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00:00Second time. Second time. Who do you know on the couch this time? Anybody?
00:04I know Colin, and I know Benedict, and I know you, and I am in awe of Miss Estefan.
00:11I'm in awe of all of them.
00:16And actually, you worked with Benedict. We did, yeah.
00:19Yes, August Osage County. Yes, you did. And were you at Wimbledon together as well?
00:23Well... Julia was sat next to me.
00:26OK, which I thought, oh great, I'm between my husband and Benedict, this is going to be great.
00:32But we were in a very special seating. In the royal box, you could say.
00:36We were in the royal box. Amazing.
00:38Which I was very excited about until I realised, well, until Benedict pointed out to me
00:46that I gasp every time the ball is struck.
00:52It was like a scene out of a pretty woman, it was amazing, she was like...
00:58It's impossible to be quiet in a scenario, like, it's so exciting.
01:03It's so exciting. But Benedict had his tie, and he was like...
01:06And he said, Julia.
01:08And it's like, they hit the ball, they go...
01:10They hit the ball, they go... He's like, Julia, really?
01:12It's going to happen all day. It's going to happen a lot today.
01:16If they're lucky. One big scream and get it out of your system.
01:21And Gloria Estevan, back, back, back again.
01:24So happy to be here. It's always so much fun.
01:27Got a new album, Racist, which we'll talk about later in the show.
01:32But this is unbelievable. You have been in show business for 50 years.
01:37Yes! I joined the band in 1975. It was the Miami Latin Boys.
01:42And then when I stuck around, we changed the name to Miami Sound Machine.
01:46I can't believe it. I was shocked.
01:48But you know what I can't believe is...
01:49I can't believe it is 40 years since we all first heard this.
01:56Do that Konga.
01:57Wow!
01:5840 years!
01:59Konga is officially middle aged.
02:07It's so good.
02:08And I'm glad you knew that, Colin, because Latin beats are important to you.
02:12Yeah.
02:14No, because Miami Vice...
02:16You know, there's a queue I'm supposed to, yes.
02:17Yeah, Miami Vice.
02:18A bit of salsa in Miami Vice.
02:20We're not talking chips.
02:21Yeah, we saw you doing a bit of moving in Miami Vice.
02:24Here you were now.
02:25Oh, Gloria.
02:26All right.
02:27Wait, I want to see the hips.
02:29They never cut to your feet.
02:33Wow.
02:34But no, you're really doing it.
02:36You're really doing it.
02:38Yeah.
02:39I cannot remember that scene.
02:42I think it was...
02:43Woke up 48 hours later in rehab.
02:47Fact.
02:51You took Miami Vice too seriously.
02:54Yeah, the mojitos are good.
02:5748 hours later.
02:5848 hours later.
02:59Yes.
03:00I mean, they were consequential.
03:01Yes, cut to.
03:02Yeah.
03:03That must have been very strange when you went to the premiere of Miami Vice and you must have been big suede of it you didn't recall.
03:08Two thirds of the film, man.
03:09Wow.
03:10I was like, don't tell me what's going to happen next.
03:14Yeah.
03:15Julia tennis.
03:16Julia tennis.
03:17Yeah, exactly.
03:18No spoiler alerts.
03:20Hey, listen.
03:21Tonight we've got three very different movies to talk about.
03:24The first is a fabulous and timely drama starring Julia Roberts.
03:27It's called After the Hunt.
03:28It opens on the 17th of October.
03:30That's next Friday.
03:31And it is the latest from Luca Guadagnino.
03:34Guadagnino.
03:35Guadagnino.
03:36Guadagnino.
03:37I've been practicing all week and still fucked it up.
03:40Guadagnino.
03:41Guadagnino.
03:42He made Call Me By Your Name and Challenger is lots for the films.
03:45And I was telling you backstage, I love this film.
03:47It's such a big moral mess.
03:50So tell us what you can about it, who you are and what is going on around you.
03:54I play a philosophy professor at Yale.
03:59And my colleague and sort of best friend is another philosophy professor played by Andrew Garfield.
04:08And my prize student is played magnificently by Iowa Debrey.
04:15And near the beginning of the movie, there she is, I throw a party that this picture is from.
04:22My husband and I, Michael Stuhlbarg, plays my husband, a Freudian analysis guy.
04:29And we have this party and the next day she comes to tell me that they walked home together
04:36and something inappropriate happened.
04:38So it's who's telling the truth.
04:41There's lots of fallout from that.
04:43Yeah.
04:44Among other things.
04:45And we were saying, it's one of those things where you think it's just going to be about the sexual politics of that,
04:49but it's about all sorts of, it's about young, old, gay, straight, men, women, it's all in there.
04:54Pills, whiskey, lots of things.
04:56There was a lot of whiskey.
04:57Yeah.
04:58I wish I drank whiskey watching that film.
04:59Yeah.
05:00It's lovely.
05:01You still can.
05:02I feel I've left it too late.
05:04Hey, I tell you what, we've got a clip.
05:06And this is you confronting student Maggie, played by Iowa Debrie.
05:11Here we go.
05:12When you...
05:13When you have been at screenings of this movie, I mean, it must be that afterwards.
05:16Like, everyone must have an opinion.
05:19There's lots to talk about after this.
05:21Yeah.
05:22That's the best bit, is people seem to have really robust conversations for days after this.
