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After 100 yards, turn right. Go around the roundabout. 4th exit. | :01:17. | :01:25. | |
Which exit? 4th Exeter. At the end of the road, turn left... I must | :01:25. | :01:29. | |
have interviewed hundreds of people in my time and very often you are | :01:29. | :01:34. | |
going to their house or a film set or a TV studio and they send you | :01:34. | :01:39. | |
detailed directions so you don't get lost. But this has to be a | :01:39. | :01:49. | |
:01:49. | :01:52. | ||
first. Turn left. Turn right. it is rather surreal. How far to | :01:52. | :02:02. | |
:02:02. | :02:02. | ||
the next exit? 700 yards!. You have reached your destination. Here we | :02:02. | :02:06. | |
are, outside the house of my guest today whose voice is as distinctive | :02:06. | :02:13. | |
as his figure, and whose career has spanned uneventful 50 years. | :02:13. | :02:18. | |
# Don't stop me now, I'm having such a good time... | :02:18. | :02:23. | |
Brian Blessed is a man with a greater sense of adventure. He has | :02:23. | :02:28. | |
been a pioneer of Live TV drama. He has climbed Everest. He has | :02:28. | :02:36. | |
presented wish shows. I am Brian Blessed. He has flown with Flash | :02:36. | :02:43. | |
Gordon and paid cats and emperors. -- played. And throughout it all, | :02:43. | :02:49. | |
Brian has had a fascination with religion. He has met the Dalai Lama, | :02:49. | :02:53. | |
played Saint Peter and called on divine help when needed. 1 Everest | :02:53. | :02:58. | |
when an avalanche is coming down in this place and that place, 200 mph | :02:58. | :03:03. | |
and it is heading for the, I called for God. He is, of course famously | :03:03. | :03:10. | |
loud. "Gordon's alive!". Brian is a force of nature, if you want | :03:10. | :03:14. | |
something extreme and mad and poetical, Brian is your man. | :03:14. | :03:20. | |
will fill any room. But there is a side to him that few know about, a | :03:20. | :03:24. | |
more reflective Brian Blessed. is a national asset. There should | :03:24. | :03:30. | |
be railings but around him. We are going to sail to the top this time. | :03:30. | :03:34. | |
Brian Blessed is one of our best- loved actors and he is a man with a | :03:34. | :03:38. | |
taste for adventure. We now he has climbed mountains but he is also on | :03:38. | :03:44. | |
a spiritual quest. -- we know. I have no idea what Turner this | :03:44. | :03:53. | |
conversation will take. -- what turn. | :03:53. | :03:59. | |
So, Brian, this is your temple. it is. To your work and you're | :03:59. | :04:05. | |
doing so. Yes. I have always wanted to have a shared and my wife was | :04:05. | :04:09. | |
not always that happy about it -- shed, that I didn't want to be in | :04:09. | :04:16. | |
the house, but quite a lot of men, they want to have that kind of | :04:16. | :04:22. | |
cubbyhole. I love peace. I love silence. The Boer War is very thick | :04:22. | :04:32. | |
:04:32. | :04:32. | ||
in his wooden shed -- the Boer War. I can come here and be meditate and | :04:32. | :04:36. | |
pray and I can read and learn. It is here that I create my projects | :04:36. | :04:42. | |
and the things I want to do. Brian was born in 1936 and grew up in a | :04:42. | :04:47. | |
village in South Yorkshire the son of a miner. He was a boy with a | :04:47. | :04:52. | |
vivid imagination. As a child, I wept at the thought that there were | :04:52. | :04:58. | |
no dinosaurs. I missed the dinosaurs. And I used to create | :04:58. | :05:03. | |
them and scare the whole street. I said they lived under my house in | :05:03. | :05:08. | |
great caves and caverns leading down to South America. And they | :05:08. | :05:15. | |
believed me. A petition was drawn up by the parents, a long line of | :05:15. | :05:19. | |
parents to our house, to complain that my imagination was too much to | :05:19. | :05:23. | |
the children and I had to tell them there were no such thing as | :05:23. | :05:27. | |
dinosaurs and I refused. When I discovered at the age of six that | :05:27. | :05:33. | |
the planet Mars existed and there were other worlds beside mind... We | :05:33. | :05:37. | |
are the children of stardust, as old as the universe, we are part of | :05:37. | :05:44. | |
it. All of that was in me as a child. I arrived happy. I feel as | :05:44. | :05:48. | |
if I am trying to tether a hot-air balloon. You don't spend your life | :05:48. | :05:55. | |
with us mortals, do you? I do, I do. He is a one-off, it is a terrible | :05:55. | :06:01. | |
cliche, but he is. Like no one else. He is not constricted by class, he | :06:01. | :06:06. | |
is never showing off, he is authentic and eccentric, yes, but | :06:06. | :06:12. | |
not in a self-conscious way. If a true eccentric doesn't know perhaps | :06:12. | :06:22. | |
:06:22. | :06:24. | ||
why he is funny. Sunday Driver! am not sure whether Brian knows | :06:24. | :06:28. | |
about reining himself in. I admire that. There are lots of us who | :06:28. | :06:32. | |
would love to think that we could just let ourselves go in any | :06:32. | :06:37. | |
society. The most important thing in life is to love yourself. Oscar | :06:37. | :06:43. | |
Wilde said "To love oneself is to have a lifelong romance", and so I | :06:43. | :06:48. | |
do love my company and I like myself, and therefore, I like | :06:48. | :06:55. | |
people. He has this extraordinary vitality and sometimes it is | :06:55. | :06:58. | |
completely off the wall, but there is always an absolute truth and | :06:58. | :07:04. | |
honesty about what he says and what he believes. When he comes round, | :07:04. | :07:08. | |
my children adore him, and they see the truth very instant the, kids, | :07:08. | :07:12. | |
whether people are interested in them, what they like a don't like - | :07:12. | :07:16. | |
- instantly. They think Brian is the funniest person on the planet. | :07:16. | :07:20. | |
He never forget she wore what he cares about and his generosity of | :07:20. | :07:25. | |
spirit and generosity of soul will never be diminished -- he never | :07:25. | :07:30. | |
forgets you or what he cares about. Perhaps that the generosity of soul | :07:30. | :07:35. | |
first sprang from his interest even as a child in religion. But that | :07:35. | :07:42. | |
interest was even quashed before it began. We had a wonderful school | :07:42. | :07:48. | |
and wonderful teachers. Three or four times a week, you had the BBC | :07:48. | :07:52. | |
Rep company doing religious stories. You would hear the same actors | :07:52. | :08:01. | |
doing it. "I am Jesus!" And they were lacking. But Mr RB, he was at | :08:01. | :08:06. | |
