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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 and everyone who was anyone dropping in - | 0:00:05 | 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 | 0:00:22 | |
JAZZY MUSIC | 0:00:22 | 0:00:25 | |
Welcome. | 0:00:35 | 0:00:36 | |
Now, today we're dealing with guests | 0:00:36 | 0:00:38 | |
who came with a reputation for toughness. | 0:00:38 | 0:00:42 | |
Some were known for playing tough characters, | 0:00:42 | 0:00:44 | |
some were so genuinely tough, you wouldn't want to mess with them | 0:00:44 | 0:00:48 | |
and a few, they were just messing around. | 0:00:48 | 0:00:50 | |
The list includes Bette Davis, | 0:00:50 | 0:00:53 | |
Joan Collins, | 0:00:53 | 0:00:55 | |
Arnold Schwarzenegger, | 0:00:55 | 0:00:57 | |
Roger Moore | 0:00:57 | 0:00:59 | |
and Leslie Nielsen | 0:00:59 | 0:01:01 | |
but we're kicking things off with a music icon | 0:01:01 | 0:01:04 | |
and one of rock'n'roll's original bad boys - | 0:01:04 | 0:01:08 | |
Jerry Lee Lewis. | 0:01:08 | 0:01:09 | |
MUSIC: Great Balls Of Fire by Jerry Lee Lewis | 0:01:09 | 0:01:11 | |
# You shake my nerves and you rattle my brain | 0:01:11 | 0:01:14 | |
# Too much gets to drive a man insane | 0:01:14 | 0:01:17 | |
# You broke my will, what a thrill | 0:01:17 | 0:01:19 | |
# Give it to me, give it to me, give it to me, give it to me | 0:01:19 | 0:01:23 | |
# I laughed at love cos I thought it was funny | 0:01:23 | 0:01:25 | |
# You came along and moved me, honey | 0:01:25 | 0:01:28 | |
# Changing my mind, I think it's fine | 0:01:28 | 0:01:30 | |
# Goodness gracious, great balls of fire | 0:01:30 | 0:01:34 | |
# You kissed me, mama, it feels good | 0:01:34 | 0:01:37 | |
# Whoo | 0:01:37 | 0:01:40 | |
# Hold me, baby | 0:01:40 | 0:01:41 | |
# Girl, just let me love you like a lover should | 0:01:41 | 0:01:44 | |
# You're fine, so kind | 0:01:44 | 0:01:46 | |
# I'm gonna tell this world that you're mine, mine, mine, mine | 0:01:46 | 0:01:49 | |
# Girl, I chew my nails and I twiddle my thumbs | 0:01:49 | 0:01:52 | |
# Real nervous but it sure is fun | 0:01:52 | 0:01:54 | |
# Come on, baby, you drive me crazy | 0:01:54 | 0:01:57 | |
# Goodness gracious, great balls of fire | 0:01:57 | 0:01:59 | |
# Well, kiss me, baby | 0:02:19 | 0:02:22 | |
# My God, it feels good | 0:02:22 | 0:02:24 | |
# Whoo, hold me, woman | 0:02:24 | 0:02:28 | |
# Let old Jerry love you like a lover should | 0:02:28 | 0:02:31 | |
# You're fine, so kind | 0:02:31 | 0:02:33 | |
# I'm gonna tell this world that you're mine, mine, mine, mine | 0:02:33 | 0:02:36 | |
# Lord, I chew my nails and I twiddle my thumbs | 0:02:36 | 0:02:39 | |
# I'm real nervous but it sure is fun | 0:02:39 | 0:02:41 | |
# Come on, baby, you drive me crazy | 0:02:41 | 0:02:44 | |
# Goodness gracious, great balls of fire. # | 0:02:44 | 0:02:47 | |
APPLAUSE | 0:02:47 | 0:02:49 | |
Whoo! | 0:02:51 | 0:02:54 | |
Thank you very much. | 0:02:54 | 0:02:55 | |
Who influenced your piano style? | 0:03:09 | 0:03:12 | |
Nobody. | 0:03:12 | 0:03:13 | |
LAUGHTER | 0:03:13 | 0:03:15 | |
At eight years old, I had never heard of any piano players. | 0:03:15 | 0:03:19 | |
You weren't playing like that from the time you were eight? | 0:03:19 | 0:03:22 | |
Two weeks, I was playing pretty good. | 0:03:22 | 0:03:23 | |
LAUGHTER | 0:03:23 | 0:03:25 | |
That's right. APPLAUSE | 0:03:25 | 0:03:28 | |
But then you've had what one could describe as a very wild lifestyle? | 0:03:30 | 0:03:35 | |
No, Jerry Lee Lewis style. | 0:03:35 | 0:03:37 | |
Rock'n'roll. APPLAUSE | 0:03:37 | 0:03:39 | |
I... You know, you've got a Baptist Church, a Methodist church, | 0:03:43 | 0:03:47 | |
a Presbyterian church, you've got the Church of Christ, | 0:03:47 | 0:03:49 | |
all kinds of churches. | 0:03:49 | 0:03:51 | |
Everybody's right and everybody's wrong. | 0:03:51 | 0:03:53 | |
I just say rock'n'roll. I don't know. | 0:03:53 | 0:03:55 | |
But what's your lifestyle like now? | 0:03:55 | 0:03:57 | |
I mean, when you're not performing, how do you... | 0:03:57 | 0:04:00 | |
Onstage or in theatre... | 0:04:00 | 0:04:01 | |
Well, you don't want to get personal, would you? | 0:04:01 | 0:04:03 | |
No, but I mean how do you relax? Do you relax? | 0:04:03 | 0:04:05 | |
Well, I do relax. Yes, I do. I have a nice place in Memphis, Tennessee - | 0:04:05 | 0:04:10 | |
a farm out on the edge of Memphis there that I relax on. | 0:04:10 | 0:04:15 | |
-Do you get... -I'm a single man, | 0:04:15 | 0:04:16 | |
I'm as free as the breeze and I do what I please. | 0:04:16 | 0:04:18 | |
Jerry Lee Lewis, thank you. | 0:04:18 | 0:04:20 | |
Terry, you're a gentleman. | 0:04:20 | 0:04:22 | |
APPLAUSE AND CHEERING | 0:04:22 | 0:04:24 | |
Oh, if only I knew what was going on in his head. Ah. | 0:04:29 | 0:04:34 | |
Next, a lady with one of the sharpest tongues in Hollywood | 0:04:34 | 0:04:38 | |
and one of the cinema's finest actresses. | 0:04:38 | 0:04:41 | |
When Bette Davis came on the show back in 1987, | 0:04:41 | 0:04:44 | |
she was there for one reason and one reason only - | 0:04:44 | 0:04:48 | |
to publicise her book | 0:04:48 | 0:04:49 | |
and woe betide any old chat show host who might have got in her away. | 0:04:49 | 0:04:55 | |
They do say that you coined the word Oscar for the Academy Awards. | 0:04:55 | 0:04:58 | |
Well, yes. | 0:05:01 | 0:05:04 | |
The Academy claims it also. | 0:05:04 | 0:05:07 | |
-How did that come about? -Well, | 0:05:07 | 0:05:09 | |
I was married to a Mr Harmon O.Nelson | 0:05:09 | 0:05:14 | |
and he never told me what the O stands for, stood for | 0:05:14 | 0:05:18 | |
and he finally told me his middle name was Oscar | 0:05:18 | 0:05:22 | |
and he hated it and I must never use it | 0:05:22 | 0:05:25 | |
but the back side of the Oscar looks just like him. | 0:05:25 | 0:05:28 | |
LAUGHTER | 0:05:28 | 0:05:30 | |
So just in fun, | 0:05:30 | 0:05:32 | |
I called the statue Oscar | 0:05:32 | 0:05:35 | |
and the Academy is not happy about it so I've just said to the Academy, | 0:05:35 | 0:05:40 | |
"Please take all the credit." | 0:05:40 | 0:05:42 | |
It really isn't going to make or break my career | 0:05:42 | 0:05:44 | |
if I didn't name the Oscar. | 0:05:44 | 0:05:47 | |
But you say you should have got it for Human Bondage? | 0:05:49 | 0:05:52 | |
-Oh, yes, definitely. -You really enjoyed that, | 0:05:52 | 0:05:54 | |
the Cockney accent and everything? | 0:05:54 | 0:05:56 | |
Well, it was my first step up the ladder, that's right. | 0:05:56 | 0:05:59 | |
-Can you still do that Cockney accent? -Tiny beginnings. | 0:05:59 | 0:06:04 | |
-Well, yes, because she was very "ladylike" Cockney. -Yes, "ladylike". | 0:06:04 | 0:06:07 | |
-She wasn't the broad Cockney. -Yeah. -Yes. | 0:06:07 | 0:06:11 | |
Well, I haven't practised lately, so... | 0:06:11 | 0:06:13 | |
LAUGHTER | 0:06:13 | 0:06:15 | |
I mean, she always said, | 0:06:15 | 0:06:16 | |
