Browse content similar to 18/02/1984. Check below for episodes and series from the same categories and more!
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BBC Four Collections - | 0:00:02 | 0:00:03 | |
specially chosen programmes from the BBC Archive. | 0:00:03 | 0:00:06 | |
For this Collection, | 0:00:06 | 0:00:07 | |
Sir Michael Parkinson | 0:00:07 | 0:00:08 | |
has selected BBC interviews | 0:00:08 | 0:00:10 | |
with influential figures | 0:00:10 | 0:00:12 | |
of the 20th century. | 0:00:12 | 0:00:13 | |
More programmes on this theme | 0:00:13 | 0:00:15 | |
and other BBC Four Collections | 0:00:15 | 0:00:16 | |
are available on BBC iPlayer. | 0:00:16 | 0:00:18 | |
MUSIC: "Wogan Theme" | 0:00:20 | 0:00:25 | |
APPLAUSE | 0:00:41 | 0:00:43 | |
Heaven's benison on you for joining us this Saturday e'en. | 0:00:55 | 0:00:59 | |
I'm going to make it worth your while, but I say that every week. | 0:00:59 | 0:01:02 | |
My first guest, when a lad, he used to say to his peers, | 0:01:02 | 0:01:07 | |
"When I grow up, I'm gonna be a star. I'm gonna star at the Palladium." | 0:01:07 | 0:01:12 | |
And they'd say, "But you can't dance, sing, play a musical instrument, | 0:01:12 | 0:01:18 | |
"you have no talent whatsoever!" | 0:01:18 | 0:01:20 | |
He did become a star and he did do it at the Palladium. | 0:01:20 | 0:01:25 | |
And he still can't dance, sing... | 0:01:25 | 0:01:27 | |
..act, play a piano. | 0:01:28 | 0:01:31 | |
What is the secret of the boy? Larry Grayson! | 0:01:32 | 0:01:35 | |
APPLAUSE | 0:01:35 | 0:01:37 | |
COMMENTS DROWNED OUT BY APPLAUSE | 0:01:40 | 0:01:42 | |
- It's always a pleasure to see you. - And to see you, Terry. | 0:01:47 | 0:01:50 | |
It's a joy for me, | 0:01:50 | 0:01:51 | |
cos I'm not stuck in a box up there somewhere, with five other people. | 0:01:51 | 0:01:55 | |
We never get to talk like this, do we? | 0:01:55 | 0:01:57 | |
When I do Blankety Blank with you, | 0:01:57 | 0:01:58 | |
I'm up there with Beryl Reid or somebody, | 0:01:58 | 0:02:00 | |
and tonight, I can talk to you. What a joy it is. | 0:02:00 | 0:02:02 | |
Normally I have to share you with others. And, of course, | 0:02:02 | 0:02:05 | |
I don't like doing that. | 0:02:05 | 0:02:06 | |
No, ain't it the truth. LAUGHTER | 0:02:06 | 0:02:08 | |
- You're looking ever so well. - Thank you. | 0:02:08 | 0:02:11 | |
I could return the compliment. | 0:02:11 | 0:02:12 | |
- Pardon? - Is it the Torquay air? | 0:02:12 | 0:02:14 | |
I think it must be, yes. I have moved to glorious Devon. | 0:02:14 | 0:02:16 | |
And I love it. I call it the Arthur Marshall country. | 0:02:16 | 0:02:20 | |
But, Torquay, where you live now - it's rather hilly. | 0:02:21 | 0:02:24 | |
How do you and Arthur negotiate the hills? | 0:02:24 | 0:02:27 | |
- Well, you see, I've a tandem. - Ah! | 0:02:27 | 0:02:30 | |
And I... LAUGHTER | 0:02:30 | 0:02:33 | |
Why do you always bring such a common audience? | 0:02:33 | 0:02:35 | |
- They're not with me! - Aren't they with you? | 0:02:35 | 0:02:38 | |
- No. - Oh! | 0:02:38 | 0:02:39 | |
Well, anyway, I've got this friend and we go out on this tandem. | 0:02:39 | 0:02:42 | |
- So I manage the hills like that. - What about Arthur? | 0:02:42 | 0:02:45 | |
- Arthur? - The dog. | 0:02:45 | 0:02:46 | |
- My little dog? - Yeah. | 0:02:46 | 0:02:47 | |
I've a basket at the front, like in The Wizard Of Oz. | 0:02:47 | 0:02:51 | |
Miss Gulch. And he sits in the front, you know, and we ride about. | 0:02:51 | 0:02:55 | |
Nobody knows, because I wear a fur hat. | 0:02:55 | 0:02:58 | |
They think I'm Coral Browne. LAUGHTER | 0:02:58 | 0:03:01 | |
- You love all those Coral Brownes... - Oh, yes! I love... | 0:03:01 | 0:03:05 | |
Did you see that marvellous, marvellous thing she did? | 0:03:05 | 0:03:07 | |
What was it called? An Englishman Abroad. | 0:03:07 | 0:03:10 | |
It was a marvellous thing on television. | 0:03:10 | 0:03:12 | |
The BBC did it so well, with Alan Bates. | 0:03:12 | 0:03:14 | |
And I wear a fur hat the same. | 0:03:14 | 0:03:16 | |
I went out the next morning, shopping, in Wellswood - | 0:03:16 | 0:03:18 | |
it's where I go shopping. All the best people go to Wellswood. | 0:03:18 | 0:03:21 | |
And an old lady, she'd very bad eyesight. | 0:03:21 | 0:03:23 | |
She said, "Oh, look, there's Coral Browne!" | 0:03:23 | 0:03:26 | |
But, in fact, in your early day... | 0:03:27 | 0:03:29 | |
Well, luckily you weren't taken for Vincent Price. | 0:03:29 | 0:03:31 | |
LAUGHTER No, you were. | 0:03:31 | 0:03:33 | |
In your early days...you used to impersonate film stars, didn't you? | 0:03:33 | 0:03:37 | |
Oh, yes, that was when I was at school. | 0:03:37 | 0:03:39 | |
I used to impersonate Katharine Hepburn and people like that, | 0:03:39 | 0:03:43 | |
Bette Davis. I did it all the time. | 0:03:43 | 0:03:45 | |
And I used to get the cane more often than not for doing this. | 0:03:45 | 0:03:48 | |
I wasn't interested in ANYTHING at school. | 0:03:48 | 0:03:51 | |
All I wanted to do was for half past four to come around | 0:03:51 | 0:03:54 | |
so I could get out and get off to the pictures, which I loved. | 0:03:54 | 0:03:58 | |
- Do you still do... - No. | 0:03:58 | 0:03:59 | |
- ..the female stars? | 0:03:59 | 0:04:00 | |
Oh, yes, of course! | 0:04:00 | 0:04:02 | |
But, you see, I loved the, er, the other channel... | 0:04:02 | 0:04:06 | |
Daren't mention it. | 0:04:06 | 0:04:07 | |
But the other channel that shows all the old movies. | 0:04:07 | 0:04:09 | |
- What? BBC Two? - Er, no. The other one. I love... | 0:04:09 | 0:04:12 | |
Because they have all the old films on, you know, | 0:04:13 | 0:04:15 | |
Smiling Through and The House Of Rothschild - George Arliss - | 0:04:15 | 0:04:18 | |
and things like that | 0:04:18 | 0:04:19 | |
which I loved. Don't keep laughing at me, Terry! I'm serious. | 0:04:19 | 0:04:22 | |
It's those wonderful names - George Arliss... | 0:04:22 | 0:04:25 | |
Mr George Arliss, if you don't mind. | 0:04:25 | 0:04:27 | |
He was always billed as Mr George Arliss. | 0:04:27 | 0:04:28 | |
And all those marvellous films. I remember them all very well. | 0:04:28 | 0:04:32 | |
Do you know, Terry, I could go into a cinema when I was a kid | 0:04:32 | 0:04:36 | |
and you know they open the door and tear your ticket? | 0:04:36 | 0:04:39 | |
And I could look at the screen and tell you who made the picture, | 0:04:39 | 0:04:41 | |
whether it was Warner Bros, Metro Goldwyn Mayer, | 0:04:41 | 0:04:43 | |
20th Century Fox, | 0:04:43 | 0:04:45 | |
Paramount, Monogram, GB - Gaumont British - I could tell you. | 0:04:45 | 0:04:48 | |
How? | 0:04:48 | 0:04:50 | |
By just the look, just the film. It's funny. | 0:04:50 | 0:04:52 | |
And I could tell also with the music. | 0:04:52 | 0:04:54 | |
I could tell Max Steiner's music from Warner Bros pictures. | 0:04:54 | 0:04:56 | |
And Metro Goldwyn Mayer. I could tell right away. | 0:04:56 | 0:04:59 | |
Was it the female stars that particularly appealed to you? | 0:04:59 | 0:05:01 | |
Oh, of course it was, yes. | 0:05:01 | 0:05:02 | |
I mean, look at the Joan Crawford coat I'm wearing now. | 0:05:02 | 0:05:05 | |
She always had shoulders like this, Joan Crawford. Don't stare. | 0:05:06 | 0:05:09 | |
When you were in America last, you were confused with Myrna Loy. | 0:05:10 | 0:05:16 | |
Oh, yeah, well, that's a lovely story | 0:05:16 | 0:05:17 | |
because Jack Klugman, who's a great mate of mine, | 0:05:17 | 0:05:19 | |
you know, Quincy, all those lovely things he does. | 0:05:19 | 0:05:22 | |
And he was coming to take me out to his place at Malibu. | 0:05:22 | 0:05:25 | |
So I was in the hotel and the door...knocked my door. | 0:05:25 | 0:05:30 | |
And I went to the door and this bellboy's stood there, you see, | 0:05:30 | 0:05:33 | |
with this basket of fruit and the ribbons and everything. | 0:05:33 | 0:05:36 | |
And I said, "Do come in. Come in." I was in one of me moods. | 0:05:36 | 0:05:40 | |
Well, he came in... LAUGHTER | 0:05:40 | 0:05:41 | |
..and I said, "Put it down there." | 0:05:41 | 0:05:43 | |
And I said, "Don't go, wait a minute." | 0:05:43 | 0:05:45 | |
I was acting, you know. So I took... | 0:05:45 | 0:05:47 | |
- It sounds very like you. - Does it really? | 0:05:47 | 0:05:48 | |
You know me so well. | 0:05:48 | 0:05:49 | |
And I got the card, you see, and I said to this boy, | 0:05:49 | 0:05:53 | |
"Isn't this wonderful? All this and my picture hasn't been released yet." | 0:05:53 | 0:05:59 | |
And he went... | 0:05:59 | 0:06:01 | |
And I looked at him and I said, "You don't know me, do you?" | 0:06:03 | 0:06:05 | |
He said, "No, sir." I said, "My name's Myrna Loy." | 0:06:06 | 0:06:10 | |
And he just looked. I said, "You may go now." | 0:06:12 | 0:06:14 | |
Of course, when I told Jack Klugman about this, | 0:06:14 | 0:06:17 | |
he was in fits. And I have a picture in my home | 0:06:17 | 0:06:20 | |