gardening teacher and a priest on the weekends, he had one eye -- Mr | :08:06. | :08:12. | |
Paul Daly. He totally entranced me about Jesus as we turned over the | :08:12. | :08:17. | |
compost heap. We talked about the distances Jesus walked. He worked | :08:17. | :08:21. | |
it out in mileage, he was incredibly fit, and what kind of | :08:21. | :08:26. | |
language he had used. Brian lived in the village of Goldthorpe in | :08:26. | :08:30. | |
South Yorkshire. Most families they relied on the Colman's for | :08:30. | :08:34. | |
employment. -- coal mines. It was a hard life with little scope for | :08:34. | :08:39. | |
ambition. Most of the kits would follow their fathers down the mines | :08:39. | :08:42. | |
and marry pretty younger and that is how they imagined it would | :08:42. | :08:48. | |
always be. A difficult life with soot in your lungs and it collapses. | :08:48. | :08:52. | |
Not exactly the highest paid job and one of the most dangerous and | :08:52. | :08:58. | |
unpleasant. So Brian, although his childhood was tough, then it an | :08:58. | :09:03. | |
inspiring time. The coal mines, they were wonderful days. I am not | :09:03. | :09:07. | |
knocking the days I had. The war years were wonderful and fed meat, | :09:07. | :09:13. | |
my imagination, because we had to cinemas in the village -- fed me. | :09:13. | :09:19. | |
We could see Flash Gordon in black and white, we had a wooden radios, | :09:19. | :09:24. | |
no television, programmes on the BBC, and Mike father was a cold | :09:24. | :09:30. | |
cure and he came through at home with their gas lights -- my father | :09:30. | :09:37. | |
was a cold cure. He came through like Hector, with his light on. "I | :09:37. | :09:44. | |
am reading about the amazing Mr X, Dad!". And I had uncles with | :09:44. | :09:49. | |
enormous power he would go to the opera in Sheffield, Orpheus in the | :09:49. | :09:52. | |
underworld, and they would describe it and acted and we had heroes | :09:52. | :09:58. | |
around us. With such inspiration, it is hardly surprising that Brian | :09:58. | :10:03. | |
felt drawn to perform himself. He discovered that he had a talent for | :10:03. | :10:07. | |
acting and there were plenty of opportunities close at hand for | :10:07. | :10:12. | |
young person keen to take the stage. There was a man in South Yorkshire | :10:12. | :10:19. | |
called Harry Dobson. I have never met the director to recall him, as | :10:19. | :10:25. | |
a mentor, a big man with sausage fingers, great big ball of a man, | :10:25. | :10:32. | |
and I beg him to take me on. He said, "My God, lad, you're a rough | :10:32. | :10:38. | |
diamond. It's going to be an lot of hard work". And he worked on May. | :10:38. | :10:41. | |
Harry Dobson worked on another people who would become a famous | :10:41. | :10:47. | |
actor. The future captain of the USS Enterprise, Patrick Stewart. | :10:47. | :10:52. | |
is strange to think that these two, one of them unbelievably hairy and | :10:52. | :10:55. | |
I think Patrick Stewart was bowled when he was 17, so a wonderful | :10:55. | :11:04. | |
mixture, -- bald. I think God was soon an amusing mood when he was | :11:04. | :11:07. | |
sending babies down the chimney that particular day, he thought | :11:07. | :11:10. | |
there would be fun to have been that part of Yorkshire with two | :11:10. | :11:16. | |
extraordinary people, both of them extraordinary actors. Patrick has | :11:16. | :11:22. | |
that extraordinary tenor voice. Brian like this... The most | :11:22. | :11:26. | |
extraordinary couple. Let's ask about this voice. As a South | :11:26. | :11:31. | |
Yorkshire boy, you obviously had a good Yorkshire accent, and now... | :11:31. | :11:37. | |
Yes, it was a problem. Patrick Stewart was the same. He was my | :11:37. | :11:44. | |
buddy, Patrick, though he was much more refined. I have to say, the | :11:44. | :11:47. | |
people in South Yorkshire found it very hard to understand what I was | :11:47. | :11:53. | |
saying. I told him very much a Yorkshire accent, even Shakespeare, | :11:53. | :11:59. | |
everything. I could hold on to the Val also be there could reasonably | :11:59. | :12:04. | |
understand, but by Haddad incredibly thick Yorkshire accent, | :12:04. | :12:11. | |
more than anybody ass -- I had. Harry encouraged him to moderate | :12:11. | :12:14. | |
his accent but not lose the expression. The result is one of | :12:14. | :12:20. | |
the most distinctive voices. He has resonance, power. I will never | :12:20. | :12:26. | |
bring him back, he can stay there and rot. Brian was always quite | :12:26. | :12:33. | |
allowed young man. He wasn't quiet. He has a kind of Henry VIII sort of | :12:33. | :12:38. | |
voice. It is like an instrument, his voice. At first blush, he | :12:38. | :12:44. | |
appears to be allowed, and they actor. -- a loud. And then you | :12:44. | :12:49. | |
realise he is very good. Goldthorpe in the early 1950s, | :12:49. | :12:54. | |
Brian's new way of speaking and his love of acting lead from criticism | :12:54. | :12:59. | |
from some who felt he was getting above himself -- led to criticism. | :12:59. | :13:04. | |
For his bravado, he was a sensitive lad. I think he is more complicated | :13:04. | :13:07. | |
than he seems and growing up in Yorkshire, this mixture of | :13:07. | :13:12. | |
sensitivity and intelligence, with a big, boisterous energy and | :13:12. | :13:18. | |
strength, it is an odd combination. I don't think, if you're an actor, | :13:18. | :13:23. | |
it's very easy to be part of the group who grew up with and there | :13:23. | :13:26. | |
she grew up with in a bohemian sort of atmosphere, because most people | :13:26. | :13:33. | |
regard actors as a bit weird, and I can't imagine what a lot of his | :13:33. | :13:37. | |
contemporaries, the other boys at school, would have thought, that | :13:37. | :13:41. | |
saw him on stage, speaking in Shakespearean verse or whatever. | :13:41. | :13:45. | |
harsh review in the local paper of one of his amateur performances had | :13:45. | :13:50. | |
a terrible effect on Brian. It led to dramatic break them. The paper | :13:50. | :13:57. | |
claims that he had over acted his part. Everywhere I went, people | :13:57. | :14:04. | |
said, I will try to this part. It was a chink of light armour, and I | :14:04. | :14:07. | |
didn't take any notice, or so I thought. I ignored them and ignored | :14:07. | :14:11. | |
them and then suddenly I found, gradually, that I was becoming | :14:12. | :14:18. | |
morose. And my mother was frightened. I would come home in | :14:18. | :14:23. | |
the evenings and look at the fire, with big staring eyes. "You're | :14:23. | :14:33. | |
:14:33. | :14:34. | ||