-COCKNEY ACCENT: -"Oh, I don't mind. | 0:06:16 | 0:06:19 | |
-LAUGHTER -"I don't mind." | 0:06:19 | 0:06:21 | |
-Yes. -She was a nasty piece of work. | 0:06:21 | 0:06:23 | |
You have to ask me about my book. | 0:06:23 | 0:06:25 | |
LAUGHTER AND APPLAUSE | 0:06:25 | 0:06:28 | |
Well, actually... | 0:06:34 | 0:06:35 | |
Yeah, you see, I know you're enormously popular in England | 0:06:35 | 0:06:40 | |
and I'm thrilled to be on your show... | 0:06:40 | 0:06:42 | |
LAUGHTER | 0:06:42 | 0:06:44 | |
but I came on this show to sell a book. | 0:06:44 | 0:06:46 | |
-I am in England to sell a book. -LAUGHTER | 0:06:46 | 0:06:48 | |
Oh, I don't know. We're glad to see you, | 0:06:48 | 0:06:50 | |
-whether you've come to sell a book or not. -Well, good. | 0:06:50 | 0:06:52 | |
-Yes, I'm a sales woman. Yes, they... -Well, I think they're probably... | 0:06:52 | 0:06:56 | |
Sidgwick & Company have bought my book | 0:06:56 | 0:06:58 | |
and I must say, I'm very proud of it. | 0:06:58 | 0:07:00 | |
A lot of the information that obviously I'm talking to you about | 0:07:00 | 0:07:03 | |
-comes from the book... -Oh, yes, in this... | 0:07:03 | 0:07:05 | |
..because it's a biography and it's all about your films. | 0:07:05 | 0:07:07 | |
-No, this is not a biography. -Isn't it? -No, no, no. | 0:07:07 | 0:07:10 | |
-Not all about my films, they're never mentioned. -Aren't they? | 0:07:10 | 0:07:12 | |
No. This And That is exactly what it says - | 0:07:12 | 0:07:16 | |
This and that, odds and ends and odds and ends. | 0:07:16 | 0:07:20 | |
Now, in England, they have added the two words, "A Memoir". | 0:07:20 | 0:07:25 | |
Well, there are of course many, many memories | 0:07:25 | 0:07:28 | |
but it's really not necessarily that | 0:07:28 | 0:07:31 | |
but it's not autobiography at all. No. | 0:07:31 | 0:07:34 | |
But it's about you? | 0:07:34 | 0:07:35 | |
It's just about things I think, | 0:07:35 | 0:07:38 | |
-things that have happened to me... -And people you've met? | 0:07:38 | 0:07:41 | |
..and people I have met, yes, | 0:07:41 | 0:07:43 | |
and we worked very hard on it | 0:07:43 | 0:07:45 | |
and we're very thrilled it was on the New York Times' bestseller list | 0:07:45 | 0:07:50 | |
-for four months which is terrific... -Yes. | 0:07:50 | 0:07:53 | |
..so we can sit here and say it's successful at home, | 0:07:53 | 0:07:57 | |
we hope it will be successful here. | 0:07:57 | 0:08:00 | |
LAUGHTER | 0:08:00 | 0:08:02 | |
I appreciate very much | 0:08:11 | 0:08:13 | |
you gave me this opportunity to talk about my book. | 0:08:13 | 0:08:17 | |
LAUGHTER | 0:08:17 | 0:08:19 | |
Bette Davis actually pops up again in this next exchange | 0:08:19 | 0:08:23 | |
with Joan Collins, no less. | 0:08:23 | 0:08:26 | |
At the time, our Joan was revelling in the international notoriety | 0:08:26 | 0:08:30 | |
that came with playing the nastiest woman on television, | 0:08:30 | 0:08:34 | |
Dynasty's Alexis Carrington. | 0:08:34 | 0:08:37 | |
-We're going to do a ravishing anthology of you. -Are you? | 0:08:37 | 0:08:40 | |
-Oh, my goodness me. -Well, looking back into the dim and distant past. | 0:08:40 | 0:08:43 | |
-Really? -Yeah. -I thought we were going to talk about my book. | 0:08:43 | 0:08:46 | |
-Oh, well, maybe later. -No, don't, | 0:08:46 | 0:08:47 | |
you'll begin to sound like Bette Davis if you do that. | 0:08:47 | 0:08:50 | |
Why, what did she do? | 0:08:50 | 0:08:51 | |
Halfway through the interview she said, | 0:08:51 | 0:08:52 | |
-AMERICAN ACCENT: -"OK, well, that's enough about me, dear. | 0:08:52 | 0:08:55 | |
-"What about my book?" -Oh, really? -LAUGHTER | 0:08:55 | 0:08:57 | |
Well, God forbid, I don't want to sound like Bette Davis. | 0:08:57 | 0:09:00 | |
You liked Bette Davis, didn't you? You did The Virgin Queen with her. | 0:09:00 | 0:09:02 | |
-I did. -Did you get on well with her? -Not terribly well, no. -Why? | 0:09:02 | 0:09:05 | |
She didn't like me. I don't know why. | 0:09:05 | 0:09:08 | |
She was quite mean to me. | 0:09:08 | 0:09:10 | |
I don't think she liked particularly that I was very young then | 0:09:10 | 0:09:12 | |
and I played her lady-in-waiting, Lady Beth Throgmorton, | 0:09:12 | 0:09:16 | |
who was with child by Sir Walter Raleigh. | 0:09:16 | 0:09:19 | |
-There you are, look. -Oh, my God. | 0:09:19 | 0:09:21 | |
There's no sign of you being with child. | 0:09:21 | 0:09:23 | |
-Well, I had a good corset on there. -I see. -It held it all in. | 0:09:23 | 0:09:26 | |
You see, you can see the way she's looking at me - | 0:09:26 | 0:09:28 | |
-you can tell she doesn't like me. -LAUGHTER | 0:09:28 | 0:09:31 | |
I think anybody who knows you would probably agree with you | 0:09:33 | 0:09:37 | |
that in fact, contrary to the kind of parts that you play | 0:09:37 | 0:09:42 | |
and how you are pictured by the press, | 0:09:42 | 0:09:44 | |
you're quite a soft person really, aren't you? | 0:09:44 | 0:09:47 | |
A little bit insecure, even. | 0:09:47 | 0:09:49 | |
Well, I think all actors are dreadfully insecure. | 0:09:49 | 0:09:52 | |
That's the reason we're actors in the first place - | 0:09:52 | 0:09:55 | |
we all really don't like ourselves | 0:09:55 | 0:09:56 | |
so we all want to get up there and be someone else | 0:09:56 | 0:09:59 | |
which is why it's so much fun to play Alexis. | 0:09:59 | 0:10:02 | |
I can play this really tough, in control, aggressive woman | 0:10:02 | 0:10:06 | |
which I have become more like, I must say, | 0:10:06 | 0:10:09 | |
since I have been playing it. | 0:10:09 | 0:10:11 | |
I have learnt a few things from her - not enough, I must say. | 0:10:11 | 0:10:15 | |
She's not a person I would like to be but she has certain qualities | 0:10:15 | 0:10:17 | |
that I appreciate and that I think are quite admirable really. | 0:10:17 | 0:10:22 | |
I mean, the way she looks after her finances, her empire, | 0:10:22 | 0:10:26 | |
the way she absolutely single-mindedly | 0:10:26 | 0:10:28 | |
goes after anything she wants and will get it. | 0:10:28 | 0:10:31 | |
I have learnt a bit from her but then she's very hard | 0:10:31 | 0:10:35 | |
and that I don't like. You know, she's not really that vulnerable. | 0:10:35 | 0:10:38 | |
I try to bring some vulnerability to her | 0:10:38 | 0:10:41 | |
but they're always wanting me to do things like | 0:10:41 | 0:10:44 | |
put a cigarette out in an egg, a fried egg | 0:10:44 | 0:10:48 | |
or grind a cigarette out in to my sable that's on the floor. | 0:10:48 | 0:10:51 | |
I say, "I'm not going to do this, guys. | 0:10:51 | 0:10:53 | |
"I mean, I'm not going to do it. This is a £20,000 sable, | 0:10:53 | 0:10:57 | |
"you want me to grind this cigarette out into it?" | 0:10:57 | 0:11:00 | |
He goes, "Oh, no. It'll just be fake when we do that," | 0:11:00 | 0:11:02 | |
not into the £20,000 sable | 0:11:02 | 0:11:04 | |