05:29And that's the best part, because I feel like, to me, that's my favourite part of going to the movies, besides the candy, is the talking actor.
05:38And the cast, you mentioned all the cast there.
05:41Had you worked with any of them before?
05:43None of them.
05:44And our other cast mate, there's many of us, Chloe, Chloe Seventy.
05:48Yes.
05:49And none of us had worked together before.
05:51And there was some kind of alchemy that happened, where we really...
05:56We have fallen into a life together now.
06:01I don't think...
06:02I mean, we finished this movie over a year ago, and I don't think a week has gone by that I haven't spoken to or texted one or more of them.
06:10Wow.
06:11Lovely.
06:12Yeah.
06:13Everyone who does interviews about this film all reference your banana bread.
06:17Oh, yeah.
06:18Like, do you cook anything else?
06:20No, I know.
06:21It seems like that's all I cook, and it makes me sound like such a not-cool person.
06:27No, it doesn't really.
06:29No, it's horrible.
06:30Super cool.
06:31And I do...
06:32I can make anything.
06:33I can make so many more things than banana...
06:35Just ask me anything, I can make it.
06:37Make one thing and do it super well.
06:40Banana bread.
06:41Yeah.
06:42I can...
06:43And I'm not just a baker.
06:44Okay.
06:45I could make you as well.
06:46I feel like I've touched a nerve.
06:48No, I just...
06:49You know, there comes a time in life...
06:51Walnut bread as well.
06:53Not walnut bread.
06:54Don't be silly.
06:55No, not a nerve.
06:58I love making banana bread.
07:00I wish I had made enough for everybody here tonight.
07:02But...
07:03And I'm...
07:04Yeah.
07:05Well, I've let them all down now.
07:06Yeah, really.
07:09Because, Colin, when you were working with Margot Robbie in your last film, A Big Bold Beautiful Journey...
07:14Yeah.
07:15You fed her...
07:16Was it every day you fed her?
07:17I didn't feed her.
07:18I mean...
07:19I would have if she wanted, but I gave the sandwich to her and she fed herself a crisp sandwich.
07:25You made her a crisp sandwich every day?
07:27Yeah.
07:28Oh, wow.
07:29That's a lovely thing to do.
07:30Thank you, the wooer.
07:31Yeah.
07:32Could she not make it herself?
07:33I...
07:34I just got into...
07:35I...
07:36I...
07:37I...
07:38Adopt habits very quickly.
07:39Just your gesture.
07:40And so, by day two, I...
07:42She...
07:43We were talking in rehearsal about the script and somehow it led to our childhoods, which
07:47led to food that we enjoyed when we were little and that evoke a sense of that bygone time.
07:52And I talked about potato crisps.
07:55Of course.
07:56And a sandwich with Kerrygold butter.
07:58Yeah.
07:59And yeah, and I brought her one in and she just was licking her lips and loved it.
08:02And so that was it.
08:03The second day...
08:04By the second day, the habit had kicked in and it was every day there was a...
08:08Margaret Robbie.
08:09It was a joy to bring her in a sandwich.
08:12Do you squish it down like I used to as a kid?
08:14You know, you do.
08:15Yeah, you know, you know, you know, you know.
08:16Don't even hang in.
08:17Yes, yes.
08:18Absolutely.
08:19Yeah, you get your fingerprints in there.
08:20Yeah.
08:21The FBI could profile you from a well-made potato sandwich.
08:23LAUGHTER
08:24Yeah.
08:25Yeah.
08:26But is this something you do on sets?
08:28Do you make things for people?
08:29Yeah.
08:30To eat?
08:31Yeah.
08:32Um, no.
08:33OK.
08:34Have people made you things?
08:35No.
08:36Did you get any of Julia's banana bread?
08:37Fucking banana bread.
08:38No.
08:39But do I...
08:40I bring things in, yeah, definitely.
08:42I bring cakes in, but I don't make...
08:44Making it.
08:45I'm not going to...
08:46I guess I'm very generous.
08:48I give people...
08:49Give it all the time.
08:50Go ahead.
08:51I bring tequila.
08:52Ooh, nice!
08:53APPLAUSE
08:54There's a party.
08:55Absolutely.
08:56There's a party.
08:57Tequila.
08:58But for after, not during.
08:59Do you collect?
09:00Do you collect tequila?
09:01Friday night.
09:02I don't collect them.
09:03I collect them in my throat.
09:04LAUGHTER
09:05There's great ones.
09:07They are.
09:08But it's celebratory, you know, at the end of the thing.
09:10But early on, I would get so nervous that the band would do a pre-show shot.
09:15It could only be one.
09:17And you could only do that in your 20s.
09:19Because after that, you realise it dries you out.
09:22You can't continue a huge tour with it.
09:24But, yeah, at least it, you know, chilled you out.
09:26No more.
09:27Nice.
09:28Nice.
09:29Happy memories.
09:30Happy memories.
09:31Talking of memories, now, the last time you were here, Julia,
09:34we talked a lot about some of your old movies.
09:36And I know nothing makes you happier than talking about those.
09:38But...
09:39LAUGHTER
09:40But Mystic Pizza.
09:42Mystic Pizza.
09:43You know, you'd have been successful, whatever.
09:45But this was kind of the film where everyone kind of paid attention.
09:47Absolutely.
09:48And noticed you.
09:49Yes.
09:50Well, life, I feel...
09:52You may know this already.
09:53I don't know.