and it says on it, "To Larry, all my love, always. | 0:06:20 | 0:06:23 | |
"To me, you'll always be Myrna Loy. Jack." | 0:06:23 | 0:06:26 | |
That's the nicest thing he could've said to you. | 0:06:26 | 0:06:29 | |
Well, of course, he could. Of course. | 0:06:29 | 0:06:30 | |
I went with him to tape the Vidal Sassoon show over there. | 0:06:30 | 0:06:33 | |
And he's coming over very soon. | 0:06:33 | 0:06:35 | |
I'm going to his birthday party. Have you been invited? | 0:06:35 | 0:06:37 | |
- No. I'm asked nowhere. - Pardon? Haven't you been | 0:06:37 | 0:06:40 | |
- invited to Vidal's party? - No. Vid. | 0:06:40 | 0:06:42 | |
Well, the BBC are doing it, it's being televised. Aren't you going? | 0:06:42 | 0:06:45 | |
- No. - Fancy. | 0:06:45 | 0:06:46 | |
Well, you're everywhere else, aren't you? | 0:06:49 | 0:06:51 | |
LAUGHTER | 0:06:51 | 0:06:53 | |
APPLAUSE | 0:06:53 | 0:06:55 | |
Would you like to have been a Hollywood star? | 0:06:59 | 0:07:01 | |
Um... | 0:07:02 | 0:07:03 | |
I mean, apart from being Myrna Loy, | 0:07:03 | 0:07:06 | |
would you like to have been a Hollywood film star? | 0:07:06 | 0:07:09 | |
Oh, in the old days, Terry, yes, of course I would. | 0:07:09 | 0:07:11 | |
Not now. I don't know. | 0:07:11 | 0:07:13 | |
I suppose the films are very good today, | 0:07:13 | 0:07:14 | |
but they're not like they used to be. | 0:07:14 | 0:07:15 | |
But they are to other people growing up and everything. | 0:07:15 | 0:07:17 | |
But, to me, I love the old movies. You see, | 0:07:17 | 0:07:19 | |
I can't bear all this getting into bed with everybody. And, er... | 0:07:19 | 0:07:23 | |
But you don't have to get into bed with EVERYBODY. | 0:07:23 | 0:07:25 | |
No, but it frightens my dog. I mean... | 0:07:25 | 0:07:27 | |
You see, when you have a television, | 0:07:27 | 0:07:30 | |
it starts, you see, and they're almost in bed together, | 0:07:30 | 0:07:32 | |
you know, and it's awful. | 0:07:32 | 0:07:33 | |
Um, er, and I don't... I'm a bit, um... | 0:07:33 | 0:07:37 | |
- I'm very broad-minded. - You're not! | 0:07:37 | 0:07:40 | |
Yes, I am! | 0:07:40 | 0:07:41 | |
But I don't like things like that. | 0:07:41 | 0:07:44 | |
- Perhaps it's cos I'm getting older. - Oh, nonsense! | 0:07:44 | 0:07:46 | |
- I'm in the doctor's... No, listen! - No, no! | 0:07:46 | 0:07:49 | |
- The doctor said to me... - Well, perhaps you're right. | 0:07:49 | 0:07:50 | |
No, listen, the doctor... | 0:07:50 | 0:07:52 | |
the doctor said to me, he said, "Larry," he said, | 0:07:52 | 0:07:54 | |
"Laz..." - he calls me Laz. | 0:07:54 | 0:07:56 | |
He said, "Laz..." | 0:07:56 | 0:07:58 | |
He said... | 0:07:58 | 0:08:00 | |
"When you're..." Listen! | 0:08:00 | 0:08:02 | |
He said, "When you're 39, you'll find that you'll change." | 0:08:03 | 0:08:07 | |
And I have. And, er... | 0:08:08 | 0:08:10 | |
That's it, you see. And, of course, now I notice - | 0:08:10 | 0:08:13 | |
I mean, I hate to mention my age to anyone. | 0:08:13 | 0:08:15 | |
It's a secret, you see, like Mary Astor. | 0:08:15 | 0:08:17 | |
And I find that I get this throbbing in the morning. | 0:08:17 | 0:08:20 | |
And my ankle swells, you know, and I get... | 0:08:24 | 0:08:26 | |
But I won't give in, | 0:08:26 | 0:08:28 | |
you know, I, er...because I don't feel my age, you know. | 0:08:28 | 0:08:31 | |
I know you do, because... LAUGHTER | 0:08:31 | 0:08:34 | |
..I hear you in the morning on the radio and sometimes I feel for you. | 0:08:34 | 0:08:37 | |
LAUGHTER But I'm not there. | 0:08:37 | 0:08:40 | |
LAUGHTER | 0:08:40 | 0:08:41 | |
You are there for me. | 0:08:41 | 0:08:43 | |
LAUGHTER Look... | 0:08:43 | 0:08:45 | |
What? | 0:08:45 | 0:08:46 | |
What has this got to do with your dog throwing up | 0:08:46 | 0:08:49 | |
whenever there is sex on the television? | 0:08:49 | 0:08:51 | |
I don't know. I can't think what made me say that. | 0:08:52 | 0:08:54 | |
You see, I wander a little bit now. Have you noticed? | 0:08:54 | 0:08:57 | |
I do wander a little bit. | 0:08:57 | 0:08:59 | |
You're very young to be wandering, because you're just 39, aren't you? | 0:08:59 | 0:09:02 | |
That's the nicest thing you've said to me, Terry. | 0:09:02 | 0:09:04 | |
That's why I always come on your shows, cos you say the nicest things | 0:09:04 | 0:09:07 | |
and you have such a lovely smile as well...I was told to say. | 0:09:07 | 0:09:11 | |
I'm sorry you're leaving Blankety Blank and all that. | 0:09:12 | 0:09:15 | |
I'm ever so sorry about it, you know. | 0:09:15 | 0:09:17 | |
Well, I think I've probably peaked now, Larry. It's downhill now. | 0:09:17 | 0:09:21 | |
- Ooh, no, not you. - Oh, yes. | 0:09:21 | 0:09:22 | |
- Oh, no! - Oh, yes! | 0:09:22 | 0:09:23 | |
No, you'll go on till you're 90. | 0:09:23 | 0:09:25 | |
I think. | 0:09:25 | 0:09:26 | |
But I don't know. | 0:09:26 | 0:09:28 | |
Did I tell you that lovely story the other week? | 0:09:29 | 0:09:32 | |
What my landlady said the other week. | 0:09:32 | 0:09:33 | |
She said about going to the moon and all carryings on. | 0:09:33 | 0:09:35 | |
She said, "I can't understand it." | 0:09:35 | 0:09:37 | |
She said, "We're living now..." she said, "..in the 20th Century Fox." | 0:09:37 | 0:09:41 | |
She said... LAUGHTER | 0:09:41 | 0:09:44 | |
She didn't know. She thinks it's the 20th Century Fox we're living in. | 0:09:44 | 0:09:47 | |
When you went to Hollywood, was it a disappointment for you | 0:09:47 | 0:09:49 | |
or was it as you expected it to be, all glamour and excitement? | 0:09:49 | 0:09:52 | |
Well, of course, all the great ones have gone, but, no, I loved it. | 0:09:52 | 0:09:55 | |
I went to the Chinese Theatre, put my hands in those things, you know, | 0:09:55 | 0:09:58 | |
where Nelson Eddy and Eleanor Powell... | 0:09:58 | 0:10:00 | |
- He had small hands, Nelson Eddy. - ..Judy Garland. | 0:10:00 | 0:10:02 | |
- Who? - Nelson Eddy. | 0:10:02 | 0:10:04 | |
How do you know? LAUGHTER | 0:10:04 | 0:10:06 | |
- What?! - He was known for his small hands. | 0:10:06 | 0:10:08 | |
Who told you that?! LAUGHTER | 0:10:08 | 0:10:11 | |
Jeanette MacDonald. | 0:10:11 | 0:10:12 | |
He was a very big mate. He had very big hands, did Nelson Eddy. | 0:10:12 | 0:10:15 | |
Had he? | 0:10:15 | 0:10:16 | |
Yes. | 0:10:16 | 0:10:17 | |
It was Jeanette MacDonald had the small hands? | 0:10:17 | 0:10:19 | |
Who told you?! | 0:10:19 | 0:10:21 | |
I don't know where you get your information from. | 0:10:22 | 0:10:25 | |
I'm... I'm riddled in Hollywood. What's he doing there? | 0:10:25 | 0:10:29 | |
I'm riddled in Hollywood and all that. | 0:10:29 | 0:10:31 | |
Nelson Eddy never had small hands. | 0:10:31 | 0:10:33 | |
I'm surprised that you'd say a thing like that. | 0:10:33 | 0:10:36 | |
I don't think he had small hands. LAUGHTER | 0:10:36 | 0:10:39 | |
So that's what you did in Hollywood?! Just put your hands in the cement? | 0:10:39 | 0:10:42 | |
Oh, no, no, no. No, I went everywhere, I loved it all. | 0:10:42 | 0:10:45 | |
It was... It was super. I mean, to be there, | 0:10:45 | 0:10:49 | |
to me - of course it's all gone - | 0:10:49 | 0:10:51 | |
but to be there and walk down the streets... | 0:10:51 | 0:10:53 | |
I suppose a man of your age, you see, that's what it'd be. | 0:10:53 | 0:10:56 | |
You remember all the old silent movies. | 0:10:56 | 0:10:59 | |
- Of course I do! - The black and white movies... | 0:10:59 | 0:11:02 | |
- Yes. - ..that we don't. Do we? | 0:11:02 | 0:11:04 | |
AUDIENCE: No. | 0:11:04 | 0:11:06 | |
I remember, um... LAUGHTER | 0:11:06 | 0:11:09 | |
I saw Trader Horn, the original, | 0:11:09 | 0:11:12 | |
and Jekyll And Hyde. | 0:11:12 | 0:11:14 | |
You see, I loved...I loved the movies. I loved the films, | 0:11:14 | 0:11:17 | |
right from when I was a child. | 0:11:17 | 0:11:18 | |
And the wonderful thing was when I used to go to the cinema, years ago, | 0:11:18 | 0:11:22 | |
and see people like Anna Neagle in Nell Gwyn and Peg Of Old Drury. | 0:11:22 | 0:11:26 | |
And Evelyn Laye with Ramon Novarro in The Night Is Young, | 0:11:26 | 0:11:30 | |
things like that. | 0:11:30 | 0:11:31 | |
Well, you see, I used to sit there and look at the screen, | 0:11:31 | 0:11:34 | |
thinking, "Oh, how marvellous." | 0:11:34 | 0:11:35 | |
I'm still stage-struck and film-struck just the same. | 0:11:35 | 0:11:38 | |
Is that not just in retrospect, as you look back on it? | 0:11:38 | 0:11:40 | |
There must've been times, | 0:11:40 | 0:11:41 | |
during the hard graft, when you thought, | 0:11:41 | 0:11:43 | |
- "Why am I doing this?" - No. | 0:11:43 | 0:11:44 | |
"I'm not getting anywhere." | 0:11:44 | 0:11:45 | |
No. No, I didn't, honestly. | 0:11:45 | 0:11:47 | |
I didn't. I never envied the stars at the top, | 0:11:47 | 0:11:49 | |
because if the stars weren't up there, I wouldn't have been working. | 0:11:49 | 0:11:52 | |
I was only that big on the bill. | 0:11:52 | 0:11:54 | |