but they do like to try and pile on the, how shall I say this... | 0:11:04 | 0:11:10 | |
-The arrogance? -..the over the top bit, yes. -The arrogance. | 0:11:10 | 0:11:13 | |
-Yes, the arrogance. -You're not arrogant at all, you say? | 0:11:13 | 0:11:16 | |
Well, I'm not unarrogant but I'm not really arrogant. | 0:11:16 | 0:11:19 | |
I'm confident but not arrogant, I don't think. | 0:11:19 | 0:11:22 | |
Success obviously helps to make you more confident. | 0:11:22 | 0:11:24 | |
Yes, but I think that it wasn't really success. | 0:11:24 | 0:11:26 | |
I think that success comes to you because of what you have... | 0:11:26 | 0:11:30 | |
If you have something inside that you believe in yourself. | 0:11:30 | 0:11:33 | |
I believe very much in myself, you see. | 0:11:33 | 0:11:35 | |
I don't believe what other people say about me. | 0:11:35 | 0:11:37 | |
I don't take any notice of critics or people who snipe at me | 0:11:37 | 0:11:41 | |
because I have to know who I am myself | 0:11:41 | 0:11:45 | |
and I have to know my own worth | 0:11:45 | 0:11:48 | |
and what Joan Collins feels about Joan Collins. | 0:11:48 | 0:11:51 | |
That's the only thing that's important and I think that's true | 0:11:51 | 0:11:53 | |
for everybody. I try to teach my children that, | 0:11:53 | 0:11:56 | |
that it doesn't matter what anybody else thinks about you. | 0:11:56 | 0:11:58 | |
-Does Joan Collins like Joan Collins? -Yes, I do. | 0:11:58 | 0:12:01 | |
Now, I suppose that sounds big-headed. | 0:12:01 | 0:12:04 | |
And you're a lady who's kept her glamour, | 0:12:04 | 0:12:07 | |
to the envy of most ladies of your own age. | 0:12:07 | 0:12:10 | |
When the glamour does fade, will you be able to handle it? | 0:12:10 | 0:12:14 | |
Yes, I think so. I've thought about that quite a lot and I have... | 0:12:14 | 0:12:17 | |
I don't believe that being beautiful or glamorous | 0:12:17 | 0:12:20 | |
is the prerogative of just being a teenager or in your 20s. | 0:12:20 | 0:12:24 | |
There are lots of women that I know who are in their 60s and 70s | 0:12:24 | 0:12:27 | |
and even 80s who I think are beautiful and glamorous. | 0:12:27 | 0:12:30 | |
Of course, it's not the beauty of youth | 0:12:30 | 0:12:32 | |
but there are other compensations - there's wisdom, there's humour, | 0:12:32 | 0:12:36 | |
there's a certain fineness of feature. | 0:12:36 | 0:12:39 | |
I mean, look at Lena Horne, for example - she's 70... | 0:12:39 | 0:12:41 | |
And of course, there's a change in attitude | 0:12:41 | 0:12:43 | |
because you've got to, from now on, | 0:12:43 | 0:12:46 | |
let people make what they like of you. | 0:12:46 | 0:12:48 | |
Well, exactly and of course, if you don't get older, | 0:12:48 | 0:12:50 | |
what's the alternative? | 0:12:50 | 0:12:51 | |
The Big D - | 0:12:51 | 0:12:53 | |
-and we don't want that, not yet. -LAUGHTER | 0:12:53 | 0:12:55 | |
Well, no, not yet and I'm sure not for an awful long time. | 0:12:55 | 0:12:57 | |
-No. -It's been a pleasure to have you on the show. -Terry, it's been great. | 0:12:57 | 0:13:00 | |
-I hope the cold gets better. -Thank you, darling. | 0:13:00 | 0:13:02 | |
-Thank you for joining us. -Thank you. | 0:13:02 | 0:13:04 | |
APPLAUSE | 0:13:04 | 0:13:06 | |
Dynasty, or if you're American, DIE-nasty, | 0:13:10 | 0:13:12 | |
was of course a show where shoulder pads, hair and shiny teeth | 0:13:12 | 0:13:16 | |
were just as important as the plot - | 0:13:16 | 0:13:19 | |
probably more so, which is perhaps why the Bee Gees came to mind | 0:13:19 | 0:13:22 | |
when choosing this next musical interlude. | 0:13:22 | 0:13:25 | |
APPLAUSE | 0:13:25 | 0:13:27 | |
MUSIC: You Win Again by The Bee Gees | 0:13:27 | 0:13:30 | |
# I couldn't figure why you couldn't give me what everybody needs | 0:13:34 | 0:13:39 | |
# I shouldn't let you kick me when I'm down, my baby | 0:13:39 | 0:13:45 | |
# I find out everybody knows that you've been using me | 0:13:45 | 0:13:51 | |
# I'm surprised you let me stay around you | 0:13:51 | 0:13:57 | |
# One day I'm gonna lift the cover and look inside your heart | 0:13:57 | 0:14:02 | |
# We gotta level before we go and tear this love apart | 0:14:02 | 0:14:07 | |
# There's no fight, you can't fight this battle of love with me | 0:14:07 | 0:14:12 | |
# You win again, so little time, we do nothing but compete | 0:14:12 | 0:14:18 | |
# There's no life on earth, no other could see me through | 0:14:18 | 0:14:24 | |
# You win again, some never try but if anybody can, we can | 0:14:24 | 0:14:31 | |
-# And I'll be -And I'll be -And I'll be -I'll be | 0:14:31 | 0:14:34 | |
# Following you | 0:14:34 | 0:14:37 | |
# Oh, girl, oh, girl | 0:14:37 | 0:14:43 | |
# Oh, baby, I shake you from now on | 0:14:43 | 0:14:49 | |
# I'm gonna break down your defences, one by one | 0:14:49 | 0:14:55 | |
# I'm gonna hit you from all sides, lay your fortress open wide | 0:14:55 | 0:15:01 | |
# Nobody stops this body from taking you | 0:15:01 | 0:15:06 | |
# You better beware, I swear | 0:15:06 | 0:15:09 | |
# I'm gonna be there one day when you fall | 0:15:09 | 0:15:13 | |
# I could never let you cast aside the greatest love of all | 0:15:13 | 0:15:17 | |
# There's no fight, you can't fight this battle of love with me | 0:15:17 | 0:15:23 | |
# You win again, so little time, we do nothing but compete | 0:15:23 | 0:15:29 | |
# There's no life on earth, no other could see me through | 0:15:29 | 0:15:34 | |
# You win again, some never try but if anybody can, we can | 0:15:34 | 0:15:43 | |
-# And I'll be -I'll be -And I'll be -I'll be | 0:15:43 | 0:15:45 | |
# Following you | 0:15:45 | 0:15:48 | |
# Oh, girl | 0:15:48 | 0:15:51 | |
# You win again, so little time, we do nothing but compete | 0:15:56 | 0:16:02 | |
-# There's no life on earth, no other could see me through -Oh, girl | 0:16:02 | 0:16:08 | |
# You win again, some never try but if anybody can, we can | 0:16:08 | 0:16:15 | |
-# And I'll be -I'll be -And I'll be -I'll be | 0:16:15 | 0:16:18 | |
# Following you | 0:16:18 | 0:16:20 | |
# Oh, oh | 0:16:20 | 0:16:23 | |
# You win again, so little time, we do nothing but compete | 0:16:23 | 0:16:30 | |
# There's no life on earth, no other could see me through | 0:16:30 | 0:16:36 | |
# You win again, some never try but if anybody can, we can | 0:16:36 | 0:16:41 | |
# There's no fight, you can't fight this battle of love with me | 0:16:41 | 0:16:47 | |
# You win again, so little time... # | 0:16:47 | 0:16:51 | |
APPLAUSE AND CHEERING | 0:16:51 | 0:16:53 | |
Now, I don't pretend to remember every single guest | 0:16:55 | 0:16:57 | |
who appeared on the Wogan show - | 0:16:57 | 0:17:00 | |
in fact, very few of them | 0:17:00 | 0:17:01 | |
but I've got total recall when it comes to this one. | 0:17:01 | 0:17:04 | |
Well, you don't go forgetting Arnold Schwarzenegger in a hurry, do you? | 0:17:04 | 0:17:09 | |
I mean, there's a lot of him. | 0:17:09 | 0:17:12 | |
Who writes this stuff? | 0:17:12 | 0:17:14 | |
