Browse content similar to The Inn at Whitewell. Check below for episodes and series from the same categories and more!
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-'Hello?' -Hey Rob, Steve. | 0:00:02 | 0:00:04 | |
-'Oh, hiya, how are you?' -Good, good. Listen, | 0:00:04 | 0:00:08 | |
-are you free next week to go away? -'Where?' | 0:00:08 | 0:00:11 | |
It's kind of a tour of the north, | 0:00:11 | 0:00:13 | |
a restaurant tour, really good restaurants. | 0:00:13 | 0:00:15 | |
'Right. Why me?' | 0:00:15 | 0:00:18 | |
Well, Mischa is unavailable. You've met Mischa, haven't you? | 0:00:18 | 0:00:22 | |
'Is she your assistant?' | 0:00:22 | 0:00:24 | |
No, no that's Emma. | 0:00:24 | 0:00:26 | |
-No, no, no, Mischa's my girlfriend. -'Oh, yes, yes, the Australian girl.' | 0:00:26 | 0:00:30 | |
No, God no, that was ages ago. | 0:00:30 | 0:00:31 | |
No, anyway, it doesn't matter. | 0:00:31 | 0:00:33 | |
Mischa can't come and I don't want to go alone. | 0:00:33 | 0:00:36 | |
I've asked other people but they're all too busy, so, you know, do you want to come? | 0:00:36 | 0:00:42 | |
'Er... I don't know really. I'd have to ask Sally.' | 0:00:42 | 0:00:46 | |
It's a job, I'm not asking you to go on holiday with me or anything weird. | 0:00:46 | 0:00:51 | |
-It's for The Observer magazine. -'Right.' | 0:00:51 | 0:00:53 | |
-They're going to pay for everything and there's a small fee which I'll split with you 60/40. -'When is it?' | 0:00:53 | 0:01:00 | |
-Next Monday. -'Oh.' | 0:01:00 | 0:01:03 | |
This programme contains some strong language | 0:01:03 | 0:01:09 | |
HE TOOTS HORN | 0:01:09 | 0:01:11 | |
HE TOOTS HORN AGAIN | 0:01:11 | 0:01:13 | |
WOMAN: Rob, Steve's here. | 0:01:13 | 0:01:16 | |
-All right? -Hey, yeah. | 0:01:22 | 0:01:24 | |
-Hi Steve. -We're off. Hello, hi. -You know Sally and Chloe. | 0:01:24 | 0:01:27 | |
Yes, yes, hi, hello. | 0:01:27 | 0:01:29 | |
-Nice to see you, how are you? Hiya. Mmm. -Very good. | 0:01:29 | 0:01:32 | |
-Nice to see you. -Hello. | 0:01:32 | 0:01:33 | |
-What is that? -This is just... -Wow. | 0:01:33 | 0:01:36 | |
-Pick axe handles. -Seriously? -Yes, it goes through and then... | 0:01:36 | 0:01:40 | |
-Climbing? -Got you a set of crampons too. | 0:01:40 | 0:01:42 | |
-I'll ring you, OK? -Oh, yes, please do. I love you. Mwah! | 0:01:42 | 0:01:47 | |
Look after Mummy. Give me a kiss. | 0:01:47 | 0:01:49 | |
Have fun. | 0:01:49 | 0:01:51 | |
If you haven't heard anything from me in five days, alert the authorities. | 0:01:51 | 0:01:57 | |
-Ok, drive safely. -Okidoke. | 0:01:57 | 0:01:58 | |
-Bye bye gorgeous. -Have a good time. -Can I give a little wave to you? | 0:01:58 | 0:02:03 | |
-Going to wave? -Bye bye. -Can I give a little wave to you? | 0:02:03 | 0:02:06 | |
-I'm going. -Bye! -Bye bye. | 0:02:06 | 0:02:09 | |
Did you say goodbye to Dad? Say goodbye. Are you going to wave? | 0:02:09 | 0:02:13 | |
I thought we'd go M1, M6, come off at junction 31 | 0:02:13 | 0:02:18 | |
and then it's a short drive on the A59, | 0:02:18 | 0:02:24 | |
so Clitheroe and from there it's a very short hop to Whitewell. | 0:02:24 | 0:02:29 | |
-And how long will that take? -About four hours. -That's not very much. | 0:02:29 | 0:02:32 | |
-Why aren't we using sat nav? -I've always liked maps. | 0:02:32 | 0:02:35 | |
On holiday as kids, my dad would plan the route, you know, | 0:02:35 | 0:02:39 | |
show us on the map what the route was and we'd all follow it. It was great. | 0:02:39 | 0:02:43 | |
The good news is I've found the M1. | 0:02:43 | 0:02:47 | |
I wouldn't have had you down as having a four wheel drive. | 0:02:47 | 0:02:50 | |
It's not mine. Mischa thought it would be good. | 0:02:50 | 0:02:52 | |
She thought it would be useful in the Lake District, Yorkshire Dales. | 0:02:52 | 0:02:56 | |
It's not like down south, Rob, there's a lot of bumpy roads there. | 0:02:56 | 0:03:00 | |
Why isn't she here? | 0:03:02 | 0:03:04 | |
-Because she had to go back to America. -Oh, dear. | 0:03:04 | 0:03:08 | |
