Browse content similar to Fame is a Double Edge Sword. Check below for episodes and series from the same categories and more!
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Suddenly, the Stones were making some bread. | 0:00:03 | 0:00:05 | |
I was going to buy them... And I set Mum up in | 0:00:05 | 0:00:07 | |
a nice house that she likes and dah-dah... | 0:00:07 | 0:00:10 | |
And the weirdest thing being that, | 0:00:10 | 0:00:13 | |
within a year of me leaving home, | 0:00:13 | 0:00:16 | |
Mum and Dad separated. | 0:00:16 | 0:00:18 | |
The cuckoo's flown the nest! | 0:00:18 | 0:00:21 | |
And I took care of Mum, you know? | 0:00:21 | 0:00:22 | |
My dad, I had no contact with him until... | 0:00:22 | 0:00:26 | |
1982. | 0:00:26 | 0:00:29 | |
It was, like, 20 years later. | 0:00:29 | 0:00:31 | |
And I meet this bloke... | 0:00:33 | 0:00:36 | |
..that is totally different from the man I grew up with. | 0:00:38 | 0:00:43 | |
Because I meet this little old... | 0:00:44 | 0:00:46 | |
For him as rummy... | 0:00:47 | 0:00:50 | |
and the pipe and rum, and that's the bit of me | 0:00:50 | 0:00:56 | |
that I never got to know and so for the next 20 years, | 0:00:56 | 0:01:02 | |
we lived together like that, you know? Like mates. | 0:01:02 | 0:01:06 | |
And it was a great, great feeling. Yeah. | 0:01:06 | 0:01:10 | |
Because I've been able to love my mum and finally get back | 0:01:10 | 0:01:15 | |
together with the old man, and what an old bugger. | 0:01:15 | 0:01:20 | |
And I showed him the world. | 0:01:20 | 0:01:22 | |
"Come on, let's get on the plane and do this!" | 0:01:22 | 0:01:26 | |
And, you know... | 0:01:26 | 0:01:28 | |
And he was amazed and I heard from other people that | 0:01:28 | 0:01:32 | |
he's very proud of me, which is, you know... | 0:01:32 | 0:01:36 | |
You see, he worked for General Electric, making valves. | 0:01:38 | 0:01:43 | |
And when I showed him what I worked with, which is, like, | 0:01:43 | 0:01:47 | |
you know, Fender amplifiers, Gibson and that... | 0:01:47 | 0:01:50 | |
..he would tell me every valve. | 0:01:51 | 0:01:55 | |
"Oh, that's the A43, that's the 89." | 0:01:55 | 0:01:58 | |
And suddenly I realised a weird connection between our lives. | 0:01:58 | 0:02:02 | |
Without my amplifier, I'm nowhere. | 0:02:02 | 0:02:05 | |
And he could tell me how it was built. | 0:02:05 | 0:02:07 | |
# Just because you find yourself | 0:02:23 | 0:02:25 | |
# Off the streets again | 0:02:26 | 0:02:29 | |
# That don't mean that I can't help you | 0:02:29 | 0:02:33 | |
# Or I ain't your friend | 0:02:33 | 0:02:35 | |
# Baby, trouble is your middle name | 0:02:36 | 0:02:41 | |
# Your trouble is that that's your game | 0:02:41 | 0:02:45 | |
# Now you're out of circulation | 0:02:47 | 0:02:50 | |
# Out of reach and out of touch | 0:02:50 | 0:02:54 | |
# Let me keep you in the loop | 0:02:54 | 0:02:57 | |
# Though I can't tell you much | 0:02:57 | 0:03:00 | |
# Baby, trouble is your middle name | 0:03:01 | 0:03:05 | |
# Your trouble is that that's your game | 0:03:05 | 0:03:09 | |
# Oh, yeah | 0:03:11 | 0:03:12 | |
# Ooh, baby, trouble. # | 0:03:49 | 0:03:51 | |
And now, let's meet our first contestant. | 0:03:58 | 0:04:01 | |
Will you come in and sign in, please. | 0:04:01 | 0:04:03 | |
APPLAUSE | 0:04:03 | 0:04:06 | |
All right, panel, as you probably have realised, | 0:04:15 | 0:04:18 | |
there is an area of identification here that might be in | 0:04:18 | 0:04:23 | |
appearance, costuming, name, some area of identification which | 0:04:23 | 0:04:27 | |