APPLAUSE | 0:17:14 | 0:17:16 | |
SCREAMING | 0:17:27 | 0:17:29 | |
-Quiet, fellas, quiet. -LAUGHTER | 0:17:31 | 0:17:33 | |
-Fellas? -Did you bring your relations with you this evening? | 0:17:33 | 0:17:36 | |
No, no, I have millions of fans like this all over the world. | 0:17:36 | 0:17:41 | |
They are just some of them. CHEERING | 0:17:41 | 0:17:43 | |
Yes. You're just as modest as my last guest. | 0:17:43 | 0:17:45 | |
LAUGHTER | 0:17:45 | 0:17:47 | |
Schwarzenegger is a mouthful, isn't it? Why didn't you change it? | 0:17:47 | 0:17:50 | |
Well, when I went to America and I got into acting, | 0:17:50 | 0:17:54 | |
everybody wanted me to change my name | 0:17:54 | 0:17:55 | |
because people started saying, "Schwarzenschnitzel," and, | 0:17:55 | 0:17:58 | |
"Schwarzenheimunblemenschnell," - | 0:17:58 | 0:18:00 | |
nobody could pronounce it so they said just call it Schwarze | 0:18:00 | 0:18:02 | |
or call it something different but not Schwarzenegger. | 0:18:02 | 0:18:05 | |
I felt that they were complaining about everything about me, | 0:18:05 | 0:18:11 | |
not just about the name - they said, "You have a strange body, | 0:18:11 | 0:18:13 | |
"you have a strange accent, you have a strange name - forget it. | 0:18:13 | 0:18:16 | |
"You will never make it in movies," | 0:18:16 | 0:18:18 | |
and I kept all of those things - I still have a strange accent, | 0:18:18 | 0:18:21 | |
a strange name and a strange body and so I'm doing well with my movies. | 0:18:21 | 0:18:25 | |
But it's not a strange body. | 0:18:25 | 0:18:27 | |
No, no, but they mean for the average person to have | 0:18:27 | 0:18:30 | |
a 50-something-inch chest and to have a gorgeous... | 0:18:30 | 0:18:33 | |
WHISTLING | 0:18:33 | 0:18:35 | |
..to have a gorgeous face like this, | 0:18:35 | 0:18:37 | |
I mean, it's all very abnormal... LAUGHTER | 0:18:37 | 0:18:39 | |
..but what happened was the uniqueness of the name | 0:18:39 | 0:18:45 | |
became the strong point now and now, | 0:18:45 | 0:18:47 | |
people cannot forget the name because it took them a long time to remember, | 0:18:47 | 0:18:50 | |
now, they have to stick with it. | 0:18:50 | 0:18:53 | |
Well, it's certainly served you well, hasn't it? | 0:18:53 | 0:18:55 | |
This new film you've made, Commando, it's very violent, isn't it? | 0:18:55 | 0:18:59 | |
-I mean, do... -Yeah, there's a lot of action | 0:18:59 | 0:19:02 | |
but actually it's very low-key. | 0:19:02 | 0:19:03 | |
I only kill around 100 people in that film... LAUGHTER | 0:19:03 | 0:19:07 | |
..which is low-key for my films, but... | 0:19:07 | 0:19:08 | |
But that doesn't worry you that it sets a bad example? | 0:19:08 | 0:19:11 | |
You know, the way they say violence breeds violence, | 0:19:11 | 0:19:13 | |
people go to violent movies, they act violently... | 0:19:13 | 0:19:16 | |
No, it's more in a very humorous way done. | 0:19:16 | 0:19:20 | |
I mean, there is a lot of humour in the movie. | 0:19:20 | 0:19:23 | |
There's action and adventure and there's other comic relief again | 0:19:23 | 0:19:26 | |
and Commando, because of the combination, has done so well | 0:19:26 | 0:19:30 | |
and has gone through the roof box office-wise overseas, | 0:19:30 | 0:19:33 | |
in the United States and in other countries. | 0:19:33 | 0:19:35 | |
I think it has the right combination of action, of violence | 0:19:35 | 0:19:39 | |
and comic relief - that's the important thing. | 0:19:39 | 0:19:42 | |
It's been, of course, compared to Rambo because it came out | 0:19:42 | 0:19:44 | |
roughly the same time. | 0:19:44 | 0:19:45 | |
I mean, how do you think it compares to that which was regarded | 0:19:45 | 0:19:49 | |
as a very violent film? | 0:19:49 | 0:19:50 | |
It's a very different film in many ways because like I said, | 0:19:50 | 0:19:54 | |
our film has a lot of humour which I don't think Rambo has | 0:19:54 | 0:20:00 | |
although Rambo is a good film. | 0:20:00 | 0:20:03 | |
You cannot compare those two films | 0:20:03 | 0:20:04 | |
because mine doesn't take place in the jungle, | 0:20:04 | 0:20:06 | |
my fight scenes take place in Los Angeles. | 0:20:06 | 0:20:08 | |
It's a different time period and on and on - | 0:20:08 | 0:20:11 | |
and different actors are involved. | 0:20:11 | 0:20:13 | |
I love my film but I'm prejudiced | 0:20:13 | 0:20:15 | |
and I think that because of the great combination and the unique scenes | 0:20:15 | 0:20:19 | |
that we have and the great action, it makes it a fantastic movie. | 0:20:19 | 0:20:23 | |
How about the muscles, how do yours compare with Mr Stallone's? | 0:20:23 | 0:20:27 | |
I let people decide for that. I mean, I'm the one that won all the titles | 0:20:27 | 0:20:31 | |
so I don't have to defend myself. | 0:20:31 | 0:20:33 | |
How do you think Sylvester Stallone would have done in a Mr Universe? | 0:20:33 | 0:20:37 | |
Do you think he could compete as a body-builder? | 0:20:37 | 0:20:40 | |
I think that he has a very good body | 0:20:40 | 0:20:42 | |
and I think that what he has done in the last few years | 0:20:42 | 0:20:45 | |
with his body is fantastic and I really admire that | 0:20:45 | 0:20:47 | |
because he started out as really a skinny guy | 0:20:47 | 0:20:50 | |
and he worked his way up to a good physique. | 0:20:50 | 0:20:53 | |
I don't think that he ever will be able to compete | 0:20:53 | 0:20:55 | |
in the body-building competition | 0:20:55 | 0:20:56 | |
because he's not that developed, | 0:20:56 | 0:20:59 | |
he's not that overly developed to be able to compete | 0:20:59 | 0:21:02 | |
but he's good for films. | 0:21:02 | 0:21:03 | |
He really looks believable as a hero | 0:21:03 | 0:21:05 | |
so I think that he has done a fantastic job. | 0:21:05 | 0:21:07 | |
With all that brawn, people, do they assume that there's no brain there? | 0:21:07 | 0:21:13 | |
I hope so... LAUGHTER | 0:21:13 | 0:21:15 | |
..because then they don't expect anything. | 0:21:15 | 0:21:19 | |
I always felt it was a great advantage | 0:21:19 | 0:21:22 | |
when people didn't expect you to be extra bright | 0:21:22 | 0:21:25 | |
because anything you say, then they think it's fantastic. | 0:21:25 | 0:21:28 | |
I remember when I did the first talk show in America. | 0:21:28 | 0:21:30 | |
I was sitting there and after answering the first question, | 0:21:30 | 0:21:33 | |
the host said to me, "I can't believe this - | 0:21:33 | 0:21:36 | |
"This is fantastic. You can talk. | 0:21:36 | 0:21:38 | |
"This is going to be a great interview," | 0:21:38 | 0:21:41 | |
so the guy was so happy about me being able to talk. | 0:21:41 | 0:21:44 | |
I tell you, I never had really a problem with that | 0:21:44 | 0:21:46 | |
because I think people in the United States and anywhere else | 0:21:46 | 0:21:49 | |
know that I'm well-educated and that when you are a great athlete, | 0:21:49 | 0:21:54 | |
