Sean Connery Scene by Scene

[Music] it's so exciting we're at the caledonian hotel in edinburgh and i'm going upstairs to meet sean connery sean connery and better still he's going to come to my flat and better still we're going to sit and watch his movies and talk about them can you believe it we're going to film it and you're going to see it hello hello hello hey hello hey hey hi how are you i'm happy to see you just you know are you not ready yet well you want to give you a few minutes well yeah i didn't even i just put this on all right it looks good and we'll give you a few minutes and then uh could we just come and we could have a quick look at your view and then we'll cut and then we'll get into the car come in look at this thanks for coming all this way from spain shawn that's very nice of you [Music] when you're when scotland becomes independent and you become the king of scotland this will be your court yeah [Music] sean so we are driving along in the heart of edinburgh right what would happen if we stopped the car and you walked along the street would people react to you well it would turn out i'd probably know half of them but they'd all be all the expansion do you ever feel that you've lost something by becoming a superstar and that you cannot it's been 35 years since you could just slip across through this city now there's a woman there just looking at you in your car well to slip through the city when i used to slip through before it was off in the company with a kick in the arse by having to jump in the railing because there was times when you're allowed in the park at times you weren't allowed and we used to love getting in when you were not supposed to be there way back in the 60s you made a documentary one of the few times you've directed called the buller and the bonnet and that was in some way about scotland wasn't tell me about that the idea was to break down the barrier between uh labor and management and it was a way way ahead of its time in the toughest place it was a fight to the death and this is the death harland and wolf one of the proud names in clyde shipbuilding is a graveyard and there are others henderson simon lovnitz blythewood hamilton ingles denny's of dumbarton these shipyards have gone under with millions of pounds worth of orders and with some of the best workers in the world there are some things you can't cure with deflation and there's one scene i don't know if you remember but there's one scene in the bowler in the bonnet where you uh look through a pin of glass and you look out onto an empty factory floor and you can see you must have done a dissolve through because you can see the ghosts of people playing soccer do you remember that yes i like that and it's what's that scene about do you think what were you trying to say there with those dissolves well we said it actually in the narration i said uh you know you know you just have to find a space and a ball or you make up a ball and before you know where you are i was all kicking it about and that was my whole childhood and what i you know had aspirations to such as they were was the soccer and every we used to play in the meadows here in the summer all day and run home for a piece to have somebody to eat and then run back and play i think that's where one like crowd of us then had got a certain kind of stamina yes and you're actually in that scene aren't you you can see you halfway through running through that's right sort of longing for those old days almost well there was also a sign out football not allowed which we shot oh yes you played a lot of football you were actually asked by matt busby to join the man united team yeah well matt busby offered me i was 23 then i think uh we were in south pacific and manchester and american actor in the cast robert henderson said but would you want to be an actor and i seriously never even considered becoming an actor and he said well you know by the time you're 25 if you haven't done anything you're suddenly over the hill yeah but as an actor you can go on so that's why because you thought it's a better career move anyway well i said well what would i do i mean i'd never thought of it and he said well you have to be a bit of a contradiction he said to what you are he said you have to be able to look as though you could work in a mine and have read bruce uh-huh and he thought he gave me a whole list of all the stuff to do i said okay so i went to work with it and you did actually you ready first you read stanislavski well i know stanislavski my life in art and actor prepares tolstoy's war peace the rejoices uh finnegan's wake god what did you mean it's impossible no no i loved a lot of it because it's mindless language and things because the the most erudite scholars have the same problems you know lauren alfred tennis and wimbledon are for the stuff that used to find you laughing yes yes and i read all shakespeare read all show epson's plays uh remembrance of things past which is you know there's 12 way and all that now talking about books your character in the rock has spent all his time in prison reading books your character in indiana jones is an incredibly bookish man he's lived on it oh yes yeah is that a coincidence well one introduced these elements into the script too oh yeah i think so [Music] i suddenly remembered my charlemagne let my armies be the rocks and the trees and the birds in the sky here we are sean sorry you can't come in sean how often do you do this sit on a saturday afternoon and watch your own movies really we're going to watch films from throughout your career the real work of art here let's have a look [Music] oh [Music] i can't tell you how long ago that was actually but i remember that i had so little experience about singing that it was a nightmare to learn it and to go and make the record but to do before we started the movie and janet and i went down the guy called tamaretti or tamamuri or something was a conductor and there was this great