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-GLOCKENSPIEL PLAYS -Hello, campers! Hi-de-Hi! | 0:00:02 | 0:00:05 | |
-Don't tell him, Pike! -Pike! | 0:00:08 | 0:00:10 | |
I met him, and he frightened me to death. | 0:00:14 | 0:00:17 | |
I'm free! | 0:00:17 | 0:00:18 | |
-He ruled with a rod of iron. -Did he! -A rod of iron, and a smile on his face. -Like a smiling viper. | 0:00:19 | 0:00:25 | |
Good moaning! | 0:00:31 | 0:00:32 | |
Shut up! | 0:00:36 | 0:00:37 | |
And he would laugh on every run-through, right up to the day of transmission, he would still laugh. | 0:00:40 | 0:00:45 | |
I remember someone saying to me, "Do you know what? | 0:00:47 | 0:00:50 | |
I walked down my road and I could hear laughter in the street." | 0:00:50 | 0:00:52 | |
David Croft, the man who wrote some of our best-loved TV comedies, has died at the age of 89. | 0:01:01 | 0:01:08 | |
David Croft was a unique talent in the world of British comedy, | 0:01:08 | 0:01:12 | |
not only co-writing, but producing and directing many of the greatest comedy series of the 20th century. | 0:01:12 | 0:01:18 | |
-This is my wife, Edith. I have told her everything. -Will she talk? | 0:01:18 | 0:01:22 | |
Incessantly. | 0:01:22 | 0:01:23 | |
David Croft is a brand, you know. A Croft programme is a real quality brand, | 0:01:23 | 0:01:29 | |
and you just guarantee if David Croft was producing, it was always going to be brilliant. | 0:01:29 | 0:01:34 | |
David Croft sitcoms were a key part of my growing up. | 0:01:34 | 0:01:37 | |
Looking back, it must have been so nice for my parents to have us | 0:01:37 | 0:01:42 | |
all in the same room, probably crying with laughter, no doubt. | 0:01:42 | 0:01:45 | |
David knew the business inside and out. Loved actors, actors loved him. | 0:01:45 | 0:01:51 | |
He was like a conductor. He conducted the whole thing. | 0:01:51 | 0:01:54 | |
Without him, nothing really would have happened. | 0:01:56 | 0:02:00 | |
For the first time, we'll hear the audio tapes he made whilst working on the scripts. | 0:02:00 | 0:02:05 | |
Ted joins Gladys. Ted into microphone. "Hello, campers! Welcome to Maplins. Hi-de-Hi! | 0:02:05 | 0:02:10 | |
David Croft was born in 1922, into a showbusiness family. | 0:02:11 | 0:02:15 | |
He inherited a love of entertainment from his parents, who performed together in the theatre. | 0:02:15 | 0:02:20 | |
He literally was a sort of dressing room baby. | 0:02:21 | 0:02:24 | |
Made his first appearance at the age of three, | 0:02:24 | 0:02:26 | |
and from the moment he walked off, he said he was totally hooked. | 0:02:26 | 0:02:30 | |
His mother was an amazing character, and very talented. | 0:02:30 | 0:02:35 | |
She was the only woman ever that had a theatrical production company in the West End | 0:02:35 | 0:02:39 | |
without a male partner or male equivalent. | 0:02:39 | 0:02:42 | |
It was "Anne Croft presents..." | 0:02:42 | 0:02:45 | |
His father, Reginald Sharland, was an actor and writer, who moved to Hollywood to pursue his career. | 0:02:45 | 0:02:50 | |
David Croft followed the family tradition, and entered the world of entertainment. | 0:02:50 | 0:02:55 | |
His path soon crossed with a man who would become a lifelong colleague and friend. | 0:02:55 | 0:02:59 | |
When I first met David Croft, I was a ragged-arse actor. | 0:02:59 | 0:03:04 | |
Ann, his wife, phoned me up, who was my agent, she said, "Oh, Jimmy, | 0:03:05 | 0:03:11 | |
David's doing a new situation comedy called Beggar My Neighbour. | 0:03:11 | 0:03:15 | |
And always so honest and trustworthy! | 0:03:15 | 0:03:17 | |
Never nick no more than what you could carry under your coat! | 0:03:17 | 0:03:20 | |
I did this scene where I came... "Hello, Sid! It's me, your brother George!" | 0:03:22 | 0:03:28 | |
Here, what are you all ponced up for? | 0:03:28 | 0:03:31 | |
Got a job as a waiter or something? | 0:03:31 | 0:03:34 | |
Growing tired of small acting roles, Perry decided to try his hand at writing. | 0:03:34 | 0:03:38 | |
And I thought, "I know what I'll do. I'll write a pilot." | 0:03:38 | 0:03:41 | |
One day, he came in and he said to me, | 0:03:41 | 0:03:46 | |
"I've got a script, I think it's got something." | 0:03:46 | 0:03:50 | |
So I read it, and I thought, "Well, yes it has." | 0:03:50 | 0:03:52 | |
Ann said to me, "Show it to David." He said, "Jimmy, it's great. Let's do it." | 0:03:52 | 0:03:58 | |
# Who do you think you are kidding, Mr Hitler | 0:03:58 | 0:04:03 | |
# If you think we're on the run? # | 0:04:03 | 0:04:06 | |
None of us thought it was going to become a national treasure. | 0:04:07 | 0:04:12 | |
It was just another comedy series. | 0:04:12 | 0:04:14 | |
-Right, Pike, take off your tunic and wrap it round the pipes. -Why me? | 0:04:14 | 0:04:17 | |
Because you're wet already. Go on. | 0:04:17 | 0:04:20 | |
The magic ingredient was their casting. | 0:04:20 | 0:04:22 | |
He's doomed! Doomed! | 0:04:22 | 0:04:25 | |
I mean, the casting was absolutely brilliant in all of his shows. | 0:04:25 | 0:04:29 | |
You know perfectly well you can be here all day while I'm busy at the bank. | 0:04:29 | 0:04:32 | |
I'm sorry, Captain Mainwaring, but nothing is going to make me get up out of this chair, and that is that. | 0:04:32 | 0:04:36 | |
RADIO PLAYS "God Save The King" | 0:04:36 | 0:04:42 | |
David Croft used to cast people really well, | 0:04:42 | 0:04:44 | |
in that you can't imagine anybody but the people that played | 0:04:44 | 0:04:48 | |
all of those parts from all of those series playing it. | 0:04:48 | 0:04:50 | |
RADIO PLAYS END OF "God Save The King" | 0:04:50 | 0:04:52 | |
The thing about Dad's Army is that I think it's probably the most | 0:04:54 | 0:04:58 | |
perfect example of writing and casting coming together. | 0:04:58 | 0:05:05 | |
Come along, Godfrey! Godfrey, pick 'em up, pick 'em up! | 0:05:05 | 0:05:08 | |
I'm afraid they won't go any higher! | 0:05:08 | 0:05:11 | |
Although it's quite a big gallery of characters, | 0:05:11 | 0:05:13 | |
every single one of those characterisations is pitch perfect. | 0:05:13 | 0:05:17 | |
Sell your own grandmother, wouldn't you? | 0:05:17 | 0:05:19 | |
Well, there's no market for her. | 0:05:20 | 0:05:22 | |
If you were to think, "Oh, I'm going to start casting those characters," | 0:05:24 | 0:05:28 | |
you wouldn't want to swap them with anybody. | 0:05:28 | 0:05:30 | |
-Eight against one! -No, it's only seven. I'm not feeling very well. | 0:05:30 | 0:05:33 | |
We're talking about seven tough old pros. | 0:05:49 | 0:05:55 | |
All of them had been there and not quite made it. | 0:05:55 | 0:05:59 | |
And suddenly, they're stars. They've made it. | 0:06:00 | 0:06:05 | |
Every time they stop in the street, "There he is!" | 0:06:05 | 0:06:07 | |
And we were all working actors. Old John Laurie, he was a marvellous actor, | 0:06:09 | 0:06:15 | |
and Ian Lavender's another wonderful actor. | 0:06:15 | 0:06:17 | |
He was quite a young chap when we first started, Ian Lavender. | 0:06:17 | 0:06:21 | |
To say they took me under their wings, collectively or even individually, not quite so. | 0:06:21 | 0:06:26 | |
It was a bit of sink or swim. | 0:06:26 | 0:06:28 | |
I remember David saying, "We thought we'd throw you in the deep end | 0:06:28 | 0:06:32 | |
and see what happened," and he said, "You floated, it's all right! | 0:06:32 | 0:06:36 | |
-Shut the door, Pike. -Yes, sir. | 0:06:39 | 0:06:40 | |
From the other side! | 0:06:42 | 0:06:43 | |
-You should have said! -Get out! | 0:06:45 | 0:06:47 | |
And Croft had his own unique way of selecting the cast. | 0:06:48 | 0:06:52 | |
He said, "I just want somebody who can shout and push other actors about a bit." | 0:06:52 | 0:06:58 | |
What's going on here? I've never heard such a row! | 0:06:58 | 0:07:00 | |
His wife, my agent, said, "Well, I've got somebody who, | 0:07:00 | 0:07:05 | |
in fact, is not an actor. | 0:07:05 | 0:07:09 | |
I'm not sure that he ever will be a great actor, | 0:07:09 | 0:07:12 | |
but I think he's maybe what you want." | 0:07:12 | 0:07:14 | |