it doesn't mean that you have a lack of brain or anything like that | 0:21:54 | 0:21:58 | |
but athletics has that kind of a stereotype image, | 0:21:58 | 0:22:01 | |
I agree with that. | 0:22:01 | 0:22:03 | |
And he certainly showed as you can talk here tonight. | 0:22:03 | 0:22:05 | |
-Thank you very much. -Nice to talk to you. Arnold Schwarzenegger. | 0:22:05 | 0:22:08 | |
Thank you, thank you. APPLAUSE | 0:22:08 | 0:22:10 | |
Our next guest obviously isn't as muscly as Arnie | 0:22:17 | 0:22:20 | |
or as heavily associated with film action | 0:22:20 | 0:22:23 | |
but Michael Douglas has done his time in the odd nailbiter | 0:22:23 | 0:22:27 | |
and when he came on the show, | 0:22:27 | 0:22:29 | |
he made out that he was quite the stuntman. | 0:22:29 | 0:22:31 | |
The truth of the matter is that stunts relax me. | 0:22:31 | 0:22:35 | |
They take my mind off producing. | 0:22:35 | 0:22:37 | |
The more dangerous stunts, I leave for the stuntmen | 0:22:37 | 0:22:40 | |
but there are certain tricks that you know, | 0:22:40 | 0:22:42 | |
for instance, you know how to strangle somebody. | 0:22:42 | 0:22:44 | |
-Certainly, I do. -Right, but to do it without hurting them? | 0:22:44 | 0:22:47 | |
-No, I usually kill them. -Oh. -LAUGHTER | 0:22:47 | 0:22:49 | |
-Well, for instance, if I was going to strangle you... -Steady. | 0:22:49 | 0:22:52 | |
-Hang on, I've got a show to do. -LAUGHTER | 0:22:52 | 0:22:54 | |
..what I do is, you take your hands and you try to strangle yourself. | 0:22:54 | 0:22:57 | |
-Right. -Right. | 0:22:57 | 0:22:58 | |
No, take my hands | 0:22:58 | 0:23:00 | |
and I pull them away and you push them down, you see? | 0:23:00 | 0:23:03 | |
-Then we look like were hurting each other but were not. -We are, we are! | 0:23:03 | 0:23:06 | |
LAUGHTER | 0:23:06 | 0:23:08 | |
Anyway... | 0:23:09 | 0:23:12 | |
One of the more frightening openings I've ever had to the show. | 0:23:12 | 0:23:14 | |
Now, you were the classic Hollywood brat really. | 0:23:14 | 0:23:19 | |
You grew up among the rich and the famous, didn't you? | 0:23:19 | 0:23:21 | |
I mean, mixing with all those... Who was your first girlfriend? | 0:23:21 | 0:23:26 | |
Did you have any people who have grown to fame ever since? | 0:23:26 | 0:23:29 | |
Well, I remember on my... | 0:23:29 | 0:23:30 | |
I mean, we should get it out right now - | 0:23:30 | 0:23:31 | |
I am the illegitimate son of Burt Lancaster. | 0:23:31 | 0:23:34 | |
I thought there was a family resemblance. | 0:23:34 | 0:23:36 | |
Yeah, the dimple I've worked on for a while. | 0:23:36 | 0:23:37 | |
Burt and my father were very close early on. | 0:23:37 | 0:23:41 | |
I remember when I was 16, | 0:23:41 | 0:23:43 | |
I was fortunate enough on my 16th birthday to have Hayley Mills... | 0:23:43 | 0:23:47 | |
as my date... | 0:23:47 | 0:23:48 | |
-and I remember... -LAUGHTER | 0:23:48 | 0:23:50 | |
Hey, thank God you said, "as my date"... | 0:23:50 | 0:23:53 | |
LAUGHTER | 0:23:53 | 0:23:55 | |
Yes. Well, I had her as my date and it was... | 0:23:55 | 0:24:00 | |
I remember that it was a great time | 0:24:00 | 0:24:02 | |
-because I got to teach her how to twist... -Yeah. | 0:24:02 | 0:24:04 | |
..and that was a very popular thing at that time. | 0:24:04 | 0:24:07 | |
Was it difficult for you having a famous dad? | 0:24:07 | 0:24:10 | |
-I think everybody's got problems, Terry. -No kidding. | 0:24:10 | 0:24:13 | |
Mine were not insurmountable. | 0:24:13 | 0:24:16 | |
I think it's difficult to get your own identity | 0:24:16 | 0:24:19 | |
and I think all of my father's four sons have taken a little longer | 0:24:19 | 0:24:24 | |
to find themselves. | 0:24:24 | 0:24:26 | |
I'm still looking. | 0:24:26 | 0:24:28 | |
It wasn't bad, he was great, yeah, he was a hard worker | 0:24:28 | 0:24:31 | |
but he also assumed a lot of responsibility as a father. | 0:24:31 | 0:24:35 | |
Did he give you a lot of advice starting out in the film business? | 0:24:35 | 0:24:39 | |
And did you take it? | 0:24:39 | 0:24:40 | |
Well, most of it would be hard to repeat on national television. | 0:24:40 | 0:24:47 | |
He did, I mean, it basically went along the lines of | 0:24:47 | 0:24:49 | |
you do your best efforts and after that, forget it. | 0:24:49 | 0:24:52 | |
There's nothing more you can do. | 0:24:52 | 0:24:54 | |
I think you learn most from watching rather than what people say. | 0:24:54 | 0:25:00 | |
I think parents have a tendency to teach their children, | 0:25:00 | 0:25:03 | |
they hear enough during the school hours | 0:25:03 | 0:25:05 | |
and it's really them watching where they learn the most. | 0:25:05 | 0:25:09 | |
My father was extremely hard-working, | 0:25:09 | 0:25:11 | |
they used to make a lot more films in those days, | 0:25:11 | 0:25:14 | |
he's made 70 pictures. | 0:25:14 | 0:25:16 | |
The biggest thing I learned was to savour your successes, | 0:25:16 | 0:25:20 | |
take your time - otherwise it just goes by so fast, | 0:25:20 | 0:25:23 | |
you never have chance to enjoy it. | 0:25:23 | 0:25:25 | |
-You do have a British connection, don't you? -Well, yes. | 0:25:25 | 0:25:28 | |
I'm half English. My family is Bermudan. | 0:25:28 | 0:25:32 | |
I just came back from Bermuda. As a matter of fact, my grandfather, | 0:25:32 | 0:25:37 | |
50 years ago, was the Crown Solicitor of Bermuda. | 0:25:37 | 0:25:41 | |
As a matter of fact, he was up here about 50 years ago receiving his appointment | 0:25:41 | 0:25:46 | |
and he was accosted by a young woman on Piccadilly saying, | 0:25:46 | 0:25:51 | |
-COCKNEY ACCENT: -"Hello, guv'nor. How about a little fling, guv'nor?" | 0:25:51 | 0:25:54 | |
and my grandfather says, | 0:25:54 | 0:25:56 | |
"My dear lady, do you have any idea who you are speaking to?" | 0:25:56 | 0:25:59 | |
She says, "Well, no, guv'nor. I don't." | 0:25:59 | 0:26:01 | |
He says, "Well, I happen to be the Crown Solicitor of Bermuda." | 0:26:01 | 0:26:05 | |
She says, "Is that so? | 0:26:05 | 0:26:06 | |
"Well, I'm the half-crown solicitor of Piccadilly." | 0:26:06 | 0:26:08 | |
-So that was the... -It's the Douglas family joke. | 0:26:10 | 0:26:13 | |
APPLAUSE | 0:26:13 | 0:26:15 | |
Now, a real hero - | 0:26:15 | 0:26:17 | |
Christopher Reeve became a big international star | 0:26:17 | 0:26:20 | |
thanks to his role as Superman in the hugely successful film series | 0:26:20 | 0:26:24 | |
but he was left paralysed after a terrible riding accident in the 1990s | 0:26:24 | 0:26:28 | |
and he devoted the next decade to campaigning for more research | 0:26:28 | 0:26:32 | |
into spinal-cord injuries | 0:26:32 | 0:26:34 | |
before passing away at the age of 52. | 0:26:34 | 0:26:38 | |
Here we see him just before his accident, in his prime - | 0:26:38 | 0:26:42 | |
delightful company, clearly enjoying his life and his work. | 0:26:42 | 0:26:47 | |
Will you go back and do Superman 4? | 0:26:47 | 0:26:49 | |
Never say never again. | 0:26:49 | 0:26:51 | |
