Browse content similar to Elizabeth Taylor - England's Other Elizabeth. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
TRIUMPHANT FANFARE | 0:00:02 | 0:00:05 | |
It was a one-piece bathing suit made of something white. | 0:00:19 | 0:00:24 | |
The water made it transparent. I told him I didn't want to swim in it. | 0:00:24 | 0:00:29 | |
But he just grabbed me by the hand and dragged me into the water... | 0:00:29 | 0:00:33 | |
all the way in... I came out looking...nude. | 0:00:33 | 0:00:38 | |
You know, that fine mind of yours gets pretty repulsive at times. | 0:00:38 | 0:00:42 | |
That's not what you told me on the train. | 0:00:43 | 0:00:45 | |
Now you're going to throw that up to me?! | 0:00:48 | 0:00:50 | |
You know, you can be pretty wonderful at times. | 0:00:51 | 0:00:54 | |
Come on, partner. | 0:00:54 | 0:00:56 | |
Why don't you kick off your spurs? | 0:00:57 | 0:01:00 | |
I don't mind making a fool of myself over you. | 0:01:00 | 0:01:02 | |
Well, I mind. I feel embarrassed for you. | 0:01:02 | 0:01:05 | |
Feel embarrassed! | 0:01:05 | 0:01:07 | |
But I can't live on this way! | 0:01:08 | 0:01:09 | |
-You agreed to accept that condition... -I know I did, but I can't! I can't. | 0:01:09 | 0:01:13 | |
We'll think of something somehow. Whatever way we can. | 0:01:13 | 0:01:18 | |
We'll have such wonderful times together, just the two of us. | 0:01:18 | 0:01:22 | |
What is it? | 0:01:25 | 0:01:26 | |
You make a very excellent cup of tea. | 0:01:26 | 0:01:29 | |
Elizabeth Taylor made over 70 films and won two Oscars. | 0:01:39 | 0:01:44 | |
But she's equally remembered for her seven marriages, | 0:01:44 | 0:01:47 | |
her diamonds, her illnesses and her flamboyant lifestyle. | 0:01:47 | 0:01:51 | |
Born in London, but raised in the old Hollywood studio system, | 0:01:51 | 0:01:56 | |
the talented actress has sometimes been overlooked amongst the headlines. | 0:01:56 | 0:02:01 | |
Her first seven years, spent in London, determined her career. | 0:02:01 | 0:02:07 | |
Right, Martha, your recitation, please. | 0:02:07 | 0:02:11 | |
I was born in London, 1932. | 0:02:11 | 0:02:15 | |
And... Well, it was, sort of, it was in Hampstead, | 0:02:15 | 0:02:20 | |
on a wonderful crescent between Hampstead Heath and Wildwood Road, | 0:02:20 | 0:02:26 | |
so it was like being in the country. | 0:02:26 | 0:02:29 | |
And I had my first horse. | 0:02:29 | 0:02:33 | |
I learned to ride, in England, bareback. | 0:02:33 | 0:02:36 | |
But I had to leave her in England when the war broke out. | 0:02:36 | 0:02:41 | |
They were the happiest days of my childhood, because I rode | 0:02:41 | 0:02:47 | |
and I went to ballet school - Madame Vakarney. | 0:02:47 | 0:02:51 | |
And she put on a concert | 0:02:52 | 0:02:55 | |
for the Royal Family every year. | 0:02:55 | 0:02:58 | |
And I was chosen out of my class - I was three - | 0:02:58 | 0:03:03 | |
to do the solo. | 0:03:03 | 0:03:07 | |
And I did my little twinkle-toes and all that stuff. | 0:03:08 | 0:03:14 | |
And my butterfly curtsey. | 0:03:14 | 0:03:16 | |
And I received applause and the sound of applause hit my ears for the first time. | 0:03:16 | 0:03:24 | |
And I was transfixed. | 0:03:25 | 0:03:27 | |
-Would you like to act in America? -And leave Pi and everyone here? | 0:03:27 | 0:03:34 | |
-They might want Pi too. -Might be fun for us to go and see me doing things in the pictures. | 0:03:34 | 0:03:41 | |
Elizabeth's parents were advised to leave England to escape the war. | 0:03:41 | 0:03:46 | |
They went to the USA, their homeland, | 0:03:46 | 0:03:49 | |
and settled in Beverly Hills. | 0:03:49 | 0:03:52 | |
Producer Sam Marks, on hearing about her English accent, auditioned her for the MGM film Lassie Come Home. | 0:03:52 | 0:03:59 | |
'So I went up and I just got into it and talked to the dog.' | 0:03:59 | 0:04:07 | |
She doesn't seem well, Grandfather. | 0:04:10 | 0:04:13 | |
Poor Lassie. | 0:04:13 | 0:04:14 | |
Poor Lassie. | 0:04:14 | 0:04:17 | |
Poor girl. | 0:04:17 | 0:04:19 | |
And I got the part. | 0:04:20 | 0:04:22 | |
And we did my segment in two weeks. | 0:04:22 | 0:04:27 | |
Close the gate, close the gate! | 0:04:27 | 0:04:29 | |
Don't let her get out! Close it! | 0:04:29 | 0:04:33 | |
You've let her go. She's let her go! | 0:04:42 | 0:04:45 | |
She's going south, Grandfather. She's going towards Yorkshire! | 0:04:45 | 0:04:50 | |
I believe you're right. | 0:04:50 | 0:04:53 | |