Hey! Hey! If you think I'm hanging on here, you're mistaken. | 0:07:14 | 0:07:17 | |
The first series we wrote more or less together, | 0:07:17 | 0:07:22 | |
and then he'd got me to write some, and he wrote some, and a bit of a mess, actually. | 0:07:22 | 0:07:28 | |
So we finally got to a situation, I said, "Dave, there's only one way to do this. Face-to-face." | 0:07:28 | 0:07:34 | |
So we both wrote by hand with a lovely felt-tip pen, and then | 0:07:34 | 0:07:39 | |
we'd have the rough script, and then we'd sit there, and then we'd act it. | 0:07:39 | 0:07:44 | |
They showed it to an audience, as they always did, to test it, | 0:07:44 | 0:07:48 | |
and it didn't go down very well, and some of the reports, | 0:07:48 | 0:07:52 | |
because you used to write a report, and they came in. | 0:07:52 | 0:07:55 | |
But as David ran his own little empire, in a way, | 0:07:55 | 0:07:57 | |
when all the really bad reports came in saying comedy couldn't be made out of this, | 0:07:57 | 0:08:01 | |
he managed to keep them in files that didn't get too high up the stand. | 0:08:01 | 0:08:06 | |
He'd say, "There's only one thing to do with this." | 0:08:07 | 0:08:10 | |
"Don't want that one." | 0:08:12 | 0:08:14 | |
He said, "I knew that, given half a chance, it would succeed." | 0:08:14 | 0:08:19 | |
All local defence volunteers to report to the church hall | 0:08:20 | 0:08:25 | |
at six o'clock today! | 0:08:25 | 0:08:27 | |
There you are. | 0:08:29 | 0:08:30 | |
After the first series, Croft and Perry had to defend Dad's Army against those who said | 0:08:30 | 0:08:34 | |
a comedy should not be made about Britain's Home Guard. | 0:08:34 | 0:08:38 | |
Did the scriptwriters make such a serious national crisis too funny to be even vaguely true? | 0:08:38 | 0:08:44 | |
Well, we've had one or two ideas which we thought were too way out. | 0:08:44 | 0:08:48 | |
You see, when we started this thing, I think we just regarded it as a comedy show, | 0:08:48 | 0:08:52 | |
but as you get into it, as soon as we started writing it properly, | 0:08:52 | 0:08:54 | |
we realised it was much more than this, because there's a wonderful spirit in those days. | 0:08:54 | 0:09:00 | |
These men really would have, they would have died, | 0:09:00 | 0:09:03 | |
and as soon as you get into that sort of dimension, | 0:09:03 | 0:09:05 | |
then you can't go too far into the realms of comedy, | 0:09:05 | 0:09:08 | |
you've got to keep it with its feet on the ground. | 0:09:08 | 0:09:10 | |
This sympathetic and understated approach could be seen throughout Croft's work. | 0:09:10 | 0:09:14 | |
He was quite a shy man, and he wasn't one for being openly effusive, | 0:09:15 | 0:09:20 | |
that's left to Jimmy Perry, basically. I think that's probably why they were such a good team. | 0:09:20 | 0:09:23 | |
He was a very private man, but he was a very caring and loving man. | 0:09:23 | 0:09:29 | |
He cared deeply about what he did. | 0:09:29 | 0:09:31 | |
I never saw him once lose his temper. He was always very calm. | 0:09:31 | 0:09:35 | |
He was an observer. | 0:09:35 | 0:09:36 | |
He would sit at dinner parties. | 0:09:38 | 0:09:39 | |
When he did come out with a line, it was often very witty, very funny and very pertinent, | 0:09:39 | 0:09:44 | |
but mostly he watched people. | 0:09:44 | 0:09:46 | |
I look at it this way, sir. | 0:09:46 | 0:09:48 | |
Now, although Sergeant Wilson has got three stripes on his honourable arm, | 0:09:48 | 0:09:53 | |
you've got three pips on your common shoulder. | 0:09:53 | 0:09:55 | |
To me, their series were always about class. | 0:09:57 | 0:10:01 | |
Class and snobbery, yes, the conflict, yes, that's where | 0:10:01 | 0:10:05 | |
it springs from, they found that, I mean, we see it all the way through. | 0:10:05 | 0:10:08 | |
It reminds me of the time when I was at school, and we used to have midnight feasts in the dorm. | 0:10:08 | 0:10:15 | |
Really? | 0:10:15 | 0:10:16 | |
School I went to, we didn't have any midnight feasts. | 0:10:17 | 0:10:21 | |
You had to manage with a few aniseed balls in the corner of the playground. | 0:10:21 | 0:10:25 | |
Status within their series was a really key thing. | 0:10:25 | 0:10:28 | |
In Dad's Army it was that you had a bank manager and his assistant who were in charge, | 0:10:28 | 0:10:33 | |
and there was an issue there, because the assistant came from a higher class. | 0:10:33 | 0:10:37 | |
You needn't think you can roll in here 20 minutes late after lunch. Where have you been? | 0:10:37 | 0:10:41 | |
Well, I went up to the golf club and had a bite to eat up there. | 0:10:41 | 0:10:44 | |
-The golf club? -Yes. -Who took you? -Well, I'm a member. | 0:10:44 | 0:10:48 | |
I've been trying for years to get in there. | 0:10:50 | 0:10:52 | |
I believe they're awfully particular. | 0:10:52 | 0:10:55 | |
I don't think, when they wrote it, Jimmy Perry and David Croft passed any judgements on anybody. | 0:10:57 | 0:11:03 | |
They just laid out what I think was a very accurate landscape | 0:11:03 | 0:11:07 | |
of how the class system works. | 0:11:07 | 0:11:11 | |
Now, don't start any of that public school cheating with me. | 0:11:11 | 0:11:14 | |
One of the things that he did really well | 0:11:15 | 0:11:20 | |
is the ability to use understatement where a little goes a very long way. | 0:11:20 | 0:11:27 | |
CAPTAIN MAINWARING COUGHS | 0:11:31 | 0:11:33 | |
He was a marvellous director and producer. He was really first-class. | 0:11:35 | 0:11:40 | |
He'd say, "When you do that, just give a pause there and you'll get a bigger laugh. | 0:11:40 | 0:11:45 | |
He was right. | 0:11:46 | 0:11:47 | |
-Here we go! -No, no, no, no! Oh, no, that's only cardboard! | 0:11:47 | 0:11:51 | |
There is a war on, you know! | 0:12:00 | 0:12:03 | |
He would just smile and nod his head, and you knew he was pleased, | 0:12:03 | 0:12:08 | |
and if he was pleased, you'd know you'd achieved something. | 0:12:08 | 0:12:13 | |
You'd always try and say, "David, I've got an idea, I've got a suggestion here," | 0:12:13 | 0:12:16 | |
and he'd say, "Yeah, yeah." I said, "Can I just try something?" | 0:12:16 | 0:12:20 | |
And he'd say, "Yeah, of course, Melvyn. Show me, show me." | 0:12:20 | 0:12:22 | |
And I would do it, and he'd say, "That's very funny! I like it. | 0:12:22 | 0:12:26 | |
Save it for panto." | 0:12:26 | 0:12:28 | |
You'd try something in rehearsals, and flick a look to David, | 0:12:28 | 0:12:34 | |
just to see what his reaction was, and he'd just go... | 0:12:34 | 0:12:37 | |
Or... | 0:12:40 | 0:12:41 | |
And that was it. | 0:12:42 | 0:12:43 | |
I was just going to give the order... | 0:12:43 | 0:12:45 | |
I was just going to... | 0:12:47 | 0:12:49 | |
-What's the matter, Corporal? -I think I'm going, sir. | 0:12:49 | 0:12:52 | |
-I hear angels' voices. -Those are no angels' voices, it's the choir! | 0:12:56 | 0:13:00 | |
The most interesting thing about David and Jimmy's writing | 0:13:02 | 0:13:08 | |
was the juxtaposition of comedy with tragedy. | 0:13:08 | 0:13:15 | |
Elizabeth? | 0:13:15 | 0:13:16 | |
You've taken a long time to answer, dear. Where have you been? | 0:13:18 | 0:13:21 | |
Oh, I see. | 0:13:21 | 0:13:22 | |
-She's been down in the air raid shelter. -Ah. | 0:13:24 | 0:13:26 | |
I might have a little surprise for you tonight. | 0:13:28 | 0:13:31 | |
No, no, I've bought... | 0:13:34 | 0:13:35 | |
Jimmy and David had the knack of, how shall I put it? | 0:13:37 | 0:13:41 | |
Using broad strokes, poster paints, and then becoming very delicate. | 0:13:41 | 0:13:45 | |
Pastels, as it were. | 0:13:45 | 0:13:46 | |
I... I don't want you to go. | 0:13:46 | 0:13:48 | |
The whole pattern of my life has changed, I just live from one meeting to the next. | 0:13:49 | 0:13:52 | |
I know, and I'm just the same, but it's the only thing to do. | 0:13:52 | 0:13:56 | |
-People are talking. -People always talk. Who cares about that? | 0:13:56 | 0:13:59 | |
-But there's your wife. -Nobody'll talk to her. | 0:13:59 | 0:14:02 | |
It managed to, you know, be quite silly, very funny, | 0:14:05 | 0:14:11 | |
