0:00:02 > 0:00:03BBC Four Collections -
0:00:03 > 0:00:06specially chosen programmes from the BBC Archive.
0:00:06 > 0:00:07For this Collection,
0:00:07 > 0:00:08Sir Michael Parkinson
0:00:08 > 0:00:10has selected BBC interviews
0:00:10 > 0:00:12with influential figures
0:00:12 > 0:00:13of the 20th century.
0:00:13 > 0:00:15More programmes on this theme
0:00:15 > 0:00:16and other BBC Four Collections
0:00:16 > 0:00:18are available on BBC iPlayer.
0:00:32 > 0:00:35APPLAUSE
0:00:36 > 0:00:38CHEERING
0:00:43 > 0:00:46Thank you, ladies and gentlemen. Thank you.
0:00:46 > 0:00:48Oh, now.
0:00:48 > 0:00:50Oh, you mustn't.
0:00:50 > 0:00:52Shush.
0:00:52 > 0:00:55WOMAN: Whoo! Terry, woof!
0:00:55 > 0:00:56Woof, woof, indeed.
0:00:56 > 0:00:59A thinking man's audience we have in tonight.
0:00:59 > 0:01:02Good evening. Now, as two of my guests tonight
0:01:02 > 0:01:05are expected on the stage at the Savoy Theatre within the hour,
0:01:05 > 0:01:08Horatio, we're getting straight on with the show tonight.
0:01:08 > 0:01:11"Thank goodness for that," they mutter.
0:01:11 > 0:01:13Ingrates, all of you.
0:01:13 > 0:01:17I bring them in out of the rain and all they do is hurl abuse.
0:01:17 > 0:01:19LAUGHTER Not even money!
0:01:19 > 0:01:22Now, later on there's music and a natter with Boy George,
0:01:22 > 0:01:24with whom no-one comes nattier.
0:01:24 > 0:01:27- WOMAN: Whoo-hoo! - Whoo! There's Roger Cook.
0:01:27 > 0:01:29Not the intrepid, fearless investigator
0:01:29 > 0:01:31who'd like to get the crooks to sing,
0:01:31 > 0:01:34but the Roger Cook who wrote I'd Like To Teach The World To Sing.
0:01:34 > 0:01:35That's a Radio 2 link.
0:01:35 > 0:01:38And there's also the splendid Roy Kinnear.
0:01:38 > 0:01:40Pardon?
0:01:40 > 0:01:41Did that really say that?
0:01:41 > 0:01:43LAUGHTER
0:01:43 > 0:01:46Anyway, first, a man who played three American Presidents.
0:01:46 > 0:01:48Of course, he was only acting.
0:01:48 > 0:01:51Sometimes, I wish the present one was.
0:01:51 > 0:01:53LAUGHTER
0:01:53 > 0:01:55But the man you're about to meet has also been
0:01:55 > 0:01:58Moses, Ben-Hur, El Cid, Michelangelo, Julius Caesar
0:01:58 > 0:02:01and somebody even greater than those giants of history - Jason Colby.
0:02:01 > 0:02:03LAUGHTER
0:02:03 > 0:02:06The erstwhile charioteer, parter of seas, bearer of tablets,
0:02:06 > 0:02:09is currently in London as A Man For All Seasons.
0:02:09 > 0:02:11We're delighted to welcome Charlton Heston.
0:02:11 > 0:02:14CHEERING AND APPLAUSE
0:02:29 > 0:02:32Well, Sir Thomas... Sir Thomas More.
0:02:33 > 0:02:35How do you like to be addressed?
0:02:35 > 0:02:36As Sir Thomas, or...
0:02:36 > 0:02:38- Tommy's all right. - Tommy.
0:02:38 > 0:02:40What, Mr Heston, or...
0:02:40 > 0:02:41- Chuck is fine. - Chuck.
0:02:41 > 0:02:43You're not crazy about Charlton.
0:02:43 > 0:02:45No, my mother calls me Charlton
0:02:45 > 0:02:49and Mr Cecil B DeMille used to call me Charlton, but I...
0:02:49 > 0:02:51It's...kind of an odd name, isn't it?
0:02:51 > 0:02:52Yeah.
0:02:52 > 0:02:55See, if we were broadcasting this in the States,
0:02:55 > 0:02:57where my mother might hear me, I wouldn't dare say that.
0:02:57 > 0:02:58You'll have to...
0:02:58 > 0:02:59People would have to call you Charlton.
0:02:59 > 0:03:01- No, my mother, though. - Yes, yes, quite.
0:03:01 > 0:03:04Well, we've a football team here of that ilk, as well.
0:03:04 > 0:03:06- Bobby Charlton. - Bobby Charlton.
0:03:06 > 0:03:08Not a football team in himself, but almost.
0:03:08 > 0:03:10- Almost. - That's a fabulous costume.
0:03:10 > 0:03:12Thank you. It's...
0:03:12 > 0:03:14You get out of bed of a morning and leap straight into it?
0:03:14 > 0:03:17Yes, just get right into it, so I get into the part, you know.
0:03:17 > 0:03:18Does it help?
0:03:18 > 0:03:22Do you feel Sir Thomas More coming over you?
0:03:22 > 0:03:23Yes, that's really true.
0:03:23 > 0:03:25I've played a lot of these fellows
0:03:25 > 0:03:27that wear dresses and things like that.
0:03:27 > 0:03:30- And...funny wigs and... - You have, haven't you?
0:03:30 > 0:03:33Oh, yes, I've gone...
0:03:33 > 0:03:36on the screen I've gone years without ever putting a pair of trousers on.
0:03:36 > 0:03:37LAUGHTER
0:03:37 > 0:03:39Must be... You've nowhere to put things.
0:03:39 > 0:03:41That's very difficult. Yes, you're quite right.
0:03:41 > 0:03:42No pockets.
0:03:42 > 0:03:45I've often thought I wouldn't like to be a woman for the same reason.
0:03:45 > 0:03:48Chain mail is...has its drawbacks.
0:03:48 > 0:03:52So do togas and gowns. They are kinda spiffy, though, isn't it?
0:03:52 > 0:03:55It is, really, but I mean, do you like dressing up?
0:03:55 > 0:03:58Do you like the costuming part of acting?
0:03:58 > 0:04:03I like to play, er...real great men of the past.
0:04:03 > 0:04:05I've done perhaps more than most of my fellows,
0:04:05 > 0:04:08and it's an interesting challenge
0:04:08 > 0:04:13to play Thomas More in what is surely an English masterpiece.
0:04:13 > 0:04:17And to play it here in London in the first production
0:04:17 > 0:04:21since Paul Scofield's memorable creation of the part in 1960 is -
0:04:21 > 0:04:24as an American actor - I think, an honour, truly.
0:04:24 > 0:04:27And we've got a marvellous company,
0:04:27 > 0:04:30we're having a magnificent time over at the Savoy.