Then they signed me up for 18 years. | 0:04:57 | 0:05:01 | |
-Our daughter's famous! -Famous. -There's fortunes of money in this! | 0:05:01 | 0:05:05 | |
I had a great imagination | 0:05:05 | 0:05:08 | |
and I just slid into it. | 0:05:08 | 0:05:11 | |
And it was like a piece of cake. | 0:05:13 | 0:05:15 | |
But it was with her next film, National Velvet, in 1944, | 0:05:15 | 0:05:20 | |
that she established herself as a major new star. | 0:05:20 | 0:05:25 | |
She was a little girl - she was 11 years old - | 0:05:25 | 0:05:29 | |
and I remember being dazzled by her extraordinary colouring - | 0:05:29 | 0:05:34 | |
her violet eyes and her dark hair and the natural colour in her cheeks. | 0:05:34 | 0:05:40 | |
She was the most glorious looking little girl I'd ever seen. | 0:05:40 | 0:05:44 | |
-Strange, not dignified to be polite when you're in love. -Velvet, | 0:05:44 | 0:05:51 | |
you're too young to understand some things! | 0:05:51 | 0:05:54 | |
'We were working in these incredible sets which were outdoor scenes built indoors. | 0:05:54 | 0:06:01 | |
'It was on Stage 27 that MGM had an enormous stage and the whole thing was built. | 0:06:01 | 0:06:07 | |
'The daylight was created and the heat was intense. | 0:06:07 | 0:06:11 | |
'The physical aspects of making movies were pretty darned uncomfortable. | 0:06:11 | 0:06:17 | |
'Her mother was always on the set,' | 0:06:17 | 0:06:18 | |
because they hadn't been in this country very long and neither had I. | 0:06:18 | 0:06:22 | |
So we sort of shared that. | 0:06:22 | 0:06:25 | |
What's happened? Is somebody ill? | 0:06:25 | 0:06:27 | |
It's Ted. They sent him away to live with his aunt in Lancaster. | 0:06:27 | 0:06:33 | |
You mean you're snivelling for a boy? You brought me home for that? | 0:06:33 | 0:06:38 | |
Velvet... | 0:06:38 | 0:06:40 | |
'You can see the sensitivity in the performance.' | 0:06:46 | 0:06:50 | |
It's not just that she's a beautiful girl or an effective child actress. | 0:06:50 | 0:06:57 | |
Her performance is one of maturity and emotional depth. | 0:06:57 | 0:07:01 | |
I think the writing was on the wall from the beginning with her. | 0:07:01 | 0:07:05 | |
He's a gentle one. I'll just call him Pi. | 0:07:05 | 0:07:09 | |
-Oh, you're a pretty one, Pi. -You're a wizard, Velvet. | 0:07:09 | 0:07:14 | |
-May I ride him? -Ride this horse? -Oh, please! | 0:07:14 | 0:07:17 | |
As a young star, Elizabeth had to balance her career with the schooling a child of her age needed. | 0:07:17 | 0:07:25 | |
As for education, on the set they would have a little cubby hole, | 0:07:25 | 0:07:31 | |
and you would have your tutor. | 0:07:31 | 0:07:34 | |
And the minimum that you could be in there was ten minutes. | 0:07:34 | 0:07:39 | |
So you had to ram some facts in your mind | 0:07:39 | 0:07:43 | |
then go out on the set, do your lines, come back, | 0:07:43 | 0:07:47 | |
pick up where you'd left off, | 0:07:47 | 0:07:51 | |
go out, slip back into character... | 0:07:51 | 0:07:55 | |
It was not easy. I don't know why were we weren't all schizophrenics. | 0:07:56 | 0:08:01 | |
Well, a lot of us were. | 0:08:01 | 0:08:04 | |
I think her emotional intelligence is really high. | 0:08:04 | 0:08:09 | |
I think she...somehow knew underneath that it was time | 0:08:09 | 0:08:15 | |
to put aside childish things and become a teenage actress, | 0:08:15 | 0:08:19 | |
and then an adult actress. | 0:08:19 | 0:08:22 | |
When she emerged as a young, glamorous actress | 0:08:23 | 0:08:28 | |
she made the transition effortlessly, | 0:08:28 | 0:08:32 | |
because MGM supported her through those years. | 0:08:32 | 0:08:35 | |
She could have been going through a difficult time, but you never saw it. | 0:08:35 | 0:08:41 | |
Suddenly she emerged, still under contract, | 0:08:41 | 0:08:44 | |
and they were ready and they had the stories. | 0:08:44 | 0:08:48 | |
So she took off, just like a lovely bird. | 0:08:48 | 0:08:52 | |
After a string of films as a child star, | 0:08:52 | 0:08:54 | |
Elizabeth Taylor had physically outgrown juvenile parts. | 0:08:54 | 0:08:58 | |
At 17, A Place In The Sun established her as an adult star. | 0:08:58 | 0:09:04 | |
Wow. | 0:09:04 | 0:09:06 | |
Hello. | 0:09:13 | 0:09:14 | |
Hello. | 0:09:14 | 0:09:16 | |
I see you had a misspent youth. | 0:09:20 | 0:09:23 | |
I guess it was. | 0:09:23 | 0:09:25 | |
Why all alone? | 0:09:25 | 0:09:28 | |
'I loved acting, but I didn't take it seriously | 0:09:28 | 0:09:31 | |