very nuanced in some of the characterisations, but also rather... | 0:14:11 | 0:14:18 | |
..well, the word I want to use is beautiful, which is that they could sometimes achieve | 0:14:18 | 0:14:24 | |
levels of poignancy and drama within an episode. | 0:14:24 | 0:14:27 | |
-Don't get that train. -George, I must. | 0:14:27 | 0:14:30 | |
I implore you, don't get that train. Look, we'll meet once a week. | 0:14:30 | 0:14:35 | |
George, you're making this very difficult for me, but I've made up my mind. It's the only way. | 0:14:35 | 0:14:39 | |
-Victoria, Victoria train! -Here's my train. | 0:14:39 | 0:14:43 | |
Look, Fiona. I've never begged anything from anyone in my life, but I'm begging you not to go. | 0:14:43 | 0:14:47 | |
You get this terribly touching, | 0:14:47 | 0:14:51 | |
poignant window into the unhappiness of Mainwaring's marriage, really, | 0:14:51 | 0:14:57 | |
and he knows that nothing can happen, and it's all beautifully executed. | 0:14:57 | 0:15:03 | |
-Where can I get in touch with you? -You won't be able to. | 0:15:03 | 0:15:07 | |
-You'll write, won't you? -I don't know. After a little while, perhaps. | 0:15:07 | 0:15:10 | |
Stand clear, sir. | 0:15:10 | 0:15:11 | |
And pull those blinds down! | 0:15:12 | 0:15:15 | |
Promise you'll write. | 0:15:15 | 0:15:17 | |
Very well. I promise. | 0:15:17 | 0:15:18 | |
WHISTLE | 0:15:18 | 0:15:19 | |
-Make it soon. -Goodbye, George. | 0:15:22 | 0:15:24 | |
TRAIN PULLS AWAY | 0:15:24 | 0:15:26 | |
All good comedy is truthful, no matter how silly it is, or apparently silly, | 0:15:30 | 0:15:36 | |
it's trying to get at some universal truth, and that's why, when it's good, it has so much power. | 0:15:36 | 0:15:41 | |
We'll stick together, you can rely on that. | 0:15:41 | 0:15:43 | |
If anybody tries to take our homes or our freedom away from us, they'll find out what we can do. | 0:15:44 | 0:15:48 | |
We'll fight. | 0:15:48 | 0:15:49 | |
You could sense it was the writers nodding their acknowledgement | 0:15:50 | 0:15:54 | |
towards the fact that the whole thing had been triggered by the experiences | 0:15:54 | 0:16:00 | |
of real men in the war, and I thought that was really effective. | 0:16:00 | 0:16:04 | |
To Britain's Home Guard. | 0:16:04 | 0:16:06 | |
ALL: To Britain's Home Guard! | 0:16:08 | 0:16:10 | |
It's quality stuff. It's timeless stuff. | 0:16:13 | 0:16:15 | |
You stupid boy. | 0:16:15 | 0:16:17 | |
Don't panic! Don't panic! | 0:16:17 | 0:16:19 | |
The fact that Dad's Army is, that millions still watch it, | 0:16:19 | 0:16:22 | |
says something. | 0:16:22 | 0:16:23 | |
-I am an officer. -Yes, quite, Sir, yes. -You're supposed to be an NCO. | 0:16:23 | 0:16:26 | |
-Yes, of course, yes. -Right. Very well. Remember... | 0:16:26 | 0:16:29 | |
Every Saturday, it's on. I'll be in later in the week. | 0:16:31 | 0:16:35 | |
My grandchildren, they love it. | 0:16:38 | 0:16:40 | |
Even when I'm not in it! | 0:16:40 | 0:16:42 | |
And it was real life again that inspired Croft's first hit series with writing partner Jeremy Lloyd. | 0:16:45 | 0:16:51 | |
MUSIC: "Porcelain" by Moby | 0:16:53 | 0:16:57 | |
I had the idea for Are You Being Served? | 0:17:05 | 0:17:07 | |
because I'd slaved away for three years at Simpson's in Piccadilly, | 0:17:07 | 0:17:10 | |
which was a big gentleman's outfitters. | 0:17:10 | 0:17:12 | |
The people, actually, that we created in Are You Being Served? | 0:17:12 | 0:17:16 | |
were all types of people that I'd worked with. | 0:17:16 | 0:17:18 | |
Oh, that does suit you! | 0:17:18 | 0:17:20 | |
Oh, that does suit you! | 0:17:22 | 0:17:24 | |
Oh, that does suit you! | 0:17:27 | 0:17:29 | |
We had a chat, and we had lunch, and I'd already written four or five pages, | 0:17:29 | 0:17:33 | |
which he read and said, "Well, let's do it." | 0:17:33 | 0:17:36 | |
And Lucas, while you're down there, straighten those seams. | 0:17:36 | 0:17:39 | |
-I hate to see crooked seams. -Yes, Mr Peacock. -Hm? -Captain Peacock. | 0:17:39 | 0:17:43 | |
Aaaah! | 0:17:53 | 0:17:55 | |
David actually had a marvellous idea, which I hadn't had, | 0:17:55 | 0:17:59 | |
which was that the ladies' and gentlemen's departments should be put together, | 0:17:59 | 0:18:03 | |
so there'd be a lot of conflict, and that was the actual nub of the show, | 0:18:03 | 0:18:08 | |
and it worked marvellously, and the pecking order worked marvellously. | 0:18:08 | 0:18:11 | |
I have been deeply distressed to learn of a slump in our sales | 0:18:11 | 0:18:15 | |
over the past four weeks, which I'm sure you've all observed. | 0:18:15 | 0:18:18 | |
Yes, I have observed it. Haven't you, Mr Grainger? | 0:18:18 | 0:18:20 | |
Oh, a very definite slump, I would say. | 0:18:20 | 0:18:23 | |
-Have you observed it, Mr Humphries? -Oh, I've observed it, Mr Grainger. | 0:18:23 | 0:18:25 | |
-You observed it, too, didn't you? -Oh, yes, definitely! | 0:18:25 | 0:18:29 | |
In order to do situation comedy, or perhaps almost any comedy, | 0:18:29 | 0:18:34 | |
you need to have a situation in which there are rules. | 0:18:34 | 0:18:36 | |
Mr Grainger returned from lunch, 14:03. | 0:18:38 | 0:18:43 | |
Would you sign, please? | 0:18:43 | 0:18:45 | |
I'm sorry, Captain Peacock, but I must refuse to sign your book. | 0:18:48 | 0:18:52 | |
These rules, then, are in danger of being broken, and from that arises most of the comedy. | 0:18:54 | 0:18:59 | |
That's a brandy for Mr Grainger. | 0:18:59 | 0:19:01 | |
Well done, Mr Grainger. The way you stood up to him. | 0:19:02 | 0:19:05 | |
We shall always remember you for that, Mr Grainger, when you've gone. | 0:19:05 | 0:19:08 | |
The doubles entendres, the double meanings were an essential part of it. | 0:19:11 | 0:19:17 | |
And, sometimes, they were so outrageous that when we did | 0:19:17 | 0:19:21 | |
the read-through we'd say, "We can't say that, we'll all be arrested!" | 0:19:21 | 0:19:25 | |
At seven o'clock tonight, my pussy's expecting to see a friendly face! | 0:19:25 | 0:19:29 | |
I personally think that Mrs Slocombe's pussy is the funniest joke ever written in any medium, | 0:19:29 | 0:19:34 | |
and I can watch it any number of times and never be bored and never stop laughing. | 0:19:34 | 0:19:38 | |
I never have any trouble in getting up in the morning. | 0:19:38 | 0:19:41 | |
My pussy's just like an alarm clock. | 0:19:41 | 0:19:43 | |
David would say, "Look, you do it as though you haven't | 0:19:45 | 0:19:48 | |
the slightest idea that there is any double meaning at all, | 0:19:48 | 0:19:52 | |
so it's done completely innocently, and no one will mind." | 0:19:52 | 0:19:56 | |
I think, looking back now, were my parents thinking, | 0:19:56 | 0:19:59 | |
"Oh, some of those innuendos, are they getting them?" There must be a bit of that. | 0:19:59 | 0:20:03 | |
I certainly didn't get any of them, I don't think. | 0:20:03 | 0:20:06 | |
Trousers are at a complete standstill. | 0:20:06 | 0:20:10 | |
You're lucky to get your tape up once a day. | 0:20:10 | 0:20:13 | |
It was how you deciphered it. If you thought it was rude, that was... | 0:20:13 | 0:20:17 | |
Or, it could have been totally innocent. | 0:20:17 | 0:20:19 | |
Whatever has happened to the central heating in here? | 0:20:19 | 0:20:22 | |
My ballpoint'll never function in this weather. | 0:20:22 | 0:20:25 | |
The key in the writing was that they can't get out of their scenario. | 0:20:25 | 0:20:30 | |
It's very limiting, but it means you've got to really focus on the jokes. | 0:20:30 | 0:20:35 | |
You've got to focus on getting laughs, because there's not much else you can do with it. | 0:20:35 | 0:20:39 | |
Mmmm! She's a healthy girl, isn't she? | 0:20:39 | 0:20:42 | |
Miss Brahms, get out the 44s. | 0:20:44 | 0:20:47 | |
The Kilimanjaro range. | 0:20:49 | 0:20:51 | |
My favourite character in that was always young Mr Grace. | 0:20:51 | 0:20:57 | |
You've all done very well! | 0:20:57 | 0:21:00 | |
I just never tired of that. | 0:21:02 | 0:21:04 | |
And again, "You're all doing very well" | 0:21:04 | 0:21:06 | |
just became a phrase that we used whenever it was prompted. | 0:21:06 | 0:21:10 | |