0:04:30 > 0:04:34You had extremely good critiques
0:04:34 > 0:04:37and some, what I thought, very...cutting ones,
0:04:37 > 0:04:40which were based not so much on your performance,
0:04:40 > 0:04:42but based on the fact that...
0:04:42 > 0:04:44The play, which is outrageous, really.
0:04:44 > 0:04:49This Man For All Seasons is undeniably a great play,
0:04:49 > 0:04:54and will be performed for generations beyond us.
0:04:54 > 0:04:57Funny, Irving Wardle in The Times said that he didn't think the part of
0:04:57 > 0:04:58Sir Thomas More was all that great,
0:04:58 > 0:05:00but that you gave the definitive performance.
0:05:00 > 0:05:01Well, he was very generous, but...
0:05:01 > 0:05:03Other people have said...
0:05:03 > 0:05:07They seem unable to accept you in that part,
0:05:07 > 0:05:11mainly, it seems, not because of the great roles that you did on film,
0:05:11 > 0:05:13but mainly because of the Jason Colby part.
0:05:13 > 0:05:16That keeps being dragged up. Does that annoy you?
0:05:16 > 0:05:17No, not really.
0:05:17 > 0:05:20I'll tell you the most important thing
0:05:20 > 0:05:22I ever learned about notices and critics,
0:05:22 > 0:05:25and I was grateful for Mr Wardle's kind words
0:05:25 > 0:05:27and the things other people said, but...
0:05:27 > 0:05:29I was doing a play with Laurence Olivier
0:05:29 > 0:05:30a number of years ago, many, many years ago,
0:05:30 > 0:05:32when I was young and green.
0:05:32 > 0:05:36And we got in, perhaps deserved, just terrible notices
0:05:36 > 0:05:39and we were going to close at the end of the week, which we did.
0:05:39 > 0:05:42So I found myself, at two o'clock in the morning, all alone,
0:05:42 > 0:05:46the opening-night party having disappeared, and I was with Olivier
0:05:46 > 0:05:48and a bottle of brandy
0:05:48 > 0:05:52and I was striving for an attitude of detachment
0:05:52 > 0:05:56and I said, "Well, I suppose you learn to dismiss the bad notices."
0:05:56 > 0:06:02And he took my wrist and said, "Chuck, what's much more important
0:06:02 > 0:06:04"and much harder, you have to learn to dismiss the good ones."
0:06:06 > 0:06:07- And that is true. - Yes.
0:06:07 > 0:06:09- That's really true. - You seem...
0:06:09 > 0:06:12You have to do the work for the work, you know?
0:06:12 > 0:06:13- Yeah. - That's, er...
0:06:13 > 0:06:16You love acting, don't you?
0:06:16 > 0:06:17It's my life, yes.
0:06:17 > 0:06:19Is that why you didn't pursue a career in politics,
0:06:19 > 0:06:21which I think you could easily have done?
0:06:21 > 0:06:24Er, I think so, yes.
0:06:24 > 0:06:25Er...indeed, I know so.
0:06:25 > 0:06:28However seriously I considered it -
0:06:28 > 0:06:32and it wasn't very serious, the thing of running for the senate,
0:06:32 > 0:06:36but I thought, "My word, I'll never be able to act again."
0:06:36 > 0:06:40Never to play Macbeth again, never to play Sir Thomas More again.
0:06:40 > 0:06:43I didn't know at the time I was going to get another chance at it,
0:06:43 > 0:06:44I'd done it a couple of times.
0:06:44 > 0:06:49But all those marvellous parts that... I couldn't give it up.
0:06:49 > 0:06:51I couldn't bear it.
0:06:51 > 0:06:54What about the part of the President of America?
0:06:54 > 0:06:57- I've done that three times. - Of course you have!
0:06:57 > 0:06:58Yes, I've been President three times.
0:06:58 > 0:07:00- Of course you have. - Yes.
0:07:00 > 0:07:03But, er, it seems to us - or seems to me -
0:07:03 > 0:07:07looking as we get into the run-up for the American election,
0:07:07 > 0:07:11that nobody seems particularly convincing as a candidate.
0:07:11 > 0:07:14Nobody seems... At least, the American public don't seem convinced.
0:07:14 > 0:07:17I think they need another film star. I think...
0:07:17 > 0:07:19I tell you...
0:07:19 > 0:07:21If Clint Eastwood doesn't go for it, I think you should.
0:07:21 > 0:07:24No, I... No, absolutely not.
0:07:24 > 0:07:28I think we've got some good candidates and it's...
0:07:28 > 0:07:33We have a rather clumsy process of sorting them out, you know.
0:07:33 > 0:07:37It's gonna take, what, the better part of the next 12 months
0:07:37 > 0:07:41to arrive at who's going to be nominated by either party
0:07:41 > 0:07:45and it always seems a...big kerfuffle at the beginning,
0:07:45 > 0:07:47and people drop out,
0:07:47 > 0:07:50and stumble and put their feet wrong and so on.
0:07:50 > 0:07:55Um, but, er, we haven't been at it as long as you people have here,
0:07:55 > 0:07:58but we're, er, we're still there.
0:07:58 > 0:08:01Is it an enormous attraction for you to do theatre
0:08:01 > 0:08:03- as distinct from film? - Absolutely. Absolutely.
0:08:03 > 0:08:08But does your film and television work subsidise your theatre work?
0:08:08 > 0:08:09Well, but...
0:08:09 > 0:08:10I don't...
0:08:10 > 0:08:15I don't denigrate work on the screen.
0:08:15 > 0:08:19I love it, I would be very, very sorry to give up either,
0:08:19 > 0:08:22and as long as people keep giving me jobs, I won't.
0:08:22 > 0:08:25My ideal is to switch from one to the other,
0:08:25 > 0:08:27which is roughly what I've been doing over the years.
0:08:27 > 0:08:30I was here two years ago on the stage
0:08:30 > 0:08:34in The Caine Mutiny Court-Martial.
0:08:34 > 0:08:38Now I'm back in A Man For All Seasons and...frankly,
0:08:38 > 0:08:40I would, on the stage,
0:08:40 > 0:08:43just as soon act either in Los Angeles,
0:08:43 > 0:08:45where I can sleep in my own bed,
0:08:45 > 0:08:47or here in London.
0:08:47 > 0:08:52I've acted on Broadway, and this is the greatest city in the world
0:08:52 > 0:08:54and the capital of the English-speaking theatre
0:08:54 > 0:08:59and you're up to your neck in marvellous actors to work with.
0:08:59 > 0:09:02Is that not intimidating? Do you get intimidated?
0:09:02 > 0:09:04No, you can't. You know, for example,
0:09:04 > 0:09:08Paul Scofield created Thomas More on the stage and on the screen.
0:09:08 > 0:09:10Won the Academy Award on the screen,
0:09:10 > 0:09:13it's considered the definitive performance,
0:09:13 > 0:09:16but I've followed Laurence Olivier and Ralph Richardson
0:09:16 > 0:09:19and Michael Redgrave in Shakespearean parts on stage
0:09:19 > 0:09:21and why not?
