Browse content similar to 25/12/1984. 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, Sir Michael Parkinson has selected | 0:00:06 | 0:00:10 | |
BBC interviews with influential figures of the 20th century. | 0:00:10 | 0:00:13 | |
More programmes on this theme, and other BBC Four Collections | 0:00:13 | 0:00:16 | |
are available on BBC iPlayer. | 0:00:16 | 0:00:18 | |
APPLAUSE | 0:00:37 | 0:00:43 | |
Ho-ho-ho! Ho-ho-ho! Hello, my little gnomes and elves. | 0:00:58 | 0:01:03 | |
A very happy Christmas. | 0:01:03 | 0:01:04 | |
I hope your Christmas Day, and your whole Christmas, | 0:01:04 | 0:01:07 | |
has brought you everything you wished for yourself and more. | 0:01:07 | 0:01:10 | |
Just sit back in the mellow mood, probably the worst for drink, | 0:01:10 | 0:01:14 | |
no more than we are ourselves... | 0:01:14 | 0:01:15 | |
SLURS WORDS ..on this Christmas night... | 0:01:15 | 0:01:18 | |
LAUGHTER I hope to add to your Christmas cheer | 0:01:18 | 0:01:21 | |
with a bevy of stars, | 0:01:21 | 0:01:23 | |
the like of which will astound and delight you. | 0:01:23 | 0:01:25 | |
I shall have a primadonna... in the operatic sense, | 0:01:27 | 0:01:31 | |
and a great supporting player in the wedding of the century, | 0:01:31 | 0:01:35 | |
Dame Kiri Tikanawa will sing for us and talk to me as well. | 0:01:35 | 0:01:40 | |
A great, great superstar, composer, pianist, performer, | 0:01:40 | 0:01:44 | |
but probably best known in north-west London | 0:01:44 | 0:01:47 | |
as the chairman of Watford Football Club. | 0:01:47 | 0:01:50 | |
That will be Elton Hercules John. | 0:01:50 | 0:01:52 | |
I shall be talking by scientific methods, across the sea, | 0:01:54 | 0:01:59 | |
and over the Rocky Mountains, to Los Angeles, | 0:01:59 | 0:02:03 | |
and there, by virtue of the satellite which has cost us a fortune, | 0:02:03 | 0:02:07 | |
dressed to kill for Christmas, will be little Pammy Ewing, | 0:02:07 | 0:02:11 | |
who demanded a rematch from last year. | 0:02:11 | 0:02:13 | |
So it will be my pleasure to talk again to Victoria Principal | 0:02:13 | 0:02:15 | |
in the course of the show. | 0:02:15 | 0:02:16 | |
But first of all, a gentleman who made a ginormous impact | 0:02:16 | 0:02:20 | |
last year on Wogan, and he has come back this year to apologise. | 0:02:20 | 0:02:26 | |
Ladies and gentlemen, it is Freddie Starr. | 0:02:26 | 0:02:28 | |
APPLAUSE | 0:02:28 | 0:02:32 | |
# I just can't help believing | 0:02:38 | 0:02:40 | |
# When she slips her hand in mine | 0:02:40 | 0:02:44 | |
# And I feel so small and helpless | 0:02:44 | 0:02:46 | |
# That my fingers fold around like a glove | 0:02:46 | 0:02:50 | |
# And I just can't help believing | 0:02:57 | 0:03:00 | |
# When she is whispering her magic | 0:03:00 | 0:03:03 | |
# And her tears are shining honey sweet with love | 0:03:03 | 0:03:09 | |
# This time the girl is going to stay | 0:03:14 | 0:03:18 | |
# This time the girl is going to stay | 0:03:20 | 0:03:24 | |
# For more than just a day | 0:03:25 | 0:03:28 | |
# For more than just a day | 0:03:57 | 0:04:00 | |
# I just can't help believing | 0:04:05 | 0:04:08 | |
# When she slips her hand in mine | 0:04:08 | 0:04:11 | |
# And it feels so small and helpless | 0:04:11 | 0:04:14 | |
# That my fingers fold around it like a glove. | 0:04:14 | 0:04:19 | |
# And I just can help believing | 0:04:24 | 0:04:27 | |
# When she is whispering her magic | 0:04:27 | 0:04:30 | |
# And her tears are shining honey sweet with love | 0:04:30 | 0:04:36 | |
# This time the girl is going to stay | 0:04:41 | 0:04:44 | |
# This time the girl is going to stay | 0:04:47 | 0:04:52 | |
# For more than just a day | 0:04:52 | 0:04:55 | |
# I just can't help believing I just can't help believing | 0:04:59 | 0:05:05 | |
# I just can't help believing I just can't help believing. # | 0:05:05 | 0:05:13 | |
CHEERING AND APPLAUSE | 0:05:14 | 0:05:18 | |
- Come back to say you're sorry, eh? - Yeah. After all this time. | 0:05:42 | 0:05:46 | |
- It has been two years, isn't it? - Yeah. | 0:05:46 | 0:05:49 | |
What? | 0:05:49 | 0:05:50 | |
What's been happening to you in those years? | 0:05:50 | 0:05:53 | |
- Have things change for the better? - Yes, they have. They have changed. | 0:05:53 | 0:05:59 | |
For the better? | 0:05:59 | 0:06:00 | |
Honestly, no, for the better. They changed. | 0:06:00 | 0:06:04 | |
I remember when you came the last time, you said, | 0:06:04 | 0:06:08 | |
- "Things are going to change." - Yeah. | 0:06:08 | 0:06:11 | |
LAUGHTER Did they? | 0:06:11 | 0:06:13 | |
- I'll tell you what, Terry... - They haven't changed! | 0:06:13 | 0:06:16 | |
Words right out of my mouth. | 0:06:16 | 0:06:18 | |
Thanks to you, and the little old lady in Bournemouth... | 0:06:19 | 0:06:24 | |
Who, Des O'Connor? | 0:06:24 | 0:06:26 | |
LAUGHTER You know, eh? | 0:06:26 | 0:06:29 | |
No, being serious, Terry, they have really changed for me, | 0:06:30 | 0:06:34 | |
and everything is going fine now, you know. | 0:06:34 | 0:06:36 | |
And the dog has come back now! | 0:06:36 | 0:06:38 | |
Is there any danger, with the return to the top, | 0:06:41 | 0:06:45 | |
you becoming...respectable? | 0:06:45 | 0:06:48 | |
What?! | 0:06:48 | 0:06:50 | |
You've got to... You've got to be... | 0:06:50 | 0:06:52 | |
You've got to be different. | 0:06:52 | 0:06:54 | |
You've got to come out, and when people ask you questions, | 0:06:54 | 0:06:56 | |
you've got to answer the questions that you are asked. | 0:06:56 | 0:06:58 | |
- Yeah. - When? | 0:06:58 | 0:07:01 | |
How soon can we expect this minor miracle? | 0:07:01 | 0:07:05 | |
Now. | 0:07:05 | 0:07:07 | |
Have you had much of a Christmas Day, so far? | 0:07:09 | 0:07:12 | |
Well, I stuffed a turkey. | 0:07:12 | 0:07:13 | |
LAUGHTER | 0:07:13 | 0:07:16 | |
I've got to kill her first, you know what I mean? | 0:07:17 | 0:07:21 | |
- That is one way to kill it! - Yes, "Whoa, Paxo"! | 0:07:21 | 0:07:25 | |
What did you do on Christmas... | 0:07:29 | 0:07:31 | |
What did you do this morning, did you get up early | 0:07:31 | 0:07:33 | |
and make sure the kids have their presents? | 0:07:33 | 0:07:36 | |
Yeah, I got up, I fed the parrot... | 0:07:36 | 0:07:39 | |
Well, it's his Christmas as well, isn't it? | 0:07:40 | 0:07:43 | |
Yeah. I have got a parrot called Margaret. | 0:07:43 | 0:07:45 | |
- It's her Christmas as well. - Yes. | 0:07:45 | 0:07:47 | |
Who we named after Lennie Bennett's wife, Maggie. | 0:07:47 | 0:07:51 | |
You know, "Not at all, not at all!" | 0:07:51 | 0:07:54 | |
And also... | 0:07:54 | 0:07:58 | |
I bought the dog a bone. | 0:07:58 | 0:08:00 | |
# Knick-knack paddy-whack Give the dog a bone | 0:08:00 | 0:08:02 | |
# This old man came rolling home. # | 0:08:02 | 0:08:05 | |
I gave the dog a bone, and the dog went, "What's that?" | 0:08:05 | 0:08:08 | |
LAUGHTER | 0:08:08 | 0:08:11 | |
I said, "It is a bone!" | 0:08:11 | 0:08:13 | |
"Oh." And then I woke the kids up, | 0:08:13 | 0:08:16 | |
and they said, "what do you want?" | 0:08:16 | 0:08:19 | |
And I said, "Ho-ho-ho!" | 0:08:19 | 0:08:23 | |
What about your own Christmases as a kid in Liverpool? | 0:08:23 | 0:08:27 | |
- Did you have a... - No, not really. | 0:08:27 | 0:08:29 | |
I mean, most people, you know, | 0:08:29 | 0:08:32 | |
my mates were very poor kids. | 0:08:32 | 0:08:35 | |
And, you know, we used to go to the docks | 0:08:35 | 0:08:41 | |
and rob things. | 0:08:41 | 0:08:43 | |
You know, to keep me mam, give her a few bob, like. | 0:08:43 | 0:08:47 | |