'until I worked with Montgomery Clift, | 0:09:31 | 0:09:35 | |
'in A Place In The Sun. | 0:09:35 | 0:09:37 | |
'It's one of my favourite films.' | 0:09:37 | 0:09:40 | |
-Are you blue? -I'm just fooling around. | 0:09:40 | 0:09:45 | |
-Maybe, you'd like to play? -No, I'll just watch you. Go ahead. | 0:09:45 | 0:09:50 | |
I still would camp around on the set | 0:09:51 | 0:09:55 | |
and drive everybody mad. | 0:09:55 | 0:09:58 | |
I'd give them the giggles | 0:09:58 | 0:10:01 | |
and be silly...and all that. | 0:10:01 | 0:10:04 | |
But...when I saw Monty preparing... | 0:10:04 | 0:10:09 | |
..I thought, "My God, it isn't all about just having fun." | 0:10:11 | 0:10:16 | |
And I think that's when I first looked at him | 0:10:16 | 0:10:22 | |
and saw... | 0:10:22 | 0:10:24 | |
how involved he was. | 0:10:24 | 0:10:27 | |
He could make himself shake, | 0:10:27 | 0:10:30 | |
and he couldn't stop after the director said cut. | 0:10:30 | 0:10:35 | |
He would SWEAT! | 0:10:35 | 0:10:38 | |
Real sweat. | 0:10:38 | 0:10:40 | |
I'll come down in the morning. | 0:10:40 | 0:10:42 | |
I thought, "I've just been playing with toys." | 0:10:42 | 0:10:45 | |
Clift was the beginning of what I call a certain, er... | 0:10:46 | 0:10:50 | |
realistic purity in action... in acting. Then there came Brando... | 0:10:50 | 0:10:56 | |
And Jimmy Dean was not an actor yet, he didn't have enough experience, | 0:10:56 | 0:11:01 | |
but he had great instincts. | 0:11:01 | 0:11:03 | |
Then I came along and contributed a bit, but the beginning was Clift. | 0:11:03 | 0:11:09 | |
I used to take Monty in and say, "Monty... | 0:11:09 | 0:11:12 | |
"don't do this to yourself." | 0:11:12 | 0:11:16 | |
"You've got to release it after the scene." | 0:11:17 | 0:11:20 | |
And, you know, I would hold him... I was only 16. | 0:11:20 | 0:11:25 | |
I had my 17th birthday on the film. | 0:11:25 | 0:11:28 | |
It was almost like sometimes I was older than he was. | 0:11:28 | 0:11:33 | |
But watching his intensity I learned... | 0:11:34 | 0:11:39 | |
..not to let it kill you. | 0:11:40 | 0:11:43 | |
But that it wasn't a game. | 0:11:46 | 0:11:49 | |
You had to feel it in your gut and your guts had to get in an uproar. | 0:11:49 | 0:11:55 | |
They're a pair of beautiful people who can welcome the camera up close, | 0:11:55 | 0:12:02 | |
and who can share their emotional intensity and passion | 0:12:02 | 0:12:07 | |
very easily in front of the camera. | 0:12:07 | 0:12:10 | |
So he, whatever his training was that gave him access | 0:12:10 | 0:12:14 | |
to that kind of thing that he could use as a performance, | 0:12:14 | 0:12:18 | |
she had the same access by some kind of natural instinct. | 0:12:18 | 0:12:22 | |
In rehearsals... | 0:12:22 | 0:12:25 | |
I have never cried. Why waste it? | 0:12:25 | 0:12:29 | |
And I get involved too. | 0:12:29 | 0:12:31 | |
Sometimes you just don't play around with your own emotions that way. | 0:12:31 | 0:12:38 | |
You're stomach gets upset and it's very hard, sometimes, to stop. | 0:12:38 | 0:12:44 | |
So I wait and then I get myself, somehow or other, | 0:12:45 | 0:12:49 | |
I don't know how, I've never had an acting lesson. | 0:12:49 | 0:12:54 | |
I think that Elizabeth is an instinctive actress. | 0:12:54 | 0:12:57 | |
I think she... | 0:12:57 | 0:13:00 | |
She was simply brought up around acting. | 0:13:00 | 0:13:03 | |
Acting was everywhere in her young life, I would have thought. | 0:13:03 | 0:13:08 | |
You do learn so much by watching, listening and viewing. | 0:13:08 | 0:13:12 | |
We're all like sponges. | 0:13:12 | 0:13:16 | |
First of all, you know you're perfectly safe on a movie set. | 0:13:16 | 0:13:20 | |
You know the crew will take care of you, the lights will be fixed to camouflage the defects. | 0:13:20 | 0:13:28 | |
You know the director - if you trust him, and they were usually good directors that she worked with - | 0:13:28 | 0:13:33 | |
will protect you from being a real asshole. | 0:13:33 | 0:13:37 | |
And you know if you're an actor that's in that A-list echelon... | 0:13:37 | 0:13:42 | |
Um... | 0:13:44 | 0:13:46 | |
That if you really surrender and get out of your own way, | 0:13:46 | 0:13:51 | |
particularly in a close up, | 0:13:51 | 0:13:55 | |
that the audience will see your soul. | 0:13:55 | 0:13:57 | |
She knew that. | 0:13:57 | 0:13:59 | |
I'll go on loving you... | 0:13:59 | 0:14:02 | |
..for as long as I live. | 0:14:04 | 0:14:06 | |