would give you too much information, so you're blindfolded. | 0:04:27 | 0:04:30 | |
Let's let the folks and our friends here in the theatre | 0:04:30 | 0:04:32 | |
know exactly what your line is. | 0:04:32 | 0:04:34 | |
APPLAUSE | 0:04:36 | 0:04:39 | |
Right. | 0:04:41 | 0:04:44 | |
Panel, our guest, who must also be an unnamed, is self-employed. | 0:04:44 | 0:04:48 | |
With that, let's begin the general questioning with Arlene Francis. | 0:04:48 | 0:04:52 | |
Are you associated with any of the arts? | 0:04:52 | 0:04:55 | |
Yes. | 0:04:56 | 0:04:57 | |
Um... | 0:04:57 | 0:05:00 | |
Would you ever have been seen on television? | 0:05:00 | 0:05:03 | |
Yes. | 0:05:03 | 0:05:05 | |
Are you a performer? | 0:05:05 | 0:05:07 | |
Yes. | 0:05:07 | 0:05:09 | |
Um, would you be considered a leading man? | 0:05:09 | 0:05:11 | |
Yes. | 0:05:13 | 0:05:14 | |
RIPPLE OF LAUGHTER | 0:05:14 | 0:05:16 | |
May I... I've got to move in here. | 0:05:16 | 0:05:18 | |
Actually, in the general context of the questioning, | 0:05:18 | 0:05:21 | |
we would have to accept that all the affirmative replies, | 0:05:21 | 0:05:24 | |
except perhaps the last one, are not misleading in any major degree. | 0:05:24 | 0:05:28 | |
However, I think the last answer IS misleading and we could not | 0:05:28 | 0:05:31 | |
accurately describe our guest as a leading man. | 0:05:31 | 0:05:34 | |
He's a misleading man! A misleading man, yes. | 0:05:34 | 0:05:37 | |
One down and nine to go. Mr Cerf. | 0:05:37 | 0:05:39 | |
Have you achieved eminence in some field other than television? | 0:05:39 | 0:05:44 | |
Yes. | 0:05:45 | 0:05:47 | |
Would it be the sort of exploit that might possibly reach | 0:05:47 | 0:05:51 | |
the front page of a newspaper? | 0:05:51 | 0:05:53 | |
Yes. | 0:05:54 | 0:05:56 | |
Is it an exploit that's been on the front page of | 0:05:56 | 0:05:59 | |
the newspapers within the past couple of weeks? | 0:05:59 | 0:06:02 | |
Um, no. No? Two down and eight to go. Miss Kilgallen. | 0:06:05 | 0:06:08 | |
Um, do you imagine that we're blindfolded because | 0:06:09 | 0:06:13 | |
one or more of us would recognise you at sight? | 0:06:13 | 0:06:16 | |
Yes. | 0:06:19 | 0:06:21 | |
Hmm? Yes. | 0:06:21 | 0:06:23 | |
Yes. | 0:06:23 | 0:06:24 | |
Are you accustomed to appearing before audiences? | 0:06:24 | 0:06:27 | |
Yes. | 0:06:28 | 0:06:30 | |
When you appear before audiences, | 0:06:30 | 0:06:33 | |
do you ever wear less then you're wearing now? | 0:06:33 | 0:06:36 | |
LAUGHTER | 0:06:36 | 0:06:38 | |
When you appear before audiences, | 0:06:38 | 0:06:40 | |
do you ever wear less than you are wearing now? | 0:06:40 | 0:06:43 | |
I would say that under certain specific conditions, | 0:06:43 | 0:06:46 | |
it is not impossible that our guest would wear less than is | 0:06:46 | 0:06:49 | |
being worn now, but it's not necessarily germane to what | 0:06:49 | 0:06:52 | |
it is we're trying to arrive at. | 0:06:52 | 0:06:55 | |
Is that a yes or a no? LAUGHTER | 0:06:55 | 0:06:57 | |
That is a kind of up-and-down "yes". | 0:06:58 | 0:07:01 | |
All right. Do you have anything to do with... | 0:07:02 | 0:07:06 | |
sports or any form of athletic endeavour? | 0:07:06 | 0:07:09 | |
Yes. LAUGHTER | 0:07:11 | 0:07:14 | |
Small conference. | 0:07:14 | 0:07:15 | |
THEY QUIETLY CONFER | 0:07:17 | 0:07:19 | |
Yes. All right. | 0:07:26 | 0:07:27 | |
Now, I think it would be too misleading to suggest that | 0:07:27 | 0:07:30 | |
our guest had a basic affiliation with sports. | 0:07:30 | 0:07:33 | |