0:09:21 > 0:09:25That's what great parts are for - to be played again and again.
0:09:25 > 0:09:29This part will be played by somebody after me, and somebody after him
0:09:29 > 0:09:32and somebody after him. It'll go on.
0:09:32 > 0:09:34And you got the... What was the big break?
0:09:34 > 0:09:36The big break, what was your first film?
0:09:36 > 0:09:37Was it black and white?
0:09:37 > 0:09:39The first film was a black-and-white film.
0:09:39 > 0:09:44I had done a 16mm version of Julius Caesar before that,
0:09:44 > 0:09:48kind of a semi-amateur version.
0:09:48 > 0:09:52And then I did a sort of what they used to call film noir...
0:09:53 > 0:09:57..called Dark City. Then the second picture I did was for DeMille,
0:09:57 > 0:10:00about the circus, and that won the Academy Award and then so on,
0:10:00 > 0:10:02and then Ten Commandments and so on and so on.
0:10:02 > 0:10:04And here we are, sitting here,
0:10:04 > 0:10:06and I'm wearing a dress and you're wearing a grey suit.
0:10:06 > 0:10:07LAUGHTER
0:10:07 > 0:10:11A fine way to treat a great leader of men.
0:10:11 > 0:10:14Have people tended to treat you with more than your due deference,
0:10:14 > 0:10:17because of the nature of the roles that you've played?
0:10:17 > 0:10:19That's an interesting question, Terry. I don't know.
0:10:19 > 0:10:23Maybe it's either that or because I'm 6' 3" and I have a broken nose
0:10:23 > 0:10:24- and a deep voice. - Oh, yeah.
0:10:24 > 0:10:27You're pretty intimidating. But have you...
0:10:27 > 0:10:28I think that may be true.
0:10:28 > 0:10:30What about its effect on you?
0:10:30 > 0:10:31Has it made you feel that you should be
0:10:31 > 0:10:33treated with more than... due deference?
0:10:33 > 0:10:38No. I tell you what, playing men like Sir Thomas More and, er,
0:10:38 > 0:10:43Richelieu and Jefferson and Jackson and all those formidable -
0:10:43 > 0:10:49truly formidable - individuals just gives you a sense of the dimension
0:10:49 > 0:10:51of your own smaller dimension.
0:10:52 > 0:10:56I remember when I was going to play Michelangelo
0:10:56 > 0:11:01in The Agony And The Ecstasy, and a British journalist...
0:11:01 > 0:11:05Michelangelo was physically quite short - he was about 5' 6", I think.
0:11:05 > 0:11:10And he said, "Don't you think you're a bit tall to play Michelangelo?"
0:11:10 > 0:11:11I said, "No, I think I'm a bit small."
0:11:13 > 0:11:15Yeah. In a different kind of way.
0:11:15 > 0:11:16- Yes, indeed. - Yeah.
0:11:16 > 0:11:21So, when you finish here now, you go back to the States with the play,
0:11:21 > 0:11:23or are you taking it on tour?
0:11:23 > 0:11:26Well, we close here, January 9th at the Savoy.
0:11:26 > 0:11:31Then we are, I'm happy to announce on your programme,
0:11:31 > 0:11:35reopening the Theatre Royal in Newcastle, which has been closed.
0:11:35 > 0:11:38It's one of the oldest and most beautiful theatres in London -
0:11:38 > 0:11:40in Britain, I'm told.
0:11:40 > 0:11:44And we reopen it...the week after we close here in January,
0:11:44 > 0:11:47and then I believe we're doing a week in Brighton
0:11:47 > 0:11:49and then maybe one more week, then I'll go back.
0:11:49 > 0:11:52- Yes. - But it's been...
0:11:52 > 0:11:58is now, and looks to go on being, a marvellous experience.
0:11:58 > 0:12:02I've filmed in London, I've acted on the stage in London,
0:12:02 > 0:12:08I've toured as a private citizen here and done speeches
0:12:08 > 0:12:10and all kinds of things. It's...
0:12:10 > 0:12:14- I'm very glad to be back. - Well, it's good to see you.
0:12:14 > 0:12:16You're working with an old chum of yours, aren't you?
0:12:16 > 0:12:19- Yes, Roy Kinnear. - Whatever happened to him?
0:12:19 > 0:12:22I don't know. He's gone off a bit, you know.
0:12:22 > 0:12:24- Has he? - Yes, he has.
0:12:24 > 0:12:26LAUGHTER
0:12:26 > 0:12:27Yes.
0:12:27 > 0:12:29Charlie, Charlie, Charlie, Charlie!
0:12:29 > 0:12:32Well, of course, it's a pity that you have to work with somebody like that.
0:12:32 > 0:12:34Roy, sh, sh!
0:12:34 > 0:12:36Sorry to interrupt a fascinating interview.
0:12:36 > 0:12:38- We're talking here. - It's a fascinating...
0:12:38 > 0:12:39- It's fascinating me... - Roy!
0:12:39 > 0:12:41..but look, we've only got 15 minutes
0:12:41 > 0:12:43- to get to the Savoy. - 15 minutes.
0:12:43 > 0:12:45No, no. I've... I've got your coat here.
0:12:45 > 0:12:47Please, now, look. You cannot... Ladies and gentlemen, Roy Kinnear.
0:12:47 > 0:12:49CHEERING AND APPLAUSE
0:12:51 > 0:12:53Please, please, could you...
0:12:55 > 0:12:57COMMENTS DROWNED OUT BY APPLAUSE
0:12:57 > 0:12:59I told you earlier he'd get nervous.
0:12:59 > 0:13:00We've only got 15 minutes.
0:13:00 > 0:13:0315 minutes, so could you ask the questions a bit quicker?
0:13:03 > 0:13:05- Faster. Faster. - Do you like working with him?
0:13:05 > 0:13:07- Yes, I do. - Do you like working with him?
0:13:07 > 0:13:09- Yes, he's marvellous. - He's very big for you, isn't he?
0:13:09 > 0:13:11- Well, no, he's about my size. - Is he?
0:13:11 > 0:13:12Well, I cut him down to size in the end.
0:13:12 > 0:13:14Ha-ha(!)
0:13:14 > 0:13:15What part could you possibly be playing
0:13:15 > 0:13:17in this intellectual piece by Robert Bolt?
0:13:17 > 0:13:20Well, I play bits and bobs, you know.
0:13:20 > 0:13:22All different characters. All different.
0:13:22 > 0:13:24I mean, they all look exactly the same, but...
0:13:24 > 0:13:27But I wear a different hat sometimes. I take this hat off.
0:13:27 > 0:13:29Do you? Terrific. Very good. Very good.
0:13:29 > 0:13:32And then put that on again. Ah-ha! You don't know who it is, do you?
0:13:32 > 0:13:33Have you worked with...
0:13:33 > 0:13:37Yes, Roy and I worked together in The Three Musketeers,
0:13:37 > 0:13:38had a marvellous time.