You've all done very well! | 0:21:10 | 0:21:13 | |
ALL: Thank you, Mr Grace! | 0:21:13 | 0:21:15 | |
There isn't hardly ever a time, somebody did some research on this, actually, | 0:21:15 | 0:21:20 | |
when an episode of Are You Being Served? isn't being shown on some station, somewhere. | 0:21:20 | 0:21:25 | |
Ho, ho, ho, little boy! Have I got a surprise for you! | 0:21:25 | 0:21:29 | |
Some company sent us in a book, which was a quiz of Are You Being Served? | 0:21:37 | 0:21:40 | |
Penny, my daughter, was saying, "Oh, Dad, what was Mrs so-and-so's maiden name before she got married?" | 0:21:40 | 0:21:46 | |
"Er, urm, can't remember at the moment," | 0:21:48 | 0:21:51 | |
he said, and they couldn't answer half the questions that came out, | 0:21:51 | 0:21:55 | |
and said, "My goodness, people do really listen!" | 0:21:55 | 0:21:59 | |
I said, "Well, you've always said that!" | 0:21:59 | 0:22:02 | |
MASTERMIND THEME MUSIC | 0:22:02 | 0:22:06 | |
It Ain't Half Hot Mum, in two minutes, starting now. | 0:22:09 | 0:22:12 | |
Which character uses the expression, "it ain't half hot, Mum", | 0:22:12 | 0:22:14 | |
when writing home during the first episode? | 0:22:14 | 0:22:16 | |
-Gunner Parkin. -Correct. | 0:22:16 | 0:22:17 | |
In the seventh series, Captain Ashworth's given | 0:22:17 | 0:22:19 | |
an experimental anti-malarial drug by mistake. | 0:22:19 | 0:22:21 | |
-What effect does it have on him? -His skull grows through his hair. | 0:22:21 | 0:22:24 | |
Yeah, he loses his hair. | 0:22:24 | 0:22:26 | |
When Bombardier Beaumont kicks the Sergeant Major, what punishment | 0:22:26 | 0:22:28 | |
does he receive from the Colonel? | 0:22:28 | 0:22:30 | |
-He can't play Ginger Rogers again. -No, he can't. | 0:22:30 | 0:22:33 | |
-You enjoying your tea, Gunner? -Yes, thank you. | 0:22:33 | 0:22:35 | |
What the hell's going on?! | 0:22:35 | 0:22:36 | |
If anybody says to me, "What's your favourite?" Without a doubt, it's Ain't Half Hot Mum. | 0:22:36 | 0:22:42 | |
# Meet the gang, cos the boys are here | 0:22:45 | 0:22:48 | |
# The boys to entertain you! # | 0:22:48 | 0:22:51 | |
Jimmy actually ran a concert party. | 0:22:51 | 0:22:54 | |
We'd left India just a few days before India got its independence. | 0:22:54 | 0:23:00 | |
Of course, that's why I've got all these stories! | 0:23:00 | 0:23:03 | |
David spent most of the war not doing anything very theatrical, | 0:23:06 | 0:23:11 | |
although he was involved with a concert party when he was in India. | 0:23:11 | 0:23:15 | |
They always wrote from their own experiences, basically. | 0:23:15 | 0:23:18 | |
They took reality and stretched it. | 0:23:18 | 0:23:22 | |
The train will be back for us just before 18:00 hours, so, Bombardier, do not make it a long show. | 0:23:22 | 0:23:27 | |
You can rely on me, Sergeant Major! | 0:23:27 | 0:23:29 | |
The only thing I can rely on you for, Bombardier, is to ponce about. | 0:23:29 | 0:23:33 | |
It Ain't Half Hot Mum was a concert party out in the jungle, | 0:23:33 | 0:23:39 | |
right, playing to nobody, maybe two or three people, | 0:23:39 | 0:23:42 | |
two officers who think they were wonderful, wonderful artists, | 0:23:42 | 0:23:46 | |
a Sergeant Major who just wants to get these men as men, up there fighting. | 0:23:46 | 0:23:50 | |
Leave yourself alone, Bombardier, or I will make you wear boxing gloves. | 0:23:50 | 0:23:54 | |
Pay attention, lovely boys. | 0:23:58 | 0:23:59 | |
This is the hottest time of the year, but we are not going to give in. | 0:23:59 | 0:24:03 | |
We can fight it. | 0:24:06 | 0:24:09 | |
It's really very, very, very difficult to write big, ensemble comedy, you know, | 0:24:11 | 0:24:17 | |
to keep each character's plate spinning on a stick. | 0:24:17 | 0:24:21 | |
Your university education won't do you much good up there, will it? | 0:24:21 | 0:24:24 | |
-No, Sergeant Major. -"No, Sergeant Major!" | 0:24:25 | 0:24:29 | |
The intellect that is able to cope with all those different people, | 0:24:29 | 0:24:34 | |
perhaps as many as 15 people in the cast, and still keep all the threads going | 0:24:34 | 0:24:40 | |
and keep true to all the characters is extraordinary. | 0:24:40 | 0:24:42 | |
I'm afraid there's nothing else for it. Things are getting very desperate. | 0:24:42 | 0:24:46 | |
We'll have to break into the cocktail snacks. | 0:24:46 | 0:24:49 | |
-Surely not, sir! -Yes, I'm afraid so. | 0:24:49 | 0:24:52 | |
He was very good at creating brilliant characters, and then all you have to do | 0:24:52 | 0:24:55 | |
is stick different ones in the room, and they kind of talk to themselves, in a way, in the writer's mind. | 0:24:55 | 0:25:00 | |
Coo-ee! | 0:25:00 | 0:25:02 | |
I think he heard me. | 0:25:05 | 0:25:07 | |
He's got them all together there, so you can bounce off each other, | 0:25:07 | 0:25:11 | |
and as a group comedy, it works marvellously well. They were masters at it. | 0:25:11 | 0:25:15 | |
Sir? Guess what the thermometer's reading. | 0:25:15 | 0:25:19 | |
Something light? Agatha Christie? | 0:25:19 | 0:25:21 | |
David had the ability to gather a group of characters together | 0:25:23 | 0:25:26 | |
who wouldn't normally want to be in the same room with each other, | 0:25:26 | 0:25:28 | |
and from that, create this marvellous comedy. | 0:25:28 | 0:25:31 | |
Let me go out there and win them with my personality! | 0:25:31 | 0:25:34 | |
I think that a lot of David's comedy was very broad and, | 0:25:36 | 0:25:41 | |
you might say, silly, farcical, ludicrous, in some ways, | 0:25:41 | 0:25:44 | |
like out of the dressing up box. | 0:25:44 | 0:25:46 | |
Gloria, bless him, I mean, you know, as far as he's concerned, life is wonderful, life is showbusiness. | 0:25:56 | 0:26:01 | |
I'm meant to be a girl in an English garden, not Tarzan in the jungle! | 0:26:01 | 0:26:06 | |
After about four weeks, David said to me, "We're going to find it very difficult to write for you." | 0:26:08 | 0:26:12 | |
I said, "Why is that?" He said, "You're playing it very effeminately, very camp." | 0:26:12 | 0:26:17 | |
I said, "Just a minute, David. | 0:26:17 | 0:26:19 | |
Gloria is a feminine name, wears a wig, lots of make-up and dresses. | 0:26:20 | 0:26:26 | |
How else can I play it?" | 0:26:26 | 0:26:28 | |
And he went, "Yeah, I see what you mean. Mmm, carry on, then!" | 0:26:28 | 0:26:33 | |
Listen to that! They're shouting "We want Gloria!" My public are clamouring for me! | 0:26:33 | 0:26:39 | |
David used to say to the make-up artists, "Let the boys do their own camp make-ups." | 0:26:39 | 0:26:44 | |
So you got these lads, Chris and Michael, all the lads, | 0:26:45 | 0:26:48 | |
and they'd put these terrible make-ups on with the big lipstick. | 0:26:48 | 0:26:51 | |
AUDIENCE LAUGHTER DROWNS OUT SINGING | 0:26:51 | 0:26:54 | |
That's how soldiers would have done it. | 0:26:57 | 0:27:00 | |
AUDIENCE LAUGHTER DROWNS OUT SINGING | 0:27:00 | 0:27:04 | |
Shut up! This is all your fault, Gunner Sugden! Shut up! | 0:27:09 | 0:27:14 | |
He wrote the part of Sergeant Major Williams | 0:27:16 | 0:27:20 | |
as a standard cockney Sergeant Major. | 0:27:20 | 0:27:24 | |
"Left, right, left, right!" But we were wrong. | 0:27:24 | 0:27:28 | |
Windsor came in to read the part, and he's Welsh, | 0:27:28 | 0:27:32 | |
and he read it in cockney, and I said, "That's wrong. Would you read it in Welsh?" | 0:27:32 | 0:27:36 | |
And he read it in Welsh, and that's where the whole thing started. | 0:27:36 | 0:27:41 | |
He played it for reality. | 0:27:41 | 0:27:43 | |
Fix bayonets! | 0:27:43 | 0:27:46 | |
I loved working with Windsor. He was a warm, generous man. | 0:27:46 | 0:27:51 | |
So concentrated, he'd be the Sergeant Major all the time on the set. | 0:27:53 | 0:27:58 | |
Right, Johnny. | 0:27:58 | 0:28:00 | |
SERGEANT MAJOR SPEAKS URDU | 0:28:00 | 0:28:03 | |
Sergeant Major Williams Sahib, Gunner Parkin Sahib. | 0:28:03 | 0:28:06 | |
Who do you damn well think you're talking to? | 0:28:06 | 0:28:09 | |
SERGEANT MAJOR SPEAKS URDU | 0:28:15 | 0:28:17 | |
Why don't you talk to me in English, in which I am articulate? | 0:28:17 | 0:28:21 | |