This is not to say that it's not within the compass of his enjoyment | 0:07:33 | 0:07:37 | |
to indulge in this particular endeavour. Thank you. | 0:07:37 | 0:07:40 | |
Three down and seven to go. Mr Lawford. | 0:07:40 | 0:07:43 | |
Do you appear continuously on television? | 0:07:43 | 0:07:45 | |
By that I mean once a week or once a month, can I see you? | 0:07:45 | 0:07:49 | |
No. No. Four down and six to go. Miss Francis. | 0:07:52 | 0:07:55 | |
Do you use anything in your hands for your job? | 0:07:56 | 0:08:01 | |
Yes. | 0:08:01 | 0:08:03 | |
Would you be considered a writer? Yes. | 0:08:03 | 0:08:07 | |
LAUGHTER | 0:08:07 | 0:08:09 | |
There's nothing this man doesn't do. | 0:08:09 | 0:08:12 | |
What we have to guess is an all-around man. | 0:08:14 | 0:08:17 | |
Are you well-known because of a book that has been published of yours? | 0:08:17 | 0:08:21 | |
Miss Arlene, if I may interrupt here, | 0:08:21 | 0:08:23 | |
I would have to agree that we must consider that our guest is a writer. | 0:08:23 | 0:08:27 | |
We're going to agree that we must consider that our guest is a writer? | 0:08:31 | 0:08:34 | |
LAUGHTER | 0:08:34 | 0:08:36 | |
The talents of our guest are not encompassed entirely in this area of work. | 0:08:36 | 0:08:42 | |
Oh. Then you can do several things? Except sports. | 0:08:42 | 0:08:46 | |
That a fair assumption, yeah. Uh-huh. | 0:08:47 | 0:08:51 | |
Does he write humorously? | 0:08:51 | 0:08:52 | |
Yes and no. LAUGHTER | 0:08:54 | 0:08:56 | |
The answer then, I think, is properly yes and no. | 0:08:56 | 0:08:59 | |
Oh. | 0:09:00 | 0:09:01 | |
Um...does he ever do any drawing, like comic strips? | 0:09:03 | 0:09:06 | |
Yes. LAUGHTER | 0:09:06 | 0:09:09 | |
Yes? | 0:09:09 | 0:09:10 | |
Is there something quite unusual about our guest? | 0:09:14 | 0:09:17 | |
LAUGHTER | 0:09:17 | 0:09:18 | |
I beg your pardon, Arlene? APPLAUSE | 0:09:18 | 0:09:21 | |
I just ask if there is something unusual because everything | 0:09:21 | 0:09:24 | |
that he does, the audience laughs about. | 0:09:24 | 0:09:26 | |
You are a human being? LAUGHTER | 0:09:28 | 0:09:32 | |
Very much so, Bennett. Very much so. | 0:09:32 | 0:09:34 | |
Have you ever written a book that was published by my firm? | 0:09:34 | 0:09:38 | |
Yes. LAUGHTER | 0:09:38 | 0:09:40 | |
Is it possible that we have not yet struck upon | 0:09:44 | 0:09:48 | |
the major thing that our guest is famous for? | 0:09:48 | 0:09:51 | |
That is very possible. | 0:09:51 | 0:09:52 | |
He is still maintaining that he's a performer? | 0:09:54 | 0:09:56 | |
Well, yes, | 0:09:56 | 0:09:58 | |
in the degree that he was asked if he had anything to do with | 0:09:58 | 0:10:01 | |
the arts and then was asked if he was a performer. | 0:10:01 | 0:10:03 | |
In that large context, we would have to accept | 0:10:03 | 0:10:06 | |
that he was indeed a performer. | 0:10:06 | 0:10:09 | |
THEY QUIETLY CONFER | 0:10:09 | 0:10:11 | |
ARLENE FRANCIS: Do you want a conference? | 0:10:11 | 0:10:12 | |
Yes, I'd love a conference, Arlene. | 0:10:12 | 0:10:14 | |
Was there a call for a conference? May we have a conference, John? | 0:10:14 | 0:10:17 | |
You may have 15 seconds for a conference, | 0:10:17 | 0:10:19 | |
and I'm going to give you one minute more to get it. | 0:10:19 | 0:10:21 | |
Ask if he could use his moustache to paint. Oh! | 0:10:21 | 0:10:25 | |
Oh. | 0:10:26 | 0:10:28 | |
Have you a moustache that is rather well-known, | 0:10:28 | 0:10:31 | |
in fact, could you be almost caricatured just by that? | 0:10:31 | 0:10:34 | |