frightening me, Brian, what's the matter?" "I'm fine!" I thought my | :14:34. | :14:39. | |
thoughts were speeding up, "You have got a gift, you have got a | :14:39. | :14:44. | |
gift" and I was doing it all day. I couldn't cope. And then I called | :14:44. | :14:54. | |
:14:54. | :15:00. | ||
for God. Help may! I'm drowning! I need help! -- help me. And I called. | :15:00. | :15:04. | |
No point being an armchair philosopher, do you believe in God, | :15:04. | :15:09. | |
do you not? For God's sake, if you are put in that situation, you call | :15:09. | :15:19. | |
:15:19. | :15:27. | ||
for help and I needed help, I was There was an answer to Brian's plea | :15:27. | :15:31. | |
for help in the form of his speech to a chair, Frank Cooper. Brian | :15:31. | :15:36. | |
went to visit him. I walked in through the door. Forget the speech | :15:37. | :15:42. | |
election, I am finished! I can't think, I can't speak, I can't do | :15:42. | :15:49. | |
anything. And I collapsed. I said "I'm no good, everyone says it" And | :15:49. | :15:54. | |
I wept and wept and groaned Emily and groans and collapsed, | :15:54. | :15:58. | |
unconscious on the floor -- a million groans. When I woke up, he | :15:58. | :16:02. | |
was washing my face with at Halle and his wife was saying "It's all | :16:02. | :16:09. | |
right." And he started singing songs and then he did some poetry | :16:09. | :16:16. | |
about love and bits of Shakespeare, bits of this, bits of that. | :16:16. | :16:21. | |
Wonderful, deeper things that penetrated my head. And he stroked | :16:21. | :16:29. | |
my head and whispered all of these are wonderful Lions from Ulysses by | :16:29. | :16:35. | |
Tennyson, to strive to yield, you know. Not to Gillian and it all | :16:35. | :16:41. | |
went in to my head -- give in. And he cured me. It was a miracle. And | :16:41. | :16:50. | |
I laughed and he said, that better. Nice to see a laugh. You'll be all | :16:50. | :16:58. | |
right now. And that never looked Brian has certainly never looked | :16:58. | :17:02. | |
back. After National Service with the RAF, he went to drama school at | :17:02. | :17:07. | |
the Bristol Old Vic. Brian was different, he was quite different | :17:07. | :17:12. | |
from all other students. Not that one particularly looked up to buy | :17:12. | :17:17. | |
up -- to Brian. One just looked at him in amazement and wonder. Brian | :17:17. | :17:21. | |
used to tell stories, a bit like a fairy stories, and everything he | :17:21. | :17:27. | |
ever said, one bought 100%, even though one may have thought, he is | :17:27. | :17:30. | |
having me on. You believe everything and maybe that is the | :17:30. | :17:34. | |
mark of somebody who is rather a good actor. Brian couldn't be | :17:34. | :17:38. | |
described as a model student. He had his own ideas. He wouldn't | :17:38. | :17:42. | |
necessarily do what teachers wanted him to do. Maybe that is the nature | :17:42. | :17:48. | |
of a drama school. I am not sure that they are much use to you, if | :17:48. | :17:57. | |
you have already got what Brian He didn't have to wait long for | :17:57. | :18:07. | |
:18:07. | :18:13. | ||
success. His first big role was in I watched Z Cars as a boy. If I | :18:13. | :18:19. | |
hear that tuned to this day, I get prickles up the back of my neck. | :18:19. | :18:24. | |
Cars was a police drama set in the fictional Liverpool suburb of | :18:24. | :18:29. | |
Newtown. What was startling is that it was an extremely realistic | :18:29. | :18:36. | |
depiction of police work. He is arguing with the inspector, he | :18:36. | :18:41. | |
can't win. It used top quality writers, high quality scripts and | :18:41. | :18:46. | |
realism about police work, and compelling characters. Brian played | :18:46. | :18:53. | |
a confident bobbly, nicknamed Fancy Smith. I am going to have to take | :18:53. | :18:58. | |
you in for stealing property from a toy company. I have nothing to say, | :18:58. | :19:02. | |
I want my scarf. We can let him have a cup of tea before he goes? | :19:02. | :19:07. | |
We could, I suppose. It was a series that lived dangerously. It | :19:07. | :19:17. | |
:19:17. | :19:20. | ||
went out alive. It is being with him, I suppose. Live performance | :19:20. | :19:24. | |
gives you the same as theatre, it gives you an age, and excitement, a | :19:24. | :19:29. | |
pace. The other side of that is that you can't, by definition, have | :19:29. | :19:35. | |
retakes. Genuine courage was required. I did not by those | :19:35. | :19:40. | |
brushes. As far as I know, he opened the door and he went. What | :19:40. | :19:45. | |
courage was it, to do a live broadcast every week, live | :19:45. | :19:54. | |
television is exciting, and good fun. But dangerous. Yes. It was all | :19:54. | :20:01. | |
new on Z Cars. It was 45 minutes live, and five minutes filmed. We | :20:01. | :20:05. | |
had 24, to 28 million viewers. The first time I was introduced as | :20:05. | :20:11. | |
Fancy Smith, dancing outside a pub, I a slightly get a word wrong. | :20:11. | :20:18. | |
you got... One of those cars. managed to grip on and do something | :20:18. | :20:24. | |
interesting. You wait there. | :20:24. | :20:30. | |
I almost lost it, I almost lost my nerve. After that, I was fine. I | :20:30. | :20:34. | |
could do anything on a live show. Ad-lib if things went wrong, hold | :20:34. | :20:40. | |
up a wall if things went wrong. Even hold up the car if the springs | :20:40. | :20:43. | |
had gone in the studio. I have said nothing about it to | :20:43. | :20:53. | |
:20:53. | :20:53. | ||
John. I believe you. You don't! It was a wonderful challenge. | :20:53. | :20:59. | |
guests used to have terrible times. John Hurt, I had a 10 minutes seen | :20:59. | :21:04. | |
with him. The light came on, that meant 24 million, or 28 million | :21:04. | :21:08. | |
viewers, and I was supposed to break him down. I said, I want to | :21:08. | :21:14. | |
have a word with you. He said, I'm guilty. Steel 10 minutes scene had | :21:14. | :21:21. | |
gone! The news went out 10 minutes early map - the whole 10 minutes | :21:21. | :21:29. | |
scene had gone. It was me who got the blame. When the news comes in | :21:29. | :21:35. | |
early, it is because people are terrified of me! Fancy Smith is | :21:35. | :21:38. | |
this marvellous character that you grew and loved and created. He was | :21:38. | :21:43. | |
as big and as famous as The Beatles, they were there at the time as well. | :21:43. | :21:47. | |
Yes, I couldn't walk down the street. I lived in Richmond, Surrey. | :21:47. | :21:53. | |
I had to wait until about 515, and rushed to Woolworths and get some | :21:53. | :22:01. | |