Love me for the time I have left. | 0:14:06 | 0:14:10 | |
Then forget me. | 0:14:10 | 0:14:12 | |
-ANGELA LANSBURY: -'There was such energy coming out of him. | 0:14:25 | 0:14:30 | |
'What was coming out of his eyes, his body? | 0:14:30 | 0:14:35 | |
'It was, I imagine, like sitting next to an electric chair.' | 0:14:35 | 0:14:40 | |
It seems like we always spend the best part of our time... | 0:14:47 | 0:14:51 | |
just saying goodbye. | 0:14:51 | 0:14:54 | |
'I think she was working with an actor that she was very fond of.' | 0:14:54 | 0:14:59 | |
I think the chemistry between the two of them, in that instance, was really very real. | 0:14:59 | 0:15:07 | |
It worked...unbelievably well. | 0:15:07 | 0:15:11 | |
They had an unspoken, perhaps, understanding | 0:15:11 | 0:15:17 | |
of the price of the gift of beauty | 0:15:17 | 0:15:20 | |
that nature had given them. | 0:15:20 | 0:15:23 | |
And when Mr Clift had that accident and had to have his jaw wired... | 0:15:24 | 0:15:30 | |
..that was the beginning of his crumbling. | 0:15:32 | 0:15:35 | |
Leaving my house, he had the worst accident... | 0:15:35 | 0:15:41 | |
I've ever seen. | 0:15:41 | 0:15:43 | |
And I was first on the scene. | 0:15:45 | 0:15:48 | |
And...pulled his head off the dashboard | 0:15:50 | 0:15:55 | |
and the steering wheel. | 0:15:55 | 0:15:58 | |
I probably shouldn't have touched him, | 0:15:58 | 0:16:04 | |
but his head was getting bigger and bigger. | 0:16:04 | 0:16:06 | |
By this time it was almost level with his delicate shoulders. | 0:16:06 | 0:16:12 | |
And he opened his eyes and they were bright red. | 0:16:14 | 0:16:19 | |
So the blue of them looked even bluer. | 0:16:19 | 0:16:24 | |
He looked like an alien. | 0:16:24 | 0:16:28 | |
He tried to say something. | 0:16:28 | 0:16:31 | |
I said, "What is it, my love? | 0:16:31 | 0:16:34 | |
"What is it, baby?" | 0:16:34 | 0:16:36 | |
SHE MUMBLES | 0:16:36 | 0:16:40 | |
And finally I made out, "Could you pull my teeth out?" | 0:16:40 | 0:16:46 | |
He had two front teeth going through his tongue... | 0:16:46 | 0:16:50 | |
..which made it hard for him to speak. | 0:16:51 | 0:16:55 | |
So...I pulled them out for him. | 0:16:55 | 0:16:59 | |
The ambulance was 45 minutes late, it was a nightmare. | 0:17:00 | 0:17:05 | |
I don't know why Elizabeth had long and good relationships with gay men. | 0:17:32 | 0:17:39 | |
Some of them were brought into her life through work. | 0:17:39 | 0:17:43 | |
She worked with James Dean, Montgomery Clift and Rock Hudson. | 0:17:43 | 0:17:47 | |
Men whom, we know now, were gay. | 0:17:47 | 0:17:51 | |
She's a very loyal friend. She is 100% with you. | 0:17:51 | 0:17:55 | |
She loved them. | 0:17:55 | 0:17:58 | |
Rock and Jimmy didn't like each other. | 0:18:09 | 0:18:12 | |
I was forever trying to intervene and get them to be friends. | 0:18:12 | 0:18:18 | |
'We each had a house, like in a triangle | 0:18:18 | 0:18:23 | |
'in this little town in Texas, | 0:18:23 | 0:18:26 | |
'where we did most of the filming. | 0:18:26 | 0:18:28 | |
'It was like everybody was sort of going in this triangle, | 0:18:28 | 0:18:33 | |
'but those two were trying to avoid each other.' | 0:18:33 | 0:18:36 | |
You always did look pretty. | 0:18:36 | 0:18:41 | |
Not so pretty now. | 0:18:41 | 0:18:43 | |
Wait a minute! Wait! | 0:18:46 | 0:18:49 | |
You're tetchy, Bick. | 0:18:53 | 0:18:56 | |
Tetchy as an old cook. | 0:18:56 | 0:18:59 | |
Bick, you should have shot that fella a long time ago, now he's too rich to kill. | 0:19:10 | 0:19:16 | |
In Giant, we see her acting very well with two totally different types of actor. | 0:19:16 | 0:19:21 | |
One is Rock Hudson, one is James Dean. | 0:19:21 | 0:19:23 | |
Hudson coming more, as she does, from the Hollywood school | 0:19:23 | 0:19:27 | |
of movie-star-trained performer to become a star and have a persona, | 0:19:27 | 0:19:32 | |
and James Dean more the method actor. | 0:19:32 | 0:19:35 | |
And she adjusts herself and her performance very well to both styles | 0:19:35 | 0:19:40 | |
and yet, manages to keep her own character together in a coherent way. | 0:19:40 | 0:19:45 | |
I think that's quite remarkable. | 0:19:45 | 0:19:47 | |
Mr Benedict's riata is one of the largest of them all. | 0:19:47 | 0:19:50 | |
Oh, really? | 0:19:50 | 0:19:52 | |
Well, just how large is that? | 0:19:53 | 0:19:55 | |
Around a half a million. | 0:19:55 | 0:19:57 | |
595,000 acres to be exact. | 0:19:57 | 0:20:01 | |