0:13:38 > 0:13:40- I know, Roy, it'll be all right. - What time does the curtain go up?
0:13:40 > 0:13:42- 7.30, it's all right. - Plenty of time.
0:13:42 > 0:13:4415 minutes to get to the West End.
0:13:44 > 0:13:47There'll be dozens of people disappointed if we don't get there!
0:13:47 > 0:13:48- They will. - See, Roy starts the play, so...
0:13:48 > 0:13:50Do you?
0:13:50 > 0:13:51And then it goes downhill after that.
0:13:51 > 0:13:53LAUGHTER
0:13:53 > 0:13:55So...are you... What are you doing?
0:13:55 > 0:13:57Dressing, perhaps? Are you a dresser?
0:13:57 > 0:13:58A bit... Well, I do sometimes.
0:13:58 > 0:14:01I have a pair of slippers I put on Chuck.
0:14:01 > 0:14:02Sometimes he puts them on.
0:14:02 > 0:14:04I'm not very good on props, that's my trouble,
0:14:04 > 0:14:06well, apart from other things.
0:14:06 > 0:14:07And, um, I, er...
0:14:07 > 0:14:09I usually put the wrong foot in the wrong shoe,
0:14:09 > 0:14:10and he goes around like that.
0:14:10 > 0:14:15What we've now done, we've taped inside the left-hand slipper "L"
0:14:15 > 0:14:17and the right-hand slipper "R".
0:14:17 > 0:14:19Clever.
0:14:19 > 0:14:20That is a bit of a... That'll help.
0:14:20 > 0:14:23- Until I'm facing the other way. - One doesn't know where to go.
0:14:23 > 0:14:26Do you think there's a future for you in epic movies of any kind?
0:14:26 > 0:14:28If they ever made them, there would be.
0:14:28 > 0:14:30That perhaps something would rub off.
0:14:30 > 0:14:33- Charioteer. - Oh, yes. That's very true.
0:14:33 > 0:14:35I played, actually, in an epic movie once.
0:14:35 > 0:14:39I played a...erm... a gladiator instructor.
0:14:39 > 0:14:40Spartacus, was it?
0:14:40 > 0:14:42No, no, no, no. I played it.
0:14:42 > 0:14:44Oh.
0:14:44 > 0:14:45LAUGHTER
0:14:45 > 0:14:47So, is that it? I mean, have you
0:14:47 > 0:14:50- finished all the questions? - We were hoping we could go on...
0:14:50 > 0:14:52- I've got your coat here, Chuck. - We were hoping that, perhaps,
0:14:52 > 0:14:55- the interview could go on a bit... - No, I'm sorry.
0:14:55 > 0:14:57Could we just go?
0:14:57 > 0:14:59This is the kind of coat Boy George might like.
0:14:59 > 0:15:02What do you mean, Boy George? It's Boy Roy here.
0:15:02 > 0:15:04- But I said... - Could I just...
0:15:04 > 0:15:06- I thought if we could go on... - Come on, get it on.
0:15:06 > 0:15:08The great thing is, the disguise is complete.
0:15:08 > 0:15:11..with the interview a little bit longer...
0:15:11 > 0:15:12- Higher. - ..we might...
0:15:12 > 0:15:13- Up more, up more. - No, no.
0:15:13 > 0:15:15There you go. There we go.
0:15:15 > 0:15:16Because, if we don't go now,
0:15:16 > 0:15:18I'm afraid we'll never get there. Are you ready?
0:15:18 > 0:15:20- Yes. - No-one'll recognise you in that.
0:15:20 > 0:15:21That's fine.
0:15:21 > 0:15:24- We can slip out, no-one'll know. - Slip out, no-one'll know.
0:15:24 > 0:15:26Yes, quite. Well, thank you. - Go that way.
0:15:26 > 0:15:29- Thank you for taking my guest off. - It was nothing. It was nothing.
0:15:29 > 0:15:30Charlton Heston, ladies and gentlemen!
0:15:30 > 0:15:32Roy Kinnear! Men for all seasons.
0:15:32 > 0:15:34APPLAUSE
0:15:51 > 0:15:53As Roy Kinnear's common man...
0:15:53 > 0:15:56CHEERING
0:15:57 > 0:15:58Thank you.
0:15:58 > 0:16:00It's the first time I've ever had applause
0:16:00 > 0:16:02for the beginning of an announcement.
0:16:02 > 0:16:04And they don't come much commoner.
0:16:04 > 0:16:07..Charlton Heston's Thomas More gallop off into the night
0:16:07 > 0:16:10in the direction of London's glittering theatre land,
0:16:10 > 0:16:12we have some music.
0:16:12 > 0:16:13Here to sing his new single,
0:16:13 > 0:16:16and we'll be having a little bit of a chat after it,
0:16:16 > 0:16:20ladies and gentlemen, a new one called To Be Reborn,
0:16:20 > 0:16:22let's welcome Boy George.
0:16:22 > 0:16:24CHEERING AND APPLAUSE
0:16:40 > 0:16:43# Get off your knees
0:16:43 > 0:16:46# Don't apologise
0:16:47 > 0:16:50# Cos I ain't got time
0:16:50 > 0:16:53# For no more lies
0:16:54 > 0:16:57# You know the answer
0:16:57 > 0:17:01# I gave it to you
0:17:01 > 0:17:04# But you carry on
0:17:04 > 0:17:07# With the things that you do
0:17:08 > 0:17:11# Yes, I have tried
0:17:15 > 0:17:19# I, I could live
0:17:19 > 0:17:24# I could die I could be reborn in your arms
0:17:24 > 0:17:29# Oh, baby, little baby
0:17:29 > 0:17:35# I, oh, I, I could laugh I could cry, I could sigh
0:17:35 > 0:17:39# If you're there to keep me warm
0:17:39 > 0:17:43# To keep me warm, warm, warm
0:17:45 > 0:17:49- # Talk to me - # Talk to me
0:17:49 > 0:17:52# Open your eyes
0:17:52 > 0:17:56- # Talk to me - # Talk to me
0:17:56 > 0:17:58# Lose the disguise
0:17:59 > 0:18:03# We had good love
0:18:03 > 0:18:06# Most of the time
0:18:06 > 0:18:10# Give it back
0:18:10 > 0:18:12# That love is mine
0:18:14 > 0:18:17# Give it back
0:18:17 > 0:18:20# Just one more time
0:18:20 > 0:18:24# I, I could live
0:18:24 > 0:18:29# I could die I could be reborn in your arms
0:18:29 > 0:18:34# Oh, baby, little baby
0:18:34 > 0:18:40# I, oh, I, I could laugh I could cry, I could sigh
0:18:40 > 0:18:44# If you're there to keep me warm
0:18:44 > 0:18:48# To keep me warm, warm
0:18:51 > 0:18:54# Yeah, I
0:19:04 > 0:19:07# I know the answer
0:19:07 > 0:19:11# What can we do?