09:54I just feel a dread right now.
09:55LAUGHTER
09:56Life might have been different because...
09:59The part was originally offered to...
10:03Do you know this?
10:04No.
10:05Gloria Espin?
10:06Ta-da!
10:07No!
10:08Yes!
10:09Yes!
10:10Thank you!
10:11I have a lot in that same hair!
10:13Honestly, I would have sucked.
10:15It was terrible.
10:16I wasn't ready.
10:17You know, the career...
10:18I wasn't ready.
10:19No, you were fantastic in it.
10:21But my music career was starting.
10:23They offered me this role.
10:24I go, do I have to audition?
10:26They go, no, no, no, you've got the role if you wanted.
10:28And I go, I'm not ready for this.
10:30It's a craft, as you all know.
10:31You made that call, though, yourself?
10:32Oh, absolutely.
10:33That's such a wise...
10:34No, I did, because I could have messed up my music career,
10:37if you fail at that.
10:38And I knew I wanted to act one day,
10:40but I wanted to have time to prepare and, you know, study.
10:43It's a craft, as you all well know.
10:45And I know that that would have been a big mistake.
10:47Wow, thank you.
10:48Well, thank you.
10:49Have you never heard that before?
10:50Good decision for both.
10:51I've never heard that.
10:52Yeah.
10:53I see some banana bread in...
10:54I expect...
10:56I expect, at the least, banana bread.
10:58But am I right?
10:59After the first audition of something,
11:01you heard that they were looking for a Latin actress?
11:04Or did you hear...
11:05Was that...?
11:06No, not a Latin actress.
11:08But after, like, my third reading,
11:11my hair was blonde,
11:15and I'd never coloured my hair before.
11:18And she said, you know, they're really...
11:19The director's really thinking of someone with dark hair.
11:22You know, these people are supposed to be Portuguese,
11:24and so I don't know if you could do something with your hair.
11:29That's probably why they offered me the role,
11:31my curly hair.
11:32Well...
11:33That was it.
11:34I had the curls, I just didn't have the dark.
11:35And so I got some...
11:38They used to have this coloured mousse.
11:40I don't know if they still do,
11:41but I got black coloured mousse,
11:43and I put in my already very curly, unruly hair.
11:48I walked in there.
11:49It was, like, massive.
11:52And crispy.
11:54Well, I think we've got some pictures.
11:57That's you in the movie.
11:58That looks beautiful.
11:59Yeah.
12:00And what's weird is,
12:01here's a picture of you, Gloria,
12:02from around the same time.
12:03Oh!
12:04Oh, wow!
12:05Sisters!
12:06This is a heritage image for both of us.
12:08Isn't it?
12:09Absolutely.
12:11And listen, you can see Julia in her new film
12:13After the Hunt in cinemas from next Friday.
12:17We move on now to Colin Farrell's new film,
12:19Ballad of a Small Player.
12:21It's in UK cinemas October 17th,
12:23and Netflix from October the 29th.
12:26It's beautiful,
12:27and really kind of an unexpected film.
12:29So we'll start with a clip,
12:30and this is you kind of introducing your character.
12:35And...
12:38I walked into this film not knowing anything about it,
12:41and so from the beginning,
12:42I just thought, oh, it's a crime caper.
12:43Good, you know, we're in for crime.
12:44And that is not what we're in for at all.
12:47No.
12:48What are we in for?
12:49We're in for a jolly good tale about addiction
12:51and desperation and looking in all the wrong places
12:54for a sense of who you are
12:56and the meaning that we all kind of try to scratch at
13:00and locate in our lives, you know?
13:02He's looking in all the wrong places.
13:03Yeah, we meet the character, Lord Doyle, no backstory.
13:08He's just at the precipice about to kind of hit rock bottom.
13:12And it's that thing of characters who don't know when enough is enough.
13:16Like, it's about that kind of idea of just always wanting more.
13:19Yeah, absolutely.
13:20And your life, his life, becomes just all smoke and mirrors.
13:24There's an enormous amount of pretense, artifice.
13:27Bless you.
13:28And...
13:29And he is...
13:31Yeah, he's pretty, to be honest with you, he's pretty sick.
13:33He's pretty in the grip of addiction,
13:35and he doesn't...
13:37There's no self-respecting addict does.
13:39He doesn't know when to stop.
13:40Whether it's gambling or whether it's booze,
13:42they're his proclivities, yeah.
13:44And watching it, I thought it was set...
13:46This is a clue to that.
13:47I thought it was set in a kind of, like,
13:49dystopian future...
13:51But that's Macau now.
13:53Yeah, yeah.
13:54That's what Macau looks like.
13:55Yeah, it's a really fascinating place.
13:57I mean, I don't know that I ever would have found my way to Macau
14:00if it wasn't for this film.
14:01It's off the coast of Hong Kong,
14:03I think a little bit south-west of Hong Kong, I think.
14:06And it used to be two islands, Macau.
14:08There was the old town Macau,
14:09and then an island called Colowan,
14:11which is still an old fishing village.
14:13Really lovely, really rustic.
14:15And then they dredged the sea floor in 2006,
14:17and they joined both those islands,
14:19so now it's one island.
14:20And the middle part that they dredged and they built
14:22is in the space of, like, an afternoon.
14:25The Chinese don't mess around.
14:27They built this whole gambling strip,
14:29so it's known as the Las Vegas of the East.