Otherwise I would not be able to hold up this occupation. | 0:28:21 | 0:28:24 | |
I am Grade 2, not some damn native. | 0:28:24 | 0:28:27 | |
The faces he pulled when he was angry, or when he was happy, | 0:28:29 | 0:28:34 | |
he was just amazingly good. | 0:28:34 | 0:28:37 | |
HE SPEAKS URDU | 0:28:37 | 0:28:41 | |
One cup of heavenly, enchanted tea coming up. | 0:28:41 | 0:28:44 | |
Sergeant Major, Sir. | 0:28:46 | 0:28:48 | |
In a minute, my lovely. | 0:28:49 | 0:28:52 | |
The decision to cast a white actor, Michael Bates, in the part of the Bearer, | 0:28:52 | 0:28:56 | |
would lead to the series running into controversy. | 0:28:56 | 0:28:59 | |
Somebody said it was racist, and one of the reasons it was racist | 0:28:59 | 0:29:03 | |
was because Michael Bates was white and was playing an Indian character. | 0:29:03 | 0:29:09 | |
# Moonlight becomes you... # | 0:29:09 | 0:29:13 | |
HE SINGS IN URDU | 0:29:13 | 0:29:14 | |
Michael spoke fluent Urdu, and was educated in India until he was 16. | 0:29:17 | 0:29:22 | |
Knowing David and Jimmy the way I do, | 0:29:22 | 0:29:26 | |
I don't think they would do anything that was racist. | 0:29:26 | 0:29:30 | |
A lot of David's work is of its time, and the attitudes of its time. | 0:29:30 | 0:29:34 | |
I had too much to drink last night. Oh, I've got such terrible pullover! | 0:29:34 | 0:29:39 | |
I think the notion of It Ain't Half Hot Mum being politically incorrect | 0:29:41 | 0:29:46 | |
is definitely a retrospective notion. | 0:29:46 | 0:29:49 | |
Sergeant Major Sahib swore me to complete secrecy, so I will tell only you. | 0:29:49 | 0:29:54 | |
We did watch it as a family, and really enjoyed it. | 0:29:54 | 0:29:59 | |
I don't want this fellow to hear, because he is Nosey Parker! | 0:29:59 | 0:30:02 | |
HE SPEAKS URDU | 0:30:04 | 0:30:08 | |
Nosey Parker! | 0:30:08 | 0:30:09 | |
If I say you are Nosey Parker, you are Nosey Parker! | 0:30:09 | 0:30:11 | |
Oh, shut up! | 0:30:13 | 0:30:14 | |
And the fact that you had three regular Indian characters on television | 0:30:15 | 0:30:22 | |
who were involved, they weren't the butt of the joke all the time, | 0:30:22 | 0:30:27 | |
they weren't there to be lampooned, they weren't on the periphery of the programme, | 0:30:27 | 0:30:32 | |
they were very much a part of it, was incredibly, kind of, exciting | 0:30:32 | 0:30:37 | |
and reassuring for us as British Asian viewers. | 0:30:37 | 0:30:42 | |
And what could be nicer than a glass of pure water from the heavens above? | 0:30:42 | 0:30:47 | |
HE SPEAKS URDU | 0:30:47 | 0:30:49 | |
..glass of beer. | 0:30:49 | 0:30:51 | |
Sit up straight when you are punkah-ing! | 0:30:51 | 0:30:54 | |
Equally, it was making fun of the British Army. | 0:30:54 | 0:30:57 | |
One of the most respected elements of our society, of this country. | 0:31:00 | 0:31:05 | |
They may even have slipped something into the chai. | 0:31:05 | 0:31:07 | |
So no one must drink the tea until... | 0:31:09 | 0:31:11 | |
-Are you all right, Ashworth? -Yes, I think so, sir. | 0:31:14 | 0:31:17 | |
Well, that's all right, then. You can drink the tea, chaps. | 0:31:17 | 0:31:19 | |
-Oh, my Godfathers! -Good God! Is he...? | 0:31:21 | 0:31:26 | |
I went to sit down and there wasn't a chair there! | 0:31:26 | 0:31:28 | |
Croft and Perry went to great lengths to make the locations look as realistic as possible. | 0:31:36 | 0:31:41 | |
Everyone thought we filmed in India, but in actual fact it was in Norfolk, | 0:31:45 | 0:31:49 | |
and the desert scenes were shot in a huge sandpit, which they tricked out | 0:31:49 | 0:31:54 | |
with palms and things, and the jungle itself was woods or forest nearby, | 0:31:54 | 0:31:59 | |
in which they imported, so they told me at the time, £500,000 worth of foreign or exotic plants, | 0:31:59 | 0:32:06 | |
and planted them among the trees, and it gave the impression of India. | 0:32:06 | 0:32:10 | |
The greatest thing we've got going for us is that sweat. | 0:32:10 | 0:32:13 | |
Everybody used to say, "Where did that...?" | 0:32:13 | 0:32:15 | |
It was bottles of glycerin mixed with water, | 0:32:15 | 0:32:18 | |
and before every shot it would be under the arms, over the face. | 0:32:18 | 0:32:21 | |
Stop scratching yourself, Sugden! | 0:32:21 | 0:32:24 | |
I can't help it, Sergeant Major. I've got prickly heat. I'm covered in little bumps. | 0:32:24 | 0:32:29 | |
As far as I is concerned, Sugden, you is one big little bump, now shut up! | 0:32:29 | 0:32:33 | |
Normally, first day at rehearsals, you do the line, everybody would laugh. | 0:32:33 | 0:32:37 | |
Crew, everybody would laugh, thinking, "That's very funny!" | 0:32:37 | 0:32:40 | |
Second time, nobody laughs because they've seen it, except David. | 0:32:40 | 0:32:43 | |
David would laugh, and he would laugh on every run through, Monday, Tuesday, Wednesday, | 0:32:43 | 0:32:48 | |
Thursday, Friday, right up to the day of transmission, he would still laugh. | 0:32:48 | 0:32:53 | |
Though he'd seen it 20 times, he would still find it amusing, and that's very encouraging. | 0:32:53 | 0:32:57 | |
So, each time we rehearsed it, you know, this is good, this is what he wants. | 0:32:57 | 0:33:01 | |
It say: "They are caught like rats in trap." | 0:33:01 | 0:33:07 | |
That's it. I knew it. We should never have come here alone! | 0:33:07 | 0:33:10 | |
They should have sent some soldiers with us! | 0:33:10 | 0:33:12 | |
The better the sitcom, the fewer the actual jokes. | 0:33:12 | 0:33:17 | |
It's all about the interaction of the people. | 0:33:17 | 0:33:20 | |
The strongest material has to emanate from character. | 0:33:20 | 0:33:24 | |
And it was the characters that Croft and Perry had themselves encountered | 0:33:24 | 0:33:28 | |
who formed the basis for the next series. | 0:33:28 | 0:33:30 | |
The characters in Hi-de-Hi! were archetypal. | 0:33:30 | 0:33:34 | |
The Punch and Judy man that hated kids, and I'm sure that happened. | 0:33:34 | 0:33:39 | |
And now, your kiddies' entertainer, Uncle Willy! | 0:33:39 | 0:33:42 | |
Get out the way. Get out the way! | 0:33:43 | 0:33:45 | |
The dancers, who were just wonderful, you know, that thought themselves a cut above everybody else, | 0:33:48 | 0:33:54 | |
and used to bring their own wallpaper and pin it up. | 0:33:54 | 0:33:58 | |
A little higher, Barry. The stalk's not quite lined up with the flower. | 0:33:58 | 0:34:03 | |
It's happened before, dear, it'll happen again. | 0:34:03 | 0:34:06 | |
So all these characters were based on real people. | 0:34:08 | 0:34:12 | |
Everyone that David and Jimmy cast, whatever it was, they were a failure. | 0:34:12 | 0:34:17 | |
Hello, campers. Hi-de-Hi! | 0:34:19 | 0:34:21 | |
ALL: Ho-de-Ho! | 0:34:21 | 0:34:23 | |
The heroism comes in the fact that they all keep going. | 0:34:23 | 0:34:26 | |
Jeffrey can't hear you. Hi-de-Hi! | 0:34:26 | 0:34:28 | |
ALL: Ho-de-ho! | 0:34:28 | 0:34:30 | |
Give me strength! | 0:34:30 | 0:34:33 | |
Most of them were never going to make anything in a million years, but you know what? | 0:34:33 | 0:34:37 | |
They all had hope given to them. | 0:34:37 | 0:34:40 | |
When that entertainments director comes down, could you get me an interview? | 0:34:40 | 0:34:43 | |
You know, about being a Yellowcoat. You did promise. | 0:34:43 | 0:34:46 | |
-Well, I said I'd try. He's a very busy man. -Oh, please, do your best! | 0:34:46 | 0:34:50 | |
-Of course I will, Peggy. -Oh, bless you! You're a lovely man! | 0:34:50 | 0:34:54 | |
Well, thank you. | 0:34:54 | 0:34:56 | |
They portrayed that life can be difficult, | 0:34:56 | 0:34:59 | |
and it's sometimes like wading through treacle, | 0:34:59 | 0:35:01 | |
and you sat back and go, "Good, it's not just me." | 0:35:01 | 0:35:04 | |
What happened? | 0:35:04 | 0:35:05 | |
What happened? It were a bloody disaster! | 0:35:05 | 0:35:08 | |
-What are you talking about? It can't have been! -You see these two feet? | 0:35:09 | 0:35:13 | |
I died on them tonight. | 0:35:13 | 0:35:15 | |
-That's the success of their shows. -That's right, it was always putting people together. | 0:35:15 | 0:35:19 | |
