:53 | 0:11:55 | |
-That's important. -There's just something I have to give you. | 0:11:55 | 0:11:58 | |
-A little surprise. -Oh, my God. | 0:11:58 | 0:12:00 | |
-Even as we speak... -Where did you get that from?! | 0:12:00 | 0:12:02 | |
-I've been hiding it for some years. -'Ello! -The old cane and JR hat. | 0:12:02 | 0:12:05 | |
BRITISH ACCENT: Cor blimey. | 0:12:05 | 0:12:07 | |
-How long have you been missing that? -Where did this come from? | 0:12:07 | 0:12:09 | |
-I stole it last time you were here. -I've been missing it for... | 0:12:09 | 0:12:12 | |
-No! -I nicked it from you, yes. -Did you nick it from me? | 0:12:12 | 0:12:14 | |
-The old cane and the hat. -Bend over! | 0:12:14 | 0:12:16 | |
Look at that. | 0:12:16 | 0:12:17 | |
Well, I'm so glad you've got my stick and hat for me. | 0:12:17 | 0:12:19 | |
-It's another nice... -Isn't it wonderful, yes? | 0:12:19 | 0:12:21 | |
I love it. Where did you find it? | 0:12:21 | 0:12:23 | |
-Let that be my little secret. -All righty then. | 0:12:23 | 0:12:25 | |
-What a surprise show this is. -Tony Curtis, ladies and gentlemen. | 0:12:25 | 0:12:28 | |
How happy I am to be here, ladies and gentlemen. | 0:12:28 | 0:12:30 | |
CHEERING AND APPLAUSE | 0:12:30 | 0:12:33 | |
You got my hat back! Clever man. | 0:12:33 | 0:12:37 | |
Lord knows where the hat and cane came from. | 0:12:39 | 0:12:42 | |
Now, while I try to remember, | 0:12:42 | 0:12:44 | |
a bar or two of a song from an icon of country music, | 0:12:44 | 0:12:49 | |
the great Willie Nelson. | 0:12:49 | 0:12:51 | |
APPLAUSE | 0:12:51 | 0:12:53 | |
# Maybe I didn't love you | 0:12:57 | 0:13:01 | |
# Quite as often as I could have | 0:13:03 | 0:13:06 | |
# Maybe I didn't treat you | 0:13:09 | 0:13:12 | |
# Quite as good as I should have | 0:13:15 | 0:13:17 | |
# If I made you feel second-best | 0:13:21 | 0:13:25 | |
# Girl, I'm sorry, I was blind | 0:13:27 | 0:13:31 | |
# But you were always on my mind | 0:13:33 | 0:13:37 | |
# You were always on my mind | 0:13:40 | 0:13:44 | |
# Maybe I didn't hold you | 0:13:47 | 0:13:51 | |
# All those lonely, lonely times | 0:13:54 | 0:13:58 | |
# I guess I never told you | 0:14:01 | 0:14:05 | |
# That I'm so happy that you're mine | 0:14:08 | 0:14:10 | |
# Little things I should have said and done | 0:14:14 | 0:14:18 | |
# I just never took the time | 0:14:21 | 0:14:23 | |
# But you were always on my mind | 0:14:26 | 0:14:31 | |
# You were always on my mind | 0:14:33 | 0:14:36 | |
# Tell me | 0:14:39 | 0:14:42 | |
# Tell me that your sweet love hasn't died | 0:14:45 | 0:14:49 | |
# And give me | 0:14:52 | 0:14:55 | |
# Give me one more chance to keep you satisfied | 0:14:57 | 0:15:01 | |
# I'll keep you satisfied | 0:15:03 | 0:15:05 | |
# Maybe I didn't love you | 0:15:09 | 0:15:12 | |
# Quite as often as I could have | 0:15:15 | 0:15:17 | |
# Maybe I didn't treat you | 0:15:20 | 0:15:24 | |
# Quite as good as I should have | 0:15:27 | 0:15:29 | |
# Little things I should have said and done | 0:15:33 | 0:15:37 | |
# I just never took the time | 0:15:40 | 0:15:42 | |
# But you were always on my mind | 0:15:45 | 0:15:50 | |
# You were always on my mind | 0:15:52 | 0:15:56 | |
# You were always on my mind | 0:15:58 | 0:16:04 | |
# You were always on my mind. # | 0:16:05 | 0:16:11 | |
APPLAUSE | 0:16:15 | 0:16:17 | |
Willie won multiple Grammy awards for that, and rightly so. | 0:16:21 | 0:16:25 | |
We're meeting a real tough guy now, always the baddie. | 0:16:25 | 0:16:29 | |
The very look of him would frighten the horses. | 0:16:29 | 0:16:32 | |
And the voice - like gravel on a gravestone. | 0:16:32 | 0:16:36 | |
Lee Marvin. | 0:16:36 | 0:16:38 | |
It must be said that you look more like Lee Marvin than Lee Marvin. | 0:16:38 | 0:16:43 | |
You're one of the very few Hollywood stars | 0:16:43 | 0:16:45 | |
who looks every inch what you think he's going to look like. | 0:16:45 | 0:16:48 | |
I think that's because I don't use much make up, | 0:16:48 | 0:16:50 | |
-because it doesn't help. -Yeah. | 0:16:50 | 0:16:52 | |
I use a lot and it doesn't help me at all. | 0:16:52 | 0:16:54 | |
Well, we're both in the same boat. | 0:16:54 | 0:16:56 | |
But you do look the sort of a fellow that very rarely got sand | 0:16:56 | 0:16:59 | |
kicked in his face on the beach. | 0:16:59 | 0:17:01 | |
I mean, are you tough? | 0:17:02 | 0:17:04 | |
No, I think I am... | 0:17:04 | 0:17:06 | |
I have the opportunity to play it tough | 0:17:06 | 0:17:08 | |
which saves me a lot of bruises. | 0:17:08 | 0:17:10 | |
You don't get many fellas | 0:17:11 | 0:17:12 | |
coming up to you in a bar trying to pick fights, do you? | 0:17:12 | 0:17:15 | |
No, but I buy a lot of them drinks so they don't. | 0:17:15 | 0:17:17 | |
LAUGHTER | 0:17:17 | 0:17:19 | |
That's like the best way to protect yourself. | 0:17:19 | 0:17:22 | |
Was this the kind of defence with you really, acting tough? | 0:17:22 | 0:17:26 | |
Well, it's acting out. | 0:17:26 | 0:17:27 | |
It saves me from getting locked up or spending | 0:17:27 | 0:17:29 | |
a lot of time in gaol. | 0:17:29 | 0:17:30 | |