-You haven't, though, have you? -It's in limbo. | 0:03:08 | 0:03:12 | |
Is it all over? | 0:03:12 | 0:03:13 | |
No, I don't know, I don't know, it's just, it's all... | 0:03:13 | 0:03:16 | |
Oh, let's go here, let's get some breakfast here. | 0:03:16 | 0:03:20 | |
-No, let's not. -I've been up since half past five with Chloe and I've not eaten... | 0:03:20 | 0:03:26 | |
-Really? -You could write about it. | 0:03:26 | 0:03:27 | |
Why don't you review the food and say, starting off by talking about | 0:03:27 | 0:03:31 | |
-what real people eat. -No, that's been done. | 0:03:31 | 0:03:34 | |
-It's been done before. -It's 2010, everything's been done before. | 0:03:34 | 0:03:37 | |
All you can do the same but better or differently. | 0:03:37 | 0:03:41 | |
To some extent, that's correct. | 0:03:41 | 0:03:44 | |
IN-CAR STEREO: "Atmosphere" by Joy Division | 0:03:44 | 0:03:49 | |
Why are we listening to this? | 0:03:49 | 0:03:51 | |
That's what I've chosen for the soundtrack for this landscape. | 0:03:51 | 0:03:55 | |
It's not expected, you think of that as industrial, associated with urban landscape. | 0:03:56 | 0:04:03 | |
# Walk | 0:04:06 | 0:04:09 | |
# In silence | 0:04:09 | 0:04:12 | |
# Don't walk away | 0:04:12 | 0:04:17 | |
# In silence | 0:04:17 | 0:04:21 | |
# See the danger | 0:04:21 | 0:04:25 | |
# Always danger | 0:04:25 | 0:04:29 | |
# Endless talking | 0:04:30 | 0:04:33 | |
# Life rebuilding | 0:04:33 | 0:04:36 | |
# Don't walk away... # | 0:04:38 | 0:04:41 | |
-This looks lovely. -Beautiful, isn't it, eh? | 0:04:50 | 0:04:53 | |
It's the sort of place you'd shoot a Miss Marple. | 0:04:53 | 0:04:56 | |
-Hello. -Hi, hi. | 0:04:56 | 0:04:58 | |
Should be a reservation under the name Coogan. | 0:04:58 | 0:05:01 | |
Two rooms under Coogan. | 0:05:01 | 0:05:04 | |
Sorry, we only have one double room for you. | 0:05:04 | 0:05:09 | |
It may be under his name, Brydon, is there another room under the name Brydon? | 0:05:09 | 0:05:13 | |
No, no, no Brydon. Sorry. | 0:05:13 | 0:05:16 | |
-Oh, I thought there should have been two rooms but... -Hello, hi. -Hi. | 0:05:16 | 0:05:19 | |
-That's Mr Brydon. Can we book another room? -I'm sorry but we're fully booked tonight, sir. | 0:05:19 | 0:05:24 | |
-We can share, that's all right. -No, we can't. -It's a big room. | 0:05:24 | 0:05:28 | |
-Right, I'm going to call Emma. -No seriously, I don't mind sharing a bed, | 0:05:28 | 0:05:32 | |
There's no signal here. What do I do? | 0:05:32 | 0:05:34 | |
Sometimes you can get it outside... | 0:05:34 | 0:05:36 | |
-Ok. -At the back. -all right, I'll try and sort this out. | 0:05:36 | 0:05:40 | |
Oh, dear me. | 0:05:40 | 0:05:43 | |
-Hello? -Hi Emma. Listen, I'm at the Inn at Whitewell... | 0:05:43 | 0:05:49 | |
-Yeah. -There's only one room. | 0:05:49 | 0:05:51 | |
Well, you can stay with Mischa, can't you? | 0:05:51 | 0:05:54 | |
-I'm not with Mischa, I'm with Rob Brydon. -But this is lovely. I'd be able to sleep here. | 0:05:54 | 0:05:58 | |
Put a little bed down there, and I'd sleep there very happily. | 0:06:00 | 0:06:04 | |
-So are you friends or...? -No, we work together... | 0:06:04 | 0:06:07 | |
-So I'm just I'm just with... -Are you his assistant? | 0:06:07 | 0:06:11 | |
In a way, yes. | 0:06:12 | 0:06:14 | |
'You said you were going with Mischa?' | 0:06:14 | 0:06:16 | |
No, I said I was thinking of going with Rob. | 0:06:16 | 0:06:18 | |
OK, look, I'm sorry, I'm sorry. | 0:06:18 | 0:06:20 | |
-Now I have to share a room with Rob for the night. -Sorry, I messed up. | 0:06:20 | 0:06:24 | |
Make sure all the other hotels have separate rooms. | 0:06:24 | 0:06:28 | |
-OK. -Right, thank you. All right love, bye. | 0:06:28 | 0:06:31 | |
Sorry, it's a bit of a warren here. | 0:06:31 | 0:06:33 | |
No, it's part of its charm. | 0:06:33 | 0:06:37 | |
-Thank you. -So what's your name? | 0:06:37 | 0:06:40 | |
-Magda. -Magda? | 0:06:40 | 0:06:41 | |
-And yours? -Steve. | 0:06:41 | 0:06:43 | |
Yes. None of this Mr Coogan nonsense. | 0:06:43 | 0:06:47 | |