But I never... I never, you know, I never bothered about it, really. | 0:11:54 | 0:11:56 | |
I used to think I'd be a star one day, but, as I got older, | 0:11:56 | 0:12:00 | |
I thought, "Well, it's too late for me now. I won't be now." | 0:12:00 | 0:12:03 | |
Why did it take you so long, do you think? | 0:12:03 | 0:12:05 | |
I don't know. | 0:12:05 | 0:12:07 | |
I mean, you must've shown the talent. | 0:12:07 | 0:12:09 | |
People must've seen that you had this talent. | 0:12:09 | 0:12:12 | |
People must've said, "You're gonna be a star." | 0:12:12 | 0:12:13 | |
Well, only one person did, actually. | 0:12:13 | 0:12:15 | |
I was at Chiswick Empire | 0:12:15 | 0:12:16 | |
and I was on the bill with Dorothy Squires and she watched me one night. | 0:12:16 | 0:12:19 | |
And when I finished my act, as I walked off, | 0:12:19 | 0:12:21 | |
she said to me, "You're a very funny man. Why aren't you a star?" | 0:12:21 | 0:12:24 | |
I said, "Well, I keep telling them, Miss Squires, but nobody listens." | 0:12:24 | 0:12:27 | |
And she laughed. | 0:12:27 | 0:12:28 | |
And when I did my first television show for Saturday Variety, | 0:12:28 | 0:12:32 | |
she was topping the bill. | 0:12:32 | 0:12:34 | |
And, as I walked...she cried and she put her arms round me. | 0:12:34 | 0:12:36 | |
She said, "I told you years ago you'd make it." | 0:12:36 | 0:12:39 | |
I'm writing a book at the moment, you know, my life story. | 0:12:39 | 0:12:41 | |
I'm doing it right now. | 0:12:41 | 0:12:43 | |
Are you going to cut out all the unsavoury bits? | 0:12:43 | 0:12:45 | |
No, you're in it. LAUGHTER | 0:12:45 | 0:12:47 | |
APPLAUSE | 0:12:47 | 0:12:49 | |
I'm a toucher as well, you know. | 0:12:55 | 0:12:57 | |
I asked Matthew Kelly this in a previous programme... | 0:12:58 | 0:13:01 | |
Who's that? | 0:13:01 | 0:13:02 | |
- He's one of the newer fellows. - Oh, I see. | 0:13:04 | 0:13:06 | |
- You wouldn't know him. - No, I don't. | 0:13:06 | 0:13:07 | |
And...um... he tends to be | 0:13:07 | 0:13:09 | |
- a bit like that sometimes. - Oh, does he? | 0:13:09 | 0:13:11 | |
What a shame. He'll grow out of it. | 0:13:11 | 0:13:13 | |
LAUGHTER Let's hope so. | 0:13:13 | 0:13:16 | |
But I was asking him, and I wonder, can you answer? | 0:13:16 | 0:13:19 | |
Why do you think a British audience | 0:13:19 | 0:13:21 | |
reacts so well to | 0:13:21 | 0:13:22 | |
- what's known as "camp"? - Yes. | 0:13:22 | 0:13:24 | |
To that kind of... The limp wrist... | 0:13:24 | 0:13:25 | |
Well, of course, the audiences are camp that come and see us. | 0:13:25 | 0:13:28 | |
You see... LAUGHTER | 0:13:28 | 0:13:30 | |
You see, it's very funny. | 0:13:30 | 0:13:33 | |
There's that lovely story about two ladies sitting on a bench in a park | 0:13:33 | 0:13:35 | |
and one lady said, "They say he's a camp comic." | 0:13:35 | 0:13:38 | |
She went, "Well, I've seen him at Butlin's twice." | 0:13:38 | 0:13:41 | |
You know, it's the... You can't define it. | 0:13:41 | 0:13:44 | |
Years and years ago, they had those marvellous revues in London | 0:13:44 | 0:13:47 | |
with Hermione Gingold and Baddeley and Henry Kendall, | 0:13:47 | 0:13:49 | |
Douglas Byng, wonderful Douglas Byng. | 0:13:49 | 0:13:51 | |
And it was all that, um... It was all West End, you see. | 0:13:51 | 0:13:54 | |
All very camp and everything. And I took it out to...to the masses. | 0:13:54 | 0:13:59 | |
- Yes. - You know, they used to laugh at me. | 0:13:59 | 0:14:01 | |
"Ooh, you must go and see Larry Grayson at the theatre." | 0:14:01 | 0:14:03 | |
Well, you say that, they used to say, | 0:14:03 | 0:14:04 | |
"Go and see that chap at the theatre | 0:14:04 | 0:14:06 | |
"with the chair. He says, 'Shut that door.' | 0:14:06 | 0:14:07 | |
"And he talks about aches and pains and his legs swelling." | 0:14:07 | 0:14:10 | |
But you've played some very tough spots... | 0:14:10 | 0:14:11 | |
- Very. - ..in that kind of... | 0:14:11 | 0:14:13 | |
How does a sort of working, tough, say, | 0:14:13 | 0:14:16 | |
a stevedore audience, a docker audience, react to that? | 0:14:16 | 0:14:18 | |
Well, they've always been marvellous to me, Terry. | 0:14:18 | 0:14:21 | |
They say, "All right, Larry, great. My mother loves you. All right." | 0:14:21 | 0:14:24 | |
They laugh, you see. They go, "Oh, Larry, what a gay day," and all that. | 0:14:24 | 0:14:28 | |
And it's done like... It's done for fun. | 0:14:28 | 0:14:30 | |
I don't offend anybody. | 0:14:30 | 0:14:33 | |
I don't... I hope not. Because I'm me, I say the things I feel. | 0:14:33 | 0:14:38 | |
Cos I'm a very loving person, as you know. | 0:14:38 | 0:14:40 | |
I mean... LAUGHTER | 0:14:40 | 0:14:44 | |
Because, you see, the... | 0:14:44 | 0:14:46 | |
LAUGHTER CONTINUES | 0:14:46 | 0:14:48 | |
It takes your breath away sometimes, but... | 0:14:49 | 0:14:51 | |
Where was I? Oh, yes, I mean, it's, er... | 0:14:52 | 0:14:56 | |
It's me. | 0:14:56 | 0:14:57 | |
It's in here. You have to have warmth | 0:14:57 | 0:15:00 | |
and be sincere in what you're doing, you see. | 0:15:00 | 0:15:01 | |
And I believe...when I say I've got to lie down, I've gone all limp, | 0:15:01 | 0:15:05 | |
I do go limp. | 0:15:05 | 0:15:07 | |
- You feel like... - Pardon? You what? | 0:15:07 | 0:15:09 | |
- I said you feel like lying down? - I do. | 0:15:09 | 0:15:11 | |
Yes, sometimes, I do. | 0:15:11 | 0:15:13 | |
As I say, I do - I go like that. | 0:15:13 | 0:15:14 | |
And, er, you know... | 0:15:14 | 0:15:16 | |
being 39. | 0:15:16 | 0:15:18 | |
What has...? | 0:15:18 | 0:15:20 | |
Why what? | 0:15:22 | 0:15:23 | |
What has life to hold for you now? | 0:15:23 | 0:15:25 | |
Well, I mean, I love...I love the people of audiences. | 0:15:25 | 0:15:29 | |
That's why I loved doing The Generation Game, | 0:15:29 | 0:15:31 | |
cos I met people all the time, | 0:15:31 | 0:15:32 | |
like you do. I mean, you love people. | 0:15:32 | 0:15:34 | |
- I don't. - Don't you? | 0:15:34 | 0:15:36 | |
Oh, it's true then(!) Anyway, | 0:15:37 | 0:15:39 | |
all this... I like meeting people. | 0:15:39 | 0:15:41 | |
I love travelling, I love seeing people. | 0:15:41 | 0:15:44 | |
I've always done it. I think... | 0:15:44 | 0:15:47 | |
You're like Rebecca of Sunnybrook Farm, aren't you? | 0:15:47 | 0:15:50 | |
Oh, yes. | 0:15:50 | 0:15:52 | |
I didn't know you'd remember her! | 0:15:52 | 0:15:54 | |
Anne of...Green Gables. | 0:15:56 | 0:15:59 | |
Yes. Anne Shirley played the part. She was wonderful. | 0:15:59 | 0:16:01 | |
Fay Bainter in White Banners. | 0:16:01 | 0:16:03 | |
You see, if I didn't know you better, | 0:16:03 | 0:16:06 | |
I'd say that that was all artificial, but it isn't, | 0:16:06 | 0:16:09 | |
because that is the kind of person you are. | 0:16:09 | 0:16:11 | |
I'm delighted you could come and join me. | 0:16:11 | 0:16:14 | |
Thank you, Terry. | 0:16:14 | 0:16:15 | |
APPLAUSE | 0:16:15 | 0:16:17 | |
Thank you, Larry. | 0:16:24 | 0:16:25 | |
And, now, for a much-needed burst of culture in the programme. | 0:16:25 | 0:16:29 | |
"High time, too!" you cry. | 0:16:29 | 0:16:31 | |
So, let's meet, for the first time, on Wogan, a prima ballerina - | 0:16:31 | 0:16:36 | |
Lesley Collier. | 0:16:36 | 0:16:38 | |
APPLAUSE | 0:16:38 | 0:16:40 | |
Lesley, Larry Grayson is a bit like me. | 0:16:51 | 0:16:54 | |
We're rarely without pain. | 0:16:54 | 0:16:56 | |
- Indeed... - Oh! | 0:16:56 | 0:16:58 | |
That's true of ballet dancers as well, isn't it? | 0:16:58 | 0:17:00 | |
It's a continuous ache. | 0:17:00 | 0:17:02 | |
It's always an ache, yes. | 0:17:02 | 0:17:04 | |
You've been in some pain yourself lately? | 0:17:04 | 0:17:06 | |
Oh, I've had a little problem with a foot. | 0:17:06 | 0:17:08 | |
What is it about the ballet that - | 0:17:08 | 0:17:10 | |
well, apart from the prancing about - | 0:17:10 | 0:17:12 | |
that causes so much pain and aches? After all, | 0:17:12 | 0:17:15 | |
you're terrifically fit, all of you. | 0:17:15 | 0:17:17 | |
Yes, we are fit. | 0:17:17 | 0:17:19 | |
But, unfortunately, when we get under pressure and dance a lot, | 0:17:19 | 0:17:24 | |
bad habits creep in, which injure the body, before you realise it. | 0:17:24 | 0:17:28 | |
Yeah? | 0:17:28 | 0:17:29 | |
I'm afraid most injuries are caused by bad dancing, one way or another. | 0:17:29 | 0:17:35 | |
What did you have wrong with you? What have you had wrong with you? | 0:17:35 | 0:17:38 | |
I had a tendonitis, which is inflamed tendons. | 0:17:38 | 0:17:40 | |
And how long would you have to rest for that, | 0:17:40 | 0:17:42 | |
before you could leap onto the barre again? | 0:17:42 | 0:17:44 | |
I leapt onto the barre this morning. | 0:17:44 | 0:17:47 | |
I actually leapt into my pointe shoes this morning | 0:17:47 | 0:17:49 | |
and I've been off for five weeks. | 0:17:49 | 0:17:50 | |
Did you put on weight while you had the lay-off? | 0:17:50 | 0:17:53 | |