And you get rid of it on the screen, you know, | 0:17:30 | 0:17:33 | |
so don't have to do it on the street. | 0:17:33 | 0:17:34 | |
But you were a marine. | 0:17:34 | 0:17:36 | |
Did you have to act tough as a marine | 0:17:36 | 0:17:38 | |
to hide your fear for instance? | 0:17:38 | 0:17:40 | |
Well, you have to do a lot of acting to hide that. | 0:17:40 | 0:17:43 | |
I guess that's where I learned how to act. | 0:17:43 | 0:17:45 | |
-In the marines? -Yeah. | 0:17:45 | 0:17:46 | |
But you picked up a Purple Heart, which is something | 0:17:46 | 0:17:48 | |
we don't hear too often. | 0:17:48 | 0:17:49 | |
You're suitably modest about it. | 0:17:49 | 0:17:51 | |
How did you win that? | 0:17:51 | 0:17:53 | |
You don't win them, you get them when you get hit. | 0:17:53 | 0:17:57 | |
So in other words, I'd rather not have it. | 0:17:57 | 0:17:59 | |
AUDIENCE LAUGHS | 0:17:59 | 0:18:01 | |
Did you get hit in a very vulnerable place? | 0:18:01 | 0:18:02 | |
Yes, I got hit in the... | 0:18:02 | 0:18:04 | |
HE MOUTHS | 0:18:04 | 0:18:05 | |
LAUGHTER | 0:18:05 | 0:18:07 | |
This doesn't give me much to talk about, right, Terry? | 0:18:07 | 0:18:09 | |
ALL LAUGH | 0:18:10 | 0:18:13 | |
APPLAUSE | 0:18:13 | 0:18:15 | |
So you obviously were hospitalised after that. | 0:18:18 | 0:18:20 | |
And then... Was it then you decided to be an actor | 0:18:20 | 0:18:22 | |
while you were in hospital setting there festering? | 0:18:22 | 0:18:24 | |
No, I was trying to figure out how to get out of the Marine Corp then. | 0:18:24 | 0:18:27 | |
And after the war was over... I was discharged just before that. | 0:18:28 | 0:18:32 | |
..I just went into the normal jobs that a 21-year-old scout sniper would | 0:18:32 | 0:18:37 | |
go into in civilian life, right? | 0:18:37 | 0:18:39 | |
I was digging ditches. | 0:18:39 | 0:18:41 | |
So... | 0:18:41 | 0:18:43 | |
I just happened to be in a community that was kind of artsy | 0:18:43 | 0:18:45 | |
and they had a little summer start company there | 0:18:45 | 0:18:47 | |
and I fell in with the girls and the boys of that group | 0:18:47 | 0:18:50 | |
and I liked it very much and just stayed with them. | 0:18:50 | 0:18:53 | |
And then went to Hollywood? | 0:18:53 | 0:18:54 | |
Eventually, yeah. The theatre first and then, you know, that route. | 0:18:54 | 0:18:57 | |
Did you get as typecast in the theatre as you subsequently were | 0:18:57 | 0:19:01 | |
-in Hollywood? -Oh, no, the theatre was wide open. | 0:19:01 | 0:19:04 | |
You could hide behind wigs and costumes, where the camera is | 0:19:04 | 0:19:08 | |
a little more intimate than that so I couldn't disguise myself too well. | 0:19:08 | 0:19:11 | |
Hmm, I mean, this tough appearance made them | 0:19:11 | 0:19:13 | |
first cast you as a gangster and a killer? | 0:19:13 | 0:19:16 | |
No, actually, I think | 0:19:16 | 0:19:17 | |
the reason I was cast as that is that I wasn't a model-looking, | 0:19:17 | 0:19:21 | |
young, leading man. I had... | 0:19:21 | 0:19:23 | |
And so all those guys were the heavies, | 0:19:25 | 0:19:27 | |
so I was one of those guys, | 0:19:27 | 0:19:28 | |
so I became a heavy and that was it. | 0:19:28 | 0:19:29 | |
Did you enjoy it, punching John Wayne for instance? | 0:19:29 | 0:19:32 | |
Well, anybody enjoys that. | 0:19:32 | 0:19:33 | |
LAUGHTER | 0:19:33 | 0:19:35 | |
And getting away with it. | 0:19:35 | 0:19:36 | |
Did you ever get hurt in any of those screen fights? | 0:19:38 | 0:19:40 | |
I know you ducked the punches and there was a lot of extras | 0:19:40 | 0:19:43 | |
and all that, but did John Wayne ever land a good one on you? | 0:19:43 | 0:19:46 | |
No, no, we've always avoided each other on that | 0:19:46 | 0:19:48 | |
because we had to go to work tomorrow, you know? | 0:19:48 | 0:19:51 | |
And so it's...it's a dance, it's a choreographed dance. | 0:19:51 | 0:19:55 | |
-Hmm. -So, no, I was never really injured in films. | 0:19:55 | 0:19:58 | |
You also have a reputation... | 0:19:58 | 0:20:00 | |
I'm sure it still doesn't hold good. | 0:20:00 | 0:20:03 | |
..of being something of a drinker in your halcyon days. | 0:20:03 | 0:20:07 | |
-Oh, yes, I was much younger. -Was that like being the old gunfighter | 0:20:07 | 0:20:11 | |
that people would come up and challenge you to drinking bouts? | 0:20:11 | 0:20:14 | |
Didn't you have a famous one with Oliver Reed once where | 0:20:14 | 0:20:16 | |
he challenged you to drink yourselves unconscious? | 0:20:16 | 0:20:19 | |
-LAUGHTER -You don't remember? | 0:20:21 | 0:20:24 | |
-I did a film with Ollie, yeah. -Do you not remember the drinking? | 0:20:26 | 0:20:29 | |
I think we were in Mexico, I'm not sure. | 0:20:29 | 0:20:31 | |
Well, it was fun whatever it was. | 0:20:35 | 0:20:37 | |
LAUGHTER AND APPLAUSE | 0:20:37 | 0:20:39 | |
Did... | 0:20:44 | 0:20:45 | |
But at the time... I know you hardly touch the stuff now at all. | 0:20:45 | 0:20:48 | |
At the time, did your legendary drinking prowess have anything | 0:20:50 | 0:20:54 | |
to do with you getting the part of the drunken gunfighter? | 0:20:54 | 0:20:56 | |
No, but I took the horse out and got him the part. | 0:20:58 | 0:21:02 | |