food quick. I went to Derby to do a book signing, I had never done a | :22:01. | :22:08. | |
book signing. James Bond was on, Sean Connery, From Russia With Love, | :22:08. | :22:12. | |
thousands of people were going to see this film. I said, can you tell | :22:12. | :22:19. | |
me the way to this book... He's here! I spent nine hours in this | :22:19. | :22:22. | |
book shop, signing autographs with the police looking after me. That | :22:22. | :22:27. | |
was the effect of Z Cars. It was phenomenal. How do you stop that | :22:27. | :22:32. | |
making you too big for your boots? Or did it affect you? You are young | :22:32. | :22:36. | |
man, it is going to have an effect on you. It was a shock that one | :22:36. | :22:42. | |
could be so well known. And yet not known? I wasn't resentful, but I | :22:42. | :22:46. | |
realised I had lost a lot of freedom. That I couldn't get around, | :22:46. | :22:53. | |
I couldn't go into my parks. I was already thinking of Adventures and | :22:53. | :22:59. | |
things, it curtailed a lot of that. I slightly became a prisoner. I | :22:59. | :23:04. | |
think it would be fair to say, I was known as the big head of the | :23:04. | :23:14. | |
:23:14. | :23:14. | ||
company. In that I tended... I find it difficult, being a somewhat | :23:14. | :23:18. | |
classical actor. I had to do a little bit off the set as well, | :23:18. | :23:27. | |
which I think people found a bit Brian had run-ins with one member | :23:27. | :23:30. | |
of the cast in particular, Stratford Johns, who played | :23:30. | :23:37. | |
Inspector Barlow. I said you are a cheeky young fellow. I was always | :23:37. | :23:42. | |
answerable to him, as the inspector in Z Cars, Stratford Johns. In I | :23:42. | :23:46. | |
Claudius, I was Augustus Caesar. Suddenly, he was a senator in my | :23:46. | :23:56. | |
:23:56. | :23:57. | ||
court. There was a long scene, I walk down and I put it in and I say | :23:57. | :24:07. | |
:24:07. | :24:09. | ||
about moderation. Don't I know you? No, Caesar. He suddenly dropped it | :24:09. | :24:19. | |
:24:19. | :24:22. | ||
After leaving Z Cars, Brian took on roles very different from Fancy | :24:22. | :24:26. | |
Smith. He played St Peter in its Dennis Potter's controversial TV | :24:26. | :24:32. | |
drama, Son Of Man. Brian hadn't lost his childhood fascination with | :24:32. | :24:37. | |
the figure of Jesus. Colin Blakely played the title role. I wanted to | :24:37. | :24:42. | |
come with me. Where to? All over this land, I have to preach to the | :24:43. | :24:50. | |
people. I have to tell them things kept secret since the world began. | :24:50. | :25:00. | |
:25:00. | :25:02. | ||
There had not been many depictions of Christ, or Christ's story in | :25:02. | :25:06. | |
broadcasting, because for many decades they were not allowed. | :25:06. | :25:16. | |
:25:16. | :25:16. | ||
What Dennis Potter did, and the cast did fantastically well in Son | :25:16. | :25:21. | |
Of Man, was to try to give a more naturalistic, realistic portrayal | :25:21. | :25:26. | |
of that story. And so the key thing in the acting and the writing was | :25:26. | :25:35. | |
realism. When it came to doing the film, when they started the first | :25:35. | :25:40. | |
scene, Colin could not come out of his dressing room. I can't be | :25:40. | :25:45. | |
choosers, I can't do it. He was a terrific actor. -- I can't be Jesus. | :25:45. | :25:50. | |
They couldn't get him out. I went in there. I had him doing the | :25:50. | :25:57. | |
Lord's Prayer. I said, that's it, that's it, mechanical. Like every | :25:57. | :26:02. | |
time people do the Lord's Prayer, it is generally mechanical. So | :26:02. | :26:08. | |
there is a kind of boredom element about it. I had him doing things, | :26:08. | :26:15. | |
for thine is the kingdom! Thine is the kingdom! The Power And the | :26:15. | :26:25. | |
Glory! For ever! And ever! And it shook him. And I said. Get on and | :26:25. | :26:31. | |
play it! And he was tremendous. He sailed through it and it came to | :26:31. | :26:36. | |
the Crucifixion. It is the Crucifixion... You find out, you | :26:36. | :26:44. | |
ask, before you do the scene. You find out what it means. And he went | :26:44. | :26:51. | |
on the cross, and he went, my God, my God, why has thou forsaken me? | :26:51. | :27:01. | |
:27:01. | :27:16. | ||
Colin went, my God! My God! Swire Everybody went, God... It was | :27:16. | :27:22. | |
amazing. It was so amazing that there were live debates after it on | :27:22. | :27:28. | |
television. And all sorts of things. Yes. What do you feel about this? | :27:28. | :27:34. | |
He was a real man, he had hairs on his chest, he had failings. He said, | :27:34. | :27:40. | |
is it me? One word from the cross, only. Why have you forsaken me. The | :27:40. | :27:45. | |
one that expresses doubt. This sums up quite validly, dramatically from | :27:45. | :27:50. | |
Dennis Potter's point of view, that this in no doubt is in Jesus. He | :27:50. | :27:54. | |
doesn't say that the final words of Christ are, it is completed, a cry | :27:54. | :27:59. | |
of triumph. More than 40 years on from Dennis Potter's drama, the | :27:59. | :28:02. | |
importance and power of the Crucifixion is undiminished for | :28:02. | :28:12. | |
:28:12. | :28:12. | ||
Brian. The creator, God, loves his son. Who he is proud of. It's but | :28:12. | :28:19. | |
he allows his sons to be stretched on a cross, and nails put through, | :28:19. | :28:29. | |
:28:29. | :28:29. | ||
and why? It is Jesus' mission, why he came. They would take all the | :28:29. | :28:34. | |
sins of the world on his shoulder. All the sins, Hitler, everything, | :28:34. | :28:39. | |
everybody, Saddam Hussein, whatever, all this, murderous killers, he | :28:39. | :28:49. | |
:28:49. | :28:49. | ||
takes it all on his shoulders. And what loneliness must he feel, as he | :28:49. | :28:55. | |
allows himself to become a man? I am being over-dramatic on his | :28:55. | :29:01. | |
interview, aren't I? When are you not have a dramatic? There is | :29:01. | :29:05. | |
nothing I can do about it. I have a three-litre engine, there is hugger | :29:05. | :29:15. | |
:29:15. | :29:17. | ||
all I can do about it. Brian is an extraordinary person to interview. | :29:17. | :29:20. | |
And he is right about the three- litre engine, he has an agent | :29:20. | :29:25. | |
energy for a man of 75. -- amazing energy. It has field some | :29:25. | :29:33. | |
remarkable acting. To be, or not to be. -- it has fuelled some | :29:33. | :29:39. | |
remarkable acting. This is my patch. It is something inside him. It | :29:39. | :29:43. | |
transmits through the camera, you don't have to stand next to him, | :29:43. | :29:46. | |