- Yes. It's normal. - It doesn't look it. | 0:17:53 | 0:17:56 | |
Um...thank you! That's nice. It's a good dress. | 0:17:56 | 0:17:59 | |
How can you...? You'd have to... | 0:17:59 | 0:18:01 | |
I wish this suit was like your dress! | 0:18:01 | 0:18:03 | |
What...? No, we won't change now. | 0:18:04 | 0:18:07 | |
What can you do, though, if you put on the weight, | 0:18:09 | 0:18:11 | |
obviously that must be crucial for a ballet dancer? | 0:18:11 | 0:18:13 | |
Um... | 0:18:13 | 0:18:15 | |
No, it's normal. I mean, | 0:18:15 | 0:18:17 | |
the thing that really makes you lose weight is being nervous. | 0:18:17 | 0:18:21 | |
And I'm losing weight right this minute. | 0:18:21 | 0:18:23 | |
Inches. | 0:18:25 | 0:18:27 | |
Well, it's always the same when you're doing something that... | 0:18:27 | 0:18:29 | |
Are you nervous before a big night, a gala night, at the ballet? | 0:18:29 | 0:18:32 | |
You must be! | 0:18:32 | 0:18:33 | |
I'm nervous before I do anything. | 0:18:33 | 0:18:36 | |
I mean, this morning, I did my first rehearsal and I was nervous. | 0:18:36 | 0:18:38 | |
- Before a rehearsal? - Yes! | 0:18:38 | 0:18:40 | |
- I know it sounds ridiculous but... - Is that because the corps de ballet | 0:18:40 | 0:18:43 | |
stand there jeering you if you're not doing it right? | 0:18:43 | 0:18:45 | |
Oh, no, they're a lovely company. | 0:18:45 | 0:18:47 | |
Come on! There must be a bit of bitchiness goes on... | 0:18:47 | 0:18:49 | |
Not at all, no, not at all. | 0:18:49 | 0:18:50 | |
Honestly. It's a lovely company. | 0:18:50 | 0:18:53 | |
It's like a family. | 0:18:53 | 0:18:54 | |
- We all went to school... - But families fight like mad! | 0:18:54 | 0:18:57 | |
I know, that's very true. | 0:18:57 | 0:18:58 | |
When it's attacked from the outside, it's a lovely company. | 0:18:58 | 0:19:02 | |
I wasn't attacking it! | 0:19:02 | 0:19:04 | |
But, no, I wouldn't expect you to tell me | 0:19:04 | 0:19:06 | |
all the little bitchiness that goes on. | 0:19:06 | 0:19:08 | |
- Talking on the matter of... - I would if there was some. | 0:19:08 | 0:19:10 | |
- Yes, quite. | 0:19:10 | 0:19:11 | |
Um... | 0:19:11 | 0:19:12 | |
Talking of injuries and... | 0:19:12 | 0:19:14 | |
I now have a mental picture of most ballet dancers | 0:19:14 | 0:19:17 | |
going round swathed in bandages, quite often. | 0:19:17 | 0:19:20 | |
Do people like Nureyev, do they... do they carry bad legs | 0:19:20 | 0:19:26 | |
and...? | 0:19:26 | 0:19:27 | |
Rudolf is... | 0:19:27 | 0:19:28 | |
a prime example of somebody who will dance with injuries. | 0:19:28 | 0:19:32 | |
He will never let his audience down. | 0:19:32 | 0:19:35 | |
And I remember going to his dressing room one evening, | 0:19:35 | 0:19:38 | |
cos he was going to have supper with us later, | 0:19:38 | 0:19:40 | |
and he took off his tights and I went... | 0:19:40 | 0:19:43 | |
So I believe! | 0:19:46 | 0:19:48 | |
No! | 0:19:48 | 0:19:49 | |
It was lower than that. | 0:19:49 | 0:19:51 | |
Foot to knee, completely taped up. | 0:19:54 | 0:19:58 | |
- Yes. - Thank goodness for that! | 0:19:58 | 0:19:59 | |
You had me... LAUGHTER | 0:19:59 | 0:20:02 | |
It was fine. | 0:20:02 | 0:20:03 | |
- Foot to knee...? - Foot to knee, taped up. | 0:20:03 | 0:20:05 | |
- Really? - Yes. | 0:20:05 | 0:20:06 | |
Wouldn't that show, 'neath the close-fitting tights? | 0:20:06 | 0:20:08 | |
Um...probably would close... | 0:20:08 | 0:20:10 | |
Cos nearly everything else does, doesn't it? | 0:20:10 | 0:20:12 | |
- Is he...? - It's all right, though, isn't it? | 0:20:14 | 0:20:17 | |
Whatever turns you on...! | 0:20:20 | 0:20:22 | |
Is he difficult to work with, the great Nureyev? | 0:20:22 | 0:20:25 | |
Is he a firebrand? Temperamental? | 0:20:25 | 0:20:27 | |
Rudolf is... | 0:20:28 | 0:20:30 | |
for me... I mean, I'm very biased, cos I'm madly in love with him. | 0:20:30 | 0:20:33 | |
He's generous. | 0:20:33 | 0:20:35 | |
You're probably sorry for him, cos he's bandaged. | 0:20:35 | 0:20:37 | |
No, it's nothing to do with that! He's, um... | 0:20:37 | 0:20:40 | |
generous. | 0:20:40 | 0:20:42 | |
Um... | 0:20:42 | 0:20:43 | |
By generous, I mean he will always help you | 0:20:43 | 0:20:47 | |
if you're having technical problems with steps. | 0:20:47 | 0:20:50 | |
He's always got an answer for them. | 0:20:50 | 0:20:52 | |
He's very loving and he's also the most genuine person, | 0:20:52 | 0:20:58 | |
which is why, when he throws chairs through mirrors, | 0:20:58 | 0:21:01 | |
you know how he feels. | 0:21:01 | 0:21:03 | |
LAUGHTER And it's over in a flash. | 0:21:03 | 0:21:06 | |
And it's got it out of his system and he's fine. | 0:21:06 | 0:21:09 | |
And he can afford to pay to compensate | 0:21:09 | 0:21:11 | |
whoever's mirror he's smashed. | 0:21:11 | 0:21:12 | |
Of course, of course. | 0:21:12 | 0:21:14 | |
When you dance with Nureyev, | 0:21:14 | 0:21:15 | |
for whom you've admitted an undying passion... | 0:21:15 | 0:21:19 | |
Like, the great dance teams, even the Torvill and Deans, | 0:21:19 | 0:21:22 | |
between the pair of them, they seem to generate a kind of eroticism. | 0:21:22 | 0:21:26 | |
Is it necessary to have that kind of...? | 0:21:26 | 0:21:31 | |
Is it necessary to have an emotional relationship with | 0:21:31 | 0:21:34 | |
whoever you dance? | 0:21:34 | 0:21:36 | |
Um... | 0:21:36 | 0:21:38 | |
it isn't necessary to have it off the stage. | 0:21:38 | 0:21:41 | |
But it depends very much on the role you're doing. | 0:21:41 | 0:21:44 | |
If it's a passionate and emotional role, | 0:21:44 | 0:21:47 | |
then you are passionately | 0:21:47 | 0:21:49 | |
and emotionally involved with that partner. | 0:21:49 | 0:21:51 | |
Yes, and when you're dancing, I mean, obviously male dancers, | 0:21:51 | 0:21:54 | |
they get to touch you in places that, really, you wouldn't normally... | 0:21:54 | 0:21:57 | |
LAUGHTER ..allow anybody else to... | 0:21:57 | 0:22:00 | |
- That... - ..lay a finger on you. | 0:22:00 | 0:22:02 | |
Well, actually... I know it's silly to say this, | 0:22:02 | 0:22:06 | |
but you don't really feel that. | 0:22:06 | 0:22:08 | |
Cos you're so carried away with how you're feeling, | 0:22:09 | 0:22:13 | |
you're not aware of hands grabbing. | 0:22:13 | 0:22:15 | |
I mean, you're glad of those, | 0:22:15 | 0:22:17 | |
to get you wherever you've got to go. | 0:22:17 | 0:22:19 | |
Do you...? | 0:22:19 | 0:22:21 | |
To add... To add to the frisson, | 0:22:24 | 0:22:26 | |
to help the moment, in, say, a pas de deux, | 0:22:26 | 0:22:30 | |
do you whisper sweet nothings to each other? | 0:22:30 | 0:22:32 | |
Or do you say things like, "Get off me foot!"? | 0:22:32 | 0:22:34 | |
What... Do you actually say anything to each other? | 0:22:36 | 0:22:38 | |
Anthony Dowell is the best whisperer in the world. | 0:22:38 | 0:22:41 | |
- Anthony Dowell? - Yes. Fabulous. | 0:22:41 | 0:22:43 | |
I mean, you've only got to stay on balance, and he'll go, | 0:22:43 | 0:22:46 | |
"Gorgeous!" LAUGHTER | 0:22:46 | 0:22:48 | |
He's wonderful. | 0:22:48 | 0:22:49 | |
Have you ever had a partner | 0:22:49 | 0:22:50 | |
who whispered less than sweet nothings in your ear? | 0:22:50 | 0:22:54 | |
Who was almost offensive, or, indeed...suggestive? | 0:22:54 | 0:22:58 | |
- Rudolf. - Rudolf? | 0:22:58 | 0:22:59 | |
- Mm. - It's why you like him, isn't it? | 0:22:59 | 0:23:01 | |
Yes. LAUGHTER | 0:23:01 | 0:23:03 | |
I had a problem with him, once, in New York. | 0:23:03 | 0:23:06 | |
In the lovely ballet - my favourite ballet, actually - | 0:23:06 | 0:23:10 | |
probably because it's the first one I ever did the leading role in - | 0:23:10 | 0:23:13 | |
La Fille Mal Gardee. | 0:23:13 | 0:23:15 | |
And, at the end of the, um, the harvest scene, | 0:23:15 | 0:23:18 | |
there's a wonderful lift, where the girl sits on his hand, | 0:23:18 | 0:23:22 | |
and up it goes. And the girl's up there. It's wonderful. | 0:23:22 | 0:23:25 | |
And there you are, smiling, like this. | 0:23:25 | 0:23:27 | |
Well, I went up, but I came down very quickly. | 0:23:27 | 0:23:31 | |
And I...I couldn't really believe it was happening to me, | 0:23:31 | 0:23:34 | |
so I kept going... | 0:23:34 | 0:23:36 | |
And I was going... | 0:23:36 | 0:23:38 | |
over the back, round the side | 0:23:38 | 0:23:41 | |
and... | 0:23:41 | 0:23:43 | |
in a fish, sort of upside-down fish, | 0:23:43 | 0:23:45 | |
held by my legs, by Rudolf. | 0:23:45 | 0:23:47 | |
And after a few scrambles, getting up, we took our bow. | 0:23:47 | 0:23:51 | |
We went into the wings and I thought... | 0:23:51 | 0:23:54 | |
"He's going to kill me. | 0:23:54 | 0:23:56 | |
"I'll cry." | 0:23:57 | 0:23:59 | |
So, I burst into tears, "I'm so sorry!" | 0:23:59 | 0:24:03 | |
And then we had the usual abuse | 0:24:03 | 0:24:06 | |
and we went on with the ballet and he was wonderful. | 0:24:06 | 0:24:08 | |