-Yes, Sean Connery found that out, didn't he? -Yeah. | 0:26:51 | 0:26:55 | |
So you can't make promises. | 0:26:55 | 0:26:56 | |
The problem is that you can do James Bond, you send him | 0:26:56 | 0:26:59 | |
to the health farm and play him at 50, whatever, but Superman - | 0:26:59 | 0:27:03 | |
there's something about the paunch and the tights and the red boots | 0:27:03 | 0:27:06 | |
-that really wouldn't make it. -LAUGHTER | 0:27:06 | 0:27:08 | |
I think the statute of limitations has run out on my playing Superman | 0:27:08 | 0:27:11 | |
-past about now. -Do you mean the old body is falling apart? | 0:27:11 | 0:27:14 | |
I think maybe it is, yes. | 0:27:14 | 0:27:16 | |
It's falling apart in that certain kind of macho muscle-builder way, you know? | 0:27:16 | 0:27:22 | |
I didn't do anything heavier than lift a wine glass now, you know. | 0:27:22 | 0:27:27 | |
-But did you have to work very hard at the pectorals? -Oh, God. | 0:27:27 | 0:27:31 | |
Yeah, I was in the gym every night, seven days a week for two hours. | 0:27:31 | 0:27:36 | |
And, just... A guy named Dave Prowse who's the green cross man... | 0:27:36 | 0:27:40 | |
-Green goddess. -Right. -LAUGHTER | 0:27:40 | 0:27:43 | |
No, that's someone else - | 0:27:43 | 0:27:44 | |
I've seen her, she looks a lot better than Dave Prowse. | 0:27:44 | 0:27:46 | |
Sometimes with Americans, I can get away with things like that | 0:27:46 | 0:27:49 | |
but you're an Anglophile. You know what goes on here. | 0:27:49 | 0:27:51 | |
-So he taught you how to get your body... -Yeah, he showed up... | 0:27:51 | 0:27:53 | |
Were you a seven-stone weakling before that? | 0:27:53 | 0:27:55 | |
13.5-stone weakling, yes | 0:27:55 | 0:27:58 | |
but he showed up on the first day and said, "Right, do these," | 0:27:58 | 0:28:01 | |
and then he took another job and went off to Tunisia | 0:28:01 | 0:28:03 | |
and later on, one day, he took the credit for it - | 0:28:03 | 0:28:06 | |
deserved but nevertheless, I had to go to the gym and do all the work. | 0:28:06 | 0:28:09 | |
It was something that I find really grotesque. | 0:28:09 | 0:28:12 | |
I think a lot of sweaty guys staring at themselves in the mirror... | 0:28:12 | 0:28:15 | |
LAUGHTER | 0:28:15 | 0:28:17 | |
is, like, really disgusting so... | 0:28:19 | 0:28:21 | |
I won't have any of that, I mean... | 0:28:23 | 0:28:25 | |
-The old pumping iron. You didn't ever pump the iron? -No. | 0:28:25 | 0:28:28 | |
I sail a boat and ski down a hill and fly a glider | 0:28:28 | 0:28:30 | |
and I flew my plane across the ocean one time. | 0:28:30 | 0:28:33 | |
I lost more weight flying my plane alone, meaning solo... | 0:28:33 | 0:28:36 | |
Every time I say I flew my plane alone, they always say, | 0:28:36 | 0:28:39 | |
"Who went with you?" I said, "No, alone, alone, across the Atlantic." | 0:28:39 | 0:28:42 | |
Mind you, this wasn't Lindbergh | 0:28:42 | 0:28:44 | |
but the sheer terror factor on a couple of legs of that trip - | 0:28:44 | 0:28:47 | |
I lost my weight doing that than I ever did in gym. | 0:28:47 | 0:28:50 | |
I was on a leg across from Iceland | 0:28:50 | 0:28:55 | |
aiming for Glasgow via the Outer Hebrides. | 0:28:55 | 0:28:59 | |
Everything was going well except I suddenly realised that | 0:28:59 | 0:29:02 | |
three and a half hours out of a five-hour trip | 0:29:02 | 0:29:04 | |
and the Outer Hebrides were not appearing | 0:29:04 | 0:29:06 | |
anywhere near where they were supposed to | 0:29:06 | 0:29:08 | |
and while I could hear Scottish control, they couldn't hear me | 0:29:08 | 0:29:11 | |
and I suddenly thought, "I wonder..." | 0:29:11 | 0:29:13 | |
Well, Europe's a big place, let's get out the map, | 0:29:13 | 0:29:15 | |
let's see where we might be here. | 0:29:15 | 0:29:16 | |
Anywhere on the board to win, right? | 0:29:16 | 0:29:18 | |
So I took a look and said, "Well, maybe I went to Ireland. | 0:29:18 | 0:29:21 | |
"Yeah, maybe I'm in Ireland." So I call up Irish control | 0:29:21 | 0:29:25 | |
and sure enough, I'm 50 miles west of Shannon. | 0:29:25 | 0:29:28 | |
I said, "Well, you know, the accent's a little different | 0:29:28 | 0:29:31 | |
"but what the heck, I'll give it a try." | 0:29:31 | 0:29:33 | |
So I went in and landed at Shannon and thought no more about it. | 0:29:33 | 0:29:35 | |
However, the press was waiting in Glasgow | 0:29:35 | 0:29:38 | |
and they'd had the TV crews out and they had the magazines and papers | 0:29:38 | 0:29:41 | |
on the spot to catch Superman flying across the Atlantic, | 0:29:41 | 0:29:45 | |
landing in Glasgow. | 0:29:45 | 0:29:46 | |
When I missed and ended up in Ireland, they had a field day. | 0:29:46 | 0:29:50 | |
-They took me apart. -LAUGHTER | 0:29:50 | 0:29:52 | |
You do pursue the macho things though - | 0:29:53 | 0:29:55 | |
the flying and all that stuff, | 0:29:55 | 0:29:58 | |
even if the old muscles are beginning to collapse a bit. | 0:29:58 | 0:30:02 | |
I didn't know that... Maybe flying is macho. | 0:30:02 | 0:30:05 | |
I have never thought of it as such | 0:30:05 | 0:30:07 | |
because macho to me is a deliberate flaunting of masculinity | 0:30:07 | 0:30:14 | |
as a kind of way to keep women separate. | 0:30:14 | 0:30:18 | |
I think that one of the things that's nice about flying, | 0:30:18 | 0:30:21 | |
particularly flying antique planes that I do and gliders and stuff, | 0:30:21 | 0:30:24 | |
is it brings people together. | 0:30:24 | 0:30:25 | |
Flying is about families, it's about boyfriends and girlfriends, | 0:30:25 | 0:30:28 | |
it's about taking your grandmother up - it's not a particularly... | 0:30:28 | 0:30:31 | |
it's not that old flyboy from the war kind of thing any more. | 0:30:31 | 0:30:35 | |
Would you like to see yourself in the leather thing | 0:30:35 | 0:30:37 | |
-with the glasses and all? -I just did a movie as a matter of fact | 0:30:37 | 0:30:39 | |
called The Aviator, in which I fly a 1926 Stearman. | 0:30:39 | 0:30:43 | |
I think it's the first time that an actor's done his own flying. | 0:30:43 | 0:30:46 | |
They used to let Steve McQueen drive his own motorcycle in his movies. | 0:30:46 | 0:30:49 | |
So you do your own stunts? | 0:30:49 | 0:30:50 | |
Yeah, I did everything except the part where it says, | 0:30:50 | 0:30:52 | |
"It flies through the trees, the wings come off and it crashes in a heap." | 0:30:52 | 0:30:56 | |
-I did everything except that bit, I let someone else do that. -Yeah. | 0:30:56 | 0:30:58 | |
People do say that you're no fun any more, you won't try these things. | 0:30:58 | 0:31:01 | |
-No, no. -LAUGHTER | 0:31:01 | 0:31:04 | |
-I'm a dead bore. -It's a pleasure to meet you, Christopher. -OK. | 0:31:04 | 0:31:07 | |
-Thank you for coming. -Thank you. -APPLAUSE | 0:31:07 | 0:31:09 | |
We're staying in movie hero mode now for another musical break. | 0:31:18 | 0:31:23 | |
They'd just recorded the theme from a new James Bond epic, | 0:31:23 | 0:31:27 | |