0:19:11 > 0:19:15# I know the answer, yeah
0:19:15 > 0:19:17# So do you
0:19:18 > 0:19:22# I gave you love
0:19:22 > 0:19:24# I gave it to you
0:19:26 > 0:19:29# I gave you love
0:19:29 > 0:19:31# Something new
0:19:33 > 0:19:39# I gave you love
0:19:39 > 0:19:43# I, I, I, I
0:19:43 > 0:19:46# I, I
0:19:46 > 0:19:48# I could live, I could die
0:19:48 > 0:19:52# I could be reborn in your arms
0:19:53 > 0:19:57# Oh, baby, little baby
0:19:57 > 0:20:00# I, oh, I
0:20:00 > 0:20:03# I could laugh I could cry, I could sigh
0:20:03 > 0:20:06# If you're there to keep me warm
0:20:06 > 0:20:09# To keep me warm... #
0:20:09 > 0:20:13CHEERING AND APPLAUSE
0:20:20 > 0:20:22- Hello. - Nice one.
0:20:30 > 0:20:32- Shh! - Shh!
0:20:32 > 0:20:34- Settle down. - Please.
0:20:34 > 0:20:36They don't want to hear you speak, you see.
0:20:36 > 0:20:38They'd probably like you to sing again,
0:20:38 > 0:20:39but I mean I know you can talk.
0:20:39 > 0:20:41And look at you.
0:20:41 > 0:20:42This is the filthy-rich look.
0:20:42 > 0:20:44I was going to say,
0:20:44 > 0:20:46you could easily double for Sir Thomas More in that.
0:20:46 > 0:20:49Apart from the...apart from that in the middle, there.
0:20:49 > 0:20:51The Mercedes-Benz. Yeah, I know. Well...
0:20:51 > 0:20:53Did you make that yourself?
0:20:53 > 0:20:55Oh, no, of course not.
0:20:55 > 0:20:57Look at it, it's terrific.
0:20:57 > 0:20:59- You've gone into gold, obviously. - Yeah.
0:20:59 > 0:21:01You've liquidised all your assets and gone into gold.
0:21:01 > 0:21:02This is all very cheap stuff.
0:21:02 > 0:21:06I mean, what I do, what I try to do is wear things that my fans can copy,
0:21:06 > 0:21:09you know. I mean, I just wear junk.
0:21:09 > 0:21:10LAUGHTER
0:21:10 > 0:21:11What was that?
0:21:11 > 0:21:12LAUGHTER
0:21:12 > 0:21:16Tell me about this record. It's a slight change of pace for you,
0:21:16 > 0:21:17isn't it, from what you've been doing?
0:21:17 > 0:21:19Well, yeah, it's a sort of bluesy ballad, you know.
0:21:19 > 0:21:22I suppose it's a Christmas record, if you like, you know.
0:21:22 > 0:21:24You're going for the Christmas charts.
0:21:24 > 0:21:27Well, I just hope to have a hit, really, one way or the other.
0:21:27 > 0:21:29Well, the last time we chatted and the last time you sang
0:21:29 > 0:21:31on this show for me, you had a number one, didn't you?
0:21:31 > 0:21:32Yeah.
0:21:32 > 0:21:34- So maybe it'll do it again. - I hope so.
0:21:34 > 0:21:37You look very well. You've put on a lot of weight, obviously.
0:21:37 > 0:21:39Yeah, I'm what you call an all-round entertainer.
0:21:39 > 0:21:41I mean that as a compliment,
0:21:41 > 0:21:44because you have gone through your thin days, but you look...
0:21:44 > 0:21:46- Is weight a problem with you? - No, no.
0:21:46 > 0:21:49As I said before, I'm an all-round entertainer. I love it.
0:21:49 > 0:21:51But, I mean, I've actually got a fat skeleton.
0:21:51 > 0:21:53- Yeah. - It's true.
0:21:53 > 0:21:55No, that's my... That's my excuse, as well.
0:21:55 > 0:21:58There were stories about you going off to a health club to slim down.
0:21:58 > 0:22:01No, I actually went there for my mental health.
0:22:01 > 0:22:05- That could get really complicated. - Yes, it is, I know.
0:22:05 > 0:22:08No, I just went there for a rest, really, you know, from all the...
0:22:08 > 0:22:12Cos I was working very hard earlier on in the year, so I just went off...
0:22:12 > 0:22:14It's a great place to go and have a rest, the health farm, cos you just,
0:22:14 > 0:22:16I mean...
0:22:16 > 0:22:18This whole idea of being a slob is quite nice, isn't it, for a while?
0:22:18 > 0:22:20Story of my life.
0:22:20 > 0:22:22Do you have to watch what you eat a lot?
0:22:22 > 0:22:26Not really, it's just that my dad, right, he was an Army cook, my dad.
0:22:26 > 0:22:29So when he cooks food, he cooks for 50 people, even though
0:22:29 > 0:22:31there's three people eating.
0:22:31 > 0:22:33You know, so it's one of those things.
0:22:33 > 0:22:36Yeah, but you've always been a big fellow anyway - you're a large chap.
0:22:36 > 0:22:38I'm a big boy. I've got these...
0:22:38 > 0:22:41CHEERING AND LAUGHTER
0:22:41 > 0:22:42That struck a nerve.
0:22:42 > 0:22:44I've got this fabulous badge and it says,
0:22:44 > 0:22:46"The bigger they are, the harder they hit."
0:22:46 > 0:22:49CHEERING
0:22:50 > 0:22:51Do you...
0:22:51 > 0:22:55Tell me, do you miss the old band at all, or the solo career,
0:22:55 > 0:22:57have you settled to that now?
0:22:57 > 0:22:59Well, you know, obviously you do get lonely,
0:22:59 > 0:23:02cos when you've been in a band for, like, four years...
0:23:02 > 0:23:05It doesn't sound very long, but it's like a sort of weird marriage.
0:23:05 > 0:23:09And I do miss them, you know, but I still see the rest of Culture Club,
0:23:09 > 0:23:11despite what you read in the papers.
0:23:11 > 0:23:13I do see them and I'm very friendly with them. It's great.
0:23:13 > 0:23:16They're all doing their own things now, which is great.
0:23:16 > 0:23:19But I'm actually just about to go on a tour of Europe,
0:23:19 > 0:23:21so I'm sort of concentrating on my solo thing at the moment.
0:23:21 > 0:23:23That would be one way to lose weight anyway.
0:23:23 > 0:23:27We're getting a kind of sneak preview of one of the outfits, then?
0:23:27 > 0:23:28Yeah, this is my opening outfit.
0:23:28 > 0:23:30Very nice. Now, don't go.
0:23:30 > 0:23:32- Will you stay with us for a while? - Yeah.
0:23:32 > 0:23:34Good, cos there is somebody I'm sure you want to meet.
0:23:34 > 0:23:36My final guest tonight was a bit of a...
0:23:36 > 0:23:37I suppose a Boy George in his day.
0:23:37 > 0:23:40He was a bit of a Blue Mink anyway.