How long does the abuse last for? | 0:24:08 | 0:24:11 | |
In Russian. | 0:24:11 | 0:24:13 | |
No... No, the boys in the company, when Rudolf came to England, | 0:24:15 | 0:24:18 | |
they taught him the dirty words first. So he knows those in English. | 0:24:18 | 0:24:22 | |
What's the dirtiest word in ballet? | 0:24:22 | 0:24:24 | |
Good Lord, I'm not going to tell you! | 0:24:24 | 0:24:26 | |
What do you think... What do you think makes a prima ballerina? | 0:24:29 | 0:24:33 | |
What...what caused you to stand out from the corps de ballet? | 0:24:33 | 0:24:36 | |
From the chorus? | 0:24:36 | 0:24:38 | |
- Um... - In all modesty, of course, | 0:24:38 | 0:24:41 | |
but what would you say it is? What's the quality that's needed? | 0:24:41 | 0:24:43 | |
Well, I don't really know. | 0:24:43 | 0:24:45 | |
I mean, I was a very lucky girl in the company. | 0:24:45 | 0:24:48 | |
I mean, I always did a solo. Um... | 0:24:48 | 0:24:51 | |
..quite early on, when I was still doing my corps de ballet work. | 0:24:51 | 0:24:56 | |
I mean, I did the white cat in Sleeping Beauty. | 0:24:56 | 0:24:58 | |
Um... | 0:24:58 | 0:25:00 | |
very early on. | 0:25:00 | 0:25:01 | |
I know I was behind a mask, | 0:25:01 | 0:25:03 | |
obviously, the face wasn't quite right yet, but... | 0:25:03 | 0:25:06 | |
I clearly had the personality that would come through a mask. | 0:25:06 | 0:25:09 | |
Um, often, I've had my chances through other people being injured. | 0:25:09 | 0:25:14 | |
Whether I would have had them or not, I don't know. | 0:25:15 | 0:25:18 | |
It's a very competitive world, ballet, isn't it? | 0:25:18 | 0:25:21 | |
- Yes. - People are trying very hard. | 0:25:21 | 0:25:23 | |
Apart from the physical strength which you need, | 0:25:23 | 0:25:28 | |
do you have to be emotionally strong too? | 0:25:28 | 0:25:31 | |
Do you have to be more ambitious? | 0:25:31 | 0:25:33 | |
I... Well, ambition in the right way. | 0:25:34 | 0:25:37 | |
Ambitious... You do have to be single-minded and very dedicated, | 0:25:37 | 0:25:42 | |
which is a form of ambition, | 0:25:42 | 0:25:43 | |
but you don't have to tread on people to get there, | 0:25:43 | 0:25:46 | |
because if you work hard enough, and you've got something... | 0:25:46 | 0:25:51 | |
that you really believe in and you really love doing it... | 0:25:51 | 0:25:54 | |
It all sounds very idyllic. | 0:25:54 | 0:25:56 | |
Well, it's not, obviously. | 0:25:56 | 0:25:58 | |
I mean, it's not idyllic for all people. | 0:25:58 | 0:26:01 | |
I mean, I've just been exceptionally lucky. | 0:26:01 | 0:26:04 | |
It tends to take over your life, though, ballet. | 0:26:04 | 0:26:06 | |
It requires perhaps more dedication than anything else, doesn't it? | 0:26:06 | 0:26:09 | |
- Yes. - Than any other pursuit. | 0:26:09 | 0:26:11 | |
Cos you've got to practise every day. Even when you have arrived. | 0:26:11 | 0:26:16 | |
Yes. And it's hell when you have a bad foot | 0:26:16 | 0:26:18 | |
and you don't practise every day! | 0:26:18 | 0:26:20 | |
Yeah. Does everything sort of bind up again? | 0:26:20 | 0:26:22 | |
Well, no, it's a funny thing, because while you're working hard | 0:26:22 | 0:26:26 | |
and you think, "I'd love to have a day off | 0:26:26 | 0:26:28 | |
"and I could answer all my letters," | 0:26:28 | 0:26:30 | |
and then you get something like four weeks off | 0:26:30 | 0:26:32 | |
and all you want to do is get better so you can dance again. | 0:26:32 | 0:26:35 | |
It's a very strange sort of mental push one has, to want to dance. | 0:26:35 | 0:26:42 | |
Yes, that need to dance. Many great ballet stars, | 0:26:42 | 0:26:46 | |
male and female, come from a working class | 0:26:46 | 0:26:50 | |
- or a poorer class background. - Mm-hm. | 0:26:50 | 0:26:53 | |
Why do you think that is, when almost exclusively, | 0:26:53 | 0:26:57 | |
and probably for reasons of pocket, or reasons of money, | 0:26:57 | 0:27:01 | |
the audiences for ballet, or the interest in ballet, | 0:27:01 | 0:27:03 | |
seems to come from the middle and upper classes, almost entirely? | 0:27:03 | 0:27:07 | |
- Why do the dancers...? - Does it? | 0:27:08 | 0:27:09 | |
Well, I think so, yeah. | 0:27:09 | 0:27:11 | |
I mean, had your family a lively interest in ballet? | 0:27:11 | 0:27:14 | |
Oh, none at all. None at all. It was my grandmother that set me going. | 0:27:14 | 0:27:18 | |
I've... I'm not a great ballet fan, | 0:27:19 | 0:27:22 | |
- I have to say. - No, | 0:27:22 | 0:27:23 | |
- I don't think I've seen you there. - No. | 0:27:23 | 0:27:25 | |
If you had, you would certainly have | 0:27:26 | 0:27:28 | |
hurled a flower in my general direction. | 0:27:28 | 0:27:29 | |
Of course! Of course. | 0:27:29 | 0:27:31 | |
I think it's slightly archaic. | 0:27:31 | 0:27:34 | |
Oh, don't be silly. | 0:27:34 | 0:27:35 | |
I mean, really. Pull yourself together! | 0:27:36 | 0:27:39 | |
RAUCOUS LAUGHTER | 0:27:39 | 0:27:40 | |
APPLAUSE | 0:27:40 | 0:27:43 | |
It's wonderful - beautiful, young girls, dancing there, | 0:27:48 | 0:27:52 | |
practically nothing on. | 0:27:52 | 0:27:54 | |
Modern ballets. It's not all old-fashioned ballets. | 0:27:54 | 0:27:57 | |
And, anyway, old-fashioned ballets aren't archaic, really, | 0:27:57 | 0:28:00 | |
cos they've got fresh youth brought to them, | 0:28:00 | 0:28:03 | |
practically every week. | 0:28:03 | 0:28:05 | |
It's all a bit old-fashioned. | 0:28:05 | 0:28:07 | |
Oh, come on! | 0:28:07 | 0:28:09 | |
- Don't you think? - Well, some. | 0:28:09 | 0:28:12 | |
Somebody's agreeing with you. | 0:28:12 | 0:28:14 | |
I know there's modern dance, of course. | 0:28:15 | 0:28:18 | |
I never think of that as ballet. | 0:28:18 | 0:28:20 | |
Ballet, | 0:28:20 | 0:28:22 | |
I always think of in terms of Swan Lake or something like that, | 0:28:22 | 0:28:25 | |
- which seems, to me, very dated. - Well, what about... | 0:28:25 | 0:28:27 | |
Well... Well, because it's an old ballet. | 0:28:27 | 0:28:30 | |
It's been around for a long time. | 0:28:30 | 0:28:32 | |
What about something like Romeo And Juliet, | 0:28:32 | 0:28:34 | |
which is beautifully classical? | 0:28:34 | 0:28:36 | |
Um, it's not, sort of, people pretending to be swans. | 0:28:36 | 0:28:40 | |
I agree, that's a bit strange. | 0:28:40 | 0:28:41 | |
But do you think it'll ever reach | 0:28:41 | 0:28:43 | |
a stage where it can become a popular art? | 0:28:43 | 0:28:46 | |
- It is a popular art. - If it ever was. | 0:28:46 | 0:28:48 | |
- It is a popular art! - It doesn't get many of the people. | 0:28:48 | 0:28:51 | |
More... What are you talking about?! | 0:28:51 | 0:28:52 | |
This Christmas... This Christmas, we had the Opera House full, | 0:28:52 | 0:28:57 | |
we had the Festival Hall full, there was Wayne Sleep at the Dominion... | 0:28:57 | 0:29:00 | |
- It just worries me... - ..Song And Dance at the Palace. | 0:29:00 | 0:29:02 | |
Oh, I don't think of that as ballet. | 0:29:02 | 0:29:04 | |
- Packed! - That's not ballet. | 0:29:04 | 0:29:06 | |
That's musicals. | 0:29:06 | 0:29:07 | |
- I... - They are dancing. | 0:29:08 | 0:29:10 | |
That's true, but... Yes, they are, they're ballet-trained, | 0:29:10 | 0:29:14 | |
I'll certainly give you that. | 0:29:14 | 0:29:16 | |
But I often wonder if a lot of the people who go | 0:29:16 | 0:29:18 | |
to the Royal Ballet, or the Sadler's, | 0:29:18 | 0:29:21 | |
I often wonder if they go just to be seen there. | 0:29:21 | 0:29:24 | |
Well, you don't, do you? | 0:29:27 | 0:29:28 | |
APPLAUSE | 0:29:29 | 0:29:31 | |
Which is why, naturally, I take the view that I do. | 0:29:35 | 0:29:38 | |
But do you sometimes feel like you're out there dancing | 0:29:38 | 0:29:41 | |
and they don't really understand what you're doing? | 0:29:41 | 0:29:44 | |
No, we only feel like that about the critics. | 0:29:46 | 0:29:49 | |
You're married to a critic, aren't you? | 0:29:50 | 0:29:52 | |
I know. It's the only way I could get him not to write about me. | 0:29:52 | 0:29:55 | |
Margot Fonteyn danced until she was... Ahem! | 0:29:57 | 0:30:02 | |
Do you intend to dance that long? | 0:30:02 | 0:30:04 | |
- Depends, doesn't it? - What does it depend on? | 0:30:05 | 0:30:07 | |
It depends on, well... it depends on the body, | 0:30:07 | 0:30:10 | |
how it holds up. | 0:30:10 | 0:30:12 | |
Um, it depends on whether I still love it as much as I love it now. | 0:30:13 | 0:30:18 | |
I think that's all it depends on, I think. | 0:30:19 | 0:30:22 | |
We hope you'll continue dancing and delighting everybody. | 0:30:22 | 0:30:25 | |
- Thank you very much. - Thank you, Lesley. | 0:30:25 | 0:30:27 | |
Lesley Collier. APPLAUSE | 0:30:27 | 0:30:29 | |
The lovely Lesley Collier. We must try and get some more ballerinas, | 0:30:40 | 0:30:43 | |
or ballet dancers, on the programme. | 0:30:43 | 0:30:45 | |
From the dance to the song. | 0:30:45 | 0:30:48 | |