I'd call that quite a parcel. | 0:20:01 | 0:20:04 | |
How many acres did you say, Mr Benedict? | 0:20:04 | 0:20:06 | |
He said 595,000 acres, Momma, | 0:20:06 | 0:20:10 | |
and you should see the greedy look on your face. | 0:20:10 | 0:20:13 | |
When are you going to get married? | 0:20:13 | 0:20:16 | |
Don't you need someone to help you? | 0:20:16 | 0:20:19 | |
When I get some time to look around, I'll go back east. | 0:20:19 | 0:20:24 | |
So, have you got any good-looking sisters | 0:20:24 | 0:20:28 | |
that might be interested in some poor people? | 0:20:28 | 0:20:32 | |
Money isn't all, you know, Jett. | 0:20:32 | 0:20:36 | |
Not when you got it! | 0:20:36 | 0:20:39 | |
'When you see Elizabeth Taylor and James Dean in a scene together, drinking tea, | 0:20:39 | 0:20:46 | |
'what you see is a woman raised in the studio system with an erratic young actor.' | 0:20:46 | 0:20:53 | |
When you say "other people" what do you mean? | 0:20:53 | 0:20:57 | |
You see how skilled she is at holding her own with him, | 0:20:57 | 0:21:04 | |
and how skilled she is at creating the kind of subtext that he has been trained to create. | 0:21:04 | 0:21:09 | |
But your situation is so different, you're a working man. | 0:21:09 | 0:21:13 | |
That's something I'm going to fix. | 0:21:15 | 0:21:18 | |
'There was an intensity you felt coming out of him.' | 0:21:18 | 0:21:22 | |
He'd come over to my house, sometimes at night time, | 0:21:22 | 0:21:27 | |
and we'd sit and talk until three in the morning - that youth! | 0:21:27 | 0:21:31 | |
Then we'd be on the set, like at seven. | 0:21:31 | 0:21:36 | |
He would reveal to me... | 0:21:38 | 0:21:41 | |
..things that you only reveal to a very good friend. | 0:21:43 | 0:21:47 | |
Wouldn't you love to know! | 0:21:49 | 0:21:52 | |
But, before the film was completed James Dean was killed in a car crash. | 0:21:53 | 0:22:00 | |
He was 24 | 0:22:00 | 0:22:02 | |
and Giant was only his third film. | 0:22:02 | 0:22:06 | |
On some level, I think she... | 0:22:09 | 0:22:12 | |
had a really exquisite sense of compassion | 0:22:12 | 0:22:17 | |
for people who thought they were misfits. | 0:22:17 | 0:22:21 | |
That didn't mean they were, but if she thought they felt it, she would be there for them. | 0:22:21 | 0:22:27 | |
I don't know if she felt like a misfit, being so beautiful. | 0:22:27 | 0:22:31 | |
It's possible to be so beautiful and talented and feel like a misfit. | 0:22:31 | 0:22:36 | |
Lean on me, baby. | 0:22:36 | 0:22:39 | |
You've got a nice smell about you. | 0:22:45 | 0:22:48 | |
-Was your bath water cool? -No. | 0:22:50 | 0:22:53 | |
I know something that'll make you feel cool and fresh. | 0:22:53 | 0:22:57 | |
Alcohol rub. | 0:22:57 | 0:23:00 | |
Cologne. | 0:23:00 | 0:23:03 | |
No thanks - we'd smell alike, like a couple of cats in the heat. | 0:23:03 | 0:23:07 | |
'The minute the camera goes on, something happens in me. | 0:23:12 | 0:23:17 | |
'Then I start to pull the stops.' | 0:23:17 | 0:23:20 | |
But when it's rehearsal, my mind knows that this isn't the real thing. | 0:23:20 | 0:23:26 | |
Some directors and actors, like Paul Newman... | 0:23:26 | 0:23:32 | |
He evidently went to Richard Brooks and said, | 0:23:32 | 0:23:36 | |
"Richard, I mean, is this it? | 0:23:36 | 0:23:40 | |
"Is this all she's going to give?" | 0:23:40 | 0:23:45 | |
Richard said, "It's OK, Paul, you wait." | 0:23:47 | 0:23:51 | |
Maybe I got rid of Skipper... | 0:23:51 | 0:23:54 | |
Skipper went out anyway. | 0:23:57 | 0:23:59 | |
I didn't get rid of him, at all. | 0:24:02 | 0:24:04 | |
I think the first take is the most honest, the most spontaneous. | 0:24:04 | 0:24:11 | |
You do things that just come to your head and nobody can stop you because you're filming. | 0:24:11 | 0:24:18 | |
If they don't like it, you do it again. | 0:24:18 | 0:24:20 | |
But you get a sense of adventure, you get a rush of... | 0:24:20 | 0:24:26 | |
being that person, and being true to that person. | 0:24:26 | 0:24:31 | |
What THEY would do, not what you would do. What THEY would do. | 0:24:31 | 0:24:36 | |
Isn't it an awful joke, honey? | 0:24:40 | 0:24:43 | |
I lost you anyway. | 0:24:43 | 0:24:46 | |
In 1957, after marriages to Nicky Hilton and English actor Michael Wilding, | 0:24:50 | 0:24:56 | |
Elizabeth married the producer of Around The World In 80 Days, Mike Todd. | 0:24:56 | 0:25:02 | |
He influenced her life more than any man before. | 0:25:02 | 0:25:04 | |