0:23:40 > 0:23:42You dangled past me there!
0:23:42 > 0:23:44LAUGHTER
0:23:44 > 0:23:48But he gave up singing songs to write songs and, with Roger Greenaway,
0:23:48 > 0:23:50created - after Lennon and McCartney - what's been regarded
0:23:50 > 0:23:52as the most successful song-writing team in the world.
0:23:52 > 0:23:541,000 songs, 70 hits.
0:23:54 > 0:23:56He's living in Nashville now, we're glad to welcome him back.
0:23:56 > 0:23:57Roger Cook.
0:23:57 > 0:23:59CHEERING AND APPLAUSE
0:23:59 > 0:24:04MUSIC: "I'd Like To Teach The World To Sing (I Perfect Harmony)"
0:24:10 > 0:24:13With the old little ukulele in your hand there.
0:24:13 > 0:24:16Actually, it means never wash a guitar.
0:24:16 > 0:24:17That's the truth.
0:24:17 > 0:24:20What is that? What is that? A banjolele, a ukulele?
0:24:20 > 0:24:21No, this is a ukulele.
0:24:21 > 0:24:24I think it's the only one in the world that's got a cutaway.
0:24:24 > 0:24:26I had it made for me. Makes me feel like a rock star.
0:24:26 > 0:24:28What does a ukulele sound... Give us a burst.
0:24:28 > 0:24:30Cos old George Formby... MIMICS FORMBY: Heh-heh-heh-heh-heh.
0:24:30 > 0:24:31It sounds better when it's in tune.
0:24:31 > 0:24:35But you're supposed to strum it, aren't you? Heh-heh-heh-heh!
0:24:35 > 0:24:38With me ukulele in me 'and!
0:24:38 > 0:24:40TERRY: Go on.
0:24:40 > 0:24:41Course, if it's in tune,
0:24:41 > 0:24:43it sounds wonderful - you've got to take my word for it.
0:24:43 > 0:24:48I met you in the old days, God bless us, when I was a boy broadcaster.
0:24:48 > 0:24:49The old days!
0:24:49 > 0:24:52And you were with Roger Greenaway and you were a singing duo
0:24:52 > 0:24:56as well as an enormously successful song-writing duo.
0:24:56 > 0:24:57David and Jonathan, yes.
0:24:57 > 0:24:59David and Jonathan.
0:24:59 > 0:25:01They were good days, they were happy days.
0:25:01 > 0:25:03And they were days where you couldn't seem to go wrong -
0:25:03 > 0:25:05everything you wrote was a hit!
0:25:05 > 0:25:07Just about, for a while, yeah.
0:25:07 > 0:25:09Lovely stuff - I loved the money.
0:25:09 > 0:25:10LAUGHTER
0:25:10 > 0:25:13- Don't we all? - The money and fame was wonderful.
0:25:13 > 0:25:16And then you joined up... You formed a group called Blue Mink.
0:25:16 > 0:25:18I didn't form it, I was invited into the band.
0:25:18 > 0:25:20With Madeline Bell.
0:25:20 > 0:25:22- Yes. - And Barry Morgan.
0:25:22 > 0:25:23- Barry Morgan. - Barry Morgan's our drummer here,
0:25:23 > 0:25:25you know, we keep him on a chain...
0:25:25 > 0:25:27DRUM ROLL
0:25:27 > 0:25:29- Still getting work, Barry? - You're fired!
0:25:29 > 0:25:30You're fired, Barry.
0:25:30 > 0:25:33..on a chain down in the basement.
0:25:33 > 0:25:35We throw raw meat to him every so often.
0:25:35 > 0:25:36- He deserves it. - Yeah.
0:25:36 > 0:25:38You remember Blue Mink.
0:25:38 > 0:25:40Actually I did a cover of Melting Pot,
0:25:40 > 0:25:41which is one of my favourite songs.
0:25:41 > 0:25:43Which I love. Listen, I gotta tell you a story.
0:25:43 > 0:25:46You appeared in Nashville, Tennessee.
0:25:46 > 0:25:48My little girl, Katie, went with her mum.
0:25:48 > 0:25:53It got to when you sang, she started crying, "I'm so proud of my daddy."
0:25:53 > 0:25:54I was thrilled to bits, I was a star!
0:25:54 > 0:25:57But that song was... I mean, as pop songs go,
0:25:57 > 0:25:59it's very difficult to write
0:25:59 > 0:26:01a good pop song with a real good meaning,
0:26:01 > 0:26:03and that song was, like, such a fierce song.
0:26:03 > 0:26:05It was a little ambitious at the time, yeah.
0:26:05 > 0:26:06It was great. I actually bumped into
0:26:06 > 0:26:08Madeline Bell a couple of weeks ago and I always
0:26:08 > 0:26:10hear her on the TV singing, was it,
0:26:10 > 0:26:12# Cook, cook-ability That's the beauty of gas. #
0:26:12 > 0:26:14- That's Madeline Bell, is it? - It is, I'm sure it is, yeah.
0:26:14 > 0:26:15CHEERING
0:26:15 > 0:26:17That is Madeline.
0:26:17 > 0:26:19We've members of the gas board with us!
0:26:19 > 0:26:20Yeah.
0:26:21 > 0:26:23- Ooh, yeah. - Carry on.
0:26:23 > 0:26:26Carry on as if undaunted, it was Melting Pot...
0:26:26 > 0:26:28- Melting Pot, yeah. -..which was a pleaser.
0:26:28 > 0:26:29Would you like to hear a little bit of it?
0:26:29 > 0:26:31- Have you tuned up the old ukulele? - No, not really.
0:26:31 > 0:26:33CHEERING
0:26:33 > 0:26:35God, that's awful. Never mind.
0:26:37 > 0:26:39# Take a pinch... # Oh, I'll get it in the right key.
0:26:39 > 0:26:41- Sorry, Harry. - We've got loads of time.
0:26:41 > 0:26:43# Take a pinch of white man
0:26:45 > 0:26:46BOY GEORGE: # Mm
0:26:47 > 0:26:51- # Wrap it up in black skin - # Oh, yeah
0:26:53 > 0:26:57# Then you add a touch of blue blood
0:26:57 > 0:27:01# And a little bitty bit of Red Indian boy... #
0:27:03 > 0:27:05It's too high for me!
0:27:05 > 0:27:08- Come on, Madeline. - Too high for the ukulele?
0:27:08 > 0:27:10- Yeah. - Melting Pot.
0:27:10 > 0:27:13I think we've had enough of that.
0:27:13 > 0:27:15CHEERING
0:27:15 > 0:27:18Were your favourite songs always the most successful,
0:27:18 > 0:27:20or did you have things that you thought,
0:27:20 > 0:27:22"I wish that'd been a hit cos I loved it"?
0:27:22 > 0:27:24Had you any real idea what was going to be a hit and what wasn't?
0:27:24 > 0:27:28Funnily enough, at times you did, and at other times you didn't.