-So here it is. -Oh, very nice. | 0:06:49 | 0:06:51 | |
-Beautiful, yes. -Very nice indeed. -It's a very nice view. | 0:06:51 | 0:06:55 | |
Look at that. Very big. | 0:06:55 | 0:06:57 | |
-So... -There we go. | 0:06:58 | 0:07:00 | |
Come on, up you jump. | 0:07:00 | 0:07:02 | |
I'll leave you to it and... | 0:07:02 | 0:07:04 | |
-Thank you, thanks... -Here is the key. OK, bye. | 0:07:04 | 0:07:07 | |
This is a huge bed, we could easily share this bed. | 0:07:07 | 0:07:10 | |
It might be huge to you, it's average size to me. | 0:07:10 | 0:07:14 | |
Oh, that's right, I forgot, you're considerably taller(!) | 0:07:14 | 0:07:17 | |
What's the problem anyway? | 0:07:17 | 0:07:19 | |
What do you think's going to happen, eh? | 0:07:19 | 0:07:23 | |
-You might touch my bottom. -Oh, right. | 0:07:23 | 0:07:26 | |
-Were you an altar boy? -Yes, I was. | 0:07:26 | 0:07:28 | |
-Seriously? -Yes. | 0:07:28 | 0:07:30 | |
Oh, all right. I'll go on the sofa if it's... | 0:07:30 | 0:07:33 | |
Sorry, I didn't realise we were into Oprah Winfrey territory. | 0:07:33 | 0:07:36 | |
Are you seriously saying you were abused when you were an altar boy? | 0:07:36 | 0:07:39 | |
Only verbally and physically. | 0:07:39 | 0:07:43 | |
Not sexually, no, just punched by a priest. | 0:07:43 | 0:07:47 | |
There's no signal here. | 0:07:50 | 0:07:52 | |
I'm on wireless. | 0:07:52 | 0:07:55 | |
Would you like to order? | 0:07:55 | 0:07:57 | |
Yes, please, yes, yes, yes. | 0:07:57 | 0:07:59 | |
Could I start with the scallops and then could I have the sea bass? | 0:07:59 | 0:08:06 | |
I'll have the soup followed by the chicken please. | 0:08:06 | 0:08:09 | |
-Thanks a lot. -Thanks. | 0:08:09 | 0:08:10 | |
-Want to see a picture of my kids? -Yes. | 0:08:12 | 0:08:14 | |
-There's me, Mi-Mi and Joe. -How old are they now? | 0:08:14 | 0:08:19 | |
-Joe's 14 and Mi-Mi's 8. -Really? Yes, time flies. Wow. | 0:08:19 | 0:08:25 | |
Oh. Oh. | 0:08:25 | 0:08:27 | |
-Pretty, isn't she? -This is Mischa is it? -Yeah. | 0:08:27 | 0:08:31 | |
Cor! Did you take that? | 0:08:31 | 0:08:33 | |
Yes, of course. Who else took it? She's not a glamour model. | 0:08:33 | 0:08:37 | |
-She could be. -Yes, I know she could be, yes. | 0:08:37 | 0:08:40 | |
Why do people video themselves having sex? | 0:08:40 | 0:08:42 | |
We're not having sex, that's foreplay. | 0:08:42 | 0:08:46 | |
Like Colin Farrell, isn't it? There's your breakfast and your lunch and your dinner right there. | 0:08:46 | 0:08:52 | |
Well, that just sounded like an Irishman, Rob, a generic Irishman. | 0:08:52 | 0:08:55 | |
Well, Colin Farrell isn't one of my... | 0:08:55 | 0:08:58 | |
AS RONNIE CORBETT: Not one of my repertoire. | 0:08:58 | 0:09:01 | |
Oh, right. | 0:09:01 | 0:09:02 | |
Wow, that was the most... | 0:09:02 | 0:09:04 | |
Obtuse segue into Ronnie Corbett... | 0:09:04 | 0:09:06 | |
I don't put him up there with Ron. HE CHUCKLES | 0:09:06 | 0:09:09 | |
I've got a scallops and a soup on order! > | 0:09:09 | 0:09:14 | |
I don't understand why you have this | 0:09:15 | 0:09:18 | |
aversion to people just doing things to make people laugh. | 0:09:18 | 0:09:22 | |
I don't, I just find it all a bit, you know, just a bit tiresome. | 0:09:22 | 0:09:25 | |
-It's just, you know... -What have you got? | 0:09:25 | 0:09:28 | |
-Rhone 2006. -IMPERSONATES: Oh, bring it on. Pour it out. Yes. | 0:09:28 | 0:09:32 | |
My apologies for my colleague's behaviour. | 0:09:32 | 0:09:35 | |
My buddy will taste. | 0:09:35 | 0:09:37 | |
-That's lovely, thank you. -Thank you. | 0:09:40 | 0:09:42 | |
Yes, lovely. I like that. | 0:09:42 | 0:09:46 | |
Thank you very much. | 0:09:46 | 0:09:48 | |
That was very good, he now has you marked down as an idiot. | 0:09:48 | 0:09:50 | |
-Why? -I'll show you why. | 0:09:50 | 0:09:52 | |
IMPERSONATES STEVE: Mmm, that's very good, that's a very nice wine. | 0:09:54 | 0:09:59 | |
You don't do... when you taste a wine, right? | 0:09:59 | 0:10:02 | |