big orchestra 50 piece or whatever it was in the valley and i was at one pedestal and she was at the other and i had to and suddenly it was me to sing and i nothing came out they all stopped and so after a few stops and starts they realized that i had absolutely no experience of it and therefore they would have to just take a recording and i would do it against the recording and then the nightmare came when they said now we do the other side of the record which was a song called the ballymcquilty band which i had to learn there and then and uh sing so with the help of some vodka with janet and i we did it she is my dear my darling one her eyes so sparkling full of fun now i'll learn the water can match the likes of her she is my dear my darling one my smiling and big island one i love the ground she walks upon my darling irish girl i called you when your food was ready but you were making so much noise you couldn't hear me faith i know i can't sing a lick but when i'm roaring like doran's bull it works up a killing hunger in me and this was your first um time filming in america it was also your first hit film really it was the first the creator of the decent box office yeah in fact that was my first trip to uh america first the first movie was w gill and in fact i flew to go to i didn't realize it on the plane all the food and drink was free it took me for ages to order something and this film was produced by walt disney did you meet walt disney oh yeah yeah when we had the premiere i went to the uh the races with walt in uh in ireland this film was shot by a guy called winton hutch and he went on to shoot one of the most beautiful films ever made the searchers do you remember that john john any recollections of hutch well the i wasn't so um conscious then of the technical aspect of shooting a movie but um stevenson who directed it and had co-written it was a direct descendant of robert louis stevenson the cameraman i knew was exceptional because of the the effects that they had created with all the calculations by him and i thought that uh very um limited experienced eye that uh he had uh it was very kind of rich uh lighting and without being kind of chocolate boxing yes absolutely that's right very good yes three years after this and something happened you became a superstar sounds like this is your life and you became james bond w7 and or as the italians called you mr kiss kiss bang bang which is great isn't it [Music] how early did you realize what size a phenomenon bond would be i had no idea as i'd never been there before but it was the same in probably the ensuing 20 years because i had no awareness of uh that scale of kind of reverence and pressure and what have you it was around the same time as the beatles and the difference of course was that they had four of them to kick it around and blame each other but i made as many mistakes as anybody in dealing with the situation because i never had a press representative or anything and i found it a bit of a nightmare actually to deal with then and eventually evolve to um deal with it and handle it my own way right okay let's look at a clip from the first bond movie doctor no oh with ursula it's a dream sequence this isn't it it still is beautiful actually yeah absolutely i still see her when i go to rome she's a great girl [Music] underneath the mango tree my honey and me who is that i didn't retire on the royalties of the records no indeed not and what were you looking at in your in your shot were you actually looking at her when you're doing this uh yes i remember in fact you know dr noah was a very very kind of poverty-stricken production in terms of finance was less than that because the dollar was devalued before we started and uh so it was and in fact it came in under but uh i mean that very sequence there i remember harry saltzman and cubby broccoli were even out with spades when we were trying to make the beach taking the sand back a bit we didn't have the kind of equipment you could fly in and out there and we're hand moving the sand that's how much money we had now tell me what did filmmakers do to you and what did you do to yourself to turn you into bond and first of all let's talk about visual things well i think that the the most important element in the whole bond series was apart from fleming himself who you know written the original stuff and everything i think was terence young i think he was the greatest influence the director of this picture yeah the director terence had really identified very much with being the grand senor the elegant bank gamut tumbling asha i mean he took me on the trip to get our clothes and everything and it was an eye-opener the budget on the clothes was astronomical in relation to the film but he was right terence because there was a look about it and we had shoes handmade at lobs and no cufflinks a special fold back button and i used the windsor knot very small winds or not and equally that we shared that kind of similar sense of humor about what was funny what wasn't oh hello aren't you in the wrong room mr bond not from where i'm standing sincere here would you mind giving me something to put on strangely enough there's a lack of humor actually in fleming's writing because he was quite um dear yeah about that but very very very bright very early and um a real snob but um and he introduced you to noel carr does it right yeah well noel was living on the island then too jamaica in fact it's the only time i've ever been i never got back again and uh and noel was uh asked to play um dr no and uh he was quite funny about it because i could became very friendly with noah too did you learn from him sort of eloquent mannerisms no i think terence was more um influenced in that than anybody you know knowing what we're going for and without going over the top they um one wanted to keep a real sense of reality about the threat of it all the sexuality the jokes and the physicality you know when you're dealing out whatever it