0:27:28 > 0:27:30I couldn't see the success of I'd Like To Teach The World To Sing,
0:27:30 > 0:27:32not in a million years.
0:27:32 > 0:27:34That turned out to be the biggest one.
0:27:34 > 0:27:37Apparently they still sing that in American schools
0:27:37 > 0:27:39as a kind of school anthem.
0:27:39 > 0:27:40D'you know what they do to it in America?
0:27:40 > 0:27:42This is the honest truth, they sing...
0:27:42 > 0:27:43PLAYS: "I'd Like To Teach The World To Sing"
0:27:43 > 0:27:47# Amazing Grace, how sweet the sound
0:27:47 > 0:27:50# That saved a wretch like me
0:27:50 > 0:27:52# Once I was... # Whatever it was.
0:27:52 > 0:27:54But they sing the words of Amazing Grace.
0:27:54 > 0:27:56- What a lovely voice. - Thanks, mate.
0:27:56 > 0:27:57APPLAUSE
0:27:59 > 0:28:01You sang numbers of your own songs as David and Jonathan,
0:28:01 > 0:28:04but in the main, the successes were for other people.
0:28:04 > 0:28:05It was for other people, yeah.
0:28:05 > 0:28:07Did you write them specifically for other people?
0:28:07 > 0:28:10Would you write for, say, Boy George if he'd been around then?
0:28:10 > 0:28:13You bet your life. I love that new song, by the way.
0:28:13 > 0:28:14- Thank you. - I think that's a smash.
0:28:14 > 0:28:15Thank you.
0:28:15 > 0:28:18I think probably everybody here agrees with you.
0:28:18 > 0:28:20CHEERING
0:28:20 > 0:28:21What I tend to do, I'll write a song,
0:28:21 > 0:28:24then once I've got the song, if it reminds me
0:28:24 > 0:28:26of somebody in particular, any kind of artist,
0:28:26 > 0:28:28then I'll sit down and try and demo it that way.
0:28:28 > 0:28:31That's what I did with Don Williams with a lot of success in America.
0:28:31 > 0:28:34But you gave it up. You gave up the performing yourself. Why was that?
0:28:34 > 0:28:37It got kind of boring, it really did.
0:28:37 > 0:28:41I had a family and I wasn't seeing much of my family.
0:28:41 > 0:28:43And living out of a suitcase from hotel to hotel,
0:28:43 > 0:28:45it was clubs in those days,
0:28:45 > 0:28:48you know, the Wakefield Theatre Club and the Batley Variety Club and that.
0:28:48 > 0:28:51It got really... It got down, it just got awful.
0:28:51 > 0:28:54There were six of us trying to rush around like one person, you know,
0:28:54 > 0:28:56and it didn't really work after about five years.
0:28:56 > 0:28:58You couldn't give up performing, could you?
0:28:58 > 0:29:01Not at all, no. My whole life is a performance.
0:29:01 > 0:29:02All-round entertainer!
0:29:02 > 0:29:05I would say, life is one big rehearsal.
0:29:05 > 0:29:06But when's the show?
0:29:06 > 0:29:08BULB EXPLODES I don't know.
0:29:08 > 0:29:10LAUGHTER
0:29:10 > 0:29:13- It was something you said. - I told you I was psychic!
0:29:13 > 0:29:16A discerning music lover?!
0:29:18 > 0:29:20The ghost of old singers here.
0:29:20 > 0:29:22- Making light of it, yeah(!) - Yeah.
0:29:22 > 0:29:24But you write most of your own stuff as well, don't you?
0:29:24 > 0:29:26Yeah.
0:29:26 > 0:29:27Would you ever write for anybody else?
0:29:27 > 0:29:30I actually did write a song once for the Beach Boys - shock, gasp, horror!
0:29:30 > 0:29:33But they really freaked me out, they were so mad.
0:29:33 > 0:29:37Sorry. But they all had psychiatrists and I just found it a bit unnerving.
0:29:37 > 0:29:40I thought, I might end up like that one day.
0:29:40 > 0:29:42- Never! - I actually worked with them
0:29:42 > 0:29:44which was quite an accolade at the time.
0:29:44 > 0:29:45That's wonderful, yeah.
0:29:45 > 0:29:47But I mean, I'd love to write for other people,
0:29:47 > 0:29:50you know, but I mean I never get asked.
0:29:50 > 0:29:53I suppose they figure that you're writing your own stuff. Maybe...
0:29:53 > 0:29:55Nobody would have ever written for you
0:29:55 > 0:29:57when you were teaming up with Greenaway, because they figured...
0:29:57 > 0:29:59- Not really, no. - ..you could write your own hits.
0:29:59 > 0:30:01Exactly. Why bother? I wish they had.
0:30:01 > 0:30:04And then you went to Nashville. Why?
0:30:04 > 0:30:08I went there because I'd had so much success in London,
0:30:08 > 0:30:11and it's a small circle of music so everybody knows...
0:30:11 > 0:30:13And people got a little blase and I felt
0:30:13 > 0:30:15I wasn't really getting through to people any more.
0:30:15 > 0:30:17This was about 1975.
0:30:17 > 0:30:18So I thought, "I need a challenge,
0:30:18 > 0:30:21"I need to go somewhere where I'm going to have to work hard
0:30:21 > 0:30:22"to become a hit songwriter again."
0:30:22 > 0:30:24So I went to Nashville and, sure enough,
0:30:24 > 0:30:26I worked very hard for two years.
0:30:26 > 0:30:30And it paid off, I had about five number ones very quickly.
0:30:30 > 0:30:32Yeah, but you hadn't written any country music, had you?
0:30:32 > 0:30:35Not up till then. We'd had some country hits
0:30:35 > 0:30:37because country people had covered our pop hits.
0:30:37 > 0:30:40Where did you come from originally? Bristol?
0:30:40 > 0:30:41Bristol.
0:30:41 > 0:30:43WEST COUNTRY ACCENT: Down there, my dear!
0:30:43 > 0:30:46Your accent's extraordinary, it's a combination of Bristol,
0:30:46 > 0:30:50then occasionally there's the old Tennessee twang there that creeps in.
0:30:50 > 0:30:53I've slipped into saying things like, "Ta-ta, y'all."
0:30:53 > 0:30:55How about you and country music?
0:30:55 > 0:30:57Have you ever been tempted to do a country song, or is it a bit too...
0:30:57 > 0:31:00Actually, I had an ambition to do a duet with Dolly Parton.
0:31:00 > 0:31:01LAUGHTER
0:31:01 > 0:31:02No, don't laugh!
0:31:02 > 0:31:05- Yeah, don't laugh. - I wanted to do a duet with her.
0:31:05 > 0:31:09She phoned me one day when I was in the bath and, erm...
0:31:09 > 0:31:11Seriously! She said to me, "Hi there, Boy,
0:31:11 > 0:31:13"if you ever want to know where to get
0:31:13 > 0:31:16"some nice wigs and dresses, you just call me up, son,
0:31:16 > 0:31:18"I'll show you where to get them."