-Cos he was drunk as well, wasn't he? -He had to be. | 0:21:02 | 0:21:04 | |
I mean, he wouldn't drink, so I had to talk to him for a while. | 0:21:04 | 0:21:07 | |
But he made me very good in that film, that horse. | 0:21:07 | 0:21:11 | |
Friendship goes a long way with a few little... | 0:21:13 | 0:21:15 | |
Have you always been a family man? | 0:21:16 | 0:21:17 | |
Well, that was out of necessity, you know, that's... | 0:21:19 | 0:21:22 | |
They were just there? | 0:21:22 | 0:21:24 | |
No, the sheriff was there. | 0:21:24 | 0:21:26 | |
-Or her father with a gun? -That's what I'm saying. | 0:21:26 | 0:21:29 | |
ALL LAUGH | 0:21:29 | 0:21:30 | |
Sweetheart. | 0:21:32 | 0:21:34 | |
My wife is in the audience. | 0:21:34 | 0:21:35 | |
I think she's probably been, would you say one of the most | 0:21:35 | 0:21:38 | |
effective things in your late mellowing? | 0:21:38 | 0:21:42 | |
Has she eventually worn you down? | 0:21:42 | 0:21:45 | |
Well, even in my early mellowing... | 0:21:45 | 0:21:47 | |
-Sorry. -Yeah, she's been around a long time in my life. | 0:21:47 | 0:21:51 | |
I met her when she was 15 and I was 21. | 0:21:51 | 0:21:53 | |
And justice was finally done. | 0:21:54 | 0:21:56 | |
She made an honest man of you, did she? | 0:21:58 | 0:22:00 | |
Or the town did, I've forgotten which one. | 0:22:00 | 0:22:03 | |
LAUGHTER | 0:22:03 | 0:22:04 | |
And now I'm an honest man. | 0:22:04 | 0:22:05 | |
We're delighted to see you, Lee, and thank you for coming. | 0:22:05 | 0:22:08 | |
Thank you. APPLAUSE | 0:22:08 | 0:22:10 | |
WHISTLING AND CHEERING | 0:22:10 | 0:22:12 | |
Like every other chat show, Wogan thrived on big names, | 0:22:21 | 0:22:25 | |
but of course it was great to meet stars in the making | 0:22:25 | 0:22:29 | |
at the beginning of their careers. | 0:22:29 | 0:22:31 | |
Here's one of them - Michael J Fox, about to become | 0:22:31 | 0:22:34 | |
one of the world's biggest celebrities... | 0:22:34 | 0:22:36 | |
Well, being fairly small. | 0:22:36 | 0:22:38 | |
..with the release of the first of the Back To The Future films. | 0:22:38 | 0:22:41 | |
AUDIENCE APPLAUDS | 0:22:45 | 0:22:47 | |
Just saying, to see, Michael... | 0:22:50 | 0:22:51 | |
Cos I saw a screening of that movie and it really is sensational. | 0:22:51 | 0:22:55 | |
-I'm glad you liked it. -And I have to say that, | 0:22:55 | 0:22:57 | |
isn't the real star of the film the car? | 0:22:57 | 0:23:00 | |
Well, yeah, but you don't have to tell me that. | 0:23:01 | 0:23:04 | |
Yeah, no, the car is incredible. | 0:23:04 | 0:23:05 | |
This is a DeLorean car, | 0:23:05 | 0:23:07 | |
which goes back and forward into the future. | 0:23:07 | 0:23:08 | |
-Right. -And takes you back... | 0:23:08 | 0:23:11 | |
Back into the past and then you've got to try | 0:23:11 | 0:23:13 | |
and get back to the future with this. | 0:23:13 | 0:23:14 | |
You can never explain this movie. That's the good thing about it. | 0:23:14 | 0:23:17 | |
I thought I just explained it in ten seconds. | 0:23:17 | 0:23:19 | |
People really have to go and see it. | 0:23:19 | 0:23:20 | |
Yeah, it's a DeLorean that this friend of mine who's a mad scientist | 0:23:20 | 0:23:24 | |
converts into a time machine and I get kind of trapped in it. | 0:23:24 | 0:23:29 | |
It takes me back to the '50s and I run into my parents | 0:23:29 | 0:23:32 | |
and screw things up royally and have to kind of get it... | 0:23:32 | 0:23:36 | |
-I have to introduce my parents... -Yeah. -..otherwise, I won't exist | 0:23:36 | 0:23:39 | |
and my mother is kind of smitten with me, | 0:23:39 | 0:23:42 | |
-which is a sticky situation. -That's right. | 0:23:42 | 0:23:45 | |
But the film manages to get over that... | 0:23:45 | 0:23:47 | |
-Yeah, it handles it really well. -..Oedipal situation. -Right. Right. | 0:23:47 | 0:23:50 | |
It's the kind of all-American | 0:23:50 | 0:23:52 | |
teen hero that you play, though, isn't it? | 0:23:52 | 0:23:54 | |
Kind of, yeah, which is good for a Canadian. | 0:23:54 | 0:23:56 | |
LAUGHTER | 0:23:56 | 0:23:58 | |
You can feel a bit uneasy being a Canadian playing...? | 0:23:58 | 0:24:01 | |
No, it's kind of funny, actually, cos people say that. | 0:24:01 | 0:24:03 | |
Kind of the all-American kid from Vancouver, which is really great. | 0:24:03 | 0:24:07 | |
I mean, the thing about the film was you went back in time | 0:24:07 | 0:24:10 | |
-and subtly changed your own life by being back in the past. -Right. | 0:24:10 | 0:24:15 | |
Would you...? I mean, did it make you think at all... | 0:24:15 | 0:24:17 | |
It certainly made me think. | 0:24:17 | 0:24:19 | |
..how much you'd like to go back in time and see things? | 0:24:19 | 0:24:21 | |
Um, you know, I thought about that | 0:24:21 | 0:24:23 | |
cos it was something that I thought about when I was doing it - | 0:24:23 | 0:24:27 | |
what would I change or what would I alter? | 0:24:27 | 0:24:29 | |
I don't think I'd change anything. I mean, it worked out all right. | 0:24:29 | 0:24:32 | |
-I mean, here I am. -Certainly worked out for you, yeah. -I'm in England. | 0:24:32 | 0:24:35 | |