A View To A Kill. | 0:31:27 | 0:31:28 | |
It's Duran Duran. | 0:31:28 | 0:31:30 | |
APPLAUSE | 0:31:30 | 0:31:32 | |
MUSIC: A View To A Kill by Duran Duran | 0:31:32 | 0:31:36 | |
# Meeting you with a view to a kill | 0:31:47 | 0:31:55 | |
# Face to face in secret places, feel the chill | 0:31:55 | 0:32:01 | |
# Nightfall covers me | 0:32:09 | 0:32:13 | |
# But you know the plans I'm making | 0:32:13 | 0:32:17 | |
# Still oversea | 0:32:17 | 0:32:20 | |
# Could it be the whole Earth opening wide? | 0:32:20 | 0:32:25 | |
# A sacred why, a mystery gaping inside | 0:32:28 | 0:32:34 | |
# The weekend's why | 0:32:35 | 0:32:38 | |
# Until we dance into the fire | 0:32:38 | 0:32:43 | |
# That fatal kiss is all we need | 0:32:43 | 0:32:47 | |
# Dance into the fire | 0:32:47 | 0:32:51 | |
# To fatal sounds of broken dreams | 0:32:51 | 0:32:55 | |
# Dance into the fire | 0:32:55 | 0:32:59 | |
# That fatal kiss is all we need | 0:32:59 | 0:33:03 | |
# Dance into the fire | 0:33:03 | 0:33:08 | |
# Choice for you is the view to a kill | 0:33:19 | 0:33:26 | |
# Between the shades, assassination standing still | 0:33:26 | 0:33:32 | |
# First crystal tears | 0:33:41 | 0:33:44 | |
# Fall as snowflakes on your body | 0:33:44 | 0:33:49 | |
# First time in years | 0:33:49 | 0:33:52 | |
# To drench your skin with lover's rosy stain | 0:33:52 | 0:33:58 | |
# A chance to find a phoenix for the flame | 0:34:00 | 0:34:06 | |
# A chance to die | 0:34:07 | 0:34:10 | |
# But can we dance into the fire | 0:34:10 | 0:34:15 | |
# That fatal kiss is all we need | 0:34:15 | 0:34:19 | |
# Dance into the fire | 0:34:19 | 0:34:23 | |
# To fatal sounds of broken dreams | 0:34:23 | 0:34:27 | |
# Dance into the fire | 0:34:27 | 0:34:30 | |
# That fatal kiss is all we need | 0:34:30 | 0:34:35 | |
# Dance into the fire | 0:34:35 | 0:34:38 | |
# When all we see is the view to a kill. # | 0:34:38 | 0:34:45 | |
APPLAUSE | 0:34:59 | 0:35:01 | |
It turned out that A View To A Kill | 0:35:03 | 0:35:05 | |
was the final Bond film to star Roger Moore. | 0:35:05 | 0:35:09 | |
At the time, that was sensitive information | 0:35:09 | 0:35:11 | |
and like any good secret agent, Roger refused to reveal details | 0:35:11 | 0:35:15 | |
even in the face of some self-interested interrogating | 0:35:15 | 0:35:18 | |
from yours truly. | 0:35:18 | 0:35:21 | |
-Now, is this your last James Bond movie? -Why, do you want the part? | 0:35:21 | 0:35:23 | |
-I'd like it, please. -LAUGHTER | 0:35:23 | 0:35:26 | |
-I would like a shot at it, sir. -You really would? | 0:35:26 | 0:35:29 | |
Well, I have a letter here if I may read to you? | 0:35:29 | 0:35:31 | |
-You may. Is it from Cubby? -No, it's not from Cubby, | 0:35:31 | 0:35:34 | |
it's from Betty Collier. | 0:35:34 | 0:35:36 | |
"You may wish to be considered for the part of James Bond | 0:35:36 | 0:35:38 | |
"but how do you expect to cope with the athletic bedroom antics of 007 | 0:35:38 | 0:35:43 | |
-"with your bad back?" -LAUGHTER | 0:35:43 | 0:35:46 | |
"Don't you think such feats would be beyond your capabilities?" | 0:35:46 | 0:35:50 | |
Is it terrifically athletic? | 0:35:50 | 0:35:51 | |
Well, you can get doubles to do that sort of thing, you know. | 0:35:51 | 0:35:54 | |
You don't though, do you? | 0:35:54 | 0:35:55 | |
LAUGHTER | 0:35:55 | 0:35:57 | |
-The truth. -For the love scenes, yes. | 0:35:57 | 0:35:59 | |
-Oh - but for the athletic bits, is that you? -Oh! | 0:35:59 | 0:36:02 | |
That's me, I do all that. | 0:36:02 | 0:36:03 | |
LAUGHTER | 0:36:03 | 0:36:04 | |
All those stunts - | 0:36:04 | 0:36:06 | |
there's a fantastic stunt at the beginning of the movie, skiing. | 0:36:06 | 0:36:08 | |
That's you? | 0:36:08 | 0:36:10 | |
-Well, of course it is. -All over Siberia, on one ski. | 0:36:10 | 0:36:12 | |
Yeah. LAUGHTER | 0:36:12 | 0:36:14 | |
And what about hanging off the Golden Gate Bridge, that's you? | 0:36:16 | 0:36:19 | |
Well, of course it is. | 0:36:19 | 0:36:21 | |
-What you see, you believe, don't you? -Yeah. | 0:36:21 | 0:36:23 | |
Right. You believe it. | 0:36:23 | 0:36:25 | |
You'll believe anything. | 0:36:25 | 0:36:26 | |
LAUGHTER | 0:36:26 | 0:36:28 | |
Yeah. You're not... | 0:36:28 | 0:36:29 | |
One of the reasons you might be thinking of making way for a younger man is... | 0:36:30 | 0:36:35 | |
LAUGHTER | 0:36:35 | 0:36:37 | |
..you're not getting a bit long in the tooth? | 0:36:37 | 0:36:41 | |
He's charming, isn't he? LAUGHTER | 0:36:41 | 0:36:44 | |
It's just that the book portrays Bond in his mid-30s. | 0:36:44 | 0:36:48 | |
It doesn't portray him as anything. | 0:36:48 | 0:36:49 | |
Well, he's supposed to be in his mid-30s | 0:36:49 | 0:36:52 | |
and I'm closer to my mid-30s than you. | 0:36:52 | 0:36:54 | |
LAUGHTER | 0:36:54 | 0:36:55 | |
-Not much. -Well, you can stretch the imagination | 0:36:55 | 0:36:58 | |
but the whole age thing is one that I was surprised to hear | 0:36:58 | 0:37:01 | |
in television. You get it in the press in England, I've noticed. | 0:37:01 | 0:37:06 | |
They can never report anything, you know... | 0:37:06 | 0:37:08 | |
"A housewife was arrested for shoplifting. | 0:37:08 | 0:37:11 | |
"Mrs Brown, 48, of Morden..." | 0:37:11 | 0:37:14 | |
You know, it's always age, isn't it? | 0:37:14 | 0:37:16 | |
If it goes into television, they will probably... | 0:37:16 | 0:37:19 | |
You know, the royal premiere on Wednesday | 0:37:19 | 0:37:23 | |
and I can see Judith Chalmers will be saying, | 0:37:23 | 0:37:26 | |
"Oh, yes, the Prince of Wales, 34... | 0:37:26 | 0:37:29 | |
LAUGHTER | 0:37:29 | 0:37:31 | |
"is coming with his wife, the Princess of Wales, 22, | 0:37:31 | 0:37:34 | |
"in their four-year-old Bentley, | 0:37:34 | 0:37:36 | |
"driven by a 29-year-old chauffeur... | 0:37:36 | 0:37:39 | |
Everywhere, it's hysterical. | 0:37:39 | 0:37:41 | |
I love your attitude to film. | 0:37:41 | 0:37:42 | |
Whenever I've seen you interviewed, not this kind of interview, | 0:37:42 | 0:37:45 | |
but you seem so relaxed about the whole thing. | 0:37:45 | 0:37:47 | |
Your attitude to Bond is much different, say, | 0:37:47 | 0:37:50 | |
to Sean Connery's as an approach. | 0:37:50 | 0:37:53 | |
Well, you know, I came into it after he was very well established | 0:37:53 | 0:37:58 | |
and obviously, I couldn't play it in the same way | 0:37:58 | 0:38:01 | |
and so I had to have a different approach | 0:38:01 | 0:38:03 | |
and I'm a lighter sort of actor than Sean. | 0:38:03 | 0:38:07 | |
How did you categorise... Did you think a great deal | 0:38:07 | 0:38:10 | |
about how you were going to approach this part? | 0:38:10 | 0:38:12 | |
Did you attempt to motivate yourself? | 0:38:12 | 0:38:14 | |
-Well, I thought about the money... -Sort of method school of acting stuff... | 0:38:14 | 0:38:18 | |
-Just the money, eh? -No, no, no. | 0:38:18 | 0:38:21 | |