Mike Todd was a steamrolling entrepreneur. | 0:25:04 | 0:25:08 | |
He could talk you into anything. | 0:25:08 | 0:25:11 | |
He was funny and rakish. | 0:25:11 | 0:25:14 | |
He was...unbelievably adventurous. | 0:25:14 | 0:25:19 | |
He totally fell in love with Elizabeth. | 0:25:19 | 0:25:22 | |
-BASINGER: -Mike Todd was a force of liberation. | 0:25:22 | 0:25:26 | |
She had been dominated by her mother. | 0:25:26 | 0:25:29 | |
She had been dominated by MGM. | 0:25:29 | 0:25:33 | |
This man just said, "Hey, let's go." | 0:25:33 | 0:25:37 | |
He took her out of that, out into a world of her own. | 0:25:37 | 0:25:42 | |
Even though he perhaps tried to control and dominate her, | 0:25:42 | 0:25:47 | |
he gave her a sense of freedom and an exciting whirlwind of a life. | 0:25:47 | 0:25:52 | |
When a beautiful young girl marries a rich, older man, there's always cynicism. | 0:25:52 | 0:25:58 | |
Liz, you once said you had the mind of a child and a woman's body. | 0:25:58 | 0:26:04 | |
That was when I was 15. | 0:26:04 | 0:26:06 | |
Since you've been married to Mr Todd, do you feel you've matured? | 0:26:06 | 0:26:11 | |
I hope so, otherwise I'd be slightly retarded, wouldn't I? | 0:26:11 | 0:26:16 | |
-MIKE TODD: -As some of you know, | 0:26:16 | 0:26:19 | |
I'm married to a girl a few years my junior. In fact, she's a few years my junior's junior. | 0:26:19 | 0:26:26 | |
During filming of Cat On A Hot Tin Roof, Elizabeth and Mike Todd were supposed to fly to New York, | 0:26:26 | 0:26:32 | |
where he was to receive an award, but she fell ill. | 0:26:32 | 0:26:37 | |
I had pneumonia and a temperature of 103. | 0:26:39 | 0:26:44 | |
And, of course...the doctors said I couldn't fly. | 0:26:44 | 0:26:50 | |
They had to shoot around me. | 0:26:50 | 0:26:53 | |
Er... | 0:26:53 | 0:26:55 | |
They were giving me antibiotics, everything. | 0:26:55 | 0:26:59 | |
A week went by, and still my temperature wouldn't budge. | 0:26:59 | 0:27:05 | |
And he said, "I'm going to have to go, love. It's tomorrow. | 0:27:08 | 0:27:13 | |
"We're going to have to refuel about three times. I'll be up all night." | 0:27:13 | 0:27:20 | |
And we said goodbye five times. | 0:27:20 | 0:27:23 | |
He'd go downstairs... | 0:27:23 | 0:27:26 | |
and then he'd come back upstairs and embrace me. | 0:27:26 | 0:27:31 | |
And he'd say goodbye again. | 0:27:31 | 0:27:34 | |
He did that five times. | 0:27:34 | 0:27:37 | |
And the next morning... | 0:27:37 | 0:27:41 | |
..the door opened at six o'clock in the morning. | 0:27:43 | 0:27:48 | |
My secretary and doctor walked into the room. | 0:27:48 | 0:27:52 | |
And I just screamed, "He's not!" | 0:27:52 | 0:27:56 | |
But he was. | 0:28:00 | 0:28:03 | |
He was dead. | 0:28:03 | 0:28:06 | |
The man who had meant so much to Elizabeth Taylor was dead after only 414 days of marriage. | 0:28:08 | 0:28:16 | |
I went to see her a few hours after we got word that Michael had died | 0:28:16 | 0:28:22 | |
in the plane crash. | 0:28:22 | 0:28:24 | |
She was drinking orange juice and vodka, | 0:28:24 | 0:28:29 | |
and very upset with God. | 0:28:29 | 0:28:33 | |
"How do you explain that? Why wasn't I on the plane? Why didn't I die too? Why did he have to go?" | 0:28:33 | 0:28:40 | |
She raged at God. | 0:28:40 | 0:28:44 | |
Despite her grief, Elizabeth had to honour her contract | 0:28:44 | 0:28:48 | |
and return to the set of Cat On A Hot Tin Roof. | 0:28:48 | 0:28:52 | |
They gave me two weeks off... | 0:28:52 | 0:28:56 | |
..because I'd developed a terrible stutter. | 0:28:58 | 0:29:02 | |
When I spoke in a southern accent, | 0:29:02 | 0:29:05 | |
I could get rid of it. | 0:29:05 | 0:29:08 | |
And after two weeks staying with my brother and sister-in-law, I went back to work. | 0:29:11 | 0:29:18 | |
It was supposed to have been my last film. | 0:29:18 | 0:29:23 | |
Ah... | 0:29:25 | 0:29:27 | |
And they said, "No, we have another film for you." | 0:29:27 | 0:29:32 | |
I said, "No, you shook hands with Mike. It was a gentleman's agreement." | 0:29:32 | 0:29:39 | |
They said, "But Mike is dead, so you have to do this other film." | 0:29:39 | 0:29:43 | |
I finished Cat. | 0:29:45 | 0:29:49 | |
I did Butterfield 8 with a gun at my temple. | 0:29:49 | 0:29:55 | |
I didn't speak to the director | 0:29:55 | 0:29:57 | |
during the whole thing - he was a method director. | 0:29:57 | 0:30:02 | |
Everything was, "Refer to this, refer to that". | 0:30:02 | 0:30:07 | |
And...I ended up winning an Oscar for it. | 0:30:07 | 0:30:12 | |