-You're supposed to be about 17 or 18 in the movie. -Right. | 0:24:35 | 0:24:39 | |
How old are you in real life? | 0:24:39 | 0:24:40 | |
-HE MUMBLES -Are you? -Yeah. No, I'm 24. | 0:24:40 | 0:24:43 | |
-You don't look it. -No, I know. I know. | 0:24:43 | 0:24:45 | |
I think I made a deal somewhere along the line and I don't want to know... | 0:24:45 | 0:24:48 | |
You haven't got a painting in an attic anywhere, have you? | 0:24:48 | 0:24:51 | |
There may be. There may be. But, yeah, I've just been real lucky. | 0:24:51 | 0:24:54 | |
How did you manage to stay so fresh doing that movie? | 0:24:54 | 0:24:57 | |
Because I know you were also shooting | 0:24:57 | 0:24:58 | |
a very successful Family Ties series that you do in the States. | 0:24:58 | 0:25:03 | |
It was a strange situation cos I worked on Family Ties | 0:25:03 | 0:25:07 | |
from ten in the morning until about six at night | 0:25:07 | 0:25:09 | |
and then I'd get in a car and go over to Universal | 0:25:09 | 0:25:12 | |
and work until about two, 2:30 in the morning. | 0:25:12 | 0:25:14 | |
But the people, the energy involved, with the other people in the film, | 0:25:14 | 0:25:19 | |
was just so great that you were just so inspired when you got there. | 0:25:19 | 0:25:22 | |
Bob Zemeckis, who directed it, is a total lunatic, | 0:25:22 | 0:25:26 | |
but happily, can be productive in society | 0:25:26 | 0:25:29 | |
by making films and he really had a lot of energy. | 0:25:29 | 0:25:34 | |
And I guess there's the other Stevie Wonder. | 0:25:34 | 0:25:36 | |
Not the one who was here tonight, | 0:25:36 | 0:25:38 | |
but Steven Spielberg certainly had things going and under control. | 0:25:38 | 0:25:42 | |
So, it was something that I really believed in. | 0:25:42 | 0:25:44 | |
He's making so many movies at the moment, Steven Spielberg, | 0:25:44 | 0:25:47 | |
that eventually, this programme will be made up | 0:25:47 | 0:25:49 | |
of stars from Steven Spielberg movies | 0:25:49 | 0:25:51 | |
coming in every Monday, Wednesday and Friday. | 0:25:51 | 0:25:53 | |
You're in America now with the success of Back To The Future. | 0:25:53 | 0:25:55 | |
You are, I suppose, to be regarded as a superstar | 0:25:55 | 0:25:58 | |
and yet, here, the movie hasn't opened yet. | 0:25:58 | 0:26:00 | |
-LAUGHTER -So, nobody knows who you are. -Yeah. | 0:26:00 | 0:26:04 | |
-LAUGHTER -Where would you rather be? | 0:26:04 | 0:26:06 | |
-Where would I rather be? -Here or in the States? | 0:26:06 | 0:26:09 | |
This is fun. This is fun. Especially... | 0:26:09 | 0:26:12 | |
I went out for a drink | 0:26:13 | 0:26:15 | |
with some friends on Saturday night when I first got in | 0:26:15 | 0:26:18 | |
and I was quite glad by the end of it that no-one did know who I was. | 0:26:18 | 0:26:21 | |
TERRY CHUCKLES | 0:26:21 | 0:26:23 | |
But it's kind of nice to have a bit of both, I think. | 0:26:23 | 0:26:27 | |
Before it hits and it hits, as it will, very big. | 0:26:27 | 0:26:30 | |
Well, especially cos London is such a great walking town, you know. | 0:26:30 | 0:26:33 | |
It's a great place to get out and walk around and see everything | 0:26:33 | 0:26:36 | |
so it's nice to have seen it like this | 0:26:36 | 0:26:38 | |
before either they see the movie and like me | 0:26:38 | 0:26:41 | |
and stop me and talk to me or see the movie | 0:26:41 | 0:26:43 | |
and want to stone me. LAUGHTER | 0:26:43 | 0:26:45 | |
So, one way or the other, I've seen London so... | 0:26:45 | 0:26:47 | |
I don't think they're going to want to stone you. | 0:26:47 | 0:26:49 | |
I think you're going to be very, very big indeed. | 0:26:49 | 0:26:52 | |
It's a wonderful movie. | 0:26:52 | 0:26:53 | |
I hope that everyone here likes the movie. It's a lot of fun. | 0:26:53 | 0:26:55 | |
-Glad you could drop in and see us. -Thank you. My pleasure. | 0:26:55 | 0:26:58 | |
-Michael J Fox! -APPLAUSE | 0:26:58 | 0:27:02 | |
Michael J Fox, still acting today | 0:27:03 | 0:27:06 | |
and doing so much for the awareness of Parkinson's disease. | 0:27:06 | 0:27:10 | |
Good man. | 0:27:10 | 0:27:11 | |
Now, when my next guest Stevie Wonder came on the show, | 0:27:11 | 0:27:14 | |
he received one of the biggest ovations from the audience | 0:27:14 | 0:27:17 | |
the Shepherd's Bush Theatre had ever seen. | 0:27:17 | 0:27:19 | |
Incredibly talented, a child prodigy, | 0:27:19 | 0:27:22 | |
he told us what it was like growing up in the music industry. | 0:27:22 | 0:27:25 | |
You really didn't have a normal teenage, then, did you? | 0:27:25 | 0:27:29 | |
I mean, you were famous by the time you were 12 or 13. | 0:27:29 | 0:27:32 | |
It was still normal. I mean, my allowance was only 2.50 a week. | 0:27:32 | 0:27:37 | |
-AUDIENCE: -Aw! | 0:27:37 | 0:27:38 | |
Give me a break! LAUGHTER | 0:27:38 | 0:27:41 | |
And, um...you know, I did the normal things. | 0:27:41 | 0:27:46 | |
I fell in love every week... LAUGHTER | 0:27:46 | 0:27:49 | |
..by the age of 16. | 0:27:49 | 0:27:52 | |
At 15, it was the time that... | 0:27:52 | 0:27:56 | |
Well, I'd been writing for a while, but the first hit that I had | 0:27:56 | 0:27:59 | |
was in '65 with a song called Uptight | 0:27:59 | 0:28:02 | |