Now, this particular group that I'm going to introduce to you | 0:30:48 | 0:30:51 | |
haven't had an LP for some time, | 0:30:51 | 0:30:52 | |
so it must be very gratifying for them to produce one | 0:30:52 | 0:30:56 | |
and then find that the first track taken off it becomes a very big hit. | 0:30:56 | 0:31:00 | |
They've flown over specially to be on Wogan, I'm delighted to welcome them, | 0:31:00 | 0:31:04 | |
with their hit, The Spice Of Life - Manhattan Transfer! | 0:31:04 | 0:31:07 | |
APPLAUSE | 0:31:07 | 0:31:10 | |
# Down on the corner there's a reason to smile | 0:31:29 | 0:31:33 | |
# When those evening shadows fall | 0:31:33 | 0:31:37 | |
# Some kind of feeling that it's hard to deny | 0:31:38 | 0:31:41 | |
# Once the neon lights start to call | 0:31:41 | 0:31:47 | |
# People out there searching for action | 0:31:47 | 0:31:51 | |
# Daytime distractions slipping right on by | 0:31:51 | 0:31:55 | |
ALL: # Tonight | 0:31:55 | 0:31:56 | |
# Let's taste the spice of life | 0:31:57 | 0:32:00 | |
# Keep it sweet until the morning light | 0:32:01 | 0:32:05 | |
# Watch fantasy unfold | 0:32:06 | 0:32:09 | |
SOLO: # And let the lovin' flow | 0:32:10 | 0:32:13 | |
# Caught in the madness of a summer romance | 0:32:13 | 0:32:16 | |
# At a moonlight rendezvous | 0:32:16 | 0:32:20 | |
# Lost in the spirit of a sensual dance | 0:32:21 | 0:32:25 | |
# That can cast a spell over you | 0:32:25 | 0:32:30 | |
# All you need's a night to remember | 0:32:30 | 0:32:34 | |
# Flying together on the highest high | 0:32:34 | 0:32:38 | |
ALL: # Tonight | 0:32:38 | 0:32:40 | |
# Let's taste the spice of life | 0:32:41 | 0:32:44 | |
# A little music and some candlelight | 0:32:45 | 0:32:48 | |
# Put passion in control | 0:32:49 | 0:32:53 | |
SOLO: # Oh-oh and let the lovin' flow | 0:32:53 | 0:32:55 | |
# I want you to know | 0:32:55 | 0:32:57 | |
# Could it be the start of a million dreams we share? | 0:32:57 | 0:33:03 | |
# So, lay back in the feelin' | 0:33:05 | 0:33:07 | |
ALL: # Let the evening take you there | 0:33:07 | 0:33:13 | |
# Ba-ba-ba-da, ba-ba-ba-da | 0:33:16 | 0:33:19 | |
# All we need is a night to remember | 0:33:27 | 0:33:31 | |
# Flying together on the highest high | 0:33:31 | 0:33:35 | |
ALL: # Tonight | 0:33:35 | 0:33:36 | |
- # Tonight - # Let's taste the spice of life | 0:33:36 | 0:33:40 | |
# I want to taste the spice of life | 0:33:40 | 0:33:41 | |
# A little music and some candlelight | 0:33:41 | 0:33:44 | |
# Ooh-hoo-hoo | 0:33:44 | 0:33:45 | |
# Put passion in control | 0:33:45 | 0:33:49 | |
# Oh, and let the lovin' flow | 0:33:49 | 0:33:52 | |
- # All night - # All night | 0:33:52 | 0:33:54 | |
# We'll taste the spice of life | 0:33:54 | 0:33:57 | |
# Got to taste the spice of life | 0:33:57 | 0:33:59 | |
# Keep it sweet until the morning light | 0:33:59 | 0:34:02 | |
# Make it sweet for me, baby | 0:34:02 | 0:34:04 | |
# Watch fantasy unfold | 0:34:04 | 0:34:06 | |
# Ooh, that's the only way to go | 0:34:06 | 0:34:10 | |
- # Tonight - # Tonight | 0:34:10 | 0:34:12 | |
- # Let's taste the spice of life - # Mmmmmm | 0:34:12 | 0:34:17 | |
# A little music and some candlelight | 0:34:17 | 0:34:19 | |
# A little music, baby | 0:34:19 | 0:34:21 | |
# Put passion in control | 0:34:21 | 0:34:24 | |
# Ooh, you know that's the only way to go | 0:34:24 | 0:34:27 | |
# All night... # | 0:34:27 | 0:34:28 | |
CHEERING AND APPLAUSE | 0:34:28 | 0:34:31 | |
MOUTHS | 0:34:37 | 0:34:38 | |
That's the splendid, the splendid Manhattan Transfer | 0:34:45 | 0:34:48 | |
and their current success, The Spice Of Life. | 0:34:48 | 0:34:51 | |
Continuing the cultural thread that has been running, | 0:34:51 | 0:34:54 | |
elusively, through the programme, I'd now like to introduce to you | 0:34:54 | 0:34:58 | |
a gentleman who made flatulence acceptable on the big screen. | 0:34:58 | 0:35:03 | |
Mel Brooks. | 0:35:03 | 0:35:05 | |
APPLAUSE | 0:35:05 | 0:35:07 | |
A gold banana! How funny. | 0:35:15 | 0:35:17 | |
- Very nice. Is it a paperweight? - It's a very BBC touch, isn't it? | 0:35:17 | 0:35:21 | |
You keep this in your pocket, you'll be a rich man. | 0:35:21 | 0:35:23 | |
Because a paperweight will keep your trousers neat. | 0:35:23 | 0:35:26 | |
You'll always have a good crease. | 0:35:26 | 0:35:28 | |
Watch this, look. | 0:35:28 | 0:35:29 | |
Think of this as a gun, right? | 0:35:29 | 0:35:31 | |
You put it in your pocket - nobody's gonna hold you up, I promise you. | 0:35:31 | 0:35:34 | |
- See how nice that is? Right there. - That is good! | 0:35:34 | 0:35:36 | |
It does create a line of its own. | 0:35:36 | 0:35:38 | |
Yes. | 0:35:38 | 0:35:40 | |
- Shall I wear it during the show? - I wish you would. | 0:35:40 | 0:35:43 | |
I've been trying to get it off the table for a long time. | 0:35:43 | 0:35:45 | |
Why do they have the two nuts there? I mean, what are these? | 0:35:45 | 0:35:48 | |
They're bronze strawberries. | 0:35:48 | 0:35:50 | |
No, they're not, they're walnuts. | 0:35:50 | 0:35:51 | |
- Bronze walnuts, then. - Bronze walnuts. | 0:35:51 | 0:35:53 | |
- It's the eyesight. - There was a man in the army... | 0:35:53 | 0:35:55 | |
All right, let's talk. OK, OK. | 0:35:55 | 0:35:58 | |
Right. | 0:35:58 | 0:35:59 | |
You are known as the master of bad taste. | 0:36:00 | 0:36:02 | |
Yes, I am, I am. I'm, er... | 0:36:02 | 0:36:05 | |
Is this justified, or are you sorry now? | 0:36:05 | 0:36:08 | |
No, no, no, it's justified. | 0:36:08 | 0:36:10 | |
I... I am known for my, er, exquisitely bad taste. | 0:36:10 | 0:36:15 | |
In America, people say, "Mr Brooks, | 0:36:15 | 0:36:18 | |
"you are in bad taste." I say, "Up yours." | 0:36:18 | 0:36:22 | |
That's now we talk. It isn't nice, but... | 0:36:23 | 0:36:25 | |
It's a sign of the entertainer, eh? | 0:36:25 | 0:36:28 | |
You know I've been watching the show from the wings. | 0:36:28 | 0:36:30 | |
I'm not going to criticise it, I love it. | 0:36:30 | 0:36:32 | |
The cameras seem to have some problems knowing when... | 0:36:34 | 0:36:39 | |
you are going to speak and when your guest is going to speak. | 0:36:39 | 0:36:42 | |
So, it occurred to me to warn them, | 0:36:42 | 0:36:46 | |
so that they don't come in on a second syllable or a second word. | 0:36:46 | 0:36:49 | |
If you say, "Ba-ba," and then talk, on the "ba-ba" they will cut to you. | 0:36:49 | 0:36:54 | |
If I am going to talk, I will say "Ba-ba," and they will cut to me. | 0:36:55 | 0:36:59 | |
Now, it may sound like some African language, | 0:36:59 | 0:37:02 | |
but the cameras will get it right, | 0:37:02 | 0:37:04 | |
even if the audience gets it a little mish-mushed. | 0:37:04 | 0:37:07 | |
This sounds very... Cos this is where you... | 0:37:07 | 0:37:09 | |
That's why you're a director and producer | 0:37:09 | 0:37:12 | |
- and I'm just a common or garden... - Ba-ba! | 0:37:12 | 0:37:14 | |
I'll tell you... | 0:37:14 | 0:37:16 | |
APPLAUSE | 0:37:17 | 0:37:21 | |
Ba-ba! | 0:37:23 | 0:37:25 | |
I hadn't finished. | 0:37:25 | 0:37:26 | |
I like that! That was good. | 0:37:30 | 0:37:33 | |
I didn't "ba-ba" - get the hell off! | 0:37:33 | 0:37:35 | |
Stay on him! Wait for the "ba-ba"! | 0:37:35 | 0:37:38 | |
Are there any subjects... | 0:37:39 | 0:37:41 | |
Are there any subjects you wouldn't touch upon? | 0:37:41 | 0:37:44 | |
Well, I mean, um, things of a papal nature, I never touch. | 0:37:44 | 0:37:48 | |
Why not? The Thorn Birds did. | 0:37:48 | 0:37:51 | |
Oh, well, The Thorn Birds, The Thorn Birds. They had no right to do that. | 0:37:51 | 0:37:53 | |
That was in execrable taste, I thought, don't you? | 0:37:53 | 0:37:56 | |
I mean, a priest actually... making amorous advances | 0:37:56 | 0:38:01 | |
to a virgin on a moor... | 0:38:01 | 0:38:04 | |
in July. | 0:38:04 | 0:38:05 | |
I mean... I mean, I wouldn't do that. | 0:38:06 | 0:38:08 | |
Not even in Blazing Saddles would I do a thing like that. | 0:38:08 | 0:38:11 | |
Ba-ba! I would turn... | 0:38:12 | 0:38:15 | |
I would turn his collar around before I'd have him touch anybody. | 0:38:15 | 0:38:18 | |
Just as a matter of good taste, good form, you know. | 0:38:18 | 0:38:22 | |
I was just thinking about you and your sense of humour. | 0:38:22 | 0:38:24 | |
Obviously, it's very difficult, cos humour - we won't go into all that - | 0:38:24 | 0:38:28 | |
- but it is a very subjective thing. - Hard to... Ba-ba! | 0:38:28 | 0:38:30 | |
Hard to coalesce the vapour of humour. | 0:38:30 | 0:38:32 | |
It is. Humour is that indefinable thing. I... | 0:38:32 | 0:38:36 | |
There's a Greek person who shall be nameless - | 0:38:36 | 0:38:39 | |
his name is Andreas Voutsinas. | 0:38:39 | 0:38:41 | |
- No wonder he's nameless(!) - He was in... | 0:38:42 | 0:38:44 | |
He was in... Ba-ba! | 0:38:44 | 0:38:47 | |
He was in... | 0:38:47 | 0:38:48 | |
He was in The Producers. He was in The Producers. | 0:38:48 | 0:38:52 | |