And I was going past, there was always a policeman on the gate. | 0:08:47 | 0:08:51 | |
And he said, "Hey, what have you got under your arm?" | 0:08:51 | 0:08:53 | |
I said, "Hairs. What have you got, feathers?" | 0:08:53 | 0:08:56 | |
You've got lovely eyes! | 0:08:56 | 0:08:58 | |
Most of your musical impressions | 0:08:58 | 0:09:01 | |
seem to be based on stars of the '60s. | 0:09:01 | 0:09:03 | |
By the way, I bought you a pair of shoes for Christmas. | 0:09:03 | 0:09:07 | |
LAUGHTER | 0:09:07 | 0:09:10 | |
- And... - The socks? | 0:09:13 | 0:09:16 | |
I bought you a pair of socks. | 0:09:16 | 0:09:18 | |
- They won't go with the trousers. - It is all right. | 0:09:19 | 0:09:22 | |
You couldn't massage that foot there, could you, Terry? | 0:09:22 | 0:09:27 | |
LAUGHTER | 0:09:27 | 0:09:30 | |
They're warm, aren't they? | 0:09:30 | 0:09:31 | |
It's all right, isn't it? | 0:09:36 | 0:09:39 | |
LAUGHTER | 0:09:39 | 0:09:41 | |
- But seriously... - Yes. | 0:09:47 | 0:09:49 | |
Most... | 0:09:49 | 0:09:52 | |
Most of your impersonations, your impressions, | 0:09:52 | 0:09:55 | |
are based on the '60s, are they? | 0:09:55 | 0:09:57 | |
- Sorry?! - Do you ever feel... | 0:09:57 | 0:09:59 | |
Do you ever feel... | 0:09:59 | 0:10:00 | |
It's certainly a far cry from Sophia Loren, I'll tell you that. | 0:10:00 | 0:10:04 | |
Most of your impersonations are based... Can I try your shoe? | 0:10:04 | 0:10:08 | |
You won't fit them. Put yours on. | 0:10:08 | 0:10:10 | |
On the '60s, do you ever... | 0:10:10 | 0:10:12 | |
You won't get them on. I've only got little feet. | 0:10:13 | 0:10:16 | |
How do you walk in these? Huh? | 0:10:16 | 0:10:18 | |
They are not walking shoes, they're for riding. You can't walk in them. | 0:10:19 | 0:10:23 | |
Very pretty. Thank you. | 0:10:25 | 0:10:27 | |
Just hang on a minute, I've got a call coming through. | 0:10:27 | 0:10:29 | |
Hello? | 0:10:33 | 0:10:35 | |
- 'Hello, how are you going?' - Back in five minutes, OK? | 0:10:35 | 0:10:37 | |
- 'All right, then, ta-ra.' - Bye. | 0:10:37 | 0:10:39 | |
LAUGHTER AND APPLAUSE | 0:10:39 | 0:10:42 | |
Could you do that with any shoe? | 0:10:49 | 0:10:51 | |
Only that one. | 0:10:51 | 0:10:53 | |
- Hello. - 'Hello, how are you going?' | 0:10:54 | 0:10:57 | |
That one's... Hello. | 0:10:57 | 0:10:58 | |
Hello! | 0:11:00 | 0:11:02 | |
'Use the other shoe!' | 0:11:02 | 0:11:04 | |
See? | 0:11:05 | 0:11:07 | |
- What would you get on that? - This one? Um... | 0:11:07 | 0:11:10 | |
Hello. | 0:11:11 | 0:11:12 | |
QUIETLY IN WEST INDIAN ACCENT: Hello there. | 0:11:12 | 0:11:14 | |
LAUGHTER | 0:11:14 | 0:11:16 | |
It's a SOLE singer! | 0:11:16 | 0:11:18 | |
LAUGHTER AND APPLAUSE | 0:11:18 | 0:11:22 | |
Yes. | 0:11:30 | 0:11:32 | |
I need to ask you a question. | 0:11:32 | 0:11:34 | |
Where do you go from here? What... Would you like to do... | 0:11:34 | 0:11:36 | |
Seriously? | 0:11:36 | 0:11:38 | |
Yeah. Would you like to do live television? | 0:11:38 | 0:11:40 | |
Would you like to continue doing what you do successfully, cabaret? | 0:11:40 | 0:11:43 | |
Would you like to take over a theatre? | 0:11:43 | 0:11:45 | |
Where do you see Freddie Starr going from here? | 0:11:45 | 0:11:48 | |
I'd like to do films. British films. | 0:11:48 | 0:11:52 | |
I've written three film scripts already since I last saw you. | 0:11:52 | 0:11:56 | |
That's true, actually. It is true. | 0:11:56 | 0:11:58 | |
But traditionally, I mean, | 0:11:58 | 0:12:01 | |
with the greatest respect to Morecambe and Wise | 0:12:01 | 0:12:03 | |
and to Cannon and Ball, when they have made the transition, | 0:12:03 | 0:12:06 | |
and Tony Hancock even, | 0:12:06 | 0:12:08 | |
when they made the transition into film, | 0:12:08 | 0:12:10 | |
it wasn't always successful. | 0:12:10 | 0:12:11 | |
No, it depends what script you've got. | 0:12:11 | 0:12:13 | |
I mean, you know, if you've got a good script, | 0:12:13 | 0:12:16 | |
then you can work off it. | 0:12:16 | 0:12:18 | |
And it's how you perform, you see. If you're... | 0:12:18 | 0:12:21 | |
Say I was doing a scene with you... | 0:12:21 | 0:12:23 | |
POSH VOICE: ..and I was talking like this... | 0:12:23 | 0:12:25 | |
Yes, of course, I know that, yes. | 0:12:25 | 0:12:26 | |
NORMAL VOICE: And you speak to me and ask me a question. | 0:12:26 | 0:12:28 | |
- But seriously, Freddie, how... - Yes? | 0:12:28 | 0:12:30 | |
LAUGHTER | 0:12:30 | 0:12:33 | |
It's doing things with props. | 0:12:33 | 0:12:35 | |
Do you understand? That's props. Using... | 0:12:35 | 0:12:37 | |
As you're acting, using things. | 0:12:37 | 0:12:39 | |
It's BBC props. You've dirtied a BBC prop. | 0:12:39 | 0:12:42 | |
I'm very sorry, Terry, I'm humble. | 0:12:42 | 0:12:44 | |
So you should be. | 0:12:44 | 0:12:45 | |
- But... - So, it's making films for you. | 0:12:46 | 0:12:48 | |
I'd like to make films, yes. And I would just... | 0:12:48 | 0:12:52 | |
I'd like to wish the whole world that we live on, you know, | 0:12:52 | 0:12:56 | |
because we don't live that long, you know, | 0:12:56 | 0:12:58 | |
I'd like to wish... | 0:12:58 | 0:13:01 | |
everybody, you know, a very happy Christmas. | 0:13:01 | 0:13:04 | |
And I hope people stop being silly and stop killing each other and... | 0:13:04 | 0:13:08 | |
doing daft things, you know. | 0:13:08 | 0:13:10 | |
I wish you a happy Christmas as well. | 0:13:10 | 0:13:12 | |
Thank you very much, Terry, thank you. | 0:13:12 | 0:13:14 | |
APPLAUSE | 0:13:14 | 0:13:17 | |
Freddie Starr, who's... | 0:13:26 | 0:13:27 | |
LAUGHTER | 0:13:27 | 0:13:29 | |
Freddie Starr, who's always welcome here. | 0:13:29 | 0:13:31 | |
You had a short burst of...some | 0:13:31 | 0:13:35 | |
some of his... | 0:13:35 | 0:13:36 | |
You had a short burst of some of his finest operatic arias there. And... | 0:13:36 | 0:13:40 | |
My next guest is, as I said earlier, a prima donna. A great operatic star. | 0:13:40 | 0:13:45 | |
She's going to start with a song from the Auvergne. | 0:13:45 | 0:13:47 | |
Dame Kiri Te Kanawa. | 0:13:47 | 0:13:49 | |
APPLAUSE | 0:13:49 | 0:13:52 | |
MUSIC: "Malurous qu'on uno fenno" | 0:13:58 | 0:14:00 | |
SHE SINGS IN OCCITAN: | 0:14:08 | 0:14:10 | |
# Malurous qu'o uno fenno | 0:14:10 | 0:14:12 | |
# Malurous que n'o cat! | 0:14:12 | 0:14:14 | |
# Malurous qu'o uno fenno Malurous que n'o cat! | 0:14:14 | 0:14:17 | |
# Que n'o cat n'en bou uno | 0:14:17 | 0:14:18 | |
# Que n'o uno n'en bou pas | 0:14:18 | 0:14:20 | |
# Tradera, laderi derero Ladera, laderi dera | 0:14:20 | 0:14:23 | |
# Tradera, laderi derero Ladera, laderi dera | 0:14:23 | 0:14:26 | |
# Urouzo lo fenno | 0:14:49 | 0:14:51 | |
# Qu'o l'ome que li cau! | 0:14:51 | 0:14:52 | |
# Urouzo lo fenno Qu'o l'ome que li cau! | 0:14:52 | 0:14:55 | |
Urouz' inquero maito O quelo que n'o cat! | 0:14:55 | 0:14:58 | |
# Tradera, laderi derero Ladera, laderi dera | 0:14:58 | 0:15:01 | |
# Tradera, laderi derero Ladera, laderi dera. # | 0:15:01 | 0:15:05 | |
APPLAUSE | 0:15:12 | 0:15:15 | |
- Well... - Thank you for asking me. | 0:15:36 | 0:15:38 | |
That was nice and short, anyway. What was that? | 0:15:38 | 0:15:43 | |
Well, it was a funny little song and it really means, | 0:15:43 | 0:15:45 | |
on the short side of it, "Unlucky is the man who doesn't have a wife, | 0:15:45 | 0:15:50 | |
"and equally unlucky is the man who DOES have a wife". | 0:15:50 | 0:15:54 | |
Shrewd thinking by the Auvergnois... I would have thought. | 0:15:56 | 0:16:00 | |