My only worry ever about doing it was - you know, | 0:38:21 | 0:38:26 | |
the comparison with Sean - was that I would say to myself, | 0:38:26 | 0:38:30 | |
"My name is Bond, James Bond," and then that I would hear it in my mind, | 0:38:30 | 0:38:34 | |
SCOTTISH ACCENT: "My name is Bond, James Bond." | 0:38:34 | 0:38:37 | |
Mustn't do that, very difficult. LAUGHTER | 0:38:37 | 0:38:41 | |
Have you changed the role at all? | 0:38:41 | 0:38:44 | |
Are you playing it exactly the same way each time? | 0:38:44 | 0:38:47 | |
I think we've injected a little more humour. | 0:38:47 | 0:38:49 | |
Yeah, it seems to me to be more and more for laughs | 0:38:49 | 0:38:52 | |
and more and more enormous effects. | 0:38:52 | 0:38:54 | |
Well, you see, Bond films are so outrageous, | 0:38:54 | 0:38:57 | |
the stunts are so outrageous, everything is beyond belief. | 0:38:57 | 0:39:01 | |
I mean, there is no such thing as a spy who can walk | 0:39:01 | 0:39:04 | |
anywhere in the world and have every bartender recognise him and say, | 0:39:04 | 0:39:07 | |
"Ah, Mr Bond - a vodka martini, shaken not stirred." | 0:39:07 | 0:39:09 | |
Spies aren't like that, are they? | 0:39:09 | 0:39:11 | |
LAUGHTER | 0:39:11 | 0:39:13 | |
They're unknown faces that would pass in a crowd and not be noticed, | 0:39:14 | 0:39:19 | |
real spies. So you might be good for the part. No, anyway... | 0:39:19 | 0:39:22 | |
LAUGHTER & APPLAUSE | 0:39:22 | 0:39:24 | |
Thank you. On my side! | 0:39:26 | 0:39:27 | |
I've said this before, like women, | 0:39:30 | 0:39:32 | |
my audience is the most fickle crowd you'll ever meet. | 0:39:32 | 0:39:35 | |
-They'd turn on me like cornered rats. -No, it's not true. | 0:39:35 | 0:39:41 | |
Do you still get fun making movies? | 0:39:41 | 0:39:43 | |
You obviously take a lot of fun out of life. | 0:39:43 | 0:39:46 | |
Well, you'd be a bit of a nit not to get fun. | 0:39:46 | 0:39:49 | |
I mean, I go, I get overpaid for acting like an overpaid schoolboy. | 0:39:49 | 0:39:53 | |
It's ridiculous. | 0:39:53 | 0:39:54 | |
But some actors do get paid more than you get paid and take it... | 0:39:54 | 0:39:57 | |
WHO? | 0:39:57 | 0:39:59 | |
LAUGHTER | 0:39:59 | 0:40:01 | |
Which ones? | 0:40:01 | 0:40:02 | |
..take it deeply seriously, don't they? | 0:40:02 | 0:40:05 | |
It depends what you're doing. | 0:40:05 | 0:40:06 | |
The sort of thing I do, I can't work in a tight, closed atmosphere. | 0:40:06 | 0:40:11 | |
I like it to be relaxed and have fun, and enjoy myself. | 0:40:11 | 0:40:15 | |
And finally, Leslie Nielsen, | 0:40:15 | 0:40:17 | |
who deadpanned his way through the Naked Gun films | 0:40:17 | 0:40:20 | |
playing a tough guy cop with as much sense as an aardvark. | 0:40:20 | 0:40:26 | |
Leslie kept a mostly straight face during his visit to the show - | 0:40:26 | 0:40:30 | |
a different story for myself and the studio audience. | 0:40:30 | 0:40:34 | |
You became a star with Airplane. | 0:40:34 | 0:40:36 | |
Did the fan mail increase and everything? | 0:40:36 | 0:40:39 | |
Not really. Everything just continued, | 0:40:39 | 0:40:41 | |
I did my job and what's happening now with The Naked Gun apparently, | 0:40:41 | 0:40:45 | |
it's becoming so extraordinarily well-received and it's really | 0:40:45 | 0:40:49 | |
as funny as Airplane - I think it's funnier, frankly. | 0:40:49 | 0:40:52 | |
Things may change now but I've been very happy with my life | 0:40:52 | 0:40:55 | |
up to this point and it doesn't make any difference. | 0:40:55 | 0:40:57 | |
-The fame is not going to change you? -Not a bit. | 0:40:57 | 0:40:59 | |
You're not going to turn into pompous old Leslie Nielsen, are you? | 0:40:59 | 0:41:03 | |
Well, I have to watch my image, that's very important, you know. | 0:41:03 | 0:41:06 | |
-Of course. -I mean, I'm always associated with being a man | 0:41:06 | 0:41:09 | |
who has a background, an education and I'm well-mannered and I have to... | 0:41:09 | 0:41:13 | |
-HE PRETENDS TO FART -protect that image... | 0:41:13 | 0:41:16 | |
-Don't you think? -Certainly. -LAUGHTER | 0:41:16 | 0:41:19 | |
I think that's tremendously important. | 0:41:19 | 0:41:21 | |
The image is terribly important to a film star. | 0:41:21 | 0:41:23 | |
I'm glad you agree with me, it's very important. | 0:41:23 | 0:41:25 | |
-It is. -Yes. | 0:41:25 | 0:41:27 | |
-Now, moving right along. -Yes. -LAUGHTER | 0:41:27 | 0:41:30 | |
-Shall we keep on going? -Yes. | 0:41:30 | 0:41:32 | |
Now, you're... | 0:41:32 | 0:41:34 | |
-Yes? -LAUGHTER | 0:41:34 | 0:41:37 | |
You're... | 0:41:37 | 0:41:38 | |
We came here to have fun, didn't we? | 0:41:38 | 0:41:41 | |
-Now, look, just a minute. -Yes? | 0:41:45 | 0:41:47 | |
-This is not going as I anticipated. -Is it not? Really? | 0:41:47 | 0:41:49 | |
-No. -Oh. -I'm having to sit further away from you for a start. | 0:41:49 | 0:41:52 | |
LAUGHTER AND APPLAUSE | 0:41:52 | 0:41:54 | |
-Now, look... -Should we start over again? | 0:41:54 | 0:41:57 | |
-No, no. -I'll go off... | 0:41:57 | 0:41:59 | |
-You might do it again. -Well, all right. | 0:41:59 | 0:42:01 | |
I will, believe me! | 0:42:01 | 0:42:04 | |
Now, look - | 0:42:04 | 0:42:05 | |
you wouldn't think it but you're 63 tomorrow, I know that. | 0:42:05 | 0:42:08 | |
-How did you know that? -I'm well-informed about that. -Yeah. | 0:42:08 | 0:42:11 | |
-Bring on the cake! -APPLAUSE AND CHEERING | 0:42:11 | 0:42:13 | |
MUSIC: HAPPY BIRTHDAY TO YOU | 0:42:13 | 0:42:15 | |
Good Lord! | 0:42:20 | 0:42:21 | |
-We thought we... -How nice. | 0:42:29 | 0:42:31 | |
..we couldn't have a man of your standing here | 0:42:31 | 0:42:33 | |
-and not have a cake of sorts. -Yes. | 0:42:33 | 0:42:36 | |
It's a simple little thing, | 0:42:36 | 0:42:37 | |
it's an airplane coming up through the clouds. | 0:42:37 | 0:42:40 | |
-And we have a knife also. -We have a knife, oh, yes. -Yes. | 0:42:40 | 0:42:43 | |
We have everything here | 0:42:43 | 0:42:45 | |
and if I can just prise the thing free, I'll even cut you a slice. | 0:42:45 | 0:42:51 | |
-You will? -Yeah. We don't stint here... | 0:42:51 | 0:42:54 | |
-Are you cutting me a slice? -HE PRETENDS TO FART | 0:42:54 | 0:42:56 | |
LAUGHTER | 0:42:56 | 0:42:58 | |
I'm... Of course. | 0:42:58 | 0:43:00 | |
Do you know, I wondered why they called you a society entertainer. | 0:43:05 | 0:43:09 | |
-A slice of cake, some cake... -Awfully kind of you. | 0:43:12 | 0:43:15 | |
-I'm grateful, thank you deeply. -Yeah, you look as fit as a flea. | 0:43:15 | 0:43:19 | |
-I mean, do you do any special exercises for that? -Not really. | 0:43:19 | 0:43:23 | |
-Just try to avoid tension is all. -Of course! | 0:43:26 | 0:43:29 | |
Now, if that's not a showstopper, I don't know what is. | 0:43:31 | 0:43:35 | |
Make sure you join me for some more nuggets of nostalgia next time. | 0:43:35 | 0:43:39 | |
Till then, bye-bye. | 0:43:39 | 0:43:41 | |
JAZZY MUSIC | 0:43:41 | 0:43:43 |