-Yes? -All you're doing is checking it's not corked. All you do is this. | 0:10:02 | 0:10:05 | |
-I know, well that... -Shush! | 0:10:05 | 0:10:07 | |
-Well, that was camp. -That wasn't camp. | 0:10:11 | 0:10:13 | |
You did, you just went like this. You went... | 0:10:13 | 0:10:16 | |
-I did not do that! -You looked like an 18th century fop. | 0:10:18 | 0:10:21 | |
I did this. | 0:10:21 | 0:10:23 | |
Right, well you've toned it down a bit but essentially it's the same thing. | 0:10:25 | 0:10:29 | |
Scallops ready! | 0:10:29 | 0:10:32 | |
-Ah... -Who's having scallops? | 0:10:38 | 0:10:41 | |
I am the scallops. Thank you very much. | 0:10:41 | 0:10:44 | |
-And the soup. -Thank you, lovely. -OK? Enjoy your starters. -Thank you. | 0:10:44 | 0:10:49 | |
Soup of the day. Can't go wrong. | 0:10:50 | 0:10:52 | |
Yes, yes, yours looks more interesting but... | 0:10:52 | 0:10:55 | |
-Mmm, what's yours like? -Well, it tastes of tomatoes. | 0:11:02 | 0:11:05 | |
Not a connoisseur are you, with food? | 0:11:05 | 0:11:08 | |
The reason for this trip was to bring Mischa. | 0:11:08 | 0:11:10 | |
-She's passionate about food, she loves food. -So she's the food buff out of the two of you. | 0:11:10 | 0:11:14 | |
She's a very confident foodie, I thought she could help me and I wanted to show Mischa the... | 0:11:14 | 0:11:19 | |
You know, the north. | 0:11:19 | 0:11:22 | |
-Show her a piece of me. -You're from Manchester. | 0:11:22 | 0:11:26 | |
You could take her round and show her the gun crime sites. | 0:11:26 | 0:11:30 | |
I'm from the north, the north has an identity of itself. | 0:11:30 | 0:11:33 | |
Yes, and not the same way that Wales does. | 0:11:33 | 0:11:36 | |
I think the north could be a different country. It has as much of an identity as Wales. | 0:11:36 | 0:11:42 | |
Are you seriously saying the north of England | 0:11:42 | 0:11:44 | |
-has a stronger... Hang on, a stronger identity than Wales? -Yes. Yes, yes. | 0:11:44 | 0:11:48 | |
Right, a chicken and a sea bass for table 32 please. | 0:11:48 | 0:11:52 | |
Industrial revolution, the first railway in Manchester | 0:11:52 | 0:11:55 | |
which revolutionised the world, probably more than anything else in the last 200 years. | 0:11:55 | 0:12:00 | |
Richard Burton. AS BURTON: ...next admiral in actuality means like God. | 0:12:00 | 0:12:05 | |
Anthony Hopkins. | 0:12:05 | 0:12:06 | |
AS HOPKINS: I want a room with a view, I want to see a tree. | 0:12:06 | 0:12:10 | |
I think anyone over 40 who amuses themself by doing | 0:12:10 | 0:12:12 | |
impressions needs to take a long, hard look in the mirror. | 0:12:12 | 0:12:16 | |
Yes, oh, hang on, we're getting some action here. | 0:12:18 | 0:12:20 | |
Let's have a look, what does it say? Oh, "where are you?" | 0:12:20 | 0:12:25 | |
Works on a few levels, doesn't it? | 0:12:25 | 0:12:29 | |
Yes, yes, it does, it does. | 0:12:31 | 0:12:33 | |
AS ALAN BENNETT: As I read the email from my agent, I couldn't help but wonder, | 0:12:33 | 0:12:37 | |
"Yes, Alan, where are you?" | 0:12:37 | 0:12:39 | |
Dudley had gone to Hollywood, Peter now dead in a haze of... I'm doing Alan Bennett. | 0:12:39 | 0:12:44 | |
I know. There's got to be some drama in someone who can only express themselves | 0:12:44 | 0:12:48 | |
-through the voices of other people. -Yes. | 0:12:48 | 0:12:51 | |
What if a W fell off a monkey house? | 0:12:51 | 0:12:54 | |
They're kind of entertaining but not that accurate. | 0:12:54 | 0:12:56 | |
Well, broadsheet journalists have described my impressions as "stunningly accurate." | 0:12:56 | 0:13:01 | |
Well, they're wrong. I've not heard your Michael Caine, | 0:13:01 | 0:13:05 | |
but I assume it would be "My name's Michael Caine." | 0:13:05 | 0:13:07 | |
That is where you're so wrong | 0:13:07 | 0:13:10 | |
because that's the very thing I don't do. | 0:13:10 | 0:13:13 | |
Do your Michael Caine. | 0:13:13 | 0:13:16 | |
AS CAINE: Michael Caine used to talk like this in the 1960s. | 0:13:16 | 0:13:19 | |