14:31But you have that amazing fact
14:33about how it's much more serious than Vegas.
14:36Yeah, I mean, they're big players.
14:38I think the money spent in Macau
14:42in the space of something ridiculous like a month
14:45is Vegas' revenue for the year.
14:47Yeah, it's mad.
14:49You know the way you get to see behind the scenes
14:51when you're doing things?
14:52What?
14:53The gasping.
14:54Oh, yeah.
14:55It did, yeah.
14:57That was a good gasp, though.
14:59That was a good gasp, though.
15:00That was a good gasp.
15:01Graham's role people sort.
15:03But it's easier to gasp on yourself, I think.
15:07We went backstage and saw this room where the High Rollers play one day,
15:11and the casino floor manager was showing me,
15:13and there was two baccarat tables, and he said,
15:15we had a good night last night at the house.
15:17And I said, what happened?
15:18And he said, we had two gentlemen in from the mainland.
15:20They flew in on private jets.
15:21They didn't know each other.
15:22One sat at that baccarat table, and one sat at that baccarat table,
15:24and we did well.
15:25And I said, do you mind me asking what a good night for the house is?
15:28And he went, yeah, they played.
15:29They both played for four hours, and we were up 24 million.
15:32Oh!
15:33Wow.
15:38I want to thank you for teaching me baccarat.
15:41I've always wondered when I went by the tables how you played that.
15:44It's really interesting.
15:45And you don't play it is what you're teaching us.
15:47Yeah, yeah, yeah.
15:48Because, Gloria, you've played Vegas.
15:50Did you not do any of the gambling things?
15:51Did you just perform?
15:52I like a little bit of blackjack.
15:54I'll do that for a little bit.
15:56But I like the penny machine.
15:58OK.
15:59I'll sit there for hours.
16:00The drum machine all alone with the little thing, yeah.
16:04And what's it like performing in Vegas?
16:05Are the audiences?
16:06When I perform in Vegas, I am stuck in my room with 27 humidifiers.
16:11I cannot leave.
16:12Because of the dryness, we're not meant to sing in a desert.
16:15Yeah, yeah.
16:16It's really rough.
16:17But, yeah, it's brutal on performers.
16:19How long were you there?
16:20I was there for a 10-day stint in Celine's Theatre before she opened
16:25because I was rehearsing for my tour.
16:27And I was, everybody having fun, having a great old time.
16:30And I was up there, like, breathing in humidity.
16:33Because, Julia, you obviously made Ocean's Eleven in Vegas.
16:36Yes.
16:37Which must be, I mean, the three of you and the rest of you, in real casinos,
16:42was it just a nightmare to make that film?
16:44No, it was pretty fun.
16:46Do they shut things down completely?
16:48No.
16:49No.
16:50Oh.
16:51Just little areas.
16:52Just little sections.
16:53But weren't just crowds gathering to watch the filming?
16:57Yes and no.
16:58Because, you know, people come to gamble.
17:00That's what they want to do.
17:01Yeah.
17:02So, in a way, they're not really paying attention to what's...
17:06It's like, oh, a movie seems insignificant to trying to win $24 million.
17:11Or losing.
17:12Or losing.
17:13Or losing.
17:14And are you confirmed for...
17:16I think George Gooney just confirmed that Ocean's 14.
17:19Yeah, I guess he did.
17:21I mean, I just said that too.
17:23Oh, OK.
17:24I just...
17:25Yeah.
17:26I mean, I've talked to...
17:27We've all talked about it, but I didn't realise he was going to be confirmed.
17:30Put the cell phone down, George.
17:35Stop texting.
17:36I mean, I'm just hearing about the artificial environment.
17:38That's the thing that scares me the most about it.
17:40Not just the addiction and the kind of pursuit of,
17:42oh, this time I went as you keep losing more and more,
17:44but also just the fact that you are hermetically sealed
17:47in an oxygen-pumped chamber in a desert, just burning money.
17:53It's just...
17:54The whole thing seems like a nightmare, a fever dream,
17:56which is what the film was on.
17:57Yeah, no, it really is.
17:58But don't you always think in Vegas...
18:00For this, you know, for fun, for a fun...
18:02No-one looks like they're having fun.
18:04Everyone's just shuffling around
18:05because they've lost all the money they brought in an hour
18:08and now they're here for another two days.
18:10I do.
18:12Vegas is great to go with here.
18:14You know, it was one thing when I was 22 or three,
18:16but to go now with my kids, which I have done for the last few years,
18:19and you go and see a Cirque du Soleil show, you get a steak dinner,
18:22and then you let your six-year-old walk around, you know,
18:26Las Vegas Boulevard at one o'clock in the morning
18:28and he just thinks the world is his.
18:30Wait, you didn't say your six-year-old?
18:32Yeah, but I didn't go with him.
18:33I let him have space, I let him go...
18:34LAUGHTER
18:35I was...
18:36I was...
18:37OK.
18:39Yeah.
18:40No, I mean, I...
18:42I was holding his hand.
18:44He was tagged, it was all right.
18:45Yeah, it was...
18:46No.
18:47It got him to count.
18:49There was no G-strings on stilts or anything, you know?
18:52Yeah.
18:53It was all very family-oriented.
18:54Good, clean family fun.
18:55Well, listen, just a reminder that Ballad of a Small Player
18:58is coming to cinemas and on Netflix.