sit round the dinner table with him, be in his physical presence, I | :29:46. | :29:51. | |
think you can feel it. Sort of imagine it, imagine being hugged by | :29:51. | :29:57. | |
him and how it could turn into a rib cracking experience. I think he | :29:57. | :30:01. | |
is quite an instinctive actor, actually. I am not sure he goes | :30:01. | :30:05. | |
home at night and looks at the lines and thinks, if I go up at the | :30:06. | :30:14. | |
end of this line or down, that will do that. He was back - it was | :30:14. | :30:20. | |
always an adventure, and excitement, on stage to work with him. Some | :30:20. | :30:24. | |
people might say Brian is not subtle. But why should he be? | :30:24. | :30:30. | |
Quiches is a performer. He is an over a go. -- he is a performer. He | :30:30. | :30:40. | |
:30:40. | :30:45. | ||
perhaps does more than is necessary, I sometimes have a longing to be a | :30:46. | :30:50. | |
private citizen again. One of Brian's most famous roles was | :30:50. | :30:55. | |
Caesar Augustus and the BBC series I Claudius. It showed he could play | :30:55. | :31:00. | |
not only policemen and fisherman, but emperors as well. I watch it at | :31:00. | :31:05. | |
least once a year, it is so magnificent. It is the last great | :31:05. | :31:09. | |
studio made drama in British television history. It is the | :31:09. | :31:13. | |
acting that people remember and they were really on a tightrope, | :31:14. | :31:18. | |
because they were using theatre actors predominantly and they bring | :31:18. | :31:25. | |
a power and a weight and a sort of Shakespearian Association. Is it | :31:25. | :31:30. | |
too late to lay down the burdens of office? You are just like your | :31:30. | :31:39. | |
father. Always wanting the Republic. He was my enemy to at one time. -- | :31:39. | :31:45. | |
also. He was the bullying but rather put upon emperor, Augustus, | :31:45. | :31:50. | |
the first emperor. Under around him, his family and his loved ones were | :31:50. | :31:54. | |
being poisoned by his wife, whom he trusted and that the very end, he | :31:54. | :32:00. | |
himself is poisoned. It is very embarrassing. People might think we | :32:00. | :32:04. | |
were trying to poison you. death of August this is one of the | :32:05. | :32:11. | |
series's most famous moments. death scene is magnificent, if you | :32:11. | :32:15. | |
watch it, he keeps completely still with his eyes are open for, I think | :32:16. | :32:22. | |
it must be, 90 seconds. You actually watch him die, you see the | :32:22. | :32:28. | |
RA's the Delays slightly. They don't blink and he doesn't move. -- | :32:28. | :32:33. | |
you see the IRA's blaze. It is one of the great death scenes in | :32:33. | :32:43. | |
:32:43. | :32:47. | ||
television history. -- eyes glaze. The extraordinary adventure of | :32:47. | :32:51. | |
Brian Blessed's life took another turn in the early 80s and it had a | :32:51. | :32:56. | |
lot to do with a set of poems around cats and one of Britain's | :32:56. | :33:00. | |
most successful composers of musical theatre. When Andrew Lloyd | :33:01. | :33:05. | |
Webber said his next musical was based on TS Eliot's Old Possum's | :33:05. | :33:08. | |
Book of Practical Cats, the common feeling was that he was completely | :33:08. | :33:13. | |
mad and it would be a disaster, so the claws were red, as it were, for | :33:13. | :33:20. | |
Cats. -- out. It was as far away from the mainstream as you can get. | :33:20. | :33:26. | |
A group of people saying, "We are going to turn ourselves into | :33:26. | :33:31. | |
pussycats and we are going to seeing children's songs." it was an | :33:31. | :33:39. | |
extraordinary experiment. And the fact that it ran for 23, 24 years, | :33:39. | :33:43. | |
those of us involved could never quite believe it. Brian played the | :33:43. | :33:48. | |
role of the wise cat Old Deuteronomy. | :33:48. | :33:54. | |
# The cat who has led many lives... A Old Deuteronomy was gentle, why | :33:54. | :33:59. | |
is, ultimately ecstatic and priest like -- why is. And scarcely ever | :33:59. | :34:08. | |
moves, the traffic stops for him. Hatchback you've heard there are | :34:08. | :34:16. | |
several kinds of cat... I had no idea that Brian could sing, | :34:16. | :34:21. | |
but he was very game. He was very up for it. He was an adventurer in | :34:21. | :34:29. | |
every sense. The first time I saw my dad acting on a stage that I can | :34:29. | :34:36. | |
remember properly really was when he was in Cats. That was this | :34:36. | :34:42. | |
amazing voice. It was overwhelming, so exciting. The first six months, | :34:42. | :34:47. | |
it was like no other show. It was transcendental, wherever you went. | :34:47. | :34:53. | |
You could touch the air. The audience and the cast became one. | :34:53. | :34:57. | |
Old Deuteronomy stayed on stage during the interval, and children | :34:57. | :35:03. | |
were encouraged to cuddle and talk to him. It became a big thing. Boys | :35:03. | :35:07. | |
and girls dressed as cats and they would come and sit with me. | :35:07. | :35:13. | |
stage? They would have ice-creams and talk to me. It is lovely to see | :35:13. | :35:17. | |
your dad like that, everyone loving him and him being the safe, warm | :35:17. | :35:24. | |
place. When I was that age, I was five, that is what he was for me. | :35:24. | :35:28. | |
Then up on stage, he was that for everybody else, which was lovely. | :35:28. | :35:32. | |
At one performance, something remarkable happened. There was a | :35:32. | :35:38. | |
man and woman to bear and a little girl and I said "Are you enjoying | :35:38. | :35:47. | |
it?" and she said "... Yes" And her parents started to cry and I | :35:47. | :35:52. | |
thought I had said the wrong thing. And they said, "Know, quite the | :35:53. | :35:59. | |
contrary. That is the first time at child has ever spoken -- no.". And | :35:59. | :36:03. | |
she came after that quite regularly and her speech got better and | :36:03. | :36:08. | |
better. What you think it was in Old Deuteronomy that did something | :36:08. | :36:15. | |
to that little girl that she could respond? She totally and utterly | :36:15. | :36:23. | |
believed that as Old Deuteronomy... She forgot her ailment and | :36:23. | :36:28. | |
responded with great heart. She just believe did me. A child's | :36:28. | :36:36. | |
belief is astonishing, isn't it, occasionally? Occasionally, you get | :36:36. | :36:41. | |
feedback from audience, a letter, a postcard, a telephone call, and the | :36:41. | :36:47. | |
sort of incident that Brown has described, where somebody will say | :36:47. | :36:51. | |
that as a result of the show, something like changing has gone on | :36:51. | :36:56. | |