But that has changed and I say over the years, Michael's voice has come down several | 0:13:19 | 0:13:25 | |
octaves... Let me finish, and all of the cigars and the brandy... | 0:13:25 | 0:13:29 | |
-Let me finish, can now be heard... -OK. -I've not fucking finished, | 0:13:29 | 0:13:33 | |
in the back of the voice and the voice now will... I've still not finished. | 0:13:33 | 0:13:39 | |
-The voice... -You're panicking. | 0:13:39 | 0:13:42 | |
You like you're about to bloody talk. Let me finish. So... | 0:13:42 | 0:13:46 | |
Michael Caine's voice now in the Batman movies and in Harry Brown, | 0:13:46 | 0:13:51 | |
I can't go fast because Michael Caine talks very, very slowly. | 0:13:51 | 0:13:58 | |
AS CAINE: Michael Caine speaks to his nose like that. | 0:13:59 | 0:14:04 | |
He gets very, very specific, it's very like that. | 0:14:04 | 0:14:08 | |
When it gets loudly, it gets very loud indeed. | 0:14:08 | 0:14:11 | |
It gets very specific, it's not quite nasal enough, the way you're doing it. | 0:14:11 | 0:14:15 | |
You're not doing it the way he speaks. | 0:14:15 | 0:14:18 | |
You're not doing it with the kind of, and you don't do the broken voice | 0:14:18 | 0:14:22 | |
when he gets very emotional, when he gets very emotional. | 0:14:22 | 0:14:25 | |
She was only 16 years old. | 0:14:25 | 0:14:27 | |
She was only 16, you're only supposed to blow the bloody doors off. | 0:14:27 | 0:14:31 | |
That's Michael Caine. | 0:14:31 | 0:14:34 | |
AS CAINE: Shall I prepare the Batmobile, Master Bruce? | 0:14:34 | 0:14:37 | |
And who's the other one you did that wasn't very good? | 0:14:37 | 0:14:40 | |
-Oh, Anthony Hopkins, yes. -I do a very good Anthony Hopkins. | 0:14:40 | 0:14:43 | |
Well, I think I do an even better Anthony Hopkins. | 0:14:43 | 0:14:45 | |
I can do him as Captain Bligh on The Bounty... | 0:14:45 | 0:14:49 | |
"Come back Mr Fryer! You turned your back on me, man!" | 0:14:49 | 0:14:52 | |
-There you go. -That's good, that's good. | 0:14:52 | 0:14:55 | |
-Oh, hello... -Well, let me. | 0:14:56 | 0:14:58 | |
Let me... I didn't say a bloody thing when you were in The Bounty. | 0:14:58 | 0:15:02 | |
I don't often do it, so savour it. | 0:15:02 | 0:15:04 | |
AS HOPKINS IN REMAINS OF THE DAY: | 0:15:04 | 0:15:07 | |
"Well, it's just a book, just a book, just a romance, that's all it is." | 0:15:07 | 0:15:11 | |
SWITCHES CHARACTERISATION | 0:15:11 | 0:15:13 | |
"What's that, Mr Christian, are you threatening me?" | 0:15:13 | 0:15:17 | |
-There are rumblings. -Oh, there are rumblings are there? | 0:15:17 | 0:15:20 | |
Yes, there are rumblings. I'm Mel Gibson now. | 0:15:20 | 0:15:24 | |
I sound like Rhys Darby in Flight of the Conchords! | 0:15:24 | 0:15:27 | |
You did. If you'd said you were doing that... | 0:15:27 | 0:15:30 | |
AS GIBSON: Band meeting, "Murray, present." | 0:15:30 | 0:15:32 | |
This was very nice, hotter than I was expecting, more heat in the chilli sauce. | 0:15:38 | 0:15:45 | |
There was a lot of heat in my scallops. My scallops were hot. | 0:15:45 | 0:15:49 | |
-There's a joke there. -Plenty of heat in my scallops. | 0:15:49 | 0:15:53 | |
Heat, Pacino, De Niro, Michael Mann. What have you got? | 0:15:53 | 0:15:58 | |
Four bodies in a morgue. | 0:15:58 | 0:16:00 | |
I'm out there every fucking day! | 0:16:00 | 0:16:04 | |
-Yeah? Heat. -Yeah. -A movie where De Niro and Pacino are running a celebrity magazine. | 0:16:04 | 0:16:09 | |
I need a photo exclusive of Katie Price having a botox. | 0:16:09 | 0:16:15 | |
"I ain't got it, Al, we can't do it!" | 0:16:15 | 0:16:17 | |
What do you mean it's not looking good?! | 0:16:17 | 0:16:20 | |
I got to have her on the front page right now every day I'm there! | 0:16:20 | 0:16:25 | |
Hey, calm it down. It's all right, sorry. | 0:16:25 | 0:16:29 | |
-It's all right, they love it. -Yes. | 0:16:29 | 0:16:31 | |
-Not sure about that but never mind. -Ever worked with Michael Mann? | 0:16:31 | 0:16:34 | |
I work with auteurs. | 0:16:34 | 0:16:37 | |
Like in Rain Man? AS HOFFMAN: Oh, I'm an excellent director. | 0:16:37 | 0:16:41 | |