19:01Meanwhile, Benedict Cumberbatch brings us an extraordinary
19:04piece of work.
19:05It's called The Thing with Feathers.
19:07It's in UK and Ireland cinemas from the 21st of November.
19:12So, this is Max Porter's famous book about grief,
19:15but that's kind of...
19:16It's about more than that, and yet that is what it's about.
19:19That is very much what it's about.
19:20I mean, it's a portrait of a family, a father who loses his wife,
19:24very suddenly, and two boys in the year that they spend
19:28in the aftermath of that chaos and what grief does
19:31and how it manifests.
19:33And in this imagining, it manifests itself as a crow.
19:38And it's based on Max Porter's award-winning novel,
19:42where this man is a Ted Hughes scholar,
19:45so it's about a group of his poems called The Crow.
19:47And in this one, he's an illustrator,
19:49so it's about the manifestation of this illustrator's imagination
19:52becoming real and manifest between the three of them.
19:56And The Crow is more than a kind of an image.
20:00The Crow is a character.
20:01The Crow is a character.
20:02It was a real man called Eric who is on stilts with an animatronic head
20:06and a sort of cloaky thing with a weird arm shape that's half humanoid
20:11and a lot crow and claw.
20:14But this amazing, very heavy head and beak.
20:17And it's David Thewlis's voice in the film, the final film.
20:22Oh, wow.
20:23Well, in the clip, we see you playing Dad,
20:25and it's one of your encounters with Crow,
20:27but here we just hear the voice.
20:29As you say, David Thewlis's voice.
20:30APPLAUSE
20:36You're quite sorry.
20:37You know, not surprisingly, it is a very moving film.
20:41It's a very moving film.
20:42And the little boys, we didn't see them there,
20:45who play your sons, they're so little.
20:48Yeah.
20:49And I just... How can you cast...
20:51You know, because they might have been very good on the afternoon
20:54when you met them, but you're with them for a long time.
20:56Like, how do you know they're going to be any good?
20:58Well, Dylan Southern, who's the director and also the writer,
21:00I mean, he's the visionary behind this film adaptation of the book.
21:03And he...
21:05In the audition process, they were the only ones he really, really wanted.
21:08And when I went in to do a test with them,
21:11I came out and go...
21:13I'm scared.
21:14I'm actually scared.
21:16It was so dangerous.
21:18They're not actors.
21:19They're untrained.
21:20They're two seven-year-old brothers.
21:21They're twins.
21:22The purity of their vulnerability was the scary thing?
21:24No, just the fact that they are...
21:26Children.
21:27..mental and out of control.
21:28Yeah, no.
21:29LAUGHTER
21:30You know, they were fighting each other.
21:32They were throwing insults at me.
21:33They were tearing round the room.
21:35Oh, wow!
21:36But, yeah, but they are extraordinary.
21:38Here we are.
21:39Richard, who's the slightly older one, by seconds to Henry,
21:44is sort of preternaturally old soul.
21:47He looks older, even though they are seconds apart in birth.
21:50And there were two moments that I remember very chiefly,
21:53how we kind of got through it and can't quite believe we did it.
21:56One moment when I'm telling them, their mothers died,
21:58and Richard just found it unbelievably funny from...
22:01LAUGHTER
22:03He just came towards her...
22:05LAUGHTER
22:07Everyone's a critic.
22:09And then, you know, eventually he got into it and I said,
22:12I think, you know, because you're upset,
22:14you might want to just sort of allow me to just cuddle.
22:17I think we should have a huddle here.
22:18I think this is kind of a cuddle moment.
22:19He went, no.
22:20LAUGHTER
22:21I don't like cuddles.
22:22I don't like cuddles.
22:23I don't like cuddles.
22:24Well, can we just this once, just this once?
22:26He did it.
22:27And during the take, he whispered in my ear like this,
22:30he was like,
22:31You owe me big time!
22:33LAUGHTER
22:39He's unbelievable.
22:40Oh, my God.
22:41I adore them.
22:42I mean, what a thing to go through.
22:43And, yeah, they were amazing.
22:44They are amazing in it.
22:45Because, Julia, have you worked with children that,
22:47untrained kind of little kids that...?
22:50I mean, in Erin Brockovich, I had three children.
22:53Yeah.
22:54And one of them was, like, a baby?
22:55Or was that multiple babies?
22:56One was a baby.
22:57There were two babies.
22:58There were twin babies.
22:59Yeah, there's the baby.
23:01Oh, yeah.
23:02And they were all great.
23:03And the two babies were wonderful
23:06until one of the babies I had in my arms
23:09for a scene where there's...
23:11I'm filling up a pot with water
23:13and there's a cockroach or something appears
23:16and I dropped the pot, the loud pot,
23:18and it scared the baby and the baby started crying,
23:21which was fine and great and appropriate.
23:23Good acting on the baby's part.
23:24Yeah.
23:25Good choice.
23:26And...
23:27But then she became the crying baby.
23:29Because any time she came to me,
23:31she was like, scary pot lady.
23:34She's still crying somewhere in the world.
23:37LAUGHTER
23:38And so she truly was the crying baby from that time.
23:41Wow.
23:42I think for maybe the rest of the show, I still feel bad.
23:45Talking of crying, I have to say, you know,
23:47actors often talk about how taking...
23:49doing difficult roles, you take it home with you
23:51and it's hard to take off.
23:53Yeah.
23:54But because of the amount of crying in this film...