This year there were many magnificent performances by actresses. | 0:30:41 | 0:30:45 | |
Envelope, please. | 0:30:45 | 0:30:47 | |
-Elizabeth Taylor. -WILD CHEERING | 0:30:52 | 0:30:55 | |
APPLAUSE CONTINUES | 0:31:09 | 0:31:13 | |
I don't really know how to express my gratitude... | 0:31:17 | 0:31:22 | |
for this and for everything. | 0:31:22 | 0:31:25 | |
I guess all I can do is say thank you. | 0:31:25 | 0:31:30 | |
Thank you with all my heart. | 0:31:30 | 0:31:33 | |
It was more than ironic, it was a large hoot. | 0:31:41 | 0:31:45 | |
When I'd seen the film in the screening room, | 0:31:45 | 0:31:50 | |
um... Can I swear on this? | 0:31:50 | 0:31:54 | |
I wrote in lipstick like Gloria did on the mirror... | 0:31:54 | 0:31:59 | |
.."Piece of shit". | 0:32:01 | 0:32:05 | |
Excuse me. | 0:32:05 | 0:32:07 | |
Alexandria at Pinewood... | 0:32:11 | 0:32:13 | |
Cleopatra began filming in 1960. | 0:32:13 | 0:32:17 | |
Due to bad weather and Elizabeth's bad health, filming was abandoned. | 0:32:17 | 0:32:22 | |
The next year, production was relocated to Italy. | 0:32:22 | 0:32:26 | |
It took over two-and-a-half years to make, | 0:32:26 | 0:32:29 | |
and was famous not only for being the most expensive movie ever made, | 0:32:29 | 0:32:34 | |
but for Elizabeth's 1 million fee. | 0:32:34 | 0:32:38 | |
Elizabeth Taylor as Cleopatra, | 0:32:48 | 0:32:51 | |
siren of the Nile. | 0:32:51 | 0:32:54 | |
I was the first person to break the barrier. | 0:32:54 | 0:33:00 | |
Now I'm not even a footnote, | 0:33:00 | 0:33:03 | |
um... | 0:33:03 | 0:33:04 | |
with these salaries of 20 million. | 0:33:04 | 0:33:07 | |
She didn't want to do Cleopatra. That's why she asked for 1 million. | 0:33:07 | 0:33:12 | |
She thought they'd turn her down. Joan Collins wanted to do Cleopatra. | 0:33:12 | 0:33:17 | |
Elizabeth - I don't think she cared. | 0:33:17 | 0:33:19 | |
If the public generally believes, no matter what historians tell us, | 0:33:19 | 0:33:24 | |
that Cleopatra was the most beautiful woman ever, | 0:33:24 | 0:33:28 | |
you have to cast the person everyone thinks is the most beautiful woman. | 0:33:28 | 0:33:33 | |
So that would be Elizabeth Taylor at that time. | 0:33:33 | 0:33:36 | |
She told me about Cleopatra coming into Rome. | 0:34:02 | 0:34:06 | |
She has a fear of heights. | 0:34:06 | 0:34:08 | |
She says, "I'm sitting on this thing about 40 in the air. | 0:34:08 | 0:34:11 | |
"Richard's close, he knows I'm afraid of falling." | 0:34:11 | 0:34:13 | |
Richard Burton, noted for his respected theatrical background | 0:34:30 | 0:34:35 | |
was to become a prominent figure in Elizabeth's life. | 0:34:35 | 0:34:39 | |
Richard Burton as Mark Anthony, | 0:34:39 | 0:34:41 | |
a pawn in the arms of this woman. | 0:34:41 | 0:34:44 | |
I'd known him since I was 19. | 0:34:44 | 0:34:48 | |
I used to say, "I'm not going to be another notch on his belt!" | 0:34:48 | 0:34:54 | |
And the first day that we worked together, | 0:34:54 | 0:34:59 | |
he was suffering from a hangover - surprise! | 0:34:59 | 0:35:03 | |
He was looking so vulnerable | 0:35:08 | 0:35:11 | |
in his little Roman dress! | 0:35:11 | 0:35:15 | |
And his hands were all shaky. | 0:35:15 | 0:35:18 | |
He looked such a mess. | 0:35:18 | 0:35:21 | |
He was drinking a cup of coffee, with his hand going like that. | 0:35:21 | 0:35:27 | |
I said, "Would you like me to help you?" | 0:35:27 | 0:35:31 | |
So I held the cup to his lips. | 0:35:31 | 0:35:34 | |
Our eyes locked | 0:35:34 | 0:35:37 | |
and he drank the whole cup, | 0:35:37 | 0:35:41 | |
and we just kept looking at each other. | 0:35:41 | 0:35:45 | |
She had fallen in love with Richard, and I was asking her about it. | 0:35:46 | 0:35:52 | |
She was sitting drinking Champagne. | 0:35:52 | 0:35:55 | |
I think she thought that I disapproved of her going from one man to the other. | 0:35:55 | 0:36:02 | |
She lifted the glass of Champagne | 0:36:02 | 0:36:05 | |
and she looked straight into my eyes. | 0:36:05 | 0:36:09 | |
Her eyes welled up with tears. She said, "Richard's taught me how..." | 0:36:09 | 0:36:15 | |
The tears spilled over. | 0:36:15 | 0:36:18 | |
And she put the glass here so that the tear would fall into the Champagne, "..how to love." | 0:36:18 | 0:36:25 | |
I started to cry. | 0:36:25 | 0:36:28 | |
I thought, she loves this man, whatever I've heard about him. | 0:36:28 | 0:36:33 | |