It went for the underdog. | 0:35:19 | 0:35:20 | |
I'm terribly sorry about all this, Peggy. Are you all right? | 0:35:20 | 0:35:25 | |
I think I'm getting the hang of it! Can we do it again? | 0:35:25 | 0:35:28 | |
All I remember is just waiting, every week, | 0:35:28 | 0:35:33 | |
for Ruth to go ding-ding-ding! | 0:35:33 | 0:35:37 | |
GLOCKENSPIEL PLAYS | 0:35:37 | 0:35:38 | |
Hello, campers! Hi-de-Hi! | 0:35:38 | 0:35:43 | |
CAMPERS: Ho-de-Ho! | 0:35:43 | 0:35:46 | |
Oh! | 0:35:46 | 0:35:47 | |
What a hot day it's been, and what a lot of fun we've all had in the Olympic-size swimming pool. | 0:35:48 | 0:35:55 | |
I couldn't get enough of her flirting with Simon Cadell. | 0:35:55 | 0:35:59 | |
Thinking about it, David Croft probably had a very strange effect | 0:35:59 | 0:36:04 | |
on my learnings of romance, as a boarding school girl, | 0:36:04 | 0:36:08 | |
so I would have learned about unrequited love from Simon Cadell and Ruth Madoc. | 0:36:08 | 0:36:14 | |
Morning, Jeffrey. | 0:36:15 | 0:36:17 | |
MUSIC: "Someone Like You" by Adele | 0:36:17 | 0:36:19 | |
Beautiful. | 0:36:21 | 0:36:23 | |
If you give out a little more, you'd be surprised what you get back in return. | 0:36:27 | 0:36:31 | |
That quivering, unfulfilled romance between Ruth Madoc's character | 0:36:33 | 0:36:40 | |
and Simon Cadell's manager. | 0:36:40 | 0:36:43 | |
There's so much of you that doesn't show on the surface. | 0:36:43 | 0:36:48 | |
A lovely, exquisitely-teased out, comic, tragic romance. | 0:36:48 | 0:36:54 | |
If only he'd take notice of her in the right way, | 0:36:54 | 0:36:59 | |
and he never did, God love him. | 0:36:59 | 0:37:01 | |
Croft and Perry found their own unique way of developing the storylines. | 0:37:07 | 0:37:11 | |
We worked out this sort of technique, | 0:37:11 | 0:37:14 | |
so we used to write it very rough, and then we'd act it. | 0:37:14 | 0:37:19 | |
They enjoyed it, because they'd get all their acting, their bits of wanting to act | 0:37:20 | 0:37:25 | |
out of their system, didn't it, really? | 0:37:25 | 0:37:27 | |
We'd put it on one of those little mini recorders, and just listen to it. | 0:37:27 | 0:37:32 | |
Ted into microphone. "Hello, campers! Welcome to Maplins. | 0:37:32 | 0:37:36 | |
"Hi-de-Hi!" Gladys. "Go on, Yellowcoats. Get amongst 'em!" | 0:37:36 | 0:37:40 | |
Yellowcoats move in amongst the campers getting off the coach. | 0:37:40 | 0:37:43 | |
Ted continues into the microphone. "I'm Ted Bovis... | 0:37:43 | 0:37:46 | |
..your camp host. If you want to know anything, don't ask me. | 0:37:46 | 0:37:49 | |
Make your way to reception and sign in, | 0:37:49 | 0:37:51 | |
and the Yellowcoats will help you to your chalet. | 0:37:51 | 0:37:54 | |
Hello, Mrs Evans! Back again? Lovely to see you, darling! | 0:37:54 | 0:37:57 | |
-They did every voice. -Yeah. -If it was Peggy, "Oh, no, not Miss Cathcart!" | 0:37:57 | 0:38:03 | |
If it were Ted, "Spike, what are you doing, lad? Come here!" | 0:38:03 | 0:38:06 | |
But he used to tell us sometimes, in rehearsals, how they did it, | 0:38:06 | 0:38:09 | |
and I'd say, "None of us sound like that! You're terrible actors!" | 0:38:09 | 0:38:14 | |
Cut to Gladys. "Oh, no, not him!" She hurries away. | 0:38:14 | 0:38:18 | |
Spike sees her reaction. Spike. "What's the matter? Where are you going, Gladys?" He follows. | 0:38:18 | 0:38:24 | |
Cut to Ted for more of his announcements. | 0:38:24 | 0:38:28 | |
You back again? I thought we drowned you last year! Never mind, we'll soon fix that! | 0:38:28 | 0:38:32 | |
They knew what they wanted to hear on that screen. | 0:38:32 | 0:38:35 | |
They have the time of their lives writing Hi-de-Hi! | 0:38:35 | 0:38:37 | |
They used to fall off their chairs laughing! | 0:38:37 | 0:38:39 | |
I received a letter from Joe Maplin this morning. | 0:38:39 | 0:38:43 | |
I don't know about you, but I really do enjoy reading these letters, | 0:38:43 | 0:38:46 | |
because Joe writes as he thinks, and they really are sincere. | 0:38:46 | 0:38:51 | |
Get this into your thick heads. | 0:38:52 | 0:38:53 | |
That's the letter, it's not me. | 0:38:55 | 0:38:58 | |
I suppose, David Croft comedy, they are unique. | 0:38:59 | 0:39:03 | |
They're, sort of, I think it's theatre on television, really. | 0:39:03 | 0:39:07 | |
They're just productions, really camp, theatrical, | 0:39:07 | 0:39:10 | |
ensemble productions that you just don't get now. | 0:39:10 | 0:39:13 | |
-Tie Gladys to the stake. -Just doing that. | 0:39:13 | 0:39:15 | |
Well there's no need to put so tight, it's only pretend. | 0:39:17 | 0:39:21 | |
It's got to be tight. Virgins have to struggle for their honour. | 0:39:21 | 0:39:24 | |
I'm surprised you can remember that far back. | 0:39:24 | 0:39:26 | |
People absolutely loved, they absolutely loved the physical aspect of their comedy. | 0:39:28 | 0:39:33 | |
Visual jokes were a very strong vein, | 0:39:33 | 0:39:36 | |
and you can see them in Hi-de-Hi! with the pantomime horse. | 0:39:36 | 0:39:40 | |
Will you sign for this, please? | 0:39:40 | 0:39:42 | |
When I was given the reins of the real horse to hold, because I was in the front of the pantomime horse, | 0:39:51 | 0:39:55 | |
this horse took a shine to me, and it started doing what horses do, blowing its nose at my nose. | 0:39:55 | 0:40:02 | |
-What am I going to do with it? -It'll have to live in the stable! | 0:40:07 | 0:40:11 | |
Oh, blimey! We'll take the shortcut along the beach. | 0:40:11 | 0:40:14 | |
That's what put Hi-de-Hi! on the map, that scene. | 0:40:23 | 0:40:26 | |
It's what he was so brilliant at, is that he had the combination of the massive laughs, | 0:40:31 | 0:40:38 | |
and this delicacy. | 0:40:38 | 0:40:40 | |
His great thing about a character, he didn't want them to be one-dimensional. | 0:40:40 | 0:40:45 | |
I'm sorry to bother you, Mr Fairbrother. | 0:40:47 | 0:40:50 | |
I just wanted to thank you for getting me that interview with the Entertainments Director. | 0:40:50 | 0:40:54 | |
I did ever so well. Oh, he was nice, he talked to me just like a father. | 0:40:55 | 0:41:00 | |
He said I was to carry on trying, and working hard at me job, | 0:41:01 | 0:41:05 | |
and he keep a special eye on me, and later in the season he'd let me know. | 0:41:05 | 0:41:09 | |
I think he wanted to convey that, certainly the characters in Hi-de-Hi!, | 0:41:11 | 0:41:15 | |
you know, they're all trying to make a better life for themselves in whichever way they knew. | 0:41:15 | 0:41:19 | |
He managed to write characters with such, not only broad brush strokes | 0:41:19 | 0:41:24 | |
that we understood why they were funny, but such detail, | 0:41:24 | 0:41:28 | |
so he just had the right combination, I don't know how he did it. | 0:41:28 | 0:41:31 | |
I just want you to know, I'm not going to give up. | 0:41:33 | 0:41:36 | |
I'll keep on trying, and I'll be wearing that yellow coat one day, you'll see. | 0:41:36 | 0:41:41 | |
Hi-de-Hi. | 0:41:41 | 0:41:42 | |
ALL: Ho-de-Ho. | 0:41:43 | 0:41:45 | |
APPLAUSE | 0:41:45 | 0:41:47 | |
David always wanted a reality about his work, insofar as he wanted you to be sincere, | 0:41:47 | 0:41:52 | |
and he said it doesn't really matter, even if you think, "Oh, God, this is laying this on a bit thick." | 0:41:52 | 0:41:57 | |
He said, "No, if you're in that situation, and you know that character well enough, | 0:41:57 | 0:42:02 | |
that's what I want. I want you to never be afraid to bring a tear to somebody's eye." | 0:42:02 | 0:42:08 | |
Croft and Perry weren't afraid to bring successful series to a close. | 0:42:12 | 0:42:17 | |
But it wasn't always easy for the writers. | 0:42:17 | 0:42:20 | |
The worst one, for the last episode, was Hi-de-Hi! | 0:42:20 | 0:42:24 | |
Well, that's it, folks. It's the last night of the season. | 0:42:24 | 0:42:28 | |
AUDIENCE GROAN | 0:42:28 | 0:42:30 | |
We all hope you've had a wonderful holiday. | 0:42:30 | 0:42:32 | |
AUDIENCE: Yes! | 0:42:32 | 0:42:34 | |
Because we've had a wonderful time entertaining you. | 0:42:34 | 0:42:36 | |