I directed the whole movie in one go. | 0:16:41 | 0:16:44 | |
-No, that's autistic. -I know that. -I wonder, that's autistic savant. | 0:16:44 | 0:16:48 | |
Is there such a thing as an autistic impressionist? | 0:16:48 | 0:16:50 | |
Because if there is, I think that might be the key to your condition. | 0:16:50 | 0:16:54 | |
AS PACINO: Maybe you're right, I don't know, but I see a guy | 0:16:54 | 0:17:00 | |
with something stuck up his ass who's too uptight to let go. | 0:17:00 | 0:17:07 | |
No, I like humour, I like levity, I like brevity, I just like to... | 0:17:07 | 0:17:12 | |
Gravity, where do you stand on that? | 0:17:12 | 0:17:14 | |
Firmly, on terra firma. | 0:17:14 | 0:17:16 | |
You like levity, brevity and gravity. | 0:17:16 | 0:17:19 | |
AS HOFFMAN: It's great to meet you, I got to tell you you're a terrific actor! | 0:17:19 | 0:17:25 | |
I caught your work the other day. | 0:17:25 | 0:17:26 | |
I was watching the television in my room and I said "Who is this guy? | 0:17:26 | 0:17:31 | |
"He is not as tall as Coogan but he's better. I like him a lot". | 0:17:31 | 0:17:35 | |
-Excuse me, sorry. -Thank you very much. | 0:17:40 | 0:17:43 | |
-Was everything ok? -Very nice indeed. -Quite tomatoey. | 0:17:43 | 0:17:46 | |
-Yes. And soupy. -Thank you. | 0:17:46 | 0:17:49 | |
-We shouldn't fight. -I know. | 0:17:52 | 0:17:54 | |
Come on, let's stop this, eh? | 0:17:54 | 0:17:56 | |
Come on, Mr Steve, come on Mr Steve, hey? | 0:17:56 | 0:18:00 | |
AS BASIL BRUSH: Ha-ha-ha! Boom-boom! | 0:18:00 | 0:18:03 | |
Ok, I'm going to call my agent. | 0:18:03 | 0:18:05 | |
You can hone your Brush! | 0:18:05 | 0:18:08 | |
Can I speak to Greg? | 0:18:10 | 0:18:13 | |
-Hi, is that Greg? -'It is, yes.' | 0:18:13 | 0:18:15 | |
-Hey. -Hey, how are you? -Very good. | 0:18:15 | 0:18:16 | |
You emailed me, asked me to call. | 0:18:16 | 0:18:18 | |
Yes, I did, yes, nothing urgent, just a bit of a catch up really, see how you are. | 0:18:18 | 0:18:23 | |
Through the nose like that, through the nose. | 0:18:23 | 0:18:26 | |
Through the noise. Michael Caine's voice is through the nose. | 0:18:26 | 0:18:28 | |
Can you hear me Greg? | 0:18:28 | 0:18:31 | |
'No, I can't hear.' | 0:18:31 | 0:18:33 | |
Can you hear me now? | 0:18:33 | 0:18:36 | |
Yes, yes, I can hear, yes. | 0:18:36 | 0:18:37 | |
Ok, I'll stay here. What else? | 0:18:37 | 0:18:40 | |
Right, Doctor Who... | 0:18:40 | 0:18:41 | |
Doctor Who? What, is it the baddie? | 0:18:41 | 0:18:45 | |
-Yes. -I don't want to do British TV. | 0:18:45 | 0:18:47 | |
Well, I mean all you need is, if you just did one film Steven, | 0:18:47 | 0:18:51 | |
-that will propel you. -I've done 10. | 0:18:51 | 0:18:53 | |
You need the right film. | 0:18:53 | 0:18:55 | |
You've got a huge amount of momentum behind you. | 0:19:00 | 0:19:03 | |
You get momentum when you're going downhill. | 0:19:03 | 0:19:06 | |
Well, yes, but... | 0:19:06 | 0:19:07 | |
I want to be in films. Good films. | 0:19:07 | 0:19:10 | |
OK sir, so here's your bass. | 0:19:13 | 0:19:16 | |
-Oh, thank you very much. -Sea bass. | 0:19:16 | 0:19:18 | |
-And the chicken over here. -Thank you. | 0:19:18 | 0:19:20 | |
Where exactly are you at the moment? | 0:19:20 | 0:19:22 | |
-Where? -I'm in the Trough of Bowland rather appropriately Greg, I'm in a trough. | 0:19:22 | 0:19:28 | |
Literally and metaphorically. | 0:19:28 | 0:19:30 | |
Yes. Is Mischa with you? Is she enjoying it? | 0:19:30 | 0:19:32 | |
Yes, she is, yes. | 0:19:34 | 0:19:37 | |
Sorry, I didn't wait. | 0:19:40 | 0:19:42 | |
That's all right. Oh, yes. | 0:19:42 | 0:19:45 | |
-What's that? -It's a gun with a silencer shooting... | 0:19:51 | 0:19:56 | |
people who frustrate me. | 0:19:56 | 0:19:58 | |
Can you do the sound of a gun with a silencer? | 0:19:58 | 0:20:00 | |
Mmm, no. | 0:20:04 | 0:20:07 | |
Well, it's kind of a muted, it's kind of a... | 0:20:07 | 0:20:10 | |
and then if you do it entering flesh, then it's a... | 0:20:12 | 0:20:15 | |