She described it to me so poetically, so I would approve. | 0:36:33 | 0:36:39 | |
-Anthony, how will I live? -Same as I. | 0:36:39 | 0:36:44 | |
One breath upon the other. | 0:36:44 | 0:36:47 | |
Each bringing us one breath... closer. | 0:36:47 | 0:36:52 | |
You take so much of me with you so far. | 0:36:52 | 0:36:56 | |
Remember, remember - they'll want you to forget. Please... | 0:36:56 | 0:37:01 | |
Forget? No. | 0:37:01 | 0:37:03 | |
I can never be more far away from you than... | 0:37:03 | 0:37:07 | |
Than this. | 0:37:07 | 0:37:10 | |
The studio system hushed up everyone's affairs, always. | 0:37:19 | 0:37:24 | |
The way it is today with the tabloids, it wasn't like that when I was growing up. | 0:37:24 | 0:37:31 | |
Everyone acted as if everyone was going home to bed to their proper mate. | 0:37:31 | 0:37:38 | |
So when these rumours began, it was one of the first breakthroughs | 0:37:38 | 0:37:42 | |
of that kind of celebrity journalism. | 0:37:42 | 0:37:46 | |
Reporting their private, secret, naughty lives. | 0:37:46 | 0:37:51 | |
And everybody was talking about this. | 0:37:51 | 0:37:54 | |
They tried to have true love under the microscope of publicity, which can become almost impossible. | 0:37:54 | 0:38:02 | |
You don't have a chance to be too intimate too often | 0:38:02 | 0:38:06 | |
if there's paparazzi watching every move. | 0:38:06 | 0:38:10 | |
All the myths and stories about you which are not true at all. | 0:38:10 | 0:38:15 | |
You can't move in your private life, almost. You can't move. | 0:38:15 | 0:38:20 | |
Being with him, | 0:38:20 | 0:38:23 | |
I think he made everybody want to do their best. | 0:38:23 | 0:38:28 | |
I did a scene with her one day - I've forgotten the film - | 0:38:28 | 0:38:34 | |
and I said, "She doesn't do anything. What's she doing?" | 0:38:34 | 0:38:39 | |
The friend said, "Go and see her on the rushes." When I did, she was doing everything. | 0:38:39 | 0:38:45 | |
He very sweetly said that I taught him | 0:38:45 | 0:38:50 | |
how to be a movie actor. | 0:38:50 | 0:38:53 | |
He taught me to be a better actress. | 0:38:56 | 0:39:00 | |
She's one of the greatest screen actors. | 0:39:00 | 0:39:04 | |
-Is that a threat, George? -It's a threat, Martha. | 0:39:04 | 0:39:07 | |
-You're going to get it, baby. -I'll rip you to pieces. | 0:39:07 | 0:39:11 | |
You're not man enough. You haven't the guts. | 0:39:11 | 0:39:15 | |
-Total war? -Total! | 0:39:15 | 0:39:18 | |
Only three years after Cleopatra, Elizabeth recruited theatre director Mike Nichols | 0:39:23 | 0:39:30 | |
to direct his first movie - | 0:39:30 | 0:39:33 | |
Edward Albee's Who's Afraid Of Virginia Woolf? | 0:39:33 | 0:39:37 | |
She was prepared to dress down, grey her hair and look like hell. | 0:39:37 | 0:39:43 | |
That's the mark of an actress who wants to stand up and be counted. | 0:39:43 | 0:39:48 | |
You don't do those things unless you have the confidence | 0:39:48 | 0:39:54 | |
to carry it off, and that took a lot of confidence. | 0:39:54 | 0:39:58 | |
What a dump. | 0:39:58 | 0:40:01 | |
Hey, what's that from? | 0:40:01 | 0:40:04 | |
What a dump. | 0:40:04 | 0:40:06 | |
I had to put on 20 pounds, which made me very happy. | 0:40:06 | 0:40:11 | |
Um... I wore prosthetics under my eyes, under my chin. | 0:40:11 | 0:40:17 | |
I had my boobs pressed down. | 0:40:17 | 0:40:21 | |
I wore padding around my waist. | 0:40:21 | 0:40:25 | |
And I just generally, you know... made my mouth over the line of my own mouth. | 0:40:25 | 0:40:32 | |
And... | 0:40:32 | 0:40:34 | |
lowered my voice. | 0:40:34 | 0:40:37 | |
And, um... | 0:40:37 | 0:40:40 | |
generally looked like a slob. | 0:40:40 | 0:40:43 | |
-It's really a very sad story. -Is it? | 0:40:43 | 0:40:48 | |
Oh, it would make you weep. | 0:40:48 | 0:40:51 | |
In the roadside cafe, | 0:40:51 | 0:40:55 | |
the dancing with the big boobs and the hips... | 0:40:55 | 0:41:00 | |
She was just ready to... | 0:41:00 | 0:41:04 | |
do it to make him jealous. | 0:41:04 | 0:41:07 | |
-You have ugly talents, Martha. -Is that so? | 0:41:07 | 0:41:12 | |
Don't encourage her. | 0:41:12 | 0:41:13 | |
-Encourage me. -Go on. -I warned you, don't encourage her! | 0:41:13 | 0:41:17 | |
He warned you...don't encourage me. | 0:41:17 | 0:41:20 | |
'Her dramatic ability, we always knew.' | 0:41:20 | 0:41:23 | |
But that scene with the booze and the defiance | 0:41:23 | 0:41:29 | |
of her own beauty. | 0:41:29 | 0:41:31 | |
I mean, she really let herself be ugly