and that was a tour that we came over here and performed | 0:28:02 | 0:28:06 | |
and I did the Scotch Club. | 0:28:06 | 0:28:09 | |
They allowed me to perform and sing there. | 0:28:09 | 0:28:12 | |
-They didn't serve liquor while I was performing. -Yeah. | 0:28:12 | 0:28:14 | |
And it was a little cutesy. It was like... | 0:28:14 | 0:28:18 | |
# Baby, everything is all right | 0:28:18 | 0:28:21 | |
# Uptight, out of sight. # | 0:28:21 | 0:28:24 | |
It was like I'm a poor man's son across the railroad track | 0:28:24 | 0:28:26 | |
The only shirt I own is hanging on my back | 0:28:26 | 0:28:28 | |
But I'm the envy of every single guy Cos I'm the apple of my girl's eye. | 0:28:28 | 0:28:31 | |
HE MUMBLES AUDIENCE LAUGHS | 0:28:31 | 0:28:34 | |
-That was around about, what, '65? -'65, yeah. | 0:28:34 | 0:28:37 | |
-Yeah. And that was... -HE CLEARS HIS THROAT | 0:28:37 | 0:28:39 | |
Those were very productive years for you, weren't they? | 0:28:39 | 0:28:41 | |
Between '65 and '70, you had an awful lot of hits, | 0:28:41 | 0:28:43 | |
like For Once In My Life, My Cherie Amour | 0:28:43 | 0:28:46 | |
and Yester-Me, Yester-You, Yesterday. | 0:28:46 | 0:28:48 | |
Do you have a favourite from that time? | 0:28:48 | 0:28:51 | |
I think probably... HE CLEARS HIS THROAT | 0:28:51 | 0:28:53 | |
..I enjoyed doing all the songs. | 0:28:53 | 0:28:54 | |
For Once In My Life, of course, was special because it... | 0:28:54 | 0:28:59 | |
I kind of changed the song around | 0:29:00 | 0:29:02 | |
from the way that I guess the writer originally wrote it. | 0:29:02 | 0:29:05 | |
But I felt that the lyric... | 0:29:05 | 0:29:07 | |
I mean, the original song by Tony Bennett, of course, is great. | 0:29:07 | 0:29:12 | |
Of course, he just recorded another one of my songs. | 0:29:12 | 0:29:14 | |
I'm just kidding. LAUGHTER | 0:29:14 | 0:29:17 | |
Um, you know, just doing it like... | 0:29:17 | 0:29:19 | |
# For once in my life I have someone who needs me | 0:29:20 | 0:29:23 | |
# Someone I've needed so long. # | 0:29:23 | 0:29:26 | |
HE HUMS | 0:29:26 | 0:29:29 | |
-It's great like that. -You've forgotten that. -Oh, somewhat. | 0:29:29 | 0:29:32 | |
But the way that we did it was like... | 0:29:32 | 0:29:34 | |
# For once in my life I have someone who needs me | 0:29:34 | 0:29:39 | |
# Someone I've needed so long... # | 0:29:39 | 0:29:41 | |
I thought it was something that you were supposed to rejoice. | 0:29:41 | 0:29:43 | |
# For once I can say this is mine You can't take it | 0:29:43 | 0:29:47 | |
# Long as I know I have love I can make it | 0:29:47 | 0:29:50 | |
# For once in my life I have someone who needs me | 0:29:50 | 0:29:54 | |
# Ba-da-da-da-da. # | 0:29:54 | 0:29:58 | |
You know, that kind of thing. | 0:29:58 | 0:30:00 | |
CHEERING AND APPLAUSE | 0:30:00 | 0:30:03 | |
I must tell you the truth, really. | 0:30:08 | 0:30:10 | |
What happened was we were supposed to get in last night here | 0:30:10 | 0:30:14 | |
around ten-something and there was a little trouble with the plane. | 0:30:14 | 0:30:18 | |
I told them I wanted to fly. | 0:30:19 | 0:30:20 | |
They said, "No, you can't do that, Steve." | 0:30:20 | 0:30:22 | |
LAUGHTER I said, "Come on. One time. | 0:30:22 | 0:30:24 | |
"Let me fly the Concorde one time." | 0:30:24 | 0:30:26 | |
They said, "No, Steve. You can't do it." | 0:30:26 | 0:30:28 | |
They said, "You'll be moving too fast to see the turns." | 0:30:28 | 0:30:31 | |
LAUGHTER | 0:30:31 | 0:30:33 | |
But so we got in... | 0:30:33 | 0:30:36 | |
-..at about five this morning. -Yeah. | 0:30:38 | 0:30:39 | |
-SIREN WAILS FAINTLY -Hang on. | 0:30:39 | 0:30:41 | |
I think they're coming for you, Steve! | 0:30:41 | 0:30:43 | |
Did you do something bad the last time you were here? | 0:30:43 | 0:30:46 | |
-I told them I was coming to be on your show. -That's it. | 0:30:46 | 0:30:49 | |
LAUGHTER | 0:30:49 | 0:30:51 | |
And then in the mid-'70s, you did that wonderful album - | 0:30:51 | 0:30:53 | |
-Songs In The Key Of Life. -AUDIENCE MEMBER: -Whoo! | 0:30:53 | 0:30:56 | |
Well, Songs In The Key Of Life... LAUGHTER | 0:30:56 | 0:30:59 | |
the... | 0:30:59 | 0:31:00 | |
The one song that... Well, you know, a few songs were very successful | 0:31:00 | 0:31:04 | |
from Songs In The Key Of Life. The... | 0:31:04 | 0:31:07 | |
# Isn't she lovely? | 0:31:07 | 0:31:09 | |
# Isn't she wonderful? # | 0:31:09 | 0:31:11 | |
About my daughter Aisha. | 0:31:11 | 0:31:13 | |
And the first song on the album was a song that kind of relates to why... | 0:31:13 | 0:31:20 | |
One of the major reasons of me being here in England this time. | 0:31:20 | 0:31:24 | |
Um, we're going to be... | 0:31:26 | 0:31:27 | |
..raffling off a signature that I will do for a cover of the album | 0:31:29 | 0:31:33 | |
and I plan to also maybe donate a harmonica to the same thing | 0:31:33 | 0:31:37 | |
and they can raise money for the children in need. | 0:31:37 | 0:31:40 | |
-That would be super. -It would be a good feeling... | 0:31:40 | 0:31:43 | |
-Yeah. -..to give a lot of money. | 0:31:43 | 0:31:44 | |
APPLAUSE | 0:31:44 | 0:31:49 | |