It's a... | 0:20:17 | 0:20:19 | |
How is your... | 0:20:23 | 0:20:25 | |
This is nice, it's very nice. | 0:20:25 | 0:20:27 | |
-What is it again? -Sea bass. -Sea bass. Nice? | 0:20:27 | 0:20:29 | |
Yes, yes. | 0:20:29 | 0:20:30 | |
Is that leeks you've got there? | 0:20:30 | 0:20:32 | |
-Mmm. -Ah. | 0:20:32 | 0:20:34 | |
Great Welsh vegetable, the leek. | 0:20:34 | 0:20:36 | |
Why did they have to give me leeks? Why? Why? | 0:20:36 | 0:20:40 | |
Did you tell them to give me leeks so that you could do Welsh voices? | 0:20:40 | 0:20:44 | |
You do chew a lot, don't you? | 0:20:51 | 0:20:54 | |
-You take a long time to chew. -Mastication... -Yes. | 0:20:54 | 0:20:56 | |
is very important for your health. | 0:20:56 | 0:21:00 | |
Do you find as you get older... | 0:21:00 | 0:21:02 | |
-food gets stuck in your teeth more... -Oh, yes, yes, yes, yes. | 0:21:02 | 0:21:07 | |
-Yes. -..more readily? | 0:21:07 | 0:21:09 | |
-You know why that is? -Why? | 0:21:09 | 0:21:11 | |
-Receding gums. -Well, that's that. | 0:21:11 | 0:21:13 | |
Revealing the crack, the gap, between the tooth and the gum. | 0:21:13 | 0:21:18 | |
-All right. -Look, look how much, look. | 0:21:18 | 0:21:21 | |
What are you showing me? | 0:21:23 | 0:21:25 | |
My gums. | 0:21:25 | 0:21:27 | |
Yours look all right, you know. | 0:21:29 | 0:21:32 | |
Can you see any receding? | 0:21:32 | 0:21:34 | |
-Mmm, yes, yes. -Yes? | 0:21:34 | 0:21:36 | |
Well, that is a honey trap for morsels of food. | 0:21:36 | 0:21:40 | |
That is an open invitation. | 0:21:40 | 0:21:41 | |
A bit of food sees that, he goes running towards it. | 0:21:41 | 0:21:45 | |
-It's not good if you're on a date. -You still go on dates, do you? | 0:21:45 | 0:21:48 | |
Yes, I normally go to the toilet... I take a toothpick, | 0:21:48 | 0:21:51 | |
and just get every bit out. | 0:21:51 | 0:21:53 | |
-I try and avoid foods that get lodged. -Really? | 0:21:53 | 0:21:57 | |
You don't want to kiss with a lump of chicken inside your molars. | 0:21:57 | 0:22:00 | |
See, that strikes me as odd that a man of our age would be thinking about trying to kiss girls. | 0:22:00 | 0:22:06 | |
Hi, sorry. | 0:22:06 | 0:22:07 | |
-Hello. -It's your lucky day. | 0:22:07 | 0:22:09 | |
-Why? -We've had a cancellation, you don't have to share a bed tonight. | 0:22:09 | 0:22:13 | |
-I'll drink to that. -Shall I leave you in room 15 and move Mr Brydon into 7 or? -Which is the best room? | 0:22:13 | 0:22:20 | |
Well, 7 is a bit bigger, but I prefer 15. Maybe you want to see it? | 0:22:20 | 0:22:24 | |
Yes, I think I would. Do you mind excusing me? | 0:22:24 | 0:22:28 | |
-I could come as well, if you want. -Nah. | 0:22:28 | 0:22:31 | |
Yes, it's open. | 0:22:36 | 0:22:38 | |
-So. Sorry... -OK. -OK. | 0:22:42 | 0:22:44 | |
-So this is room number 7. -That's nice, yeah. | 0:22:44 | 0:22:48 | |
Beautiful room. | 0:22:48 | 0:22:50 | |
-Nice view. -Yes. | 0:22:50 | 0:22:52 | |
I find the view... It's very important. | 0:22:52 | 0:22:54 | |
You can't go wrong in this area, everything's beautiful. | 0:22:54 | 0:22:58 | |
It is, I know, it's really... | 0:22:58 | 0:23:00 | |
It's very high, isn't it? It reminds me of The Princess and the Pea. | 0:23:02 | 0:23:06 | |
You know that Hans Christian Andersen? | 0:23:06 | 0:23:08 | |
-Do you know him in Poland? -No, of course, of course we read. | 0:23:08 | 0:23:12 | |
-Oh, OK. -Yes. No, we do read. -Right. Where's he from? -Denmark. | 0:23:12 | 0:23:17 | |
Denmark, that's right, yes, Denmark. Yes, I don't like the Danish. | 0:23:17 | 0:23:20 | |
So how long have you worked here? | 0:23:27 | 0:23:29 | |
-Long or...? -Almost a year. | 0:23:29 | 0:23:32 | |
You and Rob, do you work a lot together or...? | 0:23:32 | 0:23:35 | |
Very rarely... If I can avoid it. | 0:23:35 | 0:23:38 | |
-You seem friendly. -The relationship's purely platonic. | 0:23:38 | 0:23:41 | |
-So what shall we do? -Well, which is the one you liked? | 0:23:41 | 0:23:43 | |