What... Now that you've sung this Auvergnois song, | 0:16:00 | 0:16:04 | |
in your own inimitable style, | 0:16:04 | 0:16:07 | |
Kiri Te Kanawa, illustrate it for me, what does it mean? | 0:16:07 | 0:16:11 | |
The Kanawa? Kiri? In the Queen's, King's English. | 0:16:11 | 0:16:14 | |
Ah, it's all very difficult. | 0:16:14 | 0:16:16 | |
I don't know, people tell me out in New Zealand, | 0:16:16 | 0:16:19 | |
it's "bell" for Kiri, and Te Kanawa was a chief. | 0:16:19 | 0:16:22 | |
But, um, I don't know, I'd really like to get to the bottom of it. | 0:16:22 | 0:16:25 | |
You don't seem very well versed in the old Maori tongue. | 0:16:25 | 0:16:28 | |
Well, you see, no, well, I really should avoid all those questions | 0:16:28 | 0:16:31 | |
because I think I'm not very good at all that. | 0:16:31 | 0:16:33 | |
Because I was brought up on the, sort of, white side | 0:16:33 | 0:16:35 | |
and I'm a little ashamed that I didn't learn a little bit more | 0:16:35 | 0:16:38 | |
about my Maori-dom. | 0:16:38 | 0:16:39 | |
I'm sure you're not ashamed at all. I'm sure they're very proud of you. | 0:16:39 | 0:16:42 | |
How's your golf? | 0:16:42 | 0:16:43 | |
LAUGHTER | 0:16:43 | 0:16:46 | |
It's a bad day. | 0:16:46 | 0:16:47 | |
Whose show is this? | 0:16:47 | 0:16:49 | |
Are you sure you're Kiri Te Kanawa, the opera singer? | 0:16:49 | 0:16:53 | |
LAUGHTER | 0:16:53 | 0:16:55 | |
Yes. | 0:16:55 | 0:16:56 | |
What... | 0:16:56 | 0:16:57 | |
Des has been playing today, too. He's not very good. | 0:16:57 | 0:17:00 | |
It's misty. | 0:17:00 | 0:17:01 | |
Well, it's as well to keep track of what your husband is doing, isn't it? | 0:17:01 | 0:17:05 | |
The Maori blood, how much is that... | 0:17:05 | 0:17:07 | |
The Maoris are a great singing nation, | 0:17:07 | 0:17:09 | |
It obviously played its part in developing you. You know. | 0:17:09 | 0:17:13 | |
Well, I think the Maori people, because, you know, | 0:17:13 | 0:17:15 | |
it's a really very close-knit community, very much like... | 0:17:15 | 0:17:18 | |
I'd put it akin to the Welsh people, if I dare. | 0:17:18 | 0:17:21 | |
Because we are sort of from that sort of background. | 0:17:21 | 0:17:24 | |
I remember down in Greymouth where my mother was, | 0:17:24 | 0:17:26 | |
there was the mining field down there. | 0:17:26 | 0:17:28 | |
And they would all get together and they'd all sing | 0:17:28 | 0:17:30 | |
or they'd all have brass bands. | 0:17:30 | 0:17:32 | |
It's really rather beautiful, that sort of... | 0:17:32 | 0:17:34 | |
Was it for the joy of living or because there was nothing else to do? | 0:17:34 | 0:17:38 | |
I think, really, there was not television. | 0:17:38 | 0:17:41 | |
And in some ways it was a very beautiful time for people to live, | 0:17:41 | 0:17:44 | |
because you got to know each other and you made your own entertainment, | 0:17:44 | 0:17:48 | |
you didn't have television to just switch on | 0:17:48 | 0:17:50 | |
and say, "Well, dare I watch this?" Or "I don't want to..." | 0:17:50 | 0:17:53 | |
Sometimes there's a lot of rubbish on television, I mean. Isn't there? | 0:17:53 | 0:17:56 | |
LAUGHTER | 0:17:56 | 0:17:58 | |
Very rarely on a Saturday night at 9.20! | 0:17:58 | 0:18:01 | |
But it's true. | 0:18:01 | 0:18:04 | |
And I really loved it when I was young and I grew up, | 0:18:04 | 0:18:07 | |
and I had a wonderful, wonderful time singing | 0:18:07 | 0:18:09 | |
and making theatre with my friends and my parents. | 0:18:09 | 0:18:12 | |
But coming from a singing nation, how did you manage to stand out. | 0:18:12 | 0:18:16 | |
Apart from your talent, | 0:18:16 | 0:18:18 | |
who encouraged that, who brought you forward? | 0:18:18 | 0:18:20 | |
Oh, gosh, it's such a long story. My mother did... | 0:18:20 | 0:18:23 | |
- It's a very long show. - I know that. | 0:18:23 | 0:18:25 | |
But, you know, where you start and where you get to, | 0:18:25 | 0:18:29 | |
where I did start and where I am now, it's such a long gap. | 0:18:29 | 0:18:33 | |
It's just a day after day after day working. And suddenly you arrive. | 0:18:33 | 0:18:37 | |
You've done all these wonderful and exciting things, | 0:18:37 | 0:18:40 | |
and I'm having such a fantastic time. | 0:18:40 | 0:18:41 | |
I think, "Gosh, you know, Mum really was right." | 0:18:41 | 0:18:43 | |
She did all marvellous things for me. | 0:18:43 | 0:18:45 | |
She encouraged me, she pushed me into competitions. | 0:18:45 | 0:18:48 | |
And she did all these things. And I really... | 0:18:48 | 0:18:50 | |
I think I sacrificed an awful lot of my so-called growing up where, | 0:18:50 | 0:18:55 | |
if I was in an exam at school, I was immediately pulled out because | 0:18:55 | 0:18:59 | |
the singing teacher had reign over everything else in the school, | 0:18:59 | 0:19:04 | |
because her choir came first. | 0:19:04 | 0:19:05 | |
And it always brought the school up, you see, with the choir | 0:19:05 | 0:19:08 | |
and the performances and things for concerts and charities | 0:19:08 | 0:19:11 | |
and raising funds for, you know, some of the hospitals. | 0:19:11 | 0:19:14 | |
- So you never got an education? - Not really. No. | 0:19:14 | 0:19:16 | |
I think I did miss out quite a lot. | 0:19:16 | 0:19:18 | |
You made a sensational debut at Covent Garden, didn't you, | 0:19:18 | 0:19:21 | |
- when you were a slip of a girl? - Yes. | 0:19:21 | 0:19:23 | |
Did it change it all for you, then? Did you see the lights? | 0:19:23 | 0:19:27 | |
- You knew you were going to make it? - No, not at that point. | 0:19:27 | 0:19:30 | |
I think when I did do my first performance | 0:19:30 | 0:19:32 | |
I thought really I was the greatest, I really thought I was... | 0:19:32 | 0:19:35 | |
I was flying high, I think I was on cloud ten. | 0:19:35 | 0:19:38 | |
I missed cloud nine and got up to ten. | 0:19:38 | 0:19:40 | |
I was really, sort of, buzzing there for a while. | 0:19:40 | 0:19:43 | |
And then I... I just sort of calmed down | 0:19:43 | 0:19:46 | |
and started working with my teacher | 0:19:46 | 0:19:48 | |
and she sort of brought me back down to earth, | 0:19:48 | 0:19:51 | |
and now I work, you know, a lot. | 0:19:51 | 0:19:52 | |
Do you have singing lessons at all, Terry? | 0:19:52 | 0:19:54 | |
No, I don't. | 0:19:54 | 0:19:55 | |
You sing a little, though? That voice, it's so luscious. | 0:19:55 | 0:19:58 | |
Oh, yes, I've had my share of success, of course. | 0:19:58 | 0:20:01 | |
LAUGHTER | 0:20:01 | 0:20:03 | |
Didn't you record a song or something like that? | 0:20:03 | 0:20:05 | |
- Oh, yes. It wasn't... - How does it go? | 0:20:05 | 0:20:07 | |
It was an old song of the Auvergne. | 0:20:07 | 0:20:09 | |
- Oh, really? - Slightly longer than your offering. | 0:20:09 | 0:20:11 | |
I'm sorry I cut it short for you. But I thought that's what you'd like. | 0:20:11 | 0:20:15 | |
I loved it. I loved it. I was merely joshing. | 0:20:15 | 0:20:18 | |
Oh, I'm sorry. Well, now I feel guilty. | 0:20:18 | 0:20:20 | |
I should have done ten... | 0:20:20 | 0:20:21 | |
But, then, you wouldn't have liked it ten times longer. | 0:20:21 | 0:20:24 | |
That would have been 20 minutes long, Kiri. | 0:20:24 | 0:20:28 | |
Yeah, I mean, if you have any extra notes that you'd care to throw in | 0:20:28 | 0:20:31 | |
at this juncture, they'd still be very welcome, you know. | 0:20:31 | 0:20:33 | |
I think YOU should sing a song. | 0:20:33 | 0:20:35 | |
Hang on. Your accompanist has gone home. | 0:20:35 | 0:20:37 | |