was [Music] i think he got the point it was coming in the wake of the kind of kitchen sink drama so you wanted to have something that was still um backgammon and uh sherman de fer and good food and beautiful girls and marvelous cars and rather luxurious locations tell me miss strange do plenty of other games i mean uh besides he was popular with men and women which is kind of unusual but anybody who as i keep repeating says that they knew it was going to be one of these immeasurable successes as lying one of the things that i feel is that bond was successful because he was free he was free to travel the world and the only authority figure in his life was em apart from that he was totally without authority he was licensed to indulge his senses yes well that's true too then of course he had the other side where he would do his diligence uh you know with the running and getting in fit and yogurt not smoke smarty cigarettes and i feel my um if there is a criticism uh about where it's gone or come is to uh too politically correct and little too um not quite dirty enough not quite sort of um rough enough do you mean the judy dench bit in golden eye where she says bond you're a sexist misogynist dinosaur well as a bit of that yeah i think that that's what's kind of missing because it gives a little bit of spice at no cost yes and the other they start to drift towards a sort of um antiseptic essence yes and then bond escalated beyond your belief and you changed your contract initially your contract was broccoli and salzman was that you could do non-bond films but they had to be with them yeah yes yeah why did you change that well because uh well a few reasons apart from their greed was the um the problem of um trying to accommodate another movie you know if you have a film with a very tight budget and you're doing a bond film and it's going to run over they have you on first call and the problem was that they always took so long and they always ran over and there were major problems always in the way and trying to get a start date and a finish date yes and uh consequently you missed a lot of movies because you could never give a first call now one of the first non-bond movies you did with gina lullabridge is the women of stream yeah and you didn't get on so well with lola bridgette oh that was just really because she was very much a kind of diva there yes she was a bit upset at me because i was doing films back to back and i and i couldn't get to her to meet her until we um met on the first day because i finished on the friday night shooting a movie and looping another one but she was not too understanding and got off to the bad start and then we got it sorted out she was uh really a little over demanding and then you got the call from mr hitchcock and to make marnie yeah now from what i've read most people accepted hitchcock rules without having read the script is that the case and how was it different for you well because i was very curious as to what it was because at the time of offering to me grace kelly was supposed to be playing the other part and uh and yes and uh so i said well i would you know certainly like to read it not unusual i thought because i would equally say i don't think i'm right for it or this is more american than i could ever be and um but i liked it and eventually i had a terrific time with him were you worried that it was a controversial part because he's very sexually aggressive there's a rape scene that we're about to watch oh no no not at all i mean uh i don't think i was that concerned of these about these kind of issues at all and his preparation for movie making was uh second to none in term of in terms of what he wanted in the script and he'd visualize and everything and i enjoyed it honestly working with him tell us very briefly the storyline of the film so we can understand what's happening here well it's a girl who's um from what i remember but i'm not very good in the past there okay i'm not um she was a girl who had a terrible time and her mother had been a hooker and i played a very wealthy boston type she comes as a secretary and then steals the money yes and then i go after you're erotic you're sexually attracted because she steals money well a combination of quite a few things okay let's have a look at the scene if you don't mind i'd like to go to bed i've told you the light from the sitting room bothers me well we certainly can't of anything bothering you can we this is the night of supposed consummation when it was a honeymoon yes you don't want to go to bed please get out but i do want to go to bed money i very much want to go to bed now i'm sorry [Music] so [Music] [Applause] [Music] well [Music] it's usually the smoke coming at the end of a tunnel oh yes look at there i mean they've really shaved your eyebrows there haven't they well yeah they did everything in my first kind of introduction to the kind of perfecto as it were of the hollywood i think they really wanted somebody like carrie grant uh or cary grant whenever it is and uh then same as with the the hairline had to be perfect with the piece and and then the guy had a special way of doing your eyebrows and talking to you yes he did everything and uh the la and then there would never had could be a sort of suggestion of her like not like everybody now with a stubble look you know which is let me ask you a question i see everybody still walks around these young people with their shirt hanging out what does it mean it's so uncomfortable that's how they get a chill in the kidneys anyway um that was sort of the mode for um hollywood then and hitch was very much and you know he had a saying always said whatever your question got a little too involved i never had too many problems discussing anything with them he would just say oh it's just a movie you know no matter what and he in that movie had some major problems because we had he was producing and directing and uh the blue screen stuff was not working and we had to