23:56Yeah.
23:57Like, just in terms of headaches
23:58and that kind of terrible tight head you get from crying...
24:00Yeah.
24:01You must have had all of that.
24:02She's drunk a lot of water.
24:03Yeah.
24:04Yeah.
24:05Do you do a lot of crying?
24:06Quite a bit in this, yeah.
24:07And it's, you know, when there are three different set-ups
24:09and you're doing it eight times in each and, you know,
24:11those kind of extremes you hopefully only ever have once
24:14or twice at most, hopefully, in your life.
24:16I wish it on nobody, but, you know, we all go through it
24:18and it's a very important part of why I was proud
24:20to make a small independent film about this subject.
24:23We don't talk about it much, we don't deal with it very well
24:25in life and especially as men to be able to talk about it
24:28and deal with it.
24:29Yeah.
24:30Which is what Max's work is about, what the film honours.
24:31And so I'm not going to sit here and bemoan the fact
24:34that I had to cry a few times because the real thing's much worse.
24:37But, yeah, you go through it a lot.
24:39Yeah, and also, is it easier, actors to discuss,
24:42is it easier to cry if you're going to a very dark place like
24:47grief and losing someone, or is it easy to cry in, like, a rom-com,
24:52like, say, at the end of Notting Hill, squeezing out a tear
24:55with you, Grant?
24:56Did I?
24:57Yeah, you did.
24:58When? Why?
24:59During I'm Just a Girl.
25:01Oh, yeah.
25:02You did it.
25:03I did.
25:04No, you're absolutely right.
25:05That's it.
25:06Oh, that.
25:07Probably one of the most famous moments in the history
25:08of romantic colonies.
25:09Is it very hard to produce tears in a moment like that,
25:10where it's happy and light?
25:11No, I mean, I think when anything is authentic,
25:13obviously what Benedict is talking about is so deep and profound
25:15and dark and bleak, but if you, if I attach myself to it in a sweet,
25:20truthful way, I mean, that was just, I mean, it was a beautiful scene
25:24and beautiful words to say and, and, and, and, and, and, and,
25:29obviously touching to me and that's how I portrayed it, but that's a very different place that you're in.
25:51You know tears have actual stress molecules in them.
25:54Is that right?
25:55Yes, they do.
25:56And coming out is you are releasing stress and, and pain.
26:01So that's why they say cry it out because it really works.
26:04I think you're lovely.
26:05The idea about this film and that we don't talk about grief enough.
26:08It's a huge thing.
26:09And that we don't talk about death.
26:11Like, I know that sounds, of course, obviously more, but the word.
26:14Chat show, Colin.
26:15Chat show.
26:16Chat show.
26:17Chat show.
26:18We don't talk about death.
26:19We don't talk about death.
26:20We don't talk about death.
26:21Springtime.
26:22And, yeah.
26:23I have a question for Benedict.
26:25Oh, thank you.
26:26Julia, please.
26:28When you're making this movie and then you go home to your beautiful wife and your boys, like, how do you sustain?
26:35I mean, are you, do you just want to be joyful and, and happy with them?
26:40Or do you feel like you have to kind of maintain a bit of quietness?
26:43No.
26:44Or you just put it all away?
26:45No, no, no, no.
26:46I let go.
26:47It's enough to leave it on the dance floor and then go back and do it all over again.
26:49Yeah.
26:50Yeah.
26:51It's a car journey in and a car journey back and that's it.
26:52Yeah.
26:53Those are the transitional moments.
26:54And it's, the older I get, the easier that is, especially with a family that...
26:57I remember you crying in August, Osage County.
27:00And it's when you come off the bus to Chris Cooper and it is such a beautiful scene.
27:06You've missed my dad's funeral and it is such a beautiful, sweet, touching...
27:12Little Charles.
27:13It's such a great scene.
27:16You're very good, Benedict.
27:17Oh, well, Julie Roberts, so are you.
27:19Sorry.
27:20Sorry.
27:26Well, now, no crying, only celebration.
27:29Because Gloria Estefan, she has made a new album.
27:33Yes, she has.
27:38It's called Raices.
27:40Beautifully done.
27:41Is it right?
27:42Yes.
27:43Luca Guadagnino.
27:44Yes.
27:45OK.
27:46Raices, yeah, I think I've got it here.
27:48Yes.
27:49And unless people have been lying to me, Raices means roots.
27:52Roots, absolutely.
27:53OK.
27:54And this is your 30th album.
27:5630th album.
27:59I didn't count them.
28:02But here's the thing, Gloria, it's your first album in Spanish for nearly two decades.
28:07So why, I suppose, why wait and why now?
28:10Well, it's kind of full circle, but it all converged in this year somehow.
28:14We didn't plan it that way.
28:16But I wanted, I thought particularly now, it was important to sing in Spanish.
28:21It's a very autobiographical record of Emilio's and my love story.
28:26He wrote his own love song for himself that I was to sing.
28:30And it's talking about who we are, our culture, that we need to really keep alive who we are from wherever we come.
28:39And I happen to come from Cuba.
28:41I have Spanish roots.
28:43And I wanted to recreate that picture of my mom and me and that picture on the table.
28:48That's where we lived when we first left Cuba when I was two years old.
28:53So I recreated it because my mom's in me, there's my grandmother and my great-grandmother are in the picture in the picture.
28:59Wow.
29:00Oh yes.