-- Brian has described. You definitely can't ever set out to | :36:56. | :37:02. | |
bring that about and if you hear of such a thing, it is only humbling | :37:02. | :37:12. | |
:37:12. | :37:15. | ||
and just make you go a bit quiet. There is one place that appealed to | :37:15. | :37:20. | |
Brian's sense of adventure far more than being on stage in the West End. | :37:21. | :37:28. | |
Somewhere that as a boy, he often dreamed of. Mount Everest. Brian | :37:28. | :37:33. | |
was inspired by one climber in particular, George Mallory, who in | :37:33. | :37:40. | |
1924, died attempting to conquer the peak. I wanted to follow in his | :37:40. | :37:43. | |
footsteps to pay tribute to this great man, and his great | :37:43. | :37:48. | |
mountaineer friends, a tribute to their great ideals. Ideals that to | :37:48. | :37:53. | |
a certain extent we have lost the day. People said it was impossible. | :37:53. | :37:57. | |
But Bryant didn't want to just conquer Everest, he wanted to make | :37:57. | :38:03. | |
a film that faithfully recreated Mallory's climb. Murray left his | :38:03. | :38:08. | |
wife and children, babies basically, for this dream and passion -- and | :38:08. | :38:13. | |
Mallory. I think that appealed to Brian, because he has the same | :38:13. | :38:16. | |
desire to do something extraordinary. There is no way that | :38:16. | :38:21. | |
Brian could play Mallory. He was too old, he was and slim and young. | :38:21. | :38:28. | |
But what he did do was embody Mallory. He sold it as a one-man | :38:28. | :38:34. | |
show up Everest. And also not in modern beer. We had gone out and | :38:34. | :38:39. | |
got tweed jackets and tweed trousers -- Kiev. And hobnail boots, | :38:39. | :38:45. | |
basically. We were doing it as Mallory would have done it. When | :38:45. | :38:51. | |
Dad did finally go up Everest to make his film, I think my mother | :38:51. | :38:57. | |
and I just listened to the silence. It was quite restful, because he | :38:57. | :39:01. | |
had been so obsessed with it was such a long time, he needed to go | :39:02. | :39:04. | |
out there and do it, because he could only tell us the story so | :39:04. | :39:10. | |
many times. And there was only so me times we could hear it. John- | :39:10. | :39:14. | |
Paul Davidson knew that when Brian Ayres or Everest for the first time, | :39:14. | :39:19. | |
it would be a moment he had to capture -- saw Everest. | :39:19. | :39:25. | |
purposely held it back from him and those days, you had to have all the | :39:25. | :39:30. | |
magazines Loaded, so could week -- so we could record his first sight | :39:30. | :39:34. | |
of the mountain, when you see it at the head of the ballet. It was | :39:34. | :39:40. | |
extraordinary, because he just filled up. It looks so beautiful. I | :39:40. | :39:46. | |
can see the North face... He is not one for weeping and crying, but you | :39:46. | :39:50. | |
could see the intensity of the experience. He had dreamt about | :39:50. | :39:59. | |
this moment for so long. I think that is where... That is where | :39:59. | :40:09. | |
:40:09. | :40:10. | ||
Mallory is. I just can't believe I am there. It is a dream come true. | :40:10. | :40:14. | |
Just to add to the adventure, despite the dangerously thin air, | :40:14. | :40:23. | |
Brian was climbing without oxygen. He loves the fact that he has a | :40:23. | :40:28. | |
pair of lungs on him that are almost unique and therefore have | :40:28. | :40:33. | |
allowed him to climb up Everest and without using oxygen. Yet when you | :40:33. | :40:38. | |
speak to him, he is always wheezing and you think "How can he even | :40:38. | :40:46. | |
climb the stairs" This is hell, I never envisaged this. | :40:46. | :40:50. | |
I have always thought that my father was indestructible and I | :40:50. | :40:54. | |
have no doubt that he would come back. He is a force of nature and I | :40:54. | :40:59. | |
can't imagine anything ever happening to him. I have never | :40:59. | :41:03. | |
climbed a mountain, so I don't know, but I have a feeling that there | :41:03. | :41:06. | |
must be a conversation that the mountain is having with you. | :41:06. | :41:11. | |
there something spiritual, that when you get so high and you can | :41:11. | :41:14. | |
see the heavens and you are so close, do you feel you are closer | :41:14. | :41:19. | |
to something else? Absolutely. And the beauty of the place is | :41:19. | :41:23. | |
staggering. The privilege of being amongst its millions of rainbows | :41:23. | :41:30. | |
and to look up into the cobalt blue and the ridges that go on, and the | :41:30. | :41:35. | |
curvature of the Earth. You are closer to the Creator. Your | :41:35. | :41:41. | |
emotions are rarefied. For me, the sacrifice of being physically | :41:41. | :41:45. | |
pummelled was made up for by the spiritual ascent that I made and I | :41:45. | :41:49. | |
have never looked back since. were talking before you went and I | :41:49. | :41:52. | |
heard you say that you were concerned about hallucinating it, | :41:52. | :41:57. | |
you were scared of that, yet fellow climbers said they are to be | :41:57. | :42:03. | |
welcomed. Yes, I welcomed them indeed. Reinhold Messner, the | :42:03. | :42:07. | |
greatest mountaineer ever, he said, "You hallucinate, that is good and | :42:07. | :42:12. | |
you will talk to your rucksack, it is good. Hallucinate with the | :42:12. | :42:21. | |
mountain and she will look at you". So just go with it. | :42:21. | :42:27. | |
Everest, or when it is you are feeling refined and in love with it, | :42:27. | :42:32. | |
that is when she is at her most dangerous. And at one point, my | :42:32. | :42:38. | |
grandfather appeared. This happens many time on Everest Two people. | :42:38. | :42:44. | |
Open but you better go down, that, you have done really well, -- "You | :42:44. | :42:50. | |
better go down, lad, you have done really well." And I turned around | :42:50. | :42:57. | |
and he was not there. He is not there. Then I turned around and he | :42:57. | :43:01. | |
was still there. Solid. I have had that experience several times on | :43:01. | :43:06. | |
Everest. We are going to sail to the top | :43:06. | :43:15. | |
this time, God willing! All we will stamp to the top. We are taking the | :43:15. | :43:25. | |
:43:25. | :43:36. | ||
Brian did it turn back. He had climbed to 27,000 feet -- did turn | :43:36. | :43:40. | |
back. It was a significant achievement. There is just now F. I | :43:40. | :43:48. | |
have got to stop or I will never get back. -- no the air. I can't | :43:48. | :43:52. | |
think of many actors that would have the endurance, the fortitude, | :43:52. | :43:57. | |