do it three times and uh he had quite a lot of flack from stuff that was not going well and the woman who wrote the film do you press now yeah jay personally marvelously dynamic told me i'm always remember that when she was young she was so kind of electric with herself that she used to put cotton wool between her toes which must tell you something and she came and was sort of watching and rather put i think tippy off quite a bit but in spite of it all it came out in a funny way it had one of these kind of [ __ ] later recognition for being a certain kind of movie absolutely you didn't make many so-called women's movies about women's psychological characters most of your films are about men men's worlds yeah that's true i'm not quite sure how one would answer that i'm not i think particularly skilled in understanding uh women um i don't know how many men are but and i think i find and it's more often than not the case that most of the um the moment the woman is in any way attracted then it has a sexual connotation which i suppose and when you have i find lots of men attractive i like them and my preference is really for the company of men but i don't have any sexual attraction to them i don't think in fact in quite a few of your films homosexuality is quite a threat isn't it when you think about in the hill and even in the rock when you come out of things you say i've avoided kept my oh yeah keep my arse to the wall or something like that why is that just because that's the way men's worlds are do you think um you've never played a gay character for example no no i've um not and uh i wouldn't have any problem i played alexander the great yes well that's true but uh michael caine did the neil simon movie with maggie smith um what was it called california sweden and he played the gay guy with her and had i been offered that i would have played it i could have seen you and i think you would have been very good in case of the spider woman in william hurt's part oh really is that really well okay let's uh let's move on to one of these archetypal men's world films this is a film with no martinis no girls no foreign locations it's the hill oh yes yeah really uh one of your best films yeah i would i agree well it's one of the few genuine ensemble movies can you fit that double on your feet stop it's crazy i must say when i first met sydney who is a dear friend he did five films with him yeah and we have this long-lasting relationship and everything and it's still a terrific charge and i do working with him but um i couldn't honestly believe that an american would have such a grasp on the kind of idiosyncrasies of discipline in a british military establishment having been in the navy myself and knowing something about the military and having been exposed to the american side of the navy which i was when i was in plymouth portsmouth i couldn't quite see how he would get such a handle on it and he did tell me a wee bit about your character in the film describe it briefly well he's a sergeant who's in uh given situation with some uh officers and he's been given an order a command that is an absolute absurdity to carry this out and uh he defies it and of course it's the principle it's probably why i got unbelievable the navy with ulcers but you there is no questioning otherwise it doesn't work a military force naval whatever doesn't work unless the chain of command is absolute so if somebody says something who is above you you have to do it then you can contest it afterwards of course when it's life or death it's a bit difficult afterwards if you're all dead but that's why they make such decisive personnel well this character had a problem with that and didn't do it and then slogged the officer and then ended up in choking which is the prison where the whole film uh really takes place okay let's look at the character anyway what kind of a soldier are you i'm a live one unless williams has got other plans for me discipline the almost run on discipline i'm a regular soldier because i couldn't get a bloody job in sivi street but i was a good boy clockwork soldier just like you are you saw an older knee i could pick it up like a dog picks up a ball on your feet and you listen no you're listening any person committing uh any traitorous or uh uh mutinous practice may be uh sentenced to penalties for the time of his natural life are you christ all right all i know is that i can't do things that don't make sense to me anymore you can you can still live by the book but it's out again it's stupid another day why have you played so many characters like him who are in some way obsessed by authority you've played either authority figures or people who are challenging authority is this a theme that interests you no i think i basically dislike intentionally injustice and in a funny way if you find the situation or circumstance say in the military unjust then you have no place in the military because that's how it operates incidentally that scene i just remember just looking at it now i haven't thought about it for ages but that scene was was never in the movie it was written by sidney lumet felt that the the harry's part and my part needed a personal confrontation because it suddenly put the two positions because they were both of the same they're both sergeants harry was in charge you know the basic prison whipping out the punishment and everything but to question it the way he does which is very much what i would voice and i had nothing to do with the rewrite that's very surprising to hear that because this is why i put that that clip on this reel is because it tells you the theme of the film this is the only scene in the film absolutely right but we didn't realize that was missing in the in the shooting and uh it was well we're into third week of shooting in our maria when sydney came up with the idea of this it's the essence of the piece the heart isn't it yeah anyway looking on at your career you did thunderball after this another