But the... | 0:31:53 | 0:31:54 | |
Thank you! LAUGHTER | 0:31:55 | 0:31:57 | |
But the one song that is from the album that kind of relates to... | 0:31:57 | 0:32:02 | |
..to I guess the whole drive that's been happening | 0:32:03 | 0:32:06 | |
and fortunately, since Songs In The Key Of Life | 0:32:06 | 0:32:10 | |
in 1976 is released, there have been some incredible things | 0:32:10 | 0:32:14 | |
that have happened in the world of music | 0:32:14 | 0:32:16 | |
and more and more people have begun to sing along. | 0:32:16 | 0:32:21 | |
And making the world realise that it is a song | 0:32:22 | 0:32:26 | |
that can create and help to make harmony. | 0:32:26 | 0:32:29 | |
This song is called Love's In Need Of Love Today. | 0:32:29 | 0:32:31 | |
I'll just do a little bit of it for you. | 0:32:31 | 0:32:33 | |
Everybody say... HE CLEARS HIS THROAT | 0:32:35 | 0:32:37 | |
Clear your throats. | 0:32:38 | 0:32:40 | |
# Good morn or evening, friends | 0:32:44 | 0:32:47 | |
# Here's your friendly announcer | 0:32:48 | 0:32:52 | |
# I have serious news | 0:32:53 | 0:32:56 | |
# To pass on to everybody | 0:32:56 | 0:33:01 | |
# What I'm about to say | 0:33:03 | 0:33:06 | |
# Could mean the world's disaster | 0:33:08 | 0:33:11 | |
# To change your joy and laughter | 0:33:13 | 0:33:16 | |
# To tears and pain | 0:33:16 | 0:33:21 | |
# It's that love's in need | 0:33:21 | 0:33:26 | |
# Of love today | 0:33:27 | 0:33:30 | |
# Don't delay | 0:33:32 | 0:33:36 | |
# Send yours in right away | 0:33:36 | 0:33:39 | |
# Hate's going round | 0:33:42 | 0:33:46 | |
# Breaking many hearts | 0:33:46 | 0:33:50 | |
# Stop it, please | 0:33:52 | 0:33:56 | |
# Before it's gone too far | 0:33:56 | 0:34:00 | |
# Gone too far. # | 0:34:00 | 0:34:03 | |
CHEERING AND APPLAUSE | 0:34:04 | 0:34:09 | |
Stevie Wonder. | 0:34:15 | 0:34:17 | |
I could have listened to him at that old Joanna for hours. | 0:34:17 | 0:34:21 | |
Anyone who watched Wogan back in the day will remember | 0:34:21 | 0:34:25 | |
we had a ton of fun with the big American soap operas - | 0:34:25 | 0:34:28 | |
Dallas and Dynasty. | 0:34:28 | 0:34:30 | |
Over-the-top in every way. | 0:34:30 | 0:34:32 | |
At least the hairstyles, the shoulder pads, | 0:34:32 | 0:34:35 | |
the walk-in cupboards with the wire coat hangers, | 0:34:35 | 0:34:38 | |
the appalling JR, the tragic Sue Ellen. | 0:34:38 | 0:34:41 | |
Oh, we loved it all. | 0:34:41 | 0:34:42 | |
We couldn't get enough of stars | 0:34:42 | 0:34:44 | |
like Pam Ewing herself, Victoria Principal. | 0:34:44 | 0:34:47 | |
It's been said that Pam Ewing and Victoria Principal | 0:34:47 | 0:34:50 | |
couldn't be more different. | 0:34:50 | 0:34:52 | |
I know that you may have said this before, | 0:34:52 | 0:34:54 | |
but for a British audience, | 0:34:54 | 0:34:55 | |
obviously, we haven't seen you before, | 0:34:55 | 0:34:57 | |
are you very different from the character you portray? | 0:34:57 | 0:35:00 | |
Well, we work in the same place. | 0:35:00 | 0:35:02 | |
LAUGHTER | 0:35:02 | 0:35:04 | |
Um, are we very different? | 0:35:04 | 0:35:06 | |
I think, in the beginning, we were very much alike. | 0:35:06 | 0:35:08 | |
In the miniseries, Pamela was more outspoken | 0:35:08 | 0:35:14 | |
and I think she had a bit more fire | 0:35:14 | 0:35:16 | |
and then as the years progress, she became more quiet | 0:35:16 | 0:35:21 | |
and a little more submissive | 0:35:21 | 0:35:22 | |
-and I think that's where we parted ways. -Hmm. | 0:35:22 | 0:35:25 | |
I mean, you wouldn't, in real life, | 0:35:25 | 0:35:27 | |
really fancy anybody like Bobby Ewing, would you? | 0:35:27 | 0:35:30 | |
LAUGHTER | 0:35:30 | 0:35:33 | |
That's a loaded question. LAUGHTER | 0:35:33 | 0:35:36 | |
In deference to Mrs Duffy, who is Patrick's wife, he's... | 0:35:36 | 0:35:39 | |
SHE LAUGHS Oh, dear. | 0:35:39 | 0:35:42 | |
Um, well, I can't say that that's true. | 0:35:42 | 0:35:44 | |
I don't know if I'd fancy the rest of the family. | 0:35:44 | 0:35:47 | |
LAUGHTER | 0:35:47 | 0:35:49 | |
What you're trying to say is that you admire him as an artiste, | 0:35:49 | 0:35:51 | |
but you wouldn't necessarily want to go out with him to dinner, | 0:35:51 | 0:35:54 | |
-which you continually appear to do. -LAUGHTER | 0:35:54 | 0:35:57 | |
Why is everything taking place over lunch or dinner in Dallas? | 0:35:57 | 0:36:01 | |
Because they eat enormous amounts of food. | 0:36:01 | 0:36:03 | |
-They do, don't they? And drink. -LAUGHTER | 0:36:03 | 0:36:07 | |
-Let's see, they're alcoholics and obese. -Yeah. | 0:36:07 | 0:36:10 | |
-No! No, no. -How do you stay sober? | 0:36:10 | 0:36:12 | |
-Always smashing it back, aren't you? -LAUGHTER | 0:36:12 | 0:36:15 | |
No, actually, I suppose a lot of the things do take place | 0:36:15 | 0:36:18 | |
-over dinner on the show. -Everything takes place over dinner. | 0:36:18 | 0:36:21 | |
In fact, since Pam has moved out, she very seldom eats or drinks. | 0:36:21 | 0:36:24 | |
Is she going to finish up with that fellow | 0:36:24 | 0:36:27 | |
-with the ferret under his nose? -LAUGHTER | 0:36:27 | 0:36:30 | |
I'm sorry. | 0:36:30 | 0:36:32 | |