the persistence, all the qualities that are needed to climb any | :43:57. | :44:07. | |
:44:07. | :44:10. | ||
For Brian, life is a spiritual as well as a physical adventure. On | :44:10. | :44:14. | |
his expedition, he was fascinated by the Buddhist faith of the | :44:14. | :44:19. | |
Himalayan people he encountered. To Brian's delight, after much | :44:19. | :44:23. | |
negotiation, he was able to meet the Dalai Lama and get his blessing | :44:23. | :44:28. | |
for that climb. But any conversation involving Mr Blessed | :44:28. | :44:34. | |
can take an unusual term. Mallory, when they were first going, they | :44:34. | :44:38. | |
were going through Tibet and had to get permission from the Dalai Lama | :44:38. | :44:43. | |
to climb it, because it is a sacred mountain. I was trying to recreate, | :44:43. | :44:49. | |
in a sense, that meeting. Brian was, of course, thrilled to meet him. | :44:49. | :44:54. | |
And it his blessing. That was what we were hoping for. He was very | :44:54. | :44:59. | |
generous and found the meeting with Prayad Hallur areas. Brian is not | :44:59. | :45:03. | |
intimidated with anyone -- the meeting with Brian hilarious. The | :45:03. | :45:12. | |
I think a middle-aged man here, dressed in 1920s clothes, very much | :45:12. | :45:16. | |
needs a lot of blessing. It would be a great privilege and I would be | :45:16. | :45:26. | |
:45:26. | :45:30. | ||
This is a symbolised blessing. you meet someone like the Dalai | :45:30. | :45:34. | |
Lama, if you can get some time alone with him, or someone like | :45:34. | :45:41. | |
that, you become yourself. I was almost rude to him. I am saying, | :45:41. | :45:48. | |
it's Your Holiness, you make me 6th! You make me really sick! Why | :45:48. | :45:57. | |
do I make you sick? Because you are so good! It is hard to live with. | :45:57. | :46:01. | |
So millions turn out to see you, you are so good! Don't you ever get | :46:02. | :46:06. | |
angry? Yes, if you weeks ago, a doctor came to inject me, to go | :46:06. | :46:12. | |
abroad, and he had a needle, and he stuck it and it went into my bone | :46:12. | :46:16. | |
and I was in such pain, I thought, I hate that doctor, he is fatter | :46:16. | :46:24. | |
than... What? Fatter than me? Is that what you are saying? I am a | :46:24. | :46:28. | |
human being, you are going to hurt me. I am hurt. | :46:28. | :46:34. | |
So, please forgive me. On your knees! He goes on his | :46:34. | :46:39. | |
knees! I said, all right, I am a forgiving man, I forgive you, stand | :46:39. | :46:46. | |
up. That was my relationship with him all the time. He is a man with | :46:46. | :46:52. | |
a powerful sense of humour? A huge sense of humour. This extraordinary | :46:52. | :46:56. | |
conversation took an even more surprising twist. Brian claims that | :46:56. | :47:00. | |
the Dalai Lama knew that Brian's brother was seriously ill, and told | :47:00. | :47:05. | |
him that when he died, he would be reincarnated. He said, your brother, | :47:05. | :47:13. | |
not well. It won't be long now. It's when you pass away. -- when he | :47:13. | :47:19. | |
passed away. But three, 4 o'clock in the morning, he believed in God. | :47:19. | :47:29. | |
:47:29. | :47:31. | ||
He will be fine. He will be born in Halifax, Nova Scotia. Yeah. I never | :47:31. | :47:36. | |
mentioned that before. Good heavens, did that come true? I believe so. I | :47:36. | :47:41. | |
would rather leave it alone, but yes. That is what he said. My | :47:41. | :47:50. | |
brother is alive in Nova Scotia, about 12 years old. Go at heavens. | :47:50. | :47:57. | |
-- good heavens. Can I ask you how you know that? Because I have | :47:57. | :48:01. | |
visited him. I went to Halifax, I was filming in some lovely studios | :48:01. | :48:06. | |
there. I went to this area where he was, and that is exactly the guy I | :48:06. | :48:09. | |
knew, my little brother when I was 12 years of age, with a Canadian | :48:09. | :48:15. | |
accent. I have to keep asking you this. Did the Dalai Lama to you | :48:15. | :48:20. | |
precisely the address? He did. went to that address and waited? | :48:20. | :48:23. | |
didn't tell anybody, I said I was in the area for but I didn't even | :48:23. | :48:28. | |
say to the boy. The boy like me straight away, we got on very well. | :48:28. | :48:35. | |
I was looking at Allen. You totally believe that? Totally. I find that | :48:35. | :48:40. | |
life is a miracle, the whole thing is a complete miracle. I agree that | :48:40. | :48:45. | |
life is a miracle in itself, but once again, Brian has left me with | :48:45. | :48:55. | |
:48:55. | :48:55. | ||
For many people, Brian Blessed is not associated with climbing | :48:55. | :49:02. | |
Everest, starring in Z Cars, or I Claudius. Instead, he is famous for | :49:02. | :49:07. | |
possibly the two best-known words in cinema history. I am sure when | :49:07. | :49:12. | |
he goes down the street, everybody shouts, Gordon's a live! Because | :49:12. | :49:20. | |
that is how they remember him, been good old Flash Gordon. Flash Gordon | :49:20. | :49:23. | |
was an epic and slightly camp science-fiction film, in which | :49:23. | :49:28. | |
Brian played Prince Vultan, leader of the Hawkmen. It was a part that | :49:28. | :49:33. | |
Brian was thrilled to take. Did you think this was going to be a very | :49:33. | :49:41. | |
defining role for you? This is your Everest, on film, in a way? Yes, I | :49:41. | :49:46. | |
did. I had seen Flash Gordon as a child in the local cinema, the | :49:46. | :49:50. | |
Empire Cinema, once a week on Saturday, in black and white, | :49:50. | :49:54. | |
terrific. I always pretended to be Prince Vultan, pretending to fly | :49:54. | :50:00. | |
and jumping off the bridge, on to the top of a train and on again. | :50:00. | :50:07. | |
Anyway, I never dreamt I would play it. During one important day's | :50:07. | :50:11. | |
filming, Brian got rather carried away. His boyhood self took over. | :50:11. | :50:17. | |
There is a scene in it, where we attack a rocket ship. It took five | :50:17. | :50:21. | |
days to get these dynamite ready, the special effects, the lads on | :50:21. | :50:29. | |
board, the monsters on board. We are flying 2,500 men. We are trying | :50:29. | :50:35. | |
to get ready, I had a big bazooka, which was made of cardboard. It | :50:35. | :50:45. | |
took five days to get ready, stand by! Action! Come in, a flash! Dive! | :50:45. | :50:53. | |
Which I invented, it is from the iron. Squadron 14, died! -- it is | :50:53. | :51:03. | |
:51:03. | :51:07. | ||
They said, cut, cut, cut. Brian, we put in the special effects. I had | :51:07. | :51:13. | |