29:01Yeah, yeah, yeah, yeah.
29:02Down the air.
29:03So it's a lot of fun too.
29:04It's a lot of salsa.
29:05I love singing that.
29:06Chile E invited me to do Bemba Colora, which was a Celia Cruz record.
29:10And I remembered how much I love this genre.
29:12So when Emilio brought this song to me, which is a gorgeous song, talking about the things that really matter, family, love, nature.
29:21I told him I want to do a tropical album with a lot of really, you know, dance beats and salsa and fun stuff.
29:28And that's what we've done on top of, you know, a couple of real romantic things.
29:31Can't get away from that.
29:32Well, as you say, roots refers to not just culture, but also family.
29:36And that's all reflected in this clip from the video of the title track, Raises.
29:43I directed and edited the videos for the thing.
29:48And the other video, Vecina, about the nosy neighbor, I shot in the place where I lived with my mom.
29:53With your mom?
29:54Wow.
29:55Yes.
29:56Yeah, no, we really enjoyed doing this.
29:57And music, I sing since I talk.
29:59So it just came with me and I feel so blessed and privileged.
30:03Thank you, everybody that has ever listened, bought any of my music.
30:08You make my life so wonderful.
30:11I appreciate you.
30:12I love you.
30:13And I feel so, so blessed and privileged to make music.
30:17It's a magical thing.
30:18And in the past, we've talked about your special honor.
30:21You had, is it the Miami...
30:23The Sound Machine Boulevard?
30:24Yes.
30:25New York is where we used to live, then my sister lives there now.
30:28Yep, there it is.
30:29Oh, there you are.
30:30You know, people would steal that sign.
30:31I'd be in Hawaii and somebody's holding up the street sign.
30:35And it got expensive, so now they made it smaller.
30:38But now, apparently, there's a new street.
30:40I have my own way.
30:42Gloria Estefan Way will be...
30:44Oh, it's not open yet.
30:45No, it's inaugurated on Monday, this Monday the 13th, my lucky number.
30:49And it's right alongside the hotel that Emilio and I have owned for almost three decades on Ocean Drive.
30:55The Cardozo Historic Hole in the Head was filmed there, Frank Sinatra.
30:59Something About Mary, that famous scene with the Chell, with the Chell, was filmed there in our bar.
31:07And, yeah, there's a lot of history.
31:09Oh, Birdcage, also shot in that hotel.
31:12Wow.
31:13Yeah.
31:14And now it's Gloria Estefan Way.
31:15Yes, it's a little way, like me.
31:18But, yeah, I'm thrilled, you know?
31:22Well, get yourself down, Gloria Estefan Way.
31:24And love you having me back and congratulations on the new album.
31:27Racist is out now.
31:30Well, I think we're all in the mood for some more music now.
31:33So it's time for tonight's performance.
31:35This British pop icon has had the most UK number one albums of any solo artist.
31:40Here performing his new single, Pretty Face, it is Robbie Williams.
31:45Thank you so much. Thank you very much.
31:47He's gone up.
31:48Hello, Gloria.
31:49Hello, hello.
31:50Benedict Cullen Jr.
31:52That is Robbie Williams.
31:55Who do you know on the couch?
31:56Uh, no, everybody from watching them on the tally.
31:57OK, that's good.
31:58And Julia Roberts.
31:59Oh, my God.
32:00I've watched Pretty Woman six times in a row.
32:01What?
32:02And at the end of the sixth time, I was like, one day I will take a prostitute shop in.
32:05Oh!
32:06And I did.
32:07I did some back there.
32:09Wow.
32:10That's a lovely story, Robbie.
32:11That's really lovely.
32:12So, that song, that is off the new album Britpop, which is out in February, February 2026.
32:17And...
32:18So, that song, that is off the new album Britpop, which is out in February, February 2026.
32:24And...
32:25So, the idea of Britpop, you're referencing your appearance at Glastonbury here.
32:37Yes.
32:38In 1995, I was in a boy band.
32:41And...
32:42So, the idea of Britpop, you're referencing your appearance at Glastonbury here.
32:47Yes.
32:48In 1995, I was in a boy band.
32:50You auditioned for a boy band, didn't you?
32:51Tell us about it.
32:52Yeah.
32:53Yeah.
32:54Didn't go well.
32:55You know, it did, did it?
32:56There was two dead mics and they wouldn't let me have one of them.
32:58Maybe it did go well.
32:59I was in Take That and we were a lily white pop band, a boy band.
33:04And, at the time, there was sort of, you know, uncool, naffness, that kind of thing.
33:14And then Glastonbury was the height of militant indiness.
33:19And people like me shouldn't go there.
33:22It doesn't...
33:23This thing doesn't exist anymore.
33:24But in 1995, and also, there was a lot of rules in the boy band.
33:28I wasn't allowed to do anything, really.
33:30And then...
33:31Stuck by that, didn't you, Rowan?
33:32Yeah, I did.
33:33Yeah.
33:34For both of us.
33:35Yeah, yeah.
33:36So, anyway, and then one day, because we weren't allowed to go to clubs
33:40or things like that and we weren't allowed to go to festivals
33:43and then one day I was just not having it.
33:46When I realised that they couldn't fire me anymore,
33:48when we were, like, too popular to be fired,
33:51I was like, I can do anything I like now!
33:54And I'm going to.