- What? - So, there's no prospect of that. | 0:20:37 | 0:20:39 | |
We're delighted to see you. Thank you. | 0:20:39 | 0:20:41 | |
Thank you very much, Terry. | 0:20:41 | 0:20:43 | |
APPLAUSE | 0:20:43 | 0:20:46 | |
Always engaging and charming. Dame Kiri Te Kanawa. | 0:20:56 | 0:20:59 | |
My next guest, one hears about his wealth, | 0:20:59 | 0:21:03 | |
one hears about his chairmanship of football clubs... | 0:21:03 | 0:21:07 | |
But one really admires him | 0:21:08 | 0:21:10 | |
and appreciates his musical talent more than anything. | 0:21:10 | 0:21:13 | |
Very great star. | 0:21:13 | 0:21:14 | |
I'm delighted to have him on this Christmas night on my show. | 0:21:14 | 0:21:17 | |
Elton John. | 0:21:17 | 0:21:18 | |
APPLAUSE | 0:21:18 | 0:21:21 | |
MUSIC PLAYS | 0:21:21 | 0:21:23 | |
# Lipstick and lashes | 0:21:40 | 0:21:42 | |
# The traces of stardom | 0:21:42 | 0:21:45 | |
# Lit up on a billboard | 0:21:45 | 0:21:47 | |
# So everyone sees them | 0:21:47 | 0:21:50 | |
# In neon | 0:21:50 | 0:21:51 | |
# Behind the counter | 0:21:55 | 0:21:57 | |
# She stares out the window | 0:21:57 | 0:22:00 | |
# Up at the billboard | 0:22:00 | 0:22:02 | |
# That's like a reminder | 0:22:02 | 0:22:05 | |
# In neon | 0:22:05 | 0:22:07 | |
# She hates how she feels | 0:22:10 | 0:22:12 | |
# But she hangs like a mirror | 0:22:12 | 0:22:15 | |
# Maybe a stranger could walk in | 0:22:15 | 0:22:18 | |
# And see her | 0:22:18 | 0:22:20 | |
# In neon | 0:22:20 | 0:22:22 | |
# For two cents of danger | 0:22:25 | 0:22:27 | |
# She'd trust anybody | 0:22:27 | 0:22:30 | |
# She'd smoke like a gun | 0:22:30 | 0:22:32 | |
# If it meant she might wind up | 0:22:32 | 0:22:34 | |
# In neon | 0:22:34 | 0:22:36 | |
# The dreams in the light | 0:22:36 | 0:22:39 | |
# Of a promise that dies | 0:22:39 | 0:22:42 | |
# A shimmering city | 0:22:42 | 0:22:45 | |
# A glimmer of hope and a lie | 0:22:45 | 0:22:48 | |
# In neon | 0:22:49 | 0:22:51 | |
# The name's gone | 0:22:51 | 0:22:52 | |
# There's no reason why any more | 0:22:52 | 0:22:56 | |
# Trust them and wind up alone | 0:22:58 | 0:23:01 | |
# Behind a locked door | 0:23:01 | 0:23:04 | |
# In neon | 0:23:12 | 0:23:14 | |
# In neon | 0:23:22 | 0:23:23 | |
# Pictures and patterns | 0:23:25 | 0:23:27 | |
# The touches of glamour | 0:23:27 | 0:23:30 | |
# Cut into a fashion | 0:23:30 | 0:23:32 | |
# That flashes above them | 0:23:32 | 0:23:35 | |
# In neon | 0:23:35 | 0:23:37 | |
# A hot cup of coffee | 0:23:40 | 0:23:42 | |
# Held in her fingers | 0:23:42 | 0:23:45 | |
# A perfect complexion | 0:23:45 | 0:23:48 | |
# That lingers above her | 0:23:48 | 0:23:50 | |
# In neon | 0:23:50 | 0:23:52 | |
# She hates how she feels | 0:23:55 | 0:23:57 | |
# But she hangs like a mirror | 0:23:57 | 0:24:00 | |
# Maybe a stranger | 0:24:00 | 0:24:02 | |
# Could walk in and see her | 0:24:02 | 0:24:05 | |
# In neon | 0:24:05 | 0:24:07 | |
# For a shot at the title | 0:24:10 | 0:24:12 | |
# She'd slip into something | 0:24:12 | 0:24:15 | |
# She'd smoulder like ashes | 0:24:15 | 0:24:17 | |
# If it meant she might wind up | 0:24:17 | 0:24:20 | |
# In neon | 0:24:20 | 0:24:21 | |
# The dreams and the light | 0:24:21 | 0:24:24 | |
# Of a promise that dies | 0:24:24 | 0:24:26 | |
# A shimmering city | 0:24:28 | 0:24:30 | |
# A glimmer of hope and a lie | 0:24:30 | 0:24:34 | |
# In neon | 0:24:35 | 0:24:36 | |
# The name's gone | 0:24:36 | 0:24:38 | |
# There's no reason why any more | 0:24:38 | 0:24:41 | |
# Trust them and wind up alone | 0:24:43 | 0:24:46 | |
# Behind a locked door | 0:24:46 | 0:24:49 | |
# In neon | 0:24:58 | 0:24:59 | |
# In neon | 0:25:07 | 0:25:09 | |
# The dreams in the light | 0:25:09 | 0:25:11 | |
# Of a promise that dies | 0:25:11 | 0:25:15 | |
# A shimmering city | 0:25:15 | 0:25:17 | |
# A glimmer of hope and a lie | 0:25:17 | 0:25:21 | |
# In neon. # | 0:25:30 | 0:25:32 | |
APPLAUSE | 0:25:34 | 0:25:37 | |
CHEERING | 0:25:39 | 0:25:43 | |
Before we start, you are not going to take those off, are you? | 0:26:01 | 0:26:04 | |
No. They could walk on their own, by the looks of things. | 0:26:04 | 0:26:07 | |
But you can't complain about these things. | 0:26:07 | 0:26:08 | |
No. Well, you can. | 0:26:08 | 0:26:10 | |
- You're jolly welcome. - Thank you. | 0:26:10 | 0:26:11 | |
And it's actually the first time | 0:26:11 | 0:26:13 | |
- we've ever met. - Yes, it is. | 0:26:13 | 0:26:14 | |
Pleasure to see you on this Christmas. | 0:26:14 | 0:26:16 | |
How has Christmas Day been for you? Had a good time? | 0:26:16 | 0:26:17 | |
Excellent. Just traditional. Very quiet. | 0:26:17 | 0:26:20 | |
- In the bos-oom of your family? - In the bos-oom of my family, yes. | 0:26:20 | 0:26:23 | |
And the new lady wife, of course. | 0:26:23 | 0:26:25 | |
Well, I was talking about her bos-ooms to start with! | 0:26:25 | 0:26:27 | |
So, how is married life suiting you? | 0:26:27 | 0:26:30 | |
It's very nice. Nearly a year, you know. | 0:26:30 | 0:26:32 | |
We've seen each other three times. | 0:26:32 | 0:26:34 | |
But, no, we're very happy. Everything is going very, very well. | 0:26:34 | 0:26:37 | |
Yeah, me and the audience are very annoyed | 0:26:37 | 0:26:39 | |
because we were about the only people you didn't ask to the wedding. | 0:26:39 | 0:26:41 | |
We would have flown to Australia if you'd asked us, you know. | 0:26:41 | 0:26:43 | |
Well, that was the great thing about getting married in Australia. | 0:26:43 | 0:26:46 | |
Everyone you wanted to avoid couldn't get there. | 0:26:46 | 0:26:49 | |
- Not meaning... - That's very nice(!) | 0:26:49 | 0:26:51 | |
- For Christmas. - Yes. | 0:26:51 | 0:26:53 | |
Was it a whirlwind romance? | 0:26:53 | 0:26:54 | |
Cos you haven't really talked about it. We saw the wedding. | 0:26:54 | 0:26:57 | |
And then you've done this world tour and all the rest of it. | 0:26:57 | 0:26:59 | |
Was it a whirlwind romance or had you been...cogitating it for a long time? | 0:26:59 | 0:27:03 | |
I beg your... Well, I'd often done that. Um... | 0:27:03 | 0:27:06 | |
But it was... Yes, it was kind of whirlwind. | 0:27:06 | 0:27:09 | |
But I'd met her before. Renate's an engineer. | 0:27:09 | 0:27:12 | |
And I'd met her on the previous album. | 0:27:12 | 0:27:14 | |
And she was engineering on the Breaking Hearts album. | 0:27:14 | 0:27:17 | |
And there was just a chemistry between the two of us | 0:27:17 | 0:27:19 | |
and I had no doubts, and I thought, | 0:27:19 | 0:27:21 | |
"At my time of life it's about time I took the plunge." | 0:27:21 | 0:27:23 | |
And we had no serious thoughts about... | 0:27:23 | 0:27:25 | |
Obviously, we had serious thoughts | 0:27:25 | 0:27:27 | |
because getting married is a serious thing. You can't take it flippantly. | 0:27:27 | 0:27:29 | |
- She's a German lady. - Yeah. | 0:27:29 | 0:27:31 | |
Is there anything of the Teuton in her? | 0:27:31 | 0:27:34 | |
Does she have strict ideas? Does she keep you in line? | 0:27:34 | 0:27:37 | |
Yeah. I think most people around me keep me in line, | 0:27:37 | 0:27:39 | |
otherwise I'd go completely off the rails. | 0:27:39 | 0:27:41 | |
That applies to people at Watford Football Club, and my family, | 0:27:41 | 0:27:44 | |
my mother and father, the people that work for me. | 0:27:44 | 0:27:46 | |
Because sometimes in this business, you know, you think you're right | 0:27:46 | 0:27:49 | |
and you can get everything you want and you're very hot-headed, | 0:27:49 | 0:27:52 | |