There was a huge sadness, and I will never forget singing | 0:42:36 | 0:42:42 | |
Goodnight Campers for the last time in the Hawaiian ballroom. | 0:42:42 | 0:42:47 | |
Let's all join in with a good old farewell song... | 0:42:47 | 0:42:50 | |
that is being sung at this very moment... | 0:42:51 | 0:42:53 | |
in Maplins holiday camps all over the country. | 0:42:55 | 0:42:58 | |
It was so poignant, and there were real tears from us, | 0:42:58 | 0:43:05 | |
from Su Pollard and myself. I daren't look at Pollard! | 0:43:05 | 0:43:11 | |
# Goodnight, campers | 0:43:11 | 0:43:14 | |
# See you in the morning. # | 0:43:14 | 0:43:18 | |
-Everybody was in floods of tears. -It was, true. | 0:43:18 | 0:43:21 | |
Because it was a very, very emotional ending to that last one. | 0:43:21 | 0:43:23 | |
-Yes, it was. -That was the manner of the man. He knew his job. | 0:43:23 | 0:43:26 | |
It was a long time, and we were a great family, really, | 0:43:26 | 0:43:30 | |
and we just went, "Oh, well, this is it, then." | 0:43:30 | 0:43:33 | |
You know, it was really very poignant. | 0:43:33 | 0:43:35 | |
Oh, Ted! It's been just wonderful. I did it! I got me yellow coat! | 0:43:35 | 0:43:42 | |
I'll remember this week for the rest of me life! | 0:43:43 | 0:43:46 | |
# Goodnight! # | 0:43:50 | 0:43:55 | |
Hi-de-Hi! | 0:44:12 | 0:44:15 | |
And the whole audience were in tears. They just sat there. I said, "Thank you, everyone." | 0:44:18 | 0:44:24 | |
And a woman said, "Have we got to go, now?" Great moments. | 0:44:25 | 0:44:30 | |
David and Jimmy are very hot on using people from their various other sitcoms, | 0:44:33 | 0:44:37 | |
if they felt they married up. | 0:44:37 | 0:44:39 | |
And the next series would bring together some familiar faces. | 0:44:39 | 0:44:42 | |
You Rang, M'Lord? was certainly our favourite of the three shows we did together, I think. | 0:44:44 | 0:44:48 | |
You Rang, M'Lord?, David and I thought it was the best. | 0:44:48 | 0:44:52 | |
Where are you going to find the £73 7/6 you owe her? | 0:44:52 | 0:44:55 | |
I've got the 7/6. | 0:44:55 | 0:44:56 | |
It was certainly David's favourite show of all. | 0:44:59 | 0:45:02 | |
He said he thought it was part of the best of his work. | 0:45:02 | 0:45:04 | |
-What was it David said about it? The jewel in his crown? -The jewel in his crown. | 0:45:04 | 0:45:08 | |
This was given to me by my father on my 21st birthday, for being a good girl. | 0:45:08 | 0:45:14 | |
And that was given to me by the Turkish ambassador, for not being a good girl. | 0:45:15 | 0:45:21 | |
It was very similar to Upstairs, Downstairs, with laughs. | 0:45:23 | 0:45:25 | |
They were very, very interested in putting social comment underneath the comedy. | 0:45:25 | 0:45:32 | |
I don't suppose you've been in a room like this very often. | 0:45:32 | 0:45:35 | |
No, your Lordship. Not since I done the grate this morning. | 0:45:35 | 0:45:40 | |
It has a lot of comment about exactly the changing of the world, | 0:45:40 | 0:45:43 | |
and how things developed majorly in the '20s and '30s. | 0:45:43 | 0:45:49 | |
Beautiful, you're wonderful, with your shiny, scrubbed face, | 0:45:50 | 0:45:54 | |
and those glasses with the thumbprints on them! | 0:45:54 | 0:45:56 | |
Give over! | 0:45:56 | 0:45:57 | |
Teddy was great fun to play. People still come up to me and say, "carbolic soap", | 0:45:59 | 0:46:04 | |
and "smudgy glasses", and things. | 0:46:04 | 0:46:08 | |
Oh, I loved it, because it was outrageous, really. | 0:46:08 | 0:46:10 | |
-Why do you go in for servants? -I don't know. It just comes over me. | 0:46:10 | 0:46:16 | |
I find myself creeping up the attic stairs, my heart pounding, | 0:46:17 | 0:46:22 | |
then I push open the door, and there's the smell of carbolic soap. | 0:46:22 | 0:46:26 | |
Oh, the production values on You Rang, M'Lord? were marvellous, I mean, like a feature film, almost. | 0:46:28 | 0:46:34 | |
Every piece of furniture, the cutlery, the glasses, everything, even down to the cigars we smoked. | 0:46:34 | 0:46:40 | |
I like the period altogether, the cloche hats, the beautiful '20s coats. | 0:46:40 | 0:46:44 | |
It was just, you were transported into another world. | 0:46:45 | 0:46:49 | |
Surrounded by beautiful props and wearing lovely costumes. | 0:46:49 | 0:46:53 | |
And all real, by the way. There was nothing fake. | 0:46:53 | 0:46:56 | |
They had them watched, 24 hours a day. | 0:47:00 | 0:47:03 | |
David used to say it cost a fortune to hire the props. | 0:47:03 | 0:47:07 | |
Chocks away! | 0:47:07 | 0:47:08 | |
-Is that right? -Hold on to your hat! | 0:47:08 | 0:47:11 | |
The clever thing about all David's programmes is that they're set in the past, so that they never date. | 0:47:12 | 0:47:18 | |
They're already in the past. | 0:47:18 | 0:47:20 | |
And it was a historical event that inspired another hit series for David Croft and Jeremy Lloyd. | 0:47:20 | 0:47:26 | |
Here comes that idiot Englishman who thinks he can speak our language. | 0:47:26 | 0:47:29 | |
Crabtree. Good moaning. Rene. Good moaning. Crabtree. Do you want the good nose or the bad nose? | 0:47:29 | 0:47:36 | |
Oh, do let us have the good nose! | 0:47:38 | 0:47:40 | |
I have hushed up the shutting of the two tits. | 0:47:40 | 0:47:45 | |
What does Crabtree say, Yvette? | 0:47:49 | 0:47:50 | |
He has hushed up the shooting of the two tarts. | 0:47:50 | 0:47:53 | |
You could hear them in the room, going, "Ha, ha, ha! Ho, ho, ho!" | 0:47:53 | 0:47:59 | |
The laughter that was coming out... "You can't say that." "I think we can!" | 0:47:59 | 0:48:04 | |
Stand by for inspection by General von Klinkerhoffen. Hans. | 0:48:05 | 0:48:09 | |
General von Klinkerhoffen! Colonel. General von Klinkerhoffen! Michelle. | 0:48:09 | 0:48:12 | |
There is a gun in your back. If you give us away, you will be the first to die. | 0:48:12 | 0:48:17 | |
You will do exactly as I say. Rene. Now listen very carefully... | 0:48:17 | 0:48:21 | |
..I will say this only once. | 0:48:21 | 0:48:24 | |
It was quite bold of David and Jeremy | 0:48:24 | 0:48:28 | |
to put a series together called 'Allo 'Allo!, | 0:48:28 | 0:48:32 | |
set in France, occupied by the Germans. | 0:48:32 | 0:48:37 | |
It was quite heavily criticised at the time for taking the Mickey out of all these brave people. | 0:48:37 | 0:48:42 | |
David said, "But we don't send up anyone in particular," he said. "We send up everyone." | 0:48:42 | 0:48:49 | |
"The Germans are kinky, the French are randy and the English are stupid." | 0:48:49 | 0:48:53 | |
Hello! | 0:48:53 | 0:48:55 | |
The phone rang, and it was my agent, and she said, "I've just been on the telephone | 0:48:57 | 0:49:02 | |
for nearly three-quarters of an hour with David Croft, | 0:49:02 | 0:49:06 | |
and he's got this idea for a new series, a new comedy series." | 0:49:06 | 0:49:11 | |
"He's eager to have you in it, Gorden, and he's sending the script." | 0:49:11 | 0:49:16 | |
I started to read it, and I was laughing about a third of the way down. | 0:49:16 | 0:49:21 | |
I thought, "This is funny. It's not one of my lines, it's just a description of what's going on." | 0:49:21 | 0:49:27 | |
And, eventually, I got through it, and I thought, | 0:49:28 | 0:49:31 | |
"I've got to ring agent up and say yes please, with knobs on." | 0:49:31 | 0:49:36 | |
Otto Flick, the Gestapo officer, is having dinner in the back room. | 0:49:36 | 0:49:40 | |
Upstairs are two German officers in their underwear, | 0:49:40 | 0:49:43 | |
because I have borrowed their uniforms to help two British airmen to escape. | 0:49:43 | 0:49:48 | |
The pianist over there is in fact a forger for the Maquis, | 0:49:48 | 0:49:52 | |
and the German officer at that table fancies me. | 0:49:52 | 0:49:55 | |
And it is only Tuesday! | 0:49:57 | 0:50:00 | |
You shouldn't be laughing at it, because it breaks all the rules of political correctness, | 0:50:00 | 0:50:05 | |
but at the end of the day, it's full of joy and delight. | 0:50:05 | 0:50:08 | |
Is the secret camera operating correctly? | 0:50:08 | 0:50:10 | |