-15. Yes, I prefer 15. -Well, I think we should go for that. | 0:23:43 | 0:23:47 | |
Do they accommodate you here? | 0:23:47 | 0:23:49 | |
-Well, there are cottages for the staff, yes, at the main house so yes... -Oh. | 0:23:49 | 0:23:53 | |
-I live nearby. -Well, that's handy. -Well, very nearby, yes. | 0:23:53 | 0:23:56 | |
-I like your accent, by the way. Thank you. -Enigmatic. | 0:23:56 | 0:23:59 | |
-See you later. -Perhaps see you later, yes. | 0:23:59 | 0:24:02 | |
Steve! | 0:24:02 | 0:24:04 | |
-Steve. -Oh, hello. | 0:24:04 | 0:24:06 | |
I've moved us through to the fireplace. | 0:24:06 | 0:24:08 | |
-Oh, how very nice. -Yeah. | 0:24:08 | 0:24:11 | |
Very pleasant. | 0:24:11 | 0:24:13 | |
Now, did you know that on this day in 1702, King William III | 0:24:13 | 0:24:18 | |
died at the age of 51 and Queen Anne ascends to the throne? | 0:24:18 | 0:24:23 | |
And did you know I have ordered you a sticky toffee pudding? | 0:24:23 | 0:24:26 | |
Yes, what are you getting? | 0:24:26 | 0:24:28 | |
Niet. | 0:24:28 | 0:24:29 | |
Got to keep an eye on this fellow. | 0:24:36 | 0:24:38 | |
You've got to help me with the review. | 0:24:38 | 0:24:40 | |
I've got to keep fit. | 0:24:40 | 0:24:42 | |
Do you work out? | 0:24:42 | 0:24:44 | |
-Yes, a bit, two or three times a week. -You can't tell. | 0:24:44 | 0:24:48 | |
Can I get a coffee please, and the bill? | 0:24:48 | 0:24:52 | |
And can we get an extra spoon please? | 0:24:52 | 0:24:55 | |
-Of course, yes. -I'll share your spoon, don't worry. -Two spoons. | 0:24:55 | 0:25:00 | |
Going to see your parents while you're here? | 0:25:04 | 0:25:07 | |
That is wonderful, mmm. | 0:25:07 | 0:25:08 | |
-Thank you. -No, they... | 0:25:08 | 0:25:12 | |
Well maybe. They don't know that I've split up with Mischa. | 0:25:12 | 0:25:15 | |
So you have split up with her, then? | 0:25:15 | 0:25:17 | |
-Well, it's just... Try some. -No, thank you. | 0:25:17 | 0:25:21 | |
Thank you. | 0:25:29 | 0:25:30 | |
How much is it? | 0:25:30 | 0:25:32 | |
£93.80. | 0:25:35 | 0:25:37 | |
Is there a limit to what you can spend? | 0:25:37 | 0:25:40 | |
Don't think so. | 0:25:40 | 0:25:41 | |
Better check with Emma actually. | 0:25:43 | 0:25:46 | |
Oh, it is nice actually. | 0:25:49 | 0:25:51 | |
Lovely. You should have some. | 0:25:51 | 0:25:53 | |
NOISY ENGINES | 0:26:02 | 0:26:04 | |
COWS MOO IN THE DISTANCE | 0:26:15 | 0:26:18 | |
PHONE DIALLING TONE | 0:26:36 | 0:26:39 | |
-Hello? -Hello. Hey, it's me. -What time is it? | 0:26:39 | 0:26:46 | |
It's... | 0:26:46 | 0:26:49 | |
It's 12 o'clock your time. | 0:26:49 | 0:26:51 | |
Oh, shit, I'm late. | 0:26:51 | 0:26:54 | |
Have you just got up? | 0:26:54 | 0:26:55 | |
-Yeah, I had a really late night. I think I got in at like three or four maybe. -Where did you go? | 0:26:55 | 0:27:02 | |
I told you, I went to this magazine party | 0:27:02 | 0:27:07 | |
at this magazine launch, I thought it would be a good place to | 0:27:07 | 0:27:10 | |
meet some people and pitch some of my ideas. Yes, it was really good. | 0:27:10 | 0:27:14 | |
-I met some amazing people and there was lots of interest. -Yes? | 0:27:14 | 0:27:18 | |
Who did you meet? Who was interesting? | 0:27:18 | 0:27:20 | |
I met the editor of Esquire and he's interested in the story I did about the bikers | 0:27:20 | 0:27:26 | |
when I went back home. | 0:27:26 | 0:27:29 | |
Does he fancy you? | 0:27:29 | 0:27:31 | |
God, you know what? That really pisses me off when you do that, like I've got nothing else to offer. | 0:27:31 | 0:27:36 | |
-I'm not, I'm not... -Whatever. Listen, I've got to go. | 0:27:36 | 0:27:39 | |
I'm going to be late. OK? | 0:27:39 | 0:27:42 | |
OK. Hey... Uh... Uh... Well, I miss you. | 0:27:42 | 0:27:46 | |
Yeah, I miss you too. | 0:27:46 | 0:27:49 | |
Good. | 0:27:49 | 0:27:51 | |
-I've got to go. Listen, well, let's just speak later, OK? -OK. -OK. | 0:27:51 | 0:27:57 | |
-Bye. Bye baby. -Bye. | 0:27:57 | 0:27:59 | |
Subtitles by Red Bee Media | 0:28:13 | 0:28:17 | |
E-mail [email protected] | 0:28:17 | 0:28:21 |