He played the roommate of the gay director. | 0:38:52 | 0:38:56 | |
I've forgotten it. | 0:38:56 | 0:38:57 | |
And his name... Yes, Andreas Voutsinas. He's wonderful. | 0:38:57 | 0:39:00 | |
And Andreas says... You know him? | 0:39:00 | 0:39:03 | |
And Andreas Voutsinas says, off-camera, he says, | 0:39:04 | 0:39:09 | |
"Or you got it or you ain't." | 0:39:09 | 0:39:12 | |
And I know what he means. He means it's a gift. | 0:39:12 | 0:39:14 | |
Comedy is a gift. It's a gift of timing. | 0:39:14 | 0:39:16 | |
Has it a lot to do with being Jewish? | 0:39:16 | 0:39:18 | |
I doubt it, I doubt it, because there are... | 0:39:18 | 0:39:20 | |
I mean, Sean O'Casey and GBS began... | 0:39:20 | 0:39:24 | |
founded great theatrical worlds of comedy. | 0:39:24 | 0:39:27 | |
Yes, but it just struck me - | 0:39:27 | 0:39:29 | |
would you be different, would your sense of humour be different, | 0:39:29 | 0:39:31 | |
- if you were Irish? - No. I'd be taller. | 0:39:31 | 0:39:34 | |
I would be taller, but it would be the same humour. | 0:39:35 | 0:39:37 | |
The Irish and the Jews, I mean, they have the same sense of humour. | 0:39:37 | 0:39:41 | |
They began... They feel deprived. | 0:39:41 | 0:39:43 | |
And, because of their deprivation, they overcompensate | 0:39:43 | 0:39:46 | |
by being extremely witty. Now... Ooh, ow! | 0:39:46 | 0:39:49 | |
Get off me, ba-ba on him for a while! | 0:39:51 | 0:39:53 | |
That's the nicest thing that's happened all evening. | 0:39:54 | 0:39:57 | |
- Get off me. - Like Mr Grayson, | 0:39:57 | 0:39:59 | |
you were a late developer, weren't you? | 0:39:59 | 0:40:02 | |
Yes. | 0:40:02 | 0:40:03 | |
Do you wish that you'd developed a bit better and, indeed, earlier? | 0:40:03 | 0:40:05 | |
In what manner? | 0:40:05 | 0:40:07 | |
- Nearly every way. - Yes. Well, in that way, yes. | 0:40:08 | 0:40:11 | |
In that way, I wish I'd developed better, | 0:40:11 | 0:40:13 | |
because I would've attracted | 0:40:13 | 0:40:15 | |
a lot more people of the opposite persuasion. | 0:40:15 | 0:40:17 | |
Men. | 0:40:17 | 0:40:18 | |
Now, that was fast. Half of you got that! | 0:40:19 | 0:40:22 | |
- You didn't say ba-boom. - No, I didn't say ba-ba. | 0:40:23 | 0:40:25 | |
Yeah, yeah, I missed that. | 0:40:25 | 0:40:27 | |
Now that you've become a Hollywood mogul yourself, | 0:40:27 | 0:40:29 | |
with the Brooks films and everything, has that changed you a lot? | 0:40:29 | 0:40:32 | |
I mean, you were a sort of innocent, open-faced Jewish boy, | 0:40:32 | 0:40:36 | |
writing comedy and all that. | 0:40:36 | 0:40:38 | |
Now, you're a mogul and it's different, isn't it? | 0:40:38 | 0:40:40 | |
Now I'm a mogul, it's different, yes. | 0:40:40 | 0:40:42 | |
SWEETLY: I used to be innocent and writing things. | 0:40:42 | 0:40:44 | |
GRUFFLY: Now I'm a mogul. A fiend. | 0:40:44 | 0:40:47 | |
I'm a mogul - fire them and hire them and hire them and fire them. | 0:40:47 | 0:40:52 | |
Hire and fire and fire and hire. | 0:40:52 | 0:40:55 | |
Show me a...and... | 0:40:55 | 0:40:58 | |
SWEETLY: But I used to be innocent and quite wonderful and intransigent. | 0:40:58 | 0:41:02 | |
No, the last bit was more like you. That's more... | 0:41:02 | 0:41:04 | |
- Yes. - There, that was you. | 0:41:04 | 0:41:05 | |
- This is closer? - That's you. | 0:41:05 | 0:41:07 | |
- This is closer? - Yes. That's like... | 0:41:07 | 0:41:08 | |
Dr Jekyll and Mr Goldberg, right? Have you got that? Have I got it? | 0:41:08 | 0:41:12 | |
Yes, very... I don't know, I don't know. | 0:41:12 | 0:41:15 | |
To tell you the truth, I miss... I miss the innocent lad that I was. | 0:41:15 | 0:41:20 | |
Where does the director in you come into it? | 0:41:20 | 0:41:22 | |
Do you like bossing people around? Do you like telling people what to do? | 0:41:22 | 0:41:25 | |
Well, I mean, to be perfectly honest, yes. | 0:41:25 | 0:41:28 | |
There's no sense... There's no fooling you. | 0:41:29 | 0:41:31 | |
- Bright. - I knew you were power-crazed... | 0:41:31 | 0:41:33 | |
- You're too damn bright. - ..the minute you walked in here. | 0:41:33 | 0:41:35 | |
You know, in the beginning, | 0:41:35 | 0:41:37 | |
in the dressing room, when they were making me up, I said, | 0:41:37 | 0:41:40 | |
"Why the hell did Parkinson leave? | 0:41:40 | 0:41:41 | |
"I've got to work with this stupid Irishman." | 0:41:41 | 0:41:42 | |
But...! | 0:41:42 | 0:41:43 | |
No, no, but... | 0:41:45 | 0:41:46 | |
I said that in the dressing room as well. | 0:41:46 | 0:41:48 | |
But, then, I thought. I thought on it. I thought hard on it. | 0:41:48 | 0:41:54 | |
Steady. | 0:41:54 | 0:41:55 | |
Two points! | 0:41:57 | 0:41:58 | |
And what I came up with was I love your vocal ping-pong, | 0:41:58 | 0:42:03 | |
I love your alacrity, I love your quickness of mind, I love your wit. | 0:42:03 | 0:42:06 | |
And I love that most of your hair is your own. | 0:42:06 | 0:42:09 | |
- Yes, yes. - Yes. Success, however... | 0:42:10 | 0:42:14 | |
Mm. | 0:42:14 | 0:42:15 | |
..has not unspoiled you, has it? I mean... | 0:42:15 | 0:42:17 | |
I'm not crazy about your tie, I can tell you that. | 0:42:17 | 0:42:19 | |
I shouldn't say that on the air. | 0:42:21 | 0:42:23 | |
- Well, you're a guest. - Yes, it's true. | 0:42:23 | 0:42:25 | |
You know, solid ties have been in for six years, now, you know that? | 0:42:25 | 0:42:28 | |
- And out again. - And out. | 0:42:28 | 0:42:30 | |
They probably will go out again. | 0:42:30 | 0:42:31 | |
We're wearing something different in Britain, you know. | 0:42:31 | 0:42:33 | |
Underneath? | 0:42:33 | 0:42:35 | |
All over. | 0:42:35 | 0:42:36 | |
All over, yes! | 0:42:36 | 0:42:37 | |
I understand you're a bit of a wine snob? | 0:42:37 | 0:42:40 | |
- Well, no, no, no, no, no. - Come on! | 0:42:40 | 0:42:42 | |
Come on. You bring your own bottle of wine to dinner! | 0:42:42 | 0:42:44 | |
Yes, yes. I drank some of the swill that you had in the dressing room. | 0:42:44 | 0:42:47 | |
What's this about bringing your own bottle to dinner? | 0:42:49 | 0:42:51 | |
I do, I do. I bring my own bottle to dinner. | 0:42:51 | 0:42:53 | |
Does this not offend your host or hostess? | 0:42:53 | 0:42:55 | |
Who gives a...?! | 0:42:55 | 0:42:57 | |
Who cares, rather... | 0:42:58 | 0:43:00 | |
- Yeah. - But this does not tie in... | 0:43:00 | 0:43:03 | |
Why take a chance on Muscadet or something? | 0:43:03 | 0:43:05 | |
Who knows what they're gonna serve?! | 0:43:05 | 0:43:06 | |
But a simple boy from the Jewish ghetto, bringing his own wine? | 0:43:06 | 0:43:10 | |
Chateau Lafite, Chateau Lafite, made by the Jews, drunk by the Jews. | 0:43:10 | 0:43:13 | |
What's the matter with it? Nothing wrong. | 0:43:13 | 0:43:14 | |
Rothschild, Rothschild, old boy. Rothschild. | 0:43:14 | 0:43:17 | |
Built the Suez Canal, helped the Empire out, | 0:43:17 | 0:43:19 | |
Benjy, Disraeli, remember? | 0:43:19 | 0:43:21 | |
Queen Victoria. | 0:43:21 | 0:43:22 | |
You never knew when that knee would come up under the skirts, did you? | 0:43:22 | 0:43:25 | |
She was tough as nails. | 0:43:25 | 0:43:26 | |
Tough as nails! I loved her. | 0:43:26 | 0:43:28 | |
Best monarch that ever ruled England. | 0:43:28 | 0:43:31 | |
Queen Victoria, a thousand skirts, "Watch it, Benjy!" | 0:43:31 | 0:43:34 | |
The greatest woman that ever lived - Queen Victoria. | 0:43:35 | 0:43:38 | |
Do you admire the British system? | 0:43:38 | 0:43:40 | |
You're not going to be one of those Americans... | 0:43:40 | 0:43:42 | |
You're not going to say in a minute, | 0:43:42 | 0:43:44 | |
"London is my second home. I love it over here?" | 0:43:44 | 0:43:48 | |
- No, no, no. - You're not going to say that? | 0:43:48 | 0:43:49 | |
But I am an Anglophile and I'm taking something for it. | 0:43:49 | 0:43:51 | |
Three times a day, you take it. | 0:43:53 | 0:43:55 | |
And it takes away your love of the little postage stamp squares, | 0:43:55 | 0:43:59 | |
the red brick, the white Victorian trim, | 0:43:59 | 0:44:02 | |
the V&A, John Constable, | 0:44:02 | 0:44:05 | |
the, er... Sheila, who lives in Chelsea. | 0:44:05 | 0:44:09 | |
What a girl! Jesus. | 0:44:09 | 0:44:11 | |
She'll do... She'll do anything, if you beg. | 0:44:11 | 0:44:13 | |
You know what Jewish foreplay is? | 0:44:15 | 0:44:18 | |
Let me tell you what Jewish foreplay is. | 0:44:19 | 0:44:22 | |
- May I? - Please! | 0:44:22 | 0:44:23 | |
20 minutes of begging. | 0:44:23 | 0:44:26 | |
APPLAUSE | 0:44:29 | 0:44:32 | |
INAUDIBLE | 0:44:32 | 0:44:34 | |
Well... | 0:44:34 | 0:44:35 | |
Do you know, | 0:44:35 | 0:44:37 | |
Terry, you're a saucy devil. | 0:44:37 | 0:44:39 | |
I watched your interview with Bob Fosse, who was very good, | 0:44:39 | 0:44:42 | |
and you were wonderful, but you did ask questions that were really... | 0:44:42 | 0:44:47 | |
- unseemly. - Saucy? | 0:44:47 | 0:44:48 | |
Yes, saucy. You said... | 0:44:48 | 0:44:50 | |
- You're a fine one to talk. - Well... | 0:44:50 | 0:44:52 | |