Yes. | 0:10:34 | 0:10:35 | |
Oh, well, thank you, Arlene. Are you Salvador Dali? | 0:10:35 | 0:10:38 | |
Salvador Dali is right. APPLAUSE | 0:10:38 | 0:10:41 | |
MUSIC: Fame by David Bowie | 0:10:41 | 0:10:45 | |
Fame. | 0:10:58 | 0:10:59 | |
Fame is something that everybody who isn't, wants to be, you know? | 0:11:03 | 0:11:07 | |
At the same time it's... | 0:11:07 | 0:11:10 | |
You'd better learn to live with it if you want to be famous. | 0:11:11 | 0:11:15 | |
With the Stones, we didn't want to be famous, | 0:11:15 | 0:11:19 | |
we just wanted to make records, | 0:11:19 | 0:11:21 | |
and you immediately realise that | 0:11:21 | 0:11:23 | |
in order to make a record, then it's PR and then it's fame, | 0:11:23 | 0:11:27 | |
you know, almost immediately. | 0:11:27 | 0:11:29 | |
You kind of saw the effect it had | 0:11:29 | 0:11:32 | |
differently on different people around you, you know? | 0:11:32 | 0:11:35 | |
I mean, I guess Brian Jones would be the famous example. | 0:11:35 | 0:11:41 | |
One minute he's part of the band, great guy, you know, we're playing. | 0:11:42 | 0:11:47 | |
Two weeks of fame and the man has gone bye-bye. | 0:11:47 | 0:11:51 | |
Sky-high. | 0:11:51 | 0:11:53 | |
That was the first illustration to me about fame, you know, | 0:12:05 | 0:12:09 | |
with somebody I knew closely and we worked together | 0:12:09 | 0:12:14 | |
getting this ancient form of weaving down. | 0:12:14 | 0:12:17 | |
You know, we had two guitars sound like one, | 0:12:17 | 0:12:18 | |
and you don't care who's doing what. | 0:12:18 | 0:12:21 | |
And suddenly... | 0:12:21 | 0:12:24 | |
..it was pie in the sky | 0:12:26 | 0:12:28 | |
and, you know...whoa. | 0:12:28 | 0:12:30 | |
And when you're working that hard, you're working 350 days a year, man. | 0:12:35 | 0:12:39 | |
You know, bam, bam. Nonstop, you know? | 0:12:39 | 0:12:43 | |
This is hard, hard road work | 0:12:43 | 0:12:46 | |
and you don't have time to carry passengers. | 0:12:46 | 0:12:49 | |
So you get antsy, you know? | 0:12:49 | 0:12:51 | |
Mick certainly changed through fame. | 0:12:51 | 0:12:54 | |
I probably have too, to a certain extent, | 0:12:54 | 0:12:57 | |
but I mean, I've always... | 0:12:57 | 0:12:58 | |
kind of... | 0:12:58 | 0:13:00 | |
I'm very anti-showbiz and | 0:13:03 | 0:13:06 | |
get carried away by it. | 0:13:06 | 0:13:08 | |
To me it would be... | 0:13:08 | 0:13:11 | |
a sort of failure of the spirit. | 0:13:11 | 0:13:14 | |
There's a lot of downsides to fame, you know? | 0:13:14 | 0:13:18 | |
I really have a fear of basically... | 0:13:18 | 0:13:21 | |
Not a fear, but I just don't go to movie houses, | 0:13:21 | 0:13:26 | |
I don't go to cinemas, | 0:13:26 | 0:13:28 | |
because I find myself sitting there looking at the exit signs | 0:13:28 | 0:13:32 | |
and just waiting for one asshole to go, | 0:13:32 | 0:13:35 | |
"It's Keith Richards!" | 0:13:35 | 0:13:37 | |
and then I ruin the movie for everybody and I go do a runner. | 0:13:37 | 0:13:42 | |
A lot of things get taken away from you by being famous. | 0:13:42 | 0:13:46 | |
I'd like to be famously anonymous, really. | 0:13:46 | 0:13:50 | |
Fame's the two-edged sword. | 0:13:50 | 0:13:52 | |
And it's ouch. Whichever side of the blade cuts you, | 0:13:54 | 0:13:58 | |
it's going to cut you. | 0:13:58 | 0:14:00 | |
But you live with it, | 0:14:00 | 0:14:02 | |
and I mean, I've been 19, | 0:14:02 | 0:14:04 | |
I've been a bloody star, you know? | 0:14:04 | 0:14:08 | |
I've been anti-star, you know...all the time, | 0:14:08 | 0:14:12 | |