No, I can't say. Actually, I don't really know myself. | 0:36:32 | 0:36:35 | |
We find out week to week. We're given the script. | 0:36:35 | 0:36:37 | |
You get as confused by the script as we do. | 0:36:37 | 0:36:40 | |
Not confused, but I don't find out | 0:36:40 | 0:36:41 | |
until a few days before I begin shooting. | 0:36:41 | 0:36:44 | |
Do you get involved in the script? | 0:36:44 | 0:36:45 | |
You know, do you actually ask the scriptwriters, | 0:36:45 | 0:36:47 | |
"Well, come on. I'd like to know. What's going to happen next?" | 0:36:47 | 0:36:50 | |
-Oh, very much so, yes. -And do they tell you? -No. | 0:36:50 | 0:36:53 | |
LAUGHTER No. | 0:36:53 | 0:36:55 | |
They tell me as much as they can and sometimes, | 0:36:55 | 0:36:59 | |
there are things that I feel that Pam wouldn't do or say | 0:36:59 | 0:37:01 | |
-and then we have a sort of stand-off over that. -And who wins? | 0:37:01 | 0:37:05 | |
Well, if I don't say it, I suppose I win. | 0:37:05 | 0:37:08 | |
LAUGHTER There have only been, I think, | 0:37:08 | 0:37:12 | |
two occasions in the entire history of the show that that's happened. | 0:37:12 | 0:37:15 | |
Pam would never be like that, would she? | 0:37:15 | 0:37:17 | |
No, actually, that was why I refused to say something. | 0:37:17 | 0:37:19 | |
I felt it was a sexual slur | 0:37:19 | 0:37:21 | |
and I felt that Pam would never say something like that | 0:37:21 | 0:37:23 | |
and I felt it was really going against the grain of her character. | 0:37:23 | 0:37:26 | |
Are you happy the way she's gone | 0:37:26 | 0:37:28 | |
or would you have liked the character to take another direction? | 0:37:28 | 0:37:32 | |
I think to play a character that I so admire | 0:37:32 | 0:37:36 | |
and that is so beloved... | 0:37:36 | 0:37:38 | |
-You don't admire Pam Ewing. -Of course I admire her! | 0:37:38 | 0:37:41 | |
But people think she's a dummy. | 0:37:41 | 0:37:43 | |
LAUGHTER | 0:37:43 | 0:37:47 | |
-No, I think she's a sweetheart. -Eh? | 0:37:47 | 0:37:51 | |
LAUGHTER No, she's a sweetheart. | 0:37:51 | 0:37:53 | |
You must occasionally think... | 0:37:53 | 0:37:55 | |
I mean, you're an intelligent woman. | 0:37:55 | 0:37:57 | |
You must play the part and think, "My God, why is she doing this?" | 0:37:57 | 0:38:01 | |
There are times when I wish Pam would speak up, | 0:38:01 | 0:38:03 | |
but there are other times... | 0:38:03 | 0:38:05 | |
Well, she's made me very wealthy. | 0:38:05 | 0:38:06 | |
LAUGHTER | 0:38:06 | 0:38:08 | |
What's going to happen to your career when it eventually, | 0:38:08 | 0:38:11 | |
as it must, finishes? | 0:38:11 | 0:38:13 | |
Well, I will fulfil the terms of my contract. | 0:38:13 | 0:38:15 | |
I'm pleased to hear it. | 0:38:15 | 0:38:17 | |
I don't know that I'll necessarily go on as long as the show does. | 0:38:17 | 0:38:20 | |
But when you finish, how are you going to move away | 0:38:20 | 0:38:23 | |
from the image that has been created of Pam Ewing? | 0:38:23 | 0:38:26 | |
With great difficulty. | 0:38:26 | 0:38:27 | |
I think it will take a lot of work on my part. | 0:38:27 | 0:38:31 | |
Um, I think it's going to be very difficult | 0:38:31 | 0:38:33 | |
the first few years to break out of... | 0:38:33 | 0:38:35 | |
I know if someone were in my living room once a week as a character, | 0:38:35 | 0:38:38 | |
I'd find it very hard to see them as anyone else | 0:38:38 | 0:38:41 | |
and so I've anticipated that, | 0:38:41 | 0:38:43 | |
but I think there's enough time for me to. | 0:38:43 | 0:38:45 | |
And the money will always be a comfort. | 0:38:45 | 0:38:47 | |
Um, I think I've been wise and saved my money and invested it, | 0:38:47 | 0:38:50 | |
which actually, a lot of series people | 0:38:50 | 0:38:53 | |
don't foresee that one day, it will end. | 0:38:53 | 0:38:55 | |
Why are you smiling? | 0:38:55 | 0:38:56 | |
-I'm smiling... -LAUGHTER | 0:38:56 | 0:39:00 | |
I just like to hear you talking | 0:39:00 | 0:39:02 | |
completely differently from Pam Ewing | 0:39:02 | 0:39:04 | |
cos she'd never invest her money | 0:39:04 | 0:39:05 | |
cos she's a complete eejit with that kind of thing. | 0:39:05 | 0:39:08 | |
LAUGHTER Well, she married well. | 0:39:08 | 0:39:10 | |
It's very, very hard work, obviously, | 0:39:10 | 0:39:13 | |
when you do get up very early in the morning. | 0:39:13 | 0:39:15 | |
How hard is it for you to climb into the old make-up every morning? | 0:39:15 | 0:39:19 | |
-SHE LAUGHS -Get out there on the set? | 0:39:19 | 0:39:21 | |
-It can't be easy. -No, it's not that tough. | 0:39:21 | 0:39:24 | |
I mean, I get up between four and 4:30. | 0:39:24 | 0:39:27 | |
I'm in make-up at 5:40. | 0:39:27 | 0:39:28 | |
For some unusual reason, I'm supposed to be there at 5:40. | 0:39:28 | 0:39:31 | |
I think cos I'm always late so I'm there by six. | 0:39:31 | 0:39:33 | |
-And how long does it take you to do the make-up? -Half a day. | 0:39:33 | 0:39:36 | |
LAUGHTER No, hair and make-up takes two hours | 0:39:36 | 0:39:38 | |
and we're on the set and we start shooting until six or seven. | 0:39:38 | 0:39:41 | |