0:31:18 > 0:31:20A pretty fierce lady, you know.
0:31:20 > 0:31:22- She's terrific. - I'd love to work with her.
0:31:22 > 0:31:24- That'd be a great duet. - I know. It'd be great.
0:31:24 > 0:31:27I'd have to fill out a bit, wouldn't I?
0:31:27 > 0:31:28LAUGHTER
0:31:28 > 0:31:31If Freddie Mercury can work with Montserrat Caballe,
0:31:31 > 0:31:34there's absolutely no reason why you can't work with Dolly Parton.
0:31:34 > 0:31:38I mean, country songs are a bit kind of macho, aren't they?
0:31:38 > 0:31:40- They're very... - I don't know that they're macho,
0:31:40 > 0:31:43but they reflect a kind of real-life thing.
0:31:43 > 0:31:45We're more into fantasy in England, with our approach to pop.
0:31:45 > 0:31:49I think it'd be quite macho for me to do Stand By Your Man.
0:31:49 > 0:31:51APPLAUSE AND LAUGHTER
0:31:52 > 0:31:54Well, yes!
0:31:54 > 0:31:57- Or Blanket On The Ground. - Yeah.
0:31:57 > 0:31:59You'd look good in a cowboy hat, though.
0:31:59 > 0:32:01- I've got a few. - A big Stetson, yeah.
0:32:01 > 0:32:04I was thinking of you more in the Kenny Rogers song.
0:32:04 > 0:32:06Those are ladies' songs, you can't be singing like Billie Jo Spears
0:32:06 > 0:32:07and people like that.
0:32:07 > 0:32:11Why ever not, Terry, why ever not?
0:32:11 > 0:32:14I see you as more butch, singing more butch songs.
0:32:14 > 0:32:17There's optimism, then, in the world.
0:32:17 > 0:32:21A song for him will be, If He Breaks Your Heart, I'll Break His Nose.
0:32:21 > 0:32:25Yes, it's the old motto, the bigger you are, the harder you hit.
0:32:25 > 0:32:26They have some great titles.
0:32:26 > 0:32:29What's that one about kicking Jesus over the goalpost?
0:32:29 > 0:32:32Drop Kick Me, Jesus (Through The Goalposts Of Life), yeah.
0:32:32 > 0:32:34- What a title. - Kind of cute.
0:32:34 > 0:32:35Yeah.
0:32:35 > 0:32:39Roger, did you need to work again when you went to Nashville?
0:32:39 > 0:32:41You'd had it made.
0:32:41 > 0:32:44Why didn't you just find a quiet quay in the Bahamas?
0:32:44 > 0:32:47Well, two divorces will make you get up and go out and work again.
0:32:47 > 0:32:48I suppose they will, yeah.
0:32:48 > 0:32:51Divorce in America, let me tell you about it one day.
0:32:51 > 0:32:53- That's a musical. - Yeah.
0:32:53 > 0:32:54Are you rich enough to retire now?
0:32:54 > 0:32:56No, not at all, no.
0:32:56 > 0:32:58But you must've made millions.
0:32:58 > 0:32:59Yeah, I've got a few bob.
0:32:59 > 0:33:01LAUGHTER ROGER: A few bob.
0:33:01 > 0:33:03TERRY: You haven't got enough to retire?
0:33:03 > 0:33:06I wouldn't want to retire anyway, it's just... What would I do?
0:33:06 > 0:33:08You know, breed pigs(?)
0:33:10 > 0:33:12What about the average songwriter? Do you think...?
0:33:12 > 0:33:16We can't generalise about things like this,
0:33:16 > 0:33:20but do you think they're getting better or worse, or about the same?
0:33:20 > 0:33:22I think they just change styles, that's all, from time to time.
0:33:22 > 0:33:23I think some people...
0:33:23 > 0:33:26I mean, some people are clever at copying other songs.
0:33:26 > 0:33:28Cos there's a lot of that in the charts at the moment.
0:33:28 > 0:33:31You hear things and you think, "I've heard that before somewhere."
0:33:31 > 0:33:33You get a lot of that at the moment.
0:33:33 > 0:33:36There's great songwriters around. George Michael's a great songwriter.
0:33:36 > 0:33:37Will you...
0:33:37 > 0:33:40Would you like...? Obviously you'd like your songs to be remembered.
0:33:40 > 0:33:42In all modesty, honestly,
0:33:42 > 0:33:45do you think your songs will be remembered in years to come?
0:33:45 > 0:33:47Or is our society just going to burn up things like that?
0:33:47 > 0:33:50I think the best ones will be remembered.
0:33:50 > 0:33:51- I think so. - 20 years down the line,
0:33:51 > 0:33:54somebody will cut them again, you know, and they'll be remembered.
0:33:54 > 0:33:56You wouldn't like another go at Melting Pot, would you?
0:33:56 > 0:33:58It's in the wrong key for me.
0:33:58 > 0:34:00It is, I'm going to do it in another key.
0:34:00 > 0:34:02You'll do it in another key. In the meantime, what we'll do is we'll say
0:34:02 > 0:34:04good night, thank you all for joining us.
0:34:04 > 0:34:08Our thanks particularly to Boy George, Roger Cook, Charlton Heston,
0:34:08 > 0:34:11Roy Kinnear, everybody who joined us. Thank you for joining us.
0:34:11 > 0:34:13Leave us with Melting Pot, if you will.
0:34:13 > 0:34:15We'll do this in C this time.
0:34:15 > 0:34:17- Should be E flat. - E flat?
0:34:17 > 0:34:19Get away with you!
0:34:19 > 0:34:21That's technical.
0:34:21 > 0:34:23# Take a pinch of white man
0:34:23 > 0:34:27# Oh, yeah
0:34:27 > 0:34:31BOTH: # And wrap it up in black skin
0:34:33 > 0:34:37# Add a touch of blue blood
0:34:37 > 0:34:41# And a little bitty bit of Red Indian boy
0:34:41 > 0:34:43# Whoa, yeah... #
0:34:43 > 0:34:44ROGER: Do you remember the next bit?
0:34:44 > 0:34:47# ..Curly black kinkies... #
0:34:47 > 0:34:48Sorry, Madeline.
0:34:50 > 0:34:55# ..Mixed with yellow Chinkies
0:34:56 > 0:35:00# You gotta lump it all together
0:35:00 > 0:35:03# And you got a recipe for a get-along scene
0:35:03 > 0:35:05# What a beautiful dream
0:35:05 > 0:35:08# If it could only come true You know, you know
0:35:08 > 0:35:12# What we need is a great big melting pot
0:35:14 > 0:35:18# Big enough to take the world and all it's got
0:35:18 > 0:35:23# And keep it stirring for a hundred years or more
0:35:23 > 0:35:29# And turn out coffee-coloured people by the score... #
0:35:29 > 0:35:32CHEERING AND APPLAUSE
0:35:37 > 0:35:42DROWNED OUT BY CHEERING AND APPLAUSE