I will demonstrate, Colonel! | 0:50:10 | 0:50:12 | |
OWL HOOTS | 0:50:14 | 0:50:16 | |
No, I wasn't the only one in the piece that wondered if we would get away with lines like these. | 0:50:18 | 0:50:25 | |
I have three fallen Madonnas, with six pink boobies. | 0:50:25 | 0:50:28 | |
We were very lucky getting Gorden Kaye, | 0:50:30 | 0:50:33 | |
who was from Huddersfield, who does the most marvellous French accent. | 0:50:33 | 0:50:38 | |
I expect you would like a light. | 0:50:38 | 0:50:41 | |
Thank you, you're very kind. | 0:50:41 | 0:50:42 | |
I have no matches. | 0:50:44 | 0:50:46 | |
Then why do you ask me if I would like a light? | 0:50:50 | 0:50:52 | |
I'm very sorry. | 0:50:53 | 0:50:55 | |
If you have no matches, if you have no matches, take mine. | 0:50:57 | 0:51:02 | |
-I have a spare box. -Are you one of them? | 0:51:02 | 0:51:06 | |
Really, it was very lonely on the Russian Front. | 0:51:09 | 0:51:13 | |
Jeremy and David wrote so that you laughed out loud. | 0:51:16 | 0:51:21 | |
Even if you didn't want to laugh, you laughed. | 0:51:21 | 0:51:25 | |
The scripts were beautiful, and we all knew where the laughs were. | 0:51:25 | 0:51:28 | |
Er, do you have a light? | 0:51:42 | 0:51:45 | |
What do you want a light for? I just lit it. | 0:51:47 | 0:51:49 | |
I don't want a light, I just wondered if he had a light. | 0:51:51 | 0:51:55 | |
I have no matches. | 0:51:57 | 0:51:59 | |
I've just given you some matches! | 0:52:00 | 0:52:03 | |
These are your matches, they're not my matches! | 0:52:07 | 0:52:10 | |
-Is he one of us? -No, he's one of them! | 0:52:14 | 0:52:17 | |
Please, don't tell everybody! | 0:52:17 | 0:52:19 | |
David had a wonderful brain for construction of shows, | 0:52:20 | 0:52:25 | |
what was funny, how to put it all together. | 0:52:25 | 0:52:29 | |
Scripts, when they came for new series, I would read them and I'd think, | 0:52:29 | 0:52:33 | |
"Oh, I can't wait for so-and-so to say that line," | 0:52:33 | 0:52:36 | |
because I knew exactly how they would do it, | 0:52:36 | 0:52:39 | |
and therefore David and Jeremy themselves obviously knew how they would do it. | 0:52:39 | 0:52:43 | |
-Listen very carefully. I shall say this only once. -I beg your pardon? | 0:52:43 | 0:52:47 | |
It's so clever if you've got a character that people can engage in so much, | 0:52:49 | 0:52:54 | |
and be interested in enough to just have quite simple catchphrases | 0:52:54 | 0:53:00 | |
and find them so funny and want to see them every week. | 0:53:00 | 0:53:04 | |
It is I, LeClerc. | 0:53:04 | 0:53:06 | |
It's only when somebody says it and it gets a laugh, | 0:53:06 | 0:53:09 | |
and then they say it again the next week and it gets a laugh, it then becomes a catchphrase. | 0:53:09 | 0:53:15 | |
I think people liked the knowledge that somebody's going to do it, and then enjoy it when they do. | 0:53:15 | 0:53:19 | |
You stupid woman! | 0:53:19 | 0:53:21 | |
The catchphrases, probably, that stick are the ones which | 0:53:22 | 0:53:27 | |
coincide perfectly with the character, in some way. | 0:53:27 | 0:53:31 | |
Oh, Rene! | 0:53:31 | 0:53:34 | |
It was David's idea, which I also thought was brilliant, | 0:53:34 | 0:53:37 | |
to have the English arriving not speaking French, | 0:53:37 | 0:53:41 | |
the French not understanding them, but everybody speaking English. | 0:53:41 | 0:53:44 | |
Go and find us a table where we will be alone. I have a little English, I will explain. | 0:53:44 | 0:53:49 | |
OK, chaps. Follow the boss. | 0:53:51 | 0:53:54 | |
Oh, good God! She speaks English! | 0:53:54 | 0:53:56 | |
The French seem to be able to understand the Germans | 0:53:56 | 0:54:00 | |
and vice versa, but nobody understood the English. | 0:54:00 | 0:54:03 | |
Are you expecting us, by any chance? | 0:54:03 | 0:54:05 | |
-What does he say? -I don't know, I don't speak English. | 0:54:06 | 0:54:09 | |
David Croft himself used to say, "It's a can of worms, don't go there, you know." | 0:54:09 | 0:54:15 | |
These are the rules, you know, don't go too deep into that, but it's working so far! | 0:54:17 | 0:54:23 | |
I say, is anyone down there? | 0:54:23 | 0:54:25 | |
Oh, my God! Not another stupid English man! | 0:54:25 | 0:54:30 | |
I'll never forget David walking into the studio rehearsals one day, | 0:54:30 | 0:54:34 | |
and saying to me, I think, halfway through the first series, | 0:54:34 | 0:54:36 | |
saying to me, "I've had the most brilliant idea! I've had a brilliant idea last night!" | 0:54:36 | 0:54:42 | |
He said, "I'm bringing in an English policeman who can't speak French." | 0:54:43 | 0:54:50 | |
I just, basically, wanted to see the policeman, who was hilarious. | 0:54:50 | 0:54:56 | |
Good moaning. | 0:54:56 | 0:54:58 | |
At school, I mean, we never not said "Good moaning". | 0:54:58 | 0:55:03 | |
That's what we'd say, good moaning. It was just a catchphrase for us all. | 0:55:03 | 0:55:06 | |
I was pissing by the door... | 0:55:08 | 0:55:11 | |
AUDIENCE LAUGH | 0:55:11 | 0:55:13 | |
..when I heard two shats. | 0:55:17 | 0:55:18 | |
It had kind of gone to my head a bit. | 0:55:19 | 0:55:21 | |
David came up to me and said, "Yes, yes, we'll do that again, | 0:55:21 | 0:55:25 | |
and this time, don't come in knowing you're going to be funny." | 0:55:25 | 0:55:29 | |
Which is actually devastating! | 0:55:30 | 0:55:32 | |
Good moaning. | 0:55:35 | 0:55:36 | |
And I think it's probably the best note I've ever been given in my whole career. | 0:55:38 | 0:55:42 | |
I've never forgotten it, I never will forget it. | 0:55:42 | 0:55:44 | |
-You bear a most remarkably close resemblance to Rene. -I know. | 0:55:44 | 0:55:48 | |
-You even have the same pretty rings. -Ah, yes, yes. He left them to me. | 0:55:50 | 0:55:55 | |
Now I come to look, your eyelashes are a little longer, and your hands are more artistic. | 0:55:55 | 0:56:02 | |
The Colonel told me you arrived from Nancy this morning. | 0:56:03 | 0:56:07 | |
-Yes, yes, quite right. -Is that where you and Rene were born? | 0:56:07 | 0:56:10 | |
Yes, we were both Nancy boys. | 0:56:10 | 0:56:12 | |
It's a wonderful thing to know that I worked with one of the great, | 0:56:20 | 0:56:25 | |
one of the greats of our profession. | 0:56:25 | 0:56:28 | |
He gave something to British comedy that is like a treasure chest. | 0:56:28 | 0:56:34 | |
MUSIC: "Run" by Snow Patrol | 0:56:34 | 0:56:37 | |
They don't come like David any more. Those sort of writers are gone. | 0:56:47 | 0:56:52 | |
So sad, in a way. | 0:56:53 | 0:56:55 | |
He was a great mentor, and you couldn't want for anybody better, could you? | 0:56:55 | 0:56:59 | |
I'm so grateful to him for the laughs, and all that he's done for the genre that I love so much. | 0:56:59 | 0:57:04 | |
What have we got here? | 0:57:04 | 0:57:05 | |
Is it a mushroom? | 0:57:07 | 0:57:09 | |
His work was injected with a sense of fun, I think, as well. | 0:57:09 | 0:57:14 | |
A kind of optimism. | 0:57:14 | 0:57:16 | |
They can put 20 bombs down my trousers, and they will not make me crack! | 0:57:16 | 0:57:20 | |
He wasn't just liked by everyone that worked with him, | 0:57:22 | 0:57:26 | |
he was loved by everyone that worked with him. | 0:57:26 | 0:57:27 | |
This man, Croft, had a knack for making people smile. | 0:57:27 | 0:57:32 | |
Plenty of room under the arms for movement. | 0:57:32 | 0:57:34 | |
I get quite carried away when I put one of...aaaah! | 0:57:34 | 0:57:37 | |
You don't argue with somebody who's got | 0:57:39 | 0:57:41 | |
a list of successes like he has, over the years. | 0:57:41 | 0:57:45 | |
He had a very good ear and a very good eye. I was very, very lucky to meet him. | 0:57:47 | 0:57:53 | |
I screamed and screamed, but nobody came. | 0:57:53 | 0:57:56 | |
We thought you were singing. | 0:57:56 | 0:57:59 | |
I'd like to say this as a tribute to David, because he was so easy. | 0:57:59 | 0:58:05 | |
We never had a row. He knew it all. Can you say that about somebody? | 0:58:05 | 0:58:10 | |
Subtitles by Red Bee Media Ltd | 0:58:44 | 0:58:47 | |
E-mail [email protected] | 0:58:47 | 0:58:50 |