What do you look like before the make-up goes on? | 0:39:41 | 0:39:44 | |
Just like this. It's a waste of time. | 0:39:44 | 0:39:46 | |
LAUGHTER AND APPLAUSE | 0:39:46 | 0:39:51 | |
A good sort, that Pam Ewing. | 0:39:53 | 0:39:56 | |
Do you know, I'd like to have invited her to the Oil Barons Ball, | 0:39:56 | 0:39:59 | |
but it turned out the Carringtons of Dynasty | 0:39:59 | 0:40:02 | |
were also up for a bit of gentle joshing | 0:40:02 | 0:40:05 | |
as I discovered when John Forsythe and Linda Evans, | 0:40:05 | 0:40:08 | |
also known as Blake and Krystle, | 0:40:08 | 0:40:11 | |
invited little old me to their humble abode. | 0:40:11 | 0:40:16 | |
Do you ever get sick of the character Krystle? | 0:40:16 | 0:40:19 | |
-I mean, she's so good. -What's the matter with being good? | 0:40:19 | 0:40:23 | |
Yeah, but there's good and good. | 0:40:23 | 0:40:25 | |
You can be good but tough sometimes. | 0:40:25 | 0:40:27 | |
-I mean... -Krystle's tough sometimes. -No, she's not. | 0:40:27 | 0:40:30 | |
I mean, she must drive him mad. Does she drive you mad? | 0:40:30 | 0:40:33 | |
Yes, I've been driven mad more times than I care to remember. | 0:40:33 | 0:40:36 | |
-I've been trying to get her to be bad. -In a bad way? | 0:40:36 | 0:40:39 | |
Not be good. And I'm trying to do something about... | 0:40:39 | 0:40:43 | |
-The old shoulder pads? -Yes. | 0:40:43 | 0:40:44 | |
You even wear the shoulder pads in bed! | 0:40:44 | 0:40:47 | |
-Yes! -You do, don't you? -You don't wear yours? | 0:40:47 | 0:40:50 | |
That's all she wears. | 0:40:50 | 0:40:51 | |
I don't sleep in a dinner jacket, for goodness' sake. | 0:40:51 | 0:40:54 | |
Why do you keep drawing away? | 0:40:54 | 0:40:56 | |
-That's all she wears is just the shoulder pads. -In bed? | 0:40:56 | 0:40:59 | |
-Just shoulder pads. -Nothing else. Two shoulder pads. | 0:40:59 | 0:41:01 | |
She looks like an American football player. | 0:41:01 | 0:41:03 | |
-I don't want to be here any more. I want to leave. -Don't go! | 0:41:03 | 0:41:05 | |
For goodness' sake. I've only just arrived. | 0:41:05 | 0:41:07 | |
I've come all this way and now you want to leave. | 0:41:07 | 0:41:11 | |
Well, you want to check my pads and I don't want you to! | 0:41:11 | 0:41:14 | |
Well, all right. I won't lay a finger on you then. | 0:41:14 | 0:41:16 | |
It seems disappointing to come all this way | 0:41:16 | 0:41:18 | |
and not even get a chance to touch your shoulder pads. Still... | 0:41:18 | 0:41:21 | |
-We gave you a drink. -I brought you a mug. | 0:41:21 | 0:41:24 | |
That's right. And a shirt, yes. I'm feeling guilty now. | 0:41:24 | 0:41:27 | |
-We don't have a gift for him. -Yes, I'm feeling very, very guilty. | 0:41:27 | 0:41:30 | |
Why don't we give him the family? | 0:41:30 | 0:41:32 | |
Yes, I'd like to give him a couple of children. | 0:41:32 | 0:41:34 | |
-Would you like a couple of my children? -Certainly not. | 0:41:34 | 0:41:37 | |
Let him feel your shoulder pad. Go ahead. | 0:41:37 | 0:41:39 | |
Oh, that's terrific. | 0:41:42 | 0:41:44 | |
That's terrific, that shoulder pad. I feel good already. | 0:41:44 | 0:41:46 | |
-Now feel his shoulder pad. -OK. | 0:41:46 | 0:41:48 | |
That's even better. | 0:41:50 | 0:41:52 | |
-Now, are you glad you came? -This is it. Now I'm happy. | 0:41:52 | 0:41:55 | |
'But there was just one thing that would make me happier.' | 0:41:55 | 0:42:00 | |
But, look, before I go, there's just one thing I've always wanted to do. | 0:42:00 | 0:42:04 | |
-What's that? -I'd like to walk just once down that great staircase. | 0:42:04 | 0:42:09 | |
-What? What for? -It's just a lot has happened on that staircase. | 0:42:09 | 0:42:14 | |
Not enough has happened on that staircase. | 0:42:14 | 0:42:16 | |
I've tried and it didn't work. | 0:42:16 | 0:42:17 | |
-Your private life is your own business. -All right. | 0:42:17 | 0:42:19 | |
All I just want to do is for once walk down that staircase. | 0:42:19 | 0:42:23 | |
-Can I do it? -All right. -Does it mean going back to the mansion? | 0:42:23 | 0:42:26 | |
No, we've got it right around the corner here. Come on. Go ahead. | 0:42:26 | 0:42:29 | |
MUSIC: Dynasty Theme Song | 0:42:29 | 0:42:32 | |
Merry Christmas, Terry! | 0:42:32 | 0:42:34 | |
Here it is. I've finally arrived. | 0:42:37 | 0:42:41 | |
The very chandelier, the smooth banisters, | 0:42:41 | 0:42:45 | |
these stairs on which you have to watch your step, | 0:42:45 | 0:42:50 | |
less you tumble over and lose your baby. | 0:42:50 | 0:42:52 | |
Look at this. An ancestral Carrington. | 0:42:52 | 0:42:56 | |
Stap me vitals! | 0:42:58 | 0:43:00 | |
If it isn't old JR Carrington, | 0:43:00 | 0:43:03 | |
the man who invented the shoulder pads. | 0:43:03 | 0:43:05 | |
This is it, I suppose - | 0:43:06 | 0:43:08 | |
the crowning glory to a wonderful day. | 0:43:08 | 0:43:11 | |
Like all wonderful days, it has to come to a close. | 0:43:12 | 0:43:15 | |
So, I suppose I'd better be on my weary way. | 0:43:15 | 0:43:18 | |
It's time for me to slip away now too | 0:43:22 | 0:43:25 | |
so join me for another backward glance | 0:43:25 | 0:43:28 | |
soon as you can. | 0:43:28 | 0:43:29 |