and people around me just ignore me, which is the best thing to do. | 0:27:52 | 0:27:54 | |
So I slam doors and after ten minutes no-one's come, | 0:27:54 | 0:27:56 | |
and I'm going, "Where are they all?" | 0:27:56 | 0:27:58 | |
And...no, she's... I think everybody around me | 0:27:58 | 0:28:00 | |
has been pretty level-headed. | 0:28:00 | 0:28:02 | |
Because I am a monster, sometimes. | 0:28:02 | 0:28:04 | |
I may be the nice little boy next door but you should see me sometimes. | 0:28:04 | 0:28:07 | |
You used to have a very, very, um, lurid sense of dress, | 0:28:07 | 0:28:11 | |
but I see that she's quietened down... | 0:28:11 | 0:28:13 | |
I've toned down, yes. LAUGHTER | 0:28:13 | 0:28:15 | |
The Vauxhall's outside, Terry. | 0:28:15 | 0:28:17 | |
It's a sort of tame black-and-white number you have there, | 0:28:17 | 0:28:20 | |
- apart from the luminous socks. - Yes. | 0:28:20 | 0:28:23 | |
I was going to wear pink glasses | 0:28:23 | 0:28:24 | |
but I think the TV...the camera people thought it might go crazy. | 0:28:24 | 0:28:27 | |
So, no, yes, I'll never tone down, as far as that goes. | 0:28:27 | 0:28:31 | |
You dress like that at home? You don't? | 0:28:31 | 0:28:32 | |
- Yes, I do. - You don't. | 0:28:32 | 0:28:34 | |
Do you? | 0:28:34 | 0:28:35 | |
No, you don't. | 0:28:37 | 0:28:38 | |
I'm not saying what I dress around the house in! | 0:28:38 | 0:28:41 | |
This could be dangerous. Enough said. | 0:28:41 | 0:28:43 | |
You don't come down to breakfast dressed like that. | 0:28:43 | 0:28:45 | |
Oh, no, but I've got a fanfare. I play a fanfare every morning. | 0:28:45 | 0:28:47 | |
# Da da-da-da da-da-da-da... # | 0:28:47 | 0:28:48 | |
So the staff know I'm up, | 0:28:48 | 0:28:50 | |
so I come downstairs and there's my breakfast on the table. | 0:28:50 | 0:28:52 | |
And it takes me just the length of the corridor | 0:28:52 | 0:28:54 | |
to when I get to the solemn bit. | 0:28:54 | 0:28:56 | |
# Daa da-da-daa daa daa daa. # | 0:28:56 | 0:28:58 | |
And by the time I come down the stairs the bacon sandwich is ready. | 0:28:58 | 0:29:01 | |
Brilliant. | 0:29:01 | 0:29:02 | |
Do you have appropriate music for all of your functions? | 0:29:02 | 0:29:04 | |
Not really. | 0:29:04 | 0:29:06 | |
LAUGHTER | 0:29:06 | 0:29:07 | |
I've got Otis Redding music for when I go to the toilet. | 0:29:07 | 0:29:11 | |
No, not really. I listen to music all the time. | 0:29:11 | 0:29:13 | |
There's music all round the house. | 0:29:13 | 0:29:15 | |
You've been hammering away at the old Joanna now... | 0:29:15 | 0:29:18 | |
Can't you see by the size of the fingers? | 0:29:18 | 0:29:20 | |
- ..for these past many years... - Yes. | 0:29:20 | 0:29:23 | |
..since you were a slip of a lad. | 0:29:23 | 0:29:25 | |
Is it true to say that you are slowly slipping away from performance? | 0:29:25 | 0:29:30 | |
No, it's just that I'm not going to do ten-week tours again. | 0:29:30 | 0:29:34 | |
I'll maybe do two weeks, a concert here or there or whatever. | 0:29:34 | 0:29:38 | |
But I've done touring now | 0:29:38 | 0:29:40 | |
for the last four or five years solidly again. | 0:29:40 | 0:29:42 | |
I gave up for a period of three or four years. | 0:29:42 | 0:29:44 | |
And I would like really, ideally... | 0:29:44 | 0:29:45 | |
Bernie and I, we want to sit down and write a musical. Um... | 0:29:45 | 0:29:48 | |
not a rock'n'roll musical. | 0:29:48 | 0:29:50 | |
Something on a par, one hopes, or one aims for, | 0:29:50 | 0:29:53 | |
as a West Side Story, or something like a Rodgers and Hammerstein... | 0:29:53 | 0:29:57 | |
for the stage. | 0:29:57 | 0:29:58 | |
Um, and that's our next project. Where we start from, heaven knows, | 0:29:58 | 0:30:01 | |
but we've been planning that for so long | 0:30:01 | 0:30:03 | |
that we've got to start sooner or later. | 0:30:03 | 0:30:05 | |
Otherwise you tour and tour and tour | 0:30:05 | 0:30:06 | |
and every musical project that comes up | 0:30:06 | 0:30:08 | |
you put off for so long and you never get to do it. | 0:30:08 | 0:30:11 | |
When you gave up for the first time was it just that you were fed up | 0:30:11 | 0:30:14 | |
with the music business, fed up with yourself? | 0:30:14 | 0:30:16 | |
Fed up with everything. I mean... | 0:30:16 | 0:30:17 | |
Was it just too much of everything? Too much money? | 0:30:17 | 0:30:19 | |
I'd made 25 albums since 1969. | 0:30:19 | 0:30:21 | |
And in 1976 I hadn't had any time off at all. I mean, the amount... | 0:30:21 | 0:30:25 | |
When you look back and think of the amount of work I crammed in | 0:30:25 | 0:30:27 | |
and made albums, made separate singles, did all the tours, | 0:30:27 | 0:30:30 | |
and I enjoyed every single minute of it. | 0:30:30 | 0:30:32 | |
I mean, I'm not whining about it. | 0:30:32 | 0:30:33 | |
But at the end of 1976 I was just physically exhausted, stale, | 0:30:33 | 0:30:36 | |
musically stale, personally. | 0:30:36 | 0:30:38 | |
And, um, that's really the reason. | 0:30:38 | 0:30:40 | |
I knew the ego would have to say that someone else was going to take over. | 0:30:40 | 0:30:44 | |
But at that time I was so tired I thought, "Let's get on with it. | 0:30:44 | 0:30:46 | |
"Let someone else get on with it." | 0:30:46 | 0:30:48 | |
- What brought you back? - Um... | 0:30:48 | 0:30:51 | |
You couldn't leave it alone? Do you think... | 0:30:51 | 0:30:54 | |
You know, you are an extrovert on stage. | 0:30:54 | 0:30:56 | |
Surely you're going to miss that. | 0:30:56 | 0:30:58 | |
What brought me back was, I did a concert tour in 1979. | 0:30:58 | 0:31:01 | |
I also did a concert in 1977, live on BBC television, where I retired. | 0:31:01 | 0:31:05 | |
I said... | 0:31:05 | 0:31:06 | |
Because it was a conglomeration of things, | 0:31:06 | 0:31:09 | |
like huge sound systems, everything... | 0:31:09 | 0:31:11 | |
I retired because of the things like big arenas, | 0:31:11 | 0:31:15 | |
big sound systems. | 0:31:15 | 0:31:16 | |
I did one concert. I thought, "I can't go through this again." | 0:31:16 | 0:31:19 | |
And I said on TVV... TVV, TVVV... | 0:31:19 | 0:31:22 | |
TV that I was going to retire. So I did again. | 0:31:22 | 0:31:24 | |
And I didn't come back till '79 when I did a solo tour with Ray Cooper, | 0:31:24 | 0:31:29 | |
who is a wonderful percussionist. And I got my... | 0:31:29 | 0:31:32 | |
musical credibility back together for myself | 0:31:32 | 0:31:35 | |
because I had to play numbers unaccompanied, | 0:31:35 | 0:31:37 | |
sing numbers unaccompanied, more or less, sing in tune, play in tune. | 0:31:37 | 0:31:41 | |
And... | 0:31:41 | 0:31:43 | |
In '76 my musicianship was very, very stale. And very, very bad. | 0:31:43 | 0:31:47 | |
Not bad, but stale and very, very uninspired. | 0:31:47 | 0:31:50 | |
In '79, I did a tour of the whole world, just small theatres, | 0:31:50 | 0:31:53 | |
2,000-seaters. | 0:31:53 | 0:31:55 | |
For three hours Ray and I played everything from slow ballads | 0:31:55 | 0:31:58 | |
to rock'n'roll, and it was a theatrical thing. | 0:31:58 | 0:32:01 | |
And I needed to do that to prove to myself that | 0:32:01 | 0:32:04 | |
I could become a good musician again, and I really began to enjoy that. | 0:32:04 | 0:32:07 | |
So that gradually eased my way back into it. Then I started... | 0:32:07 | 0:32:10 | |
It was a gradual easing. | 0:32:10 | 0:32:12 | |
Because after six years of so much work and so much output | 0:32:12 | 0:32:15 | |
you had to run dry sooner or later. | 0:32:15 | 0:32:16 | |