bond movie and then a film shalako was breached bardo oh yes yeah which was an uneven film really yeah that's very polite and then you decided to do one more bond diamonds are forever but yeah but you you've got a huge fee over a million bucks for that but yeah they were paid they never paid that kind of money before then that was like the biggest feat ever apparently for a movie yeah and that money went to your trust to tell us yeah yeah here in edinburgh yeah saet scottish international education trust and what's the aim of the trust well it's just um education again for anybody but they the only deciding factor is they have to be scottish and it's for people in scotland and we put out anywhere between 65 75 85 000 pounds a year in grants how would you characterize the 1970s in your career would you is it fair to say it was an uneven time if i knew what you were talking about yes i can't remember dates like that okay well what was the biggest commercial disaster that you need the worst box office uh the worst box office considering how much it cost and everything i suppose was the molly mcguire really yeah cost 10 million dollars then because they had to submerge everything in the streets they put the lines down and just changed the whole place it'd be cheaper to come to scotland or ireland or wales and shoot the mine there where there was old mines and everything the production cost a fortune the offence of course was a great picture oh yeah yeah all my family went to see it and but then you made zardos which is the one well that's also another one that has a strange kind of cult following it has yeah yeah you and a red nappy is that right yeah yeah and a ponytail and then you made uh the man who would be king oh yeah one that's a good movie i think one of your best we're going to teach you soldiering the world's noblest profession when we've done with you you'll be able to stand up and slaughter your enemies like civilized members should have had much what fast you have to learn to march in step do the manual of arms without even having to think good soldiers don't think just obey do you suppose if a man thought twice he'd give his life for queen and country not bloody likely he wouldn't go to the battlefield why did you suddenly start becoming big box office again what happened in the mid 80s you got a new agent did that affect things no otherwise you to film him but i'm thinking of when you at the time that you won your oscar for the untouchables oh well yeah well i did i did four movies for paramount i think yes and they were all the same had terrific uh box office uh the untouchables indiana jones red october and there was one other oh yes tell me about your character in the untouchables uh jimmy malone he was again somebody who's so cynical about the whole al capone what they were all trying to do and nobody really understood how you were going to deal with such venom as uh the capone regime uh he understood how it would be done but he wasn't in a position ever to do it the the graph as it were for him was a guy who suddenly got a chance very late near retirement to be a main feature player and turning around and so he got more and more up now as the movie went on yes let's watch it what do you want i'd like to talk to you come here what i need is a small group of men handpicked starting with you i am just a poor beat cop now how can i help you just work with me but why should i though because you're a good cop how do you know that you told me i'm such a good cop how come i'm walking the beat then at my age what do you want to tell me well maybe i'm that [ __ ] with a half the gold or the one good cop in a bad town so you want to stay on the beat you do that if you'd like to come with me i need your help i'm asking you for help well that's the thing you fear isn't it mr ness i wish i'd met you 10 years and 20 pounds ago but i just think it got more important to me to stay alive and that's why i'm walking the beat thank you know which of these two men do you think is the better man the man who has sort of learned through life or the man who's sort of still fresh and naive well there's a combination of both in both yeah you know the point is this that he's saying it was 10 years ago because he didn't think where he's reached now that he'd be capable of doing the things that he does do eventually in the movie which is the good writing of mammoth and he comes in and he is naive and he does make the lead him up the path and then people have to get killed and everything and then that meeting in the church kind of crystallizes what the real crossover is when he makes the pledge yes and which of those two men do you identify more with you you've been on you've said in several interviews that you like enthusiasts you know and and kosner ness is nothing if not that he's such a zealous idea well that's true but yeah and that's why i liked kevin's playing of it and everything and i thought he was very unfair in in the criticism of his performance in the movie but um you say which person would do i prefer of the two well if which of those two men could save the world most which which quality do we need most do we need idealism or do we need experience no you need experience now tell me what do you think's your greatest artistic failure which was the poorest quality film would you say well funnily enough a movie i adored um was the russia house and at the end of the bit and the third act as it were but i liked the movie i like to hold john the curry story about what it was trying to do about coming out of that whole post wall down uh dealing with the russians and everything i thought it was uh and i find it very moving the whole story and i thought and le carre was very very enthusiastic about it too so alone but it didn't do well at all finally sean let's come right up to the 1990s and uh your film the rock there are 81 hostages still up there yeah like me all right you want to play tough you want to play tough with