33:55So, I turned up at Glastonbury in 1995
33:58and a lot of people were like, what are you doing here?
34:01And I was like, well, I'm having it, aren't I?
34:03That's what I'm doing here.
34:04But then inside there's the album, there's this blue plaque that...
34:07So, did you make this blue plaque?
34:09What's it say?
34:10This is the one...
34:11And then I'll decide if I did it or not.
34:12This is the one that was put up...
34:14Yes, I did.
34:15Was this up in Glastonbury this year?
34:17Yes, it was.
34:18So, I think we've got a picture.
34:19So, this is the blue plaque, it's up in Glastonbury
34:21and it's basically,
34:22Robin Williams entered this area without accreditation,
34:24authorisation or alignment with prevailing taste.
34:27His presence was uninvited, unofficial and ultimately inevitable.
34:31Yes, I wrote that.
34:32Yeah.
34:33Were you at Glastonbury this year?
34:35No, but everybody thought I was.
34:36So, for like, when that went up for 24 hours, my phone was blowing up.
34:41We know you're here, we know you're doing the secret performance,
34:43we've seen you in the healing field, what time are you on?
34:45And I was in Belgium.
34:46So, it was fun to take over Glastonbury and not actually be there.
34:50And I'd like to announce on the TV tonight that I'm playing Glastonbury next year.
35:04That's a result on next year, isn't it?
35:07No, I'm still going to play it though.
35:09OK.
35:10Yeah, so...
35:11Like it or not?
35:12Like it or not.
35:13Because they haven't asked me since 1998, so I'm going to go do it anyway.
35:17OK.
35:18So, I'm going to turn up in a truck and then put the side down and then do off an hour.
35:23Nice.
35:24Like a carny.
35:25Yeah.
35:26Are you going to tell anyone you're there?
35:28No.
35:29OK.
35:30But I am doing it.
35:31Let's keep it between us.
35:33Yeah, yeah.
35:34This is very quickly, European stadium tour was your summer and everything, huge.
35:39But now next year, you're going out with this album to proper small venues
35:44where, like, there'll be a frenzy for these tickets.
35:47Like you're playing Barrowlands, Liverpool Olympia, Brixton Academy.
35:50I mean, these are small venues for you.
35:51When was the last time you played venues like that?
35:54Um, in 1997, I think, was the last time that I had to do that.
36:00So...
36:01What's the thinking?
36:02Thankfully, I'm choosing to.
36:04This is not where my career is at, everybody.
36:06LAUGHTER
36:07What is the thinking?
36:08Well, actually, so it's maybe 30 years now since I put out the first album,
36:15Live Through a Lens, so what I'm going to do is I'm just going to play my first album
36:18from beginning to end and then make them listen to my new album too,
36:22which I will also play from beginning to end.
36:25I'm just suckering them in, really.
36:27I'll give you this, but then I'll hit you over the head with this new stuff
36:30that I'll make you listen to.
36:32And very good it will be.
36:34Listen, you always put on a fantastic performance.
36:36Thank you so much for that.
36:38Robbie Williams, everybody!
36:39CHEERING AND APPLAUSE
36:42That is nearly it, but before we go, it's just some time for a visit
36:47to the big red chair.
36:48You've been in the chair now in Morroby, you know?
36:50Yes, I have.
36:51It's not as far back as you think it's been.
36:52No, no.
36:53I thought, yeah.
36:54Hello.
36:55Hi, how's it going?
36:56Good.
36:57And what's your name?
36:58I'm Ben.
36:59Ben.
37:00And where are you from, Ben?
37:01I'm from Limerick in Ireland.
37:02Lovely.
37:03Loving Limerick.
37:04And what do you do in Limerick, Ben?
37:05Well, I'm living here full-time now.
37:07Oh, right.
37:08Working in construction.
37:09Oh, right.
37:10When did you come over?
37:11How's it going?
37:12Very well.
37:13OK, Ben.
37:14I'm going very well.
37:16Off you go with the story, Ben.
37:17Right, so it was around Covid time when all the regulations
37:22started easing up and you could start going drinking in
37:25hotels again, so me and my friend had a great idea.
37:28We'd book into a hotel in Limerick where we both lived and
37:31we'd stay there so we could go on the beer for the night.
37:34Basically, the hotel we were in, our friend was working there
37:38as well and he was very, very heavy-handed with the portions
37:40he was giving us.
37:41So, the last thing I remember is walking out of the front door
37:45of the hotel and the next thing I remember is an absolute
37:49banshee scream and I woke up, looked around me, I was in a tiny box
37:54and I look out the little hole, I see my mother looking in at me.
37:57I was asleep in my dog's kennel out the back garden.
38:00LAUGHTER
38:01We love Ben.
38:02You can walk, Ben.
38:03You can walk.
38:04Well done, Ben.
38:05All right, that really is all we've got time for if you'd like to have a go
38:10in the bed, share yourself and tell your story, you've got that
38:13to the fire website at this very address.
38:15Please say a huge thank you to all of my guests.
38:18Robbie Williams!
38:21Gloria Esteban!
38:24Benedict Cumberbatch!
38:28Colin Farrell!
38:29And Julia Roberts!
38:35Do join me next week with Florence and the Machine, Tessa Thompson,
38:38Oscar winner Jennifer Lawrence, Jeremy Allen White and the boss himself,
38:42Bruce Springsteen!
38:43I'll see you then, goodbye, bye-bye!
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