never felt such a twit in all my life. Because I was doing the | :51:13. | :51:18. | |
special effects with my mouth. bless you! They had to reset the | :51:18. | :51:22. | |
whole thing, it took two days. Brian! We put in the special | :51:22. | :51:32. | |
effects! You raced to be there. That is one of those... You'll have | :51:32. | :51:42. | |
:51:42. | :51:44. | ||
to give us a quick Gordon's I live! I feel good! Wherever I go and I am | :51:44. | :51:47. | |
walking down the street, on the scaffolding and taxes, people say, | :51:47. | :51:53. | |
give us -- hears the telephone, please say to my wife, Gordon's | :51:53. | :51:59. | |
alive. Jukes and Lords and Camilla Parker Bowles! Would you mind | :51:59. | :52:09. | |
:52:09. | :52:09. | ||
saying Gordon's alive. Everybody asks me to say Gordon's alive. | :52:09. | :52:14. | |
polls continued to slide for Gordon Brown. Some people are saying he's | :52:14. | :52:18. | |
dead and buried, but I think the opposite. I say Gordon pars alive! | :52:18. | :52:25. | |
Yes! Other people know dad would different things. The vast majority | :52:25. | :52:29. | |
of what defined the idea of Brian Blessed really was Prince Vultan. | :52:29. | :52:33. | |
Which is fantastic, I just think it's a bit of a shame that some of | :52:33. | :52:40. | |
his other work gets missed. He is no one-trick pony, but sometimes I | :52:40. | :52:44. | |
think people see him like that. There is a difficulty being an | :52:44. | :52:47. | |
actor, many actors go through their careers without ever having a stand | :52:47. | :52:53. | |
out role. Obviously, that's bad. The flipside is that sometimes, you | :52:53. | :52:58. | |
get a role that is so remarked on, and so visible, that it actually | :52:58. | :53:02. | |
overshadows the rest of your career, and the decisions of casting | :53:02. | :53:08. | |
directors. I think that did happen with Flash Gordon. It was such a | :53:08. | :53:14. | |
perfect role that I think that after that, when the parodies of | :53:14. | :53:20. | |
Brian Blessed really became very big. Do you have a copy of All | :53:20. | :53:25. | |
quiet On the Western Front? quiet on the Western Front! Let me | :53:25. | :53:29. | |
just check! With his booming voice and Everest sized personality, | :53:29. | :53:33. | |
there was always a danger that Brian would become an exaggeration | :53:33. | :53:37. | |
of his younger self. He seems very comfortable, it is just another | :53:37. | :53:44. | |
part of his big adventure. Bollards! Is see a national | :53:44. | :53:48. | |
treasure, yes. He is a national asset. There should be railings but | :53:48. | :53:54. | |
around him. He has done 60, 70 films now. Dad had is still the | :53:54. | :53:59. | |
high point, physically and I think, metaphorically, of what I have done | :53:59. | :54:09. | |
:54:09. | :54:17. | ||
I would like to say how really lucky I think I am, to have grown | :54:17. | :54:26. | |
up with someone who is so it's generous, and extraordinary and | :54:26. | :54:35. | |
funny. And just inspiring. You know, and a pain, obviously! Brian is | :54:35. | :54:39. | |
still busy acting, which after 50 years in the profession, is quite | :54:39. | :54:44. | |
an achievement. Last year, he and Ros perform together for the first | :54:44. | :54:48. | |
time in the BBC series, Doctors. She played a daughter whose father | :54:48. | :54:52. | |
is suffering from memory loss and he believes he should go into an | :54:52. | :54:56. | |
old people's home. How long have you been in the nursing home? | :54:56. | :55:01. | |
has been an age. South you tried it for one day. It is full of old | :55:01. | :55:06. | |
people! It was lovely to work with dad, we have never acted face to | :55:06. | :55:16. | |
:55:16. | :55:18. | ||
face before. It was basically a tussle between a daughter, who | :55:18. | :55:22. | |
wants to come into her own right as a person, who has grown up with a | :55:22. | :55:26. | |
famous father. I don't know where they got that idea! | :55:26. | :55:32. | |
Daddy, are you all right? Yes, I frightened Stirling Moss here. | :55:32. | :55:37. | |
you only know how much it's worry you have called me. I have aged 20 | :55:37. | :55:42. | |
years in an hour. That's nice, you can catch up with me! It's not | :55:42. | :55:50. | |
funny! Your youngest daughter is an actress and recently, your paths | :55:50. | :55:57. | |
crossed and you work together. Was that a deliberate happening? They | :55:57. | :56:00. | |
cast their before me and then they realised I would be good as an | :56:00. | :56:06. | |
eccentric who is a bit of a genius. I wish I had been born infertile. | :56:06. | :56:14. | |
wish I had been brought up by nerves -- by walls. I was very | :56:14. | :56:19. | |
nervous. She is very mercurial and volatile. The pair of us, having | :56:19. | :56:29. | |
:56:29. | :56:32. | ||
such gargantuan qualities, would we Daddy, you are wonderful. But if we | :56:32. | :56:36. | |
carry on like this, we are going to kill each other. And I love you too | :56:36. | :56:43. | |
much. Our time in Brian's little hut at the end of his garden is | :56:43. | :56:47. | |
almost over. With Christmas close at hand, I wondered how Brian's | :56:47. | :56:51. | |
family would be spending it. How important is this Advent time for | :56:51. | :57:01. | |
:57:01. | :57:01. | ||
you? I find I will not be put off Christmas. Since a child. I find it | :57:01. | :57:06. | |
my favourite time of the year. I love all the carols. Some of them | :57:06. | :57:14. | |
There is something about it that centres people, and that I believe, | :57:14. | :57:20. | |
even the person who despises the commercial side of Christmas, or | :57:20. | :57:24. | |
quietly on their own somewhere, in their garden, in their sitting room | :57:24. | :57:34. | |
:57:34. | :57:34. | ||
somewhere, quietly just so's an unheard pref -- quietly just says. | :57:35. | :57:40. | |
An unheard prayer. Because we are saved. The politicians can't save | :57:40. | :57:47. | |
us, but we are saved by this single act of colossal bravery, and by the | :57:47. | :57:57. | |
:57:57. | :58:00. | ||
trust of the maker. Happy Christmas, What an extraordinary man Brian | :58:00. | :58:04. | |
Blessed is. I know he has conquered so many things in this physical | :58:04. | :58:08. | |
life, whether climbing mountains or creating Prince Vultan ordering | :58:08. | :58:13. | |
whatever he does, but it is the spiritual question inside him that | :58:13. | :58:17. | |
is so fascinating. I don't know what he is going to do next, he | :58:17. | :58:21. | |
probably will climb Everest, he probably will be on the first space | :58:21. | :58:25. |