me okay fbi free sucker i'll fire no you won't throw down you're not shocked let's find out i could you know such safety's on speed have you resolved the situation not yet now let me just stop it there a minute sean let me ask you about this compared to the bond style you know where everything was so brightly lit to new very wide angles and you had loads of space to move in look at this here you're in focus but his hands how to focus the backgrounds how to focus that sort of long lens style does that make it harder for you no because not at all because it's rather like um one of your observations in the notes and you were talking before was about um the sydney lumet's technique of going very close and wide and to play something is kind of um contrary and violent and changing as uh the offense um if you are playing whatever it is it should be able to hold with whatever lens the lens shouldn't really matter but if you backed back six inches here you'd be out of focus well that's right but it just means that you have to be more accurate in terms of markings and positions and relation but that's mechanics as opposed to the the creative side of acting of of how far you can go or whether you're going you're doing too much or whatever um i i don't think that's a problem but some actors maybe i don't know i hadn't thought of until you mentioned it now but it just means that you have to be more precise in terms of positioning what about those hitchcock close-ups is the same thing there you can't move you have to be incredible that's right yeah yeah but then it usually comes at a time when it's necessary to be in a very fixed position like say there when he's pulling a gun on you're not going to sort of waft around because you're going to have to focus on him yes and say no no you won't yes i would you wouldn't what i'd like to ask you particularly is about how you feel about working with directors who have come through the video technology who have worked on mtv and through advertising of which the director of this picture was an example yeah well michael bay did bad boys i saw the movie yeah i didn't care for the movie as i could see there was a lot of sort of specifically american type humor which is nothing wrong with that i mean that's i'm talking about my personal choice but then when i was presented with the possibility of making the movie with him i had i looked at the film again there was no question uh that he had uh an eye for going for opening and getting into scenes and a tremendous energy why should i trust you now you've got my work will you shake on one was obviously not mistaken at all because when the film was first shown all these qualities were exposed the problems that accompanied it of course is his lack of experience in dealing with actors and understanding the rhythm of a two-hour movie and where the breathing spaces in terms of actors come and where the character is expressed and so the pole the post productions was a great deal of trauma about that and eventually um we got it right and how did at the writing stage do you um insist on more character in your writing on the field yeah well i brought um ian lafrani and dick clements and who i've known over 30 years now marvelous good ideas for writing you're right i don't use guns and i don't kick down doors this is what i do i haven't got my glasses you exec well i've been doing it now for 20 odd years on the movies and i took the physical position and the last half a dozen or so so it doesn't as i say look like a nosy busy actor but an executive producer who's asking the questions and the because one of the problems uh not the major problem between and in the making of the movies today everybody's got a nightmare time because of the cost and escalation for i've been saying for 15 years now the problem is that the gap between the people who green light and the people who execute the movie making is forever widening and the last thing they will agree or acknowledge in hollywood is i don't know and i've only got really one last question for you and and it is why did you not accept the role of god in the new film by the trainspotting team called a life-less ordinary you would have played a good god wouldn't you well i don't know uh it would certainly be everybody's uh choice but um no i'm trying to think why uh no i was i was in the midst of too many things with the bridge at the moment the practicalities of it i mean i've uh i spoke to them i called them i got them in canada and macdonald i spoke to and then i touched base with danny boyle in london and trainspotting i think is a movie that should be seen by everybody especially in edinburgh yes tell me orson welles said that some people are born to be king actors and he thought he was born to be a king actor is there any type of rule um that you think you were born to play i mean you no well i don't have you know i don't have a uh problem with the most stuff really i don't feel un uh clear or out of place wearing either a monk's habit or a crown and period stuff what have you and and i think that if the actor doesn't have that uh uneasiness then then it's then it's apparent but the actors like i remember william holden and paul newman had this real thing that they they couldn't wear uh kind of period stuff because they didn't feel comfortable in it but that's the only reason why they couldn't wear it and if they would be if they could then overcome that i would think they'd have no problem wearing it sean it's uh you can come to my flat absolutely anytime and it's been an absolute pleasure talking to you thank you so much thank you i like your place and the first film in our connery collection is the second world war military prison drama and as you heard one of shawn's favorites the hill here on bbc two in an hour and next this evening comedy at number 10 with jim hacker [Music] you

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Length: 48min 39sec (2919 seconds)

Published: Sat Oct 31 2020