I mean, I'm vulgar, so I can say anything. | 0:44:52 | 0:44:55 | |
But you said, er, is there still a casting couch? | 0:44:55 | 0:44:59 | |
Is there still it the practice of having a casting couch? | 0:44:59 | 0:45:01 | |
- I was going to ask you that. - Yeah. And... | 0:45:01 | 0:45:03 | |
And then you said, "Do you use...?" I mean, what could he say?! | 0:45:03 | 0:45:07 | |
- Yes. - Yes...! | 0:45:07 | 0:45:08 | |
Well, I mean, even if he did, would he admit it? | 0:45:08 | 0:45:11 | |
- Would he admit it? - He nearly did! | 0:45:11 | 0:45:13 | |
- He nearly did? - What about you? | 0:45:13 | 0:45:15 | |
I admit it. | 0:45:15 | 0:45:17 | |
- I admit it. - But, look, | 0:45:18 | 0:45:20 | |
you don't need a casting couch. | 0:45:20 | 0:45:21 | |
With your attraction, you could have got the girls without it. | 0:45:21 | 0:45:24 | |
- And, yet, why... - You'll pay for that! | 0:45:24 | 0:45:27 | |
That hasn't gone unnoticed, old boy. | 0:45:29 | 0:45:31 | |
I like you, Wogan, I do, I swear to God. | 0:45:32 | 0:45:34 | |
Yet you married an Italian? | 0:45:36 | 0:45:38 | |
Wogan, there's a little green thing | 0:45:38 | 0:45:39 | |
on this side of your nose. Get it before... | 0:45:39 | 0:45:40 | |
APPLAUSE | 0:45:43 | 0:45:45 | |
DROWNED OUT BY APPLAUSE | 0:45:45 | 0:45:48 | |
Don't try and evade the issue. | 0:45:48 | 0:45:50 | |
Ba-boom. | 0:45:50 | 0:45:52 | |
And yet you married an Italian. | 0:45:52 | 0:45:55 | |
Yes, I did. Well, she's an American, born in the United States of America, | 0:45:55 | 0:45:59 | |
of Italian ancestry, Italian parentage. | 0:45:59 | 0:46:03 | |
- That's easy for you to say. - Yes. | 0:46:03 | 0:46:06 | |
Her mother and father were born in the US, | 0:46:06 | 0:46:09 | |
but her grandparents were born in good old Italy. | 0:46:09 | 0:46:12 | |
- Is she taller than you? - Ba-ba. Yes. | 0:46:12 | 0:46:14 | |
When she wears her spiked Cuban heels, | 0:46:15 | 0:46:18 | |
which I demand that she wear on Sunday nights... | 0:46:18 | 0:46:22 | |
Please. | 0:46:22 | 0:46:23 | |
You can drive the audience insane | 0:46:23 | 0:46:24 | |
- with this kind of talk. - Yes. | 0:46:24 | 0:46:26 | |
All she wears is spiked Cuban heels... | 0:46:26 | 0:46:28 | |
- Enough! - ..a large feather... | 0:46:28 | 0:46:30 | |
Oh! | 0:46:30 | 0:46:32 | |
..and an Indian bathrobe. | 0:46:32 | 0:46:34 | |
Aagh! | 0:46:34 | 0:46:35 | |
No, my wife is actually a very conservative lady. | 0:46:35 | 0:46:38 | |
She's a dramatic actress. | 0:46:38 | 0:46:39 | |
She adores me because I'm the other side of her life. | 0:46:39 | 0:46:41 | |
I'm merriment, I'm fun. I'm silly. | 0:46:41 | 0:46:44 | |
When are we going to see that side of you? | 0:46:44 | 0:46:47 | |
APPLAUSE | 0:46:48 | 0:46:51 | |
But you've actually worked together. | 0:46:55 | 0:46:56 | |
Is it the first time you've worked together on your new movie? | 0:46:56 | 0:46:58 | |
I don't like it when you're really funny. | 0:46:58 | 0:47:00 | |
I like it when you're... when you're nearly funny, I like. | 0:47:01 | 0:47:04 | |
Because then the audience at home says, | 0:47:04 | 0:47:06 | |
"The Irishman thinks he's funny, | 0:47:06 | 0:47:10 | |
"but the little Jew, he's the one. He's funny. | 0:47:10 | 0:47:13 | |
"But the other...the other one thinks he's funny. | 0:47:13 | 0:47:16 | |
"The little J...he's really funny. | 0:47:16 | 0:47:18 | |
"The Irishman is nearly funny, | 0:47:18 | 0:47:21 | |
"but the little Jew, he's hysterical." | 0:47:21 | 0:47:23 | |
But then sometimes, you're really funny and it's very disappointing. | 0:47:23 | 0:47:27 | |
When you really get funny sometimes, | 0:47:29 | 0:47:30 | |
it takes the heart out of one, I'll tell you the truth. | 0:47:30 | 0:47:31 | |
Ba-boom. | 0:47:31 | 0:47:32 | |
I'm sorry. | 0:47:33 | 0:47:34 | |
Now, you've just worked together with Anne. | 0:47:36 | 0:47:38 | |
How did you lure this fine dramatic actress into this kind of dross? | 0:47:38 | 0:47:41 | |
With a giant Jew magnet. I said, "Come this way! | 0:47:41 | 0:47:44 | |
"You're mine, you're mine!" Ba-ba, schmuck! "You're mine!" | 0:47:44 | 0:47:48 | |
You call your wife schmuck?! | 0:47:49 | 0:47:51 | |
- No, no, no, the cameraman! - Oh, I see. | 0:47:51 | 0:47:53 | |
- Do you mind if I put my feet up? - Not at all. | 0:47:54 | 0:47:57 | |
- Are those your own feet? - No. | 0:47:57 | 0:47:59 | |
They're my own shoes. | 0:47:59 | 0:48:01 | |
- Oh! - Yes. | 0:48:01 | 0:48:03 | |
So, the straight actress. | 0:48:03 | 0:48:04 | |
I lured her with a modicum of wit... | 0:48:04 | 0:48:06 | |
..some grace, some poetry, some charm... | 0:48:07 | 0:48:10 | |
- a taste of wine. - Can't have been easy. | 0:48:10 | 0:48:13 | |
You'll pay for that. | 0:48:14 | 0:48:16 | |
Er, bonhomie, some cultural aspects, | 0:48:18 | 0:48:22 | |
a love of life, | 0:48:22 | 0:48:24 | |
and a million dollars. | 0:48:24 | 0:48:25 | |
- I paid for my wife. - She can be bought? | 0:48:26 | 0:48:28 | |
Yes. I paid 17 camels, 14 goats, 40 rubies, | 0:48:28 | 0:48:34 | |
and a Buick. | 0:48:34 | 0:48:35 | |
What are you going to do next? | 0:48:36 | 0:48:39 | |
I'm going to be a tailor. I'm gonna get pins and needles, | 0:48:39 | 0:48:41 | |
I'm gonna get cloth and I'm gonna cut suits to fit the perfect man. | 0:48:41 | 0:48:46 | |
I'm ready. | 0:48:46 | 0:48:48 | |
I like that. | 0:48:51 | 0:48:52 | |
Are you gonna get rid of those ridiculous turn-ups on your trousers? | 0:48:52 | 0:48:54 | |
Yeah. I am, yeah. | 0:48:54 | 0:48:55 | |
Do you mean the vegetable - turnips? I mean, | 0:48:57 | 0:49:00 | |
what are you referring to? | 0:49:00 | 0:49:02 | |
I don't quite understand. | 0:49:02 | 0:49:03 | |
No, we don't wear those any more over here. | 0:49:03 | 0:49:07 | |
- Oh, you don't? - No, they're out of date now. | 0:49:07 | 0:49:08 | |
Well, let me... Can I...? | 0:49:08 | 0:49:11 | |
APPLAUSE | 0:49:11 | 0:49:14 | |
You'll all pay for that... | 0:49:18 | 0:49:20 | |
We call them cuffs in America. | 0:49:22 | 0:49:24 | |
Cuffs, you see. C-U-F-F-S, cuffs. We don't call them turn-ups. | 0:49:24 | 0:49:29 | |
Or carrots, or celery, or anything like that. | 0:49:29 | 0:49:33 | |
You've never really grasped the language, have you? | 0:49:33 | 0:49:36 | |
Well, if truth... Well... | 0:49:36 | 0:49:37 | |
We don't say "cent-ree", we say "cent-er". | 0:49:37 | 0:49:41 | |
C-E-N-T-E-R. | 0:49:41 | 0:49:42 | |
You say "cent-ree" - C-E-N-T-R-E. | 0:49:42 | 0:49:46 | |
What about... What about lever? | 0:49:46 | 0:49:48 | |
"Lev-ah!" | 0:49:48 | 0:49:49 | |
All right, what about "composite", schmuck?! | 0:49:51 | 0:49:54 | |
It's "com-poh-sit." | 0:49:54 | 0:49:56 | |
What about "aluminium"? | 0:49:56 | 0:49:58 | |
What about it?! | 0:49:59 | 0:50:00 | |
APPLAUSE | 0:50:02 | 0:50:05 | |
Mel Brooks, I could sit here all night... | 0:50:09 | 0:50:10 | |
You could, you could, but you're not, are you? | 0:50:10 | 0:50:13 | |
No, cos I'm bored. | 0:50:13 | 0:50:14 | |
Yes. | 0:50:14 | 0:50:16 | |
The old clock on the wall has beaten us, I'm afraid. | 0:50:16 | 0:50:19 | |
In my house, it's a sundial. | 0:50:19 | 0:50:22 | |
This has been, I swear to you, this has been almost a pleasure. | 0:50:24 | 0:50:28 | |
Even with Johnny Carson, and I'm very good on that show, | 0:50:29 | 0:50:32 | |
- I'm very good. - I don't believe it. | 0:50:32 | 0:50:34 | |
I'm wonderful on the show, in America, really. I sing. | 0:50:34 | 0:50:38 | |
I didn't sing on this show. | 0:50:38 | 0:50:40 | |
We were lucky. | 0:50:40 | 0:50:41 | |
Why do I like you? I shouldn't like you. | 0:50:43 | 0:50:45 | |
I could listen to that kind of talk for ever. | 0:50:45 | 0:50:47 | |
Yes, yes, it's easy, isn't it? Yes. | 0:50:47 | 0:50:48 | |
- But can you be quiet now? - Yes, I'll try. | 0:50:48 | 0:50:50 | |
- I'll do my best. - Mel Brooks. | 0:50:50 | 0:50:52 | |
Thank you, Terry. | 0:50:52 | 0:50:53 | |
APPLAUSE | 0:50:53 | 0:50:55 | |
- Want to try ba-ba? - Ba-ba. | 0:51:04 | 0:51:06 | |
My thanks to Mel Brooks and Manhattan Transfer | 0:51:06 | 0:51:08 | |
and Lesley Collier and Larry Grayson. Thank you for joining us. | 0:51:08 | 0:51:12 | |
I hope you'll make it a date next week at the same time, | 0:51:12 | 0:51:14 | |
when my guests will be Noel Edmonds, John Mortimer QC, | 0:51:14 | 0:51:17 | |
- Victoria Principal... - Victoria Principal's coming on?! | 0:51:17 | 0:51:21 | |
- Little Pammy from Ewing. - Ooh, I'm coming too. | 0:51:21 | 0:51:23 | |
You'll just have to take your turn. | 0:51:24 | 0:51:26 | |
APPLAUSE | 0:51:30 | 0:51:31 | |
Little Pammy Ewing from Dallas. | 0:51:36 | 0:51:38 | |
So, join us if you can, about ten to ten, next Saturday, BBC One, | 0:51:38 | 0:51:42 | |
for another Wogan. Have a nice weekend. Bye-bye. | 0:51:42 | 0:51:44 | |
APPLAUSE | 0:51:44 | 0:51:45 | |
MUSIC: "Wogan Theme Tune" | 0:51:45 | 0:51:49 |