Well, now you've reached a stage where you're going to retire again. | 0:32:16 | 0:32:20 | |
No. And when... | 0:32:20 | 0:32:21 | |
You're not going to be like Frank Sinatra? | 0:32:21 | 0:32:23 | |
No, no, no. I said I am not going to do ten-week tours again | 0:32:23 | 0:32:26 | |
because I am married with a family. I don't really need that. | 0:32:26 | 0:32:29 | |
I've done that for the last four and five years | 0:32:29 | 0:32:31 | |
and I've been lucky enough to have had a second chance again to do it. | 0:32:31 | 0:32:34 | |
I just think I've got more musical things in me, | 0:32:34 | 0:32:37 | |
that I that I need more time to take... | 0:32:37 | 0:32:40 | |
If you're going to write a musical, | 0:32:40 | 0:32:41 | |
that may be two or three years of your life to do that. | 0:32:41 | 0:32:43 | |
But you're not going to forget the live performances? | 0:32:43 | 0:32:45 | |
Oh, no, not at all, no. I'll always be live... | 0:32:45 | 0:32:47 | |
I mean, they'll never keep me off the stage. | 0:32:47 | 0:32:49 | |
But it's going to be in shorter doses. | 0:32:49 | 0:32:52 | |
- When you see groups like Wham!... - They're fabulous. | 0:32:52 | 0:32:55 | |
Or Duran Duran. | 0:32:55 | 0:32:57 | |
They're great. And I like Boy George. And I think... | 0:32:57 | 0:33:00 | |
I think it's very unfair to pick on them because... | 0:33:00 | 0:33:03 | |
Go and see them first and then make up your mind. | 0:33:03 | 0:33:06 | |
And I've met these bands and they've got so much energy | 0:33:06 | 0:33:08 | |
they make you feel...exhausted, | 0:33:08 | 0:33:10 | |
because that's how Bernie and I used to be at 21 years of age, | 0:33:10 | 0:33:13 | |
seeing Wham!, seeing George, | 0:33:13 | 0:33:15 | |
seeing those bands, Nik Kershaw and people like that. Fabulous. | 0:33:15 | 0:33:18 | |
Good luck to them. | 0:33:18 | 0:33:19 | |
They're making great music, they're not doing anybody any harm. | 0:33:19 | 0:33:21 | |
And I think, "Give them a chance," you know. They're great. | 0:33:21 | 0:33:23 | |
I really enjoy their music. | 0:33:23 | 0:33:25 | |
And I think it's very silly just to dismiss things. | 0:33:25 | 0:33:27 | |
But you looking at them, do they make you feel your age? | 0:33:27 | 0:33:31 | |
I do feel like a grandfather when I walk into the dressing room. | 0:33:31 | 0:33:34 | |
You know, it's like... It's kind of like meeting the Queen... | 0:33:34 | 0:33:37 | |
Don't say anything! | 0:33:37 | 0:33:38 | |
Um, but it's... It's kind of like, what do you say? | 0:33:38 | 0:33:41 | |
There is an age gap. One feels an age gap. | 0:33:41 | 0:33:43 | |
But they've always made me feel very welcome. | 0:33:43 | 0:33:45 | |
And I'm basically a shy person anyway. And I do feel a difference. | 0:33:45 | 0:33:49 | |
But some of the music they're making is tremendous. | 0:33:49 | 0:33:51 | |
And they've always been very, very nice to me. | 0:33:51 | 0:33:53 | |
Do you feel that your flamboyance has diminished? | 0:33:53 | 0:33:57 | |
Do you feel that you've changed at all? | 0:33:57 | 0:33:58 | |
I mean, marriage and settling down obviously is bound to change... | 0:33:58 | 0:34:01 | |
I'm getting a bit more Hinge and Bracket, really, I suppose, | 0:34:01 | 0:34:04 | |
in that direction. Er... | 0:34:04 | 0:34:06 | |
I'll always be, sort of, flamboyant in a certain way. | 0:34:06 | 0:34:10 | |
I don't want to lose that part of me. But, yes, I've toned down. | 0:34:10 | 0:34:13 | |
I've had to tone down for my football club, for example. | 0:34:13 | 0:34:16 | |
There's no way I could turn up to Watford in this suit, | 0:34:16 | 0:34:18 | |
otherwise the manager would fire me! | 0:34:18 | 0:34:20 | |
Absolutely true. And I wouldn't dream of it. | 0:34:20 | 0:34:23 | |
But, you know, it's good enough for your programme! | 0:34:23 | 0:34:27 | |
It might lead to a certain amount of racy talk. | 0:34:27 | 0:34:29 | |
I was going to ask, because I'm sure there are lots of people | 0:34:29 | 0:34:32 | |
who are trying to get their children to learn to play the piano... | 0:34:32 | 0:34:35 | |
Yes. | 0:34:35 | 0:34:36 | |
..and the children might say, "There's no need for me to learn. | 0:34:36 | 0:34:39 | |
"Look at Elton John. He just bangs it out there." | 0:34:39 | 0:34:41 | |
Did you actually have a formal training? | 0:34:41 | 0:34:43 | |
Thank you! | 0:34:43 | 0:34:45 | |
In your own spontaneous way, of course. | 0:34:45 | 0:34:48 | |
I play by ear. My grandmother and my mother brought me up, | 0:34:48 | 0:34:51 | |
because my father was away in the air force. | 0:34:51 | 0:34:53 | |
My grandmother played slightly and my mother's sister played. | 0:34:53 | 0:34:57 | |
And so I started playing by ear when I was about three or four. | 0:34:57 | 0:35:00 | |
And I picked things up very quickly. | 0:35:00 | 0:35:02 | |
I think if you've a gift for things, you do pick it up. | 0:35:02 | 0:35:04 | |
And then my parents insisted that I went to musical education, | 0:35:04 | 0:35:07 | |
which I didn't really want to do. | 0:35:07 | 0:35:09 | |
And I qualified for the Royal Academy of Music as a day student | 0:35:09 | 0:35:13 | |
on Saturdays. between the ages of 11 to 15. | 0:35:13 | 0:35:16 | |
And I got through all my exams. | 0:35:16 | 0:35:18 | |
And I didn't really appreciate it much at the time | 0:35:18 | 0:35:20 | |
because I'd rather have been home playing football | 0:35:20 | 0:35:21 | |
or something like that. But on recollection, | 0:35:21 | 0:35:24 | |
and actually thinking about it again, it taught me an awful lot. | 0:35:24 | 0:35:27 | |
I'm very grateful that they did send me there | 0:35:27 | 0:35:30 | |
because it did teach me a lot. | 0:35:30 | 0:35:31 | |
And if you have a gift for something, you can only improve your technique | 0:35:31 | 0:35:34 | |
by going to someone who can tell you about it. | 0:35:34 | 0:35:36 | |
So you would say to youngsters, "Keep up the piano lessons"? | 0:35:36 | 0:35:39 | |
If they're forced into doing it and they've got no talent whatsoever, | 0:35:39 | 0:35:41 | |
it's a waste of time. But if someone has got a talent for something | 0:35:41 | 0:35:44 | |
and they play by ear, then it is a good idea to go and have instruction | 0:35:44 | 0:35:47 | |
and listen to someone else and learn. Yes, it is. | 0:35:47 | 0:35:50 | |
You can always learn about something. | 0:35:50 | 0:35:52 | |
So what are you going to do with the rest of Christmas Day? | 0:35:52 | 0:35:54 | |
You're going to go home and...? Did you have... | 0:35:54 | 0:35:57 | |
Do you have music playing during the turkey or suitable music? | 0:35:57 | 0:36:00 | |
What was... What would be suitable turkey music? | 0:36:00 | 0:36:03 | |
Um... | 0:36:03 | 0:36:04 | |
Freddie Starr hasn't made an album, has he? Um... | 0:36:05 | 0:36:08 | |
LAUGHTER | 0:36:08 | 0:36:10 | |
No, sorry. Um, I don't know. | 0:36:11 | 0:36:13 | |
We usually had the Queen's Speech on. | 0:36:13 | 0:36:15 | |
- Yeah. - Ha! | 0:36:15 | 0:36:17 | |
- That's very loyal. - No, I'm very, very... | 0:36:17 | 0:36:20 | |
Land of Hope and Glory, and Elgar, the Enigma Variations. | 0:36:20 | 0:36:23 | |
I'm terrible with sad music. | 0:36:23 | 0:36:25 | |
If you show me the Cup Final, it's a good job the mascara didn't run | 0:36:25 | 0:36:27 | |
because...Abide With Me is one of the most fabulous things in the world. | 0:36:27 | 0:36:30 | |
And sad music always make me cry. | 0:36:30 | 0:36:33 | |
- We wish you well... - Thank you. | 0:36:33 | 0:36:35 | |