but I realised it's a losing fight, quite honestly. | 0:14:12 | 0:14:18 | |
Some people love it. | 0:14:20 | 0:14:23 | |
Ronnie loves being famous | 0:14:23 | 0:14:26 | |
and he can handle it. | 0:14:26 | 0:14:28 | |
He doesn't mind bumping into crowds of people going, | 0:14:29 | 0:14:33 | |
"Hey, Ronnie, I love you!" | 0:14:33 | 0:14:35 | |
and bless his heart. | 0:14:35 | 0:14:37 | |
But I did a lot of hiding, you know, | 0:14:37 | 0:14:39 | |
hence the heroin. Yeah. | 0:14:39 | 0:14:41 | |
It was my escape, you know? | 0:14:42 | 0:14:45 | |
Night-time brings on ideas of mystery, possibilities, dreams. | 0:14:54 | 0:15:01 | |
Even though you're awake, you're dreaming. | 0:15:01 | 0:15:05 | |
# Last night your shadow fell upon my lonely room | 0:15:05 | 0:15:11 | |
# I touched your golden hair and tasted your perfume | 0:15:12 | 0:15:17 | |
# Your eyes were filled with love the way they used to be | 0:15:19 | 0:15:24 | |
# Your gentle hand reached out to comfort me | 0:15:26 | 0:15:31 | |
# Then came the dawn | 0:15:35 | 0:15:38 | |
# And you were gone | 0:15:38 | 0:15:42 | |
# You were gone, gone, gone | 0:15:42 | 0:15:45 | |
# I had too much to dream last night | 0:15:48 | 0:15:52 | |
# Too much to dream | 0:15:52 | 0:15:55 | |
# I'm not ready to face the light | 0:15:55 | 0:15:58 | |
# I had too much to dream | 0:15:58 | 0:16:01 | |
# Last night | 0:16:01 | 0:16:02 | |
# Last night | 0:16:04 | 0:16:05 | |
# The room was empty as I staggered from my bed | 0:16:08 | 0:16:13 | |
# I could not bear the image racing through my head | 0:16:14 | 0:16:19 | |
# You were so real that I could feel your eagerness | 0:16:21 | 0:16:26 | |
# And when you raised your lips for me to kiss | 0:16:28 | 0:16:35 | |
# Came the dawn | 0:16:35 | 0:16:38 | |
# And you were gone | 0:16:38 | 0:16:41 | |
# You were gone, gone, gone | 0:16:41 | 0:16:44 | |
# I had too much to dream last night | 0:16:48 | 0:16:52 | |
# Too much to dream | 0:16:52 | 0:16:54 | |
# I'm not ready to face the light | 0:16:54 | 0:16:57 | |
# I had too much to dream | 0:16:57 | 0:17:00 | |
# Last night | 0:17:00 | 0:17:01 | |
# Last night | 0:17:03 | 0:17:05 | |
# Oh, too much to dream | 0:17:06 | 0:17:09 | |
# Oh, too much to dream... # | 0:17:09 | 0:17:12 | |
Night-time, you feel an extra sense of freedom than you do in the day. | 0:17:13 | 0:17:18 | |
And I guess you can get addicted to it, | 0:17:18 | 0:17:20 | |
or you get so used to it that it becomes normal. | 0:17:20 | 0:17:24 | |
Good evening. | 0:17:37 | 0:17:39 | |
Alfred, well, he's so intriguing, ain't he? | 0:17:39 | 0:17:41 | |
You still wonder what the dirty old man was up to. | 0:17:43 | 0:17:45 | |
He had a way of telling a story. | 0:17:48 | 0:17:51 | |
39 Steps, that opening scene in the musical with Mr Memory... | 0:17:51 | 0:17:57 | |
Mr Memory. APPLAUSE | 0:17:57 | 0:18:00 | |
..and the MC and the bloke going, | 0:18:02 | 0:18:05 | |
"What causes pip in poultry?" | 0:18:05 | 0:18:07 | |
You know, it's brilliant cinema. | 0:18:07 | 0:18:10 | |
I can still remember the song. | 0:18:10 | 0:18:12 | |
HE SINGS TUNE | 0:18:12 | 0:18:15 | |
See, musical. | 0:18:16 | 0:18:18 | |
And then, of course, the whole thing's changed with the gunshot. | 0:18:21 | 0:18:24 | |
GUNSHOT It was the usual McGuffin, you know, | 0:18:24 | 0:18:27 | |
the missing finger. | 0:18:27 | 0:18:30 | |
We all know Alf made many others, | 0:18:30 | 0:18:32 | |
but I thought that one is particularly British. | 0:18:32 | 0:18:35 |