..with all that you continue to do. I hope the musical does happen. | 0:36:35 | 0:36:38 | |
Yes, we're going to put our heads together. | 0:36:38 | 0:36:40 | |
And that will eventually emerge, good or bad. Good, I hope. | 0:36:40 | 0:36:43 | |
Well, happy Christmas with what remains of it. | 0:36:43 | 0:36:45 | |
Thank you. And happy Christmas to everybody. | 0:36:45 | 0:36:46 | |
APPLAUSE | 0:36:46 | 0:36:48 | |
Elton John. | 0:37:01 | 0:37:02 | |
Finally, a young lady who came across here last year | 0:37:03 | 0:37:07 | |
and was one of our most charming guests. | 0:37:07 | 0:37:09 | |
I thought we got on like a house on fire. | 0:37:09 | 0:37:11 | |
But subsequently people thought I was a little edgy. | 0:37:11 | 0:37:14 | |
I've always been a great fan of old Pammy. | 0:37:16 | 0:37:19 | |
Anyway, she's insisted on a rematch. | 0:37:20 | 0:37:24 | |
And we've managed, by the wonders of science, | 0:37:24 | 0:37:26 | |
to do a linkup with Los Angeles. | 0:37:26 | 0:37:28 | |
So here she is again, Victoria Principal. | 0:37:28 | 0:37:31 | |
APPLAUSE | 0:37:31 | 0:37:34 | |
They seem to quite like you here, Victoria, have you noticed that? | 0:37:48 | 0:37:52 | |
Oh, I'm glad THEY do. | 0:37:52 | 0:37:54 | |
LAUGHTER | 0:37:54 | 0:37:56 | |
What, are you not universally popular, then? | 0:37:56 | 0:37:59 | |
Where do they not like you? | 0:37:59 | 0:38:01 | |
Oh, no, I was thinking of you, Terry. | 0:38:01 | 0:38:02 | |
Oh. LAUGHTER | 0:38:02 | 0:38:05 | |
As long as you just keep thinking about me | 0:38:05 | 0:38:07 | |
we're going to get on like a house on fire. | 0:38:07 | 0:38:09 | |
You're dressed in red. In red for Christmas night. | 0:38:09 | 0:38:12 | |
How very nice of you. | 0:38:12 | 0:38:14 | |
I'm working with a handicap because I can't see the faces you're making. | 0:38:14 | 0:38:18 | |
- Um... - Look, please, | 0:38:18 | 0:38:20 | |
the studio audience will bear me out here. | 0:38:20 | 0:38:23 | |
I'm all sweetness and light and kindness. | 0:38:23 | 0:38:25 | |
I'm not pulling faces behind your back or in front of... | 0:38:25 | 0:38:27 | |
Actually, I'm looking up to you. | 0:38:27 | 0:38:29 | |
You're on a huge screen in front of me. | 0:38:29 | 0:38:31 | |
I'm virtually on my knees in front of you here. | 0:38:31 | 0:38:34 | |
Do you know what they've done here? | 0:38:34 | 0:38:36 | |
They've hung up a picture from Playgirl. | 0:38:37 | 0:38:40 | |
LAUGHTER | 0:38:40 | 0:38:42 | |
Oh, no, that can't be me. I failed the audition! | 0:38:42 | 0:38:45 | |
LAUGHTER | 0:38:45 | 0:38:47 | |
Now, Dallas brought you big stardom. | 0:38:49 | 0:38:51 | |
And before that you did a couple of movies. | 0:38:51 | 0:38:53 | |
But why didn't your film career catch on? | 0:38:53 | 0:38:56 | |
Why did we have to wait for the old telly to bring you to stardom? | 0:38:56 | 0:39:00 | |
Well, I quit acting. I did about five motion pictures. | 0:39:00 | 0:39:05 | |
And then I wasn't... I wasn't happy with my own life, | 0:39:05 | 0:39:09 | |
so I quit acting altogether to go into another business. | 0:39:09 | 0:39:12 | |
And what dragged you from the acting, then? Was it the part of Pammy? | 0:39:12 | 0:39:17 | |
Well, no, I'd returned to acting but for not a very long period | 0:39:18 | 0:39:22 | |
when I read the part. And I loved it, and so I pursued it. | 0:39:22 | 0:39:26 | |
You don't regret it? | 0:39:26 | 0:39:28 | |
Oh, God, no, not at all. | 0:39:28 | 0:39:30 | |
No, it's been a wonderful, wonderful seven years. | 0:39:30 | 0:39:34 | |
In fact, the last time I did see you, | 0:39:34 | 0:39:36 | |
you asked me about some of the changes | 0:39:36 | 0:39:38 | |
it had brought about in my life, and they were all positive. | 0:39:38 | 0:39:41 | |
These days... I mean, I've been lucky enough | 0:39:41 | 0:39:43 | |
to have Rock Hudson on the show this year. | 0:39:43 | 0:39:45 | |
And he didn't breathe a word about it | 0:39:45 | 0:39:47 | |
but he sneaked into a soap opera as soon as he got back to America. | 0:39:47 | 0:39:51 | |
All the big Hollywood names seem to want to get into the soap operas now, | 0:39:51 | 0:39:55 | |
or into Dallas or... | 0:39:55 | 0:39:57 | |
..Dysentery. | 0:39:58 | 0:40:00 | |
LAUGHTER | 0:40:00 | 0:40:01 | |
Why do you think that is? | 0:40:03 | 0:40:04 | |
Well, I'm not sure, but it's funny you'd bring that up, | 0:40:04 | 0:40:08 | |
wanted to get on Dallas, because actually I've been asked | 0:40:08 | 0:40:11 | |
to offer you a part on the show by my producer. | 0:40:11 | 0:40:15 | |
Great. We'd like you to... | 0:40:15 | 0:40:16 | |
We'd like you to come on and play the remains of Mark Grayson. | 0:40:16 | 0:40:21 | |
LAUGHTER | 0:40:21 | 0:40:23 | |
And don't think I won't take up the offer either! | 0:40:29 | 0:40:33 | |
LAUGHTER | 0:40:33 | 0:40:34 | |
He gets paid more as a corpse than I get paid live, I can tell you! | 0:40:34 | 0:40:39 | |
Well, you'll have to do it in bits and pieces! | 0:40:39 | 0:40:43 | |
Yes, he was spread all over the Gulf of Mexico, wasn't he? | 0:40:43 | 0:40:46 | |
SHE LAUGHS | 0:40:46 | 0:40:47 | |
Can you swim? | 0:40:47 | 0:40:49 | |
LAUGHTER | 0:40:49 | 0:40:50 | |
Well, little bits of me, yes. | 0:40:50 | 0:40:52 | |
LAUGHTER | 0:40:52 | 0:40:55 | |
You were saying... | 0:40:55 | 0:40:57 | |
You were saying last time... | 0:40:57 | 0:40:58 | |
LAUGHTER | 0:40:58 | 0:41:00 | |
I have to say... I have to say, Victoria, | 0:41:03 | 0:41:06 | |
you obviously like me better from a distance. | 0:41:06 | 0:41:08 | |
LAUGHTER | 0:41:08 | 0:41:11 | |
You were saying last time that Dallas was one big happy family. | 0:41:11 | 0:41:15 | |
- Now... - Yes, I was, wasn't I? | 0:41:15 | 0:41:17 | |
If that's the case, why is the Poisoned Dwarf leaving? | 0:41:17 | 0:41:20 | |
LAUGHTER | 0:41:20 | 0:41:22 | |
Well, you didn't help. | 0:41:26 | 0:41:28 | |
LAUGHTER | 0:41:28 | 0:41:31 | |
I get the rap for everything here! | 0:41:31 | 0:41:33 | |
And Bobby. And Bobby. You've given him the elbow, too. | 0:41:35 | 0:41:38 | |
Isn't Patrick Duffy supposed to be leaving? | 0:41:38 | 0:41:40 | |
No. | 0:41:40 | 0:41:42 | |
No, actually, Patrick has chosen to leave himself. | 0:41:42 | 0:41:44 | |
He's going to go on to something else, I presume. | 0:41:44 | 0:41:48 | |
In sunglasses? | 0:41:48 | 0:41:50 | |
LAUGHTER | 0:41:50 | 0:41:51 | |
Listen, can you... | 0:41:53 | 0:41:55 | |
Can you answer me, when poor old Bobby got shot - | 0:41:55 | 0:41:58 | |
cos we're a little bit behind you - | 0:41:58 | 0:42:00 | |
when he got shot, first of all he got shot in the back | 0:42:00 | 0:42:03 | |
and it immediately affected his eyesight. | 0:42:03 | 0:42:06 | |
LAUGHTER | 0:42:06 | 0:42:07 | |
Then every time... | 0:42:09 | 0:42:11 | |
Every time you went to visit him, | 0:42:11 | 0:42:13 | |
poor little fellow sitting there either in a wheelchair | 0:42:13 | 0:42:16 | |
or a hospital bed, you'd stay about ten seconds and then say, | 0:42:16 | 0:42:19 | |
AMERICAN ACCENT: "Sorry, Bobby, you need your rest, I gotta leave now." | 0:42:19 | 0:42:23 | |
LAUGHTER | 0:42:23 | 0:42:25 | |
He never saw anybody for longer than ten seconds. Why was that? | 0:42:25 | 0:42:29 | |
Oh, it's the thought that counts. | 0:42:31 | 0:42:33 | |
LAUGHTER | 0:42:33 | 0:42:35 | |
What about the little chap? We see too little of him now, don't we? | 0:42:36 | 0:42:39 | |
He's running around now, isn't he? | 0:42:39 | 0:42:42 | |
NOW you feel sorry for him! Um... | 0:42:42 | 0:42:45 | |
That's the "ugly baby" you asked me about before. | 0:42:47 | 0:42:49 | |
LAUGHTER | 0:42:49 | 0:42:51 | |
Yes. | 0:42:51 | 0:42:52 | |
The relative of the director or the producer. | 0:42:52 | 0:42:55 | |
Well, he's grown into his looks now. | 0:42:57 | 0:43:00 | |
He's a bit... | 0:43:00 | 0:43:02 | |
He has a bit more personality. | 0:43:02 | 0:43:04 | |
Actually, he's a lovely child and he's still on the show. | 0:43:04 | 0:43:06 | |
You're not told what's going to happen in the plot, are you? | 0:43:06 | 0:43:10 | |
They keep it from you, don't they? | 0:43:10 | 0:43:12 | |
I'm told to a certain degree what is going to happen to me as Pam, | 0:43:12 | 0:43:16 | |
so I know which way my character is going, | 0:43:16 | 0:43:18 | |
and that way I can discuss whether I like it or not. | 0:43:18 | 0:43:21 | |
Um, but I don't know who is coming on the show as... | 0:43:21 | 0:43:24 | |
as a guest-starring appearance or a continuous role | 0:43:24 | 0:43:28 | |
until shortly beforehand. | 0:43:28 | 0:43:29 | |
We notice, or at least I notice | 0:43:29 | 0:43:31 | |
and the people who write in to me about the show notice, | 0:43:31 | 0:43:35 | |
that there seems to be a preponderance of bathing suits. | 0:43:35 | 0:43:39 | |
At least, the ones of Dallas we're looking... | 0:43:39 | 0:43:41 | |
And your bathing suits have received a great deal of acclaim. | 0:43:41 | 0:43:45 | |
Well, it's been a long, hot summer. | 0:43:47 | 0:43:49 | |
LAUGHTER | 0:43:49 | 0:43:51 | |
You're making it a long, hot winter over here for us. | 0:43:51 | 0:43:54 | |
LAUGHTER | 0:43:54 | 0:43:56 | |
I was pleased to see you dive into the pool, though. | 0:43:56 | 0:43:59 | |
You're actually swimming in the old suits, proving that they work? | 0:43:59 | 0:44:02 | |
LAUGHTER | 0:44:02 | 0:44:04 | |
I'm not touching that, Terry! | 0:44:08 | 0:44:11 | |
I have a lot of problems with people not wanting to touch | 0:44:11 | 0:44:14 | |
things on this show! | 0:44:14 | 0:44:15 | |
There was a big press feature recently over here | 0:44:15 | 0:44:18 | |
about a new designer being brought in to make the Dallas ladies | 0:44:18 | 0:44:22 | |
look more glamorous. | 0:44:22 | 0:44:24 | |
I mean, aren't you glamorous enough? | 0:44:24 | 0:44:26 | |
He was brought in to make us look taller. | 0:44:27 | 0:44:29 | |
Look taller? | 0:44:29 | 0:44:31 | |
Mind you, you have put on height. You do... | 0:44:31 | 0:44:34 | |
You're certainly bigger than I remember you. | 0:44:34 | 0:44:38 | |
But you are about six foot tall and three feet wide here! | 0:44:38 | 0:44:43 | |
No... | 0:44:43 | 0:44:45 | |
We do have a new designer. Bill Travilla. | 0:44:45 | 0:44:50 | |
And he's designing a lot of the clothing on the show. | 0:44:50 | 0:44:54 | |
I'm wearing clothing that he, in fact, has not designed. | 0:44:54 | 0:44:57 | |
Most of my clothing is Italian. | 0:44:57 | 0:45:00 | |
As is half of me. | 0:45:01 | 0:45:03 | |
Is that the half that's laughing at that mucky photograph? | 0:45:05 | 0:45:08 | |
SHE LAUGHS | 0:45:09 | 0:45:10 | |
Delayed laughter we have on the show. | 0:45:12 | 0:45:15 | |
SHE LAUGHS | 0:45:17 | 0:45:18 | |
Since we... | 0:45:18 | 0:45:20 | |
LAUGHTER | 0:45:20 | 0:45:21 | |
It seems to be getting better, whatever you're looking at. | 0:45:23 | 0:45:25 | |
It keeps unfolding. | 0:45:28 | 0:45:30 | |
LAUGHTER | 0:45:30 | 0:45:33 | |
Some fellows... Some fellows have all the luck! | 0:45:35 | 0:45:38 | |
LAUGHTER | 0:45:38 | 0:45:41 | |
Since... Since we talked to you about your health and beauty book which, | 0:45:43 | 0:45:47 | |
do you remember, you turned very nasty about... | 0:45:47 | 0:45:50 | |
..all the Hollywood ladies seem to be getting in on the act, | 0:45:52 | 0:45:55 | |
with Sophia Loren and Raquel Welch all producing books. | 0:45:55 | 0:45:57 | |
How do you rate the competition? | 0:45:57 | 0:45:59 | |
Well, just like you, I haven't read any of them. | 0:45:59 | 0:46:03 | |
LAUGHTER | 0:46:03 | 0:46:06 | |
APPLAUSE | 0:46:06 | 0:46:08 | |
Just because you didn't give me a free copy of yours | 0:46:12 | 0:46:15 | |
doesn't mean that Sophia and Raquel didn't give me a free copy of theirs. | 0:46:15 | 0:46:20 | |
In fact - you don't know this, but I can't see you either - | 0:46:20 | 0:46:22 | |
I have a picture of Raquel Welch in front of me here. | 0:46:22 | 0:46:25 | |
LAUGHTER | 0:46:25 | 0:46:27 | |
Tell me, it's Christmas Day. What have you had for dinner? | 0:46:28 | 0:46:31 | |
LAUGHTER | 0:46:31 | 0:46:34 | |
A Danish. It's the morning here. | 0:46:36 | 0:46:40 | |
A Danish, eh? Was he up to your satisfaction? | 0:46:42 | 0:46:44 | |
LAUGHTER | 0:46:44 | 0:46:47 | |
APPLAUSE | 0:46:47 | 0:46:49 | |
A Danish, you should know, is a tart. | 0:46:54 | 0:46:56 | |
LAUGHTER | 0:46:56 | 0:46:59 | |
- What am I saying? - I don't know. | 0:46:59 | 0:47:01 | |
No... | 0:47:02 | 0:47:04 | |
You know, you're a lot more fun this way. | 0:47:04 | 0:47:06 | |
LAUGHTER | 0:47:06 | 0:47:07 | |
What do you mean, unfolding in front of you? | 0:47:07 | 0:47:10 | |
Well, I must say, you are terrific fun. | 0:47:13 | 0:47:15 | |
I was just going to ask you, since it is the morning there, | 0:47:15 | 0:47:17 | |
Christmas morning, what are you planning? | 0:47:17 | 0:47:20 | |
Do you have to watch your diet on Christmas Day as well? | 0:47:20 | 0:47:22 | |
Will you have the turkey with the stuffing | 0:47:22 | 0:47:24 | |
and the Brussels sprouts and the chestnuts and all that stuff? | 0:47:24 | 0:47:29 | |
Yes. | 0:47:29 | 0:47:30 | |
LAUGHTER | 0:47:30 | 0:47:32 | |
Did you ever ask questions that were longer than answers? | 0:47:32 | 0:47:34 | |
Wait a minute, they're giving me a new picture here. | 0:47:37 | 0:47:40 | |
Oh. Let's hope it's one we can see. You wouldn't care... | 0:47:40 | 0:47:44 | |
Would you care to lift up the picture that they're showing you? | 0:47:44 | 0:47:47 | |
- Does it remind you... - I can show you one page of it. | 0:47:48 | 0:47:51 | |
Oh, good. | 0:47:51 | 0:47:52 | |
Will it remind me of anything? | 0:47:52 | 0:47:54 | |
LAUGHTER AND APPLAUSE | 0:47:55 | 0:47:58 | |
HE LAUGHS | 0:47:58 | 0:48:00 | |
- Yes. - I think you're lovely in blue. | 0:48:02 | 0:48:05 | |
LAUGHTER | 0:48:05 | 0:48:06 | |
I... | 0:48:07 | 0:48:09 | |
It seemed...seemed a very snug fit. | 0:48:09 | 0:48:12 | |
LAUGHTER | 0:48:12 | 0:48:14 | |
Our sand is a bit different. | 0:48:15 | 0:48:17 | |
LAUGHTER | 0:48:17 | 0:48:19 | |
Victoria Principal, thank you for joining us on the show. | 0:48:25 | 0:48:28 | |
We wish you a very happy Christmas and you are the sunny, cheery person | 0:48:28 | 0:48:31 | |
that I saw the last time you were here. | 0:48:31 | 0:48:33 | |
- It's lovely to see you again. - Thank you. | 0:48:33 | 0:48:35 | |
And merry Christmas to all of you. | 0:48:35 | 0:48:37 | |
APPLAUSE | 0:48:37 | 0:48:41 | |
What is this strange, unearthly power I have over women? | 0:48:48 | 0:48:52 | |
That's the ever engaging and extremely giggly Victoria Principal. | 0:48:52 | 0:48:56 | |
I've enjoyed it immensely. I hope you've enjoyed the programme. | 0:48:56 | 0:49:00 | |
I hope that the rest of your Christmas will go well. | 0:49:00 | 0:49:02 | |
My thanks to Freddie Starr, Kiri Te Kanawa and Elton John. | 0:49:02 | 0:49:06 | |
Have a lovely Boxing Day. Have a very happy New Year. | 0:49:06 | 0:49:09 | |
And I'll see you on BBC One in the New Year. Thank you. Bye-bye. | 0:49:09 | 0:49:13 | |
APPLAUSE | 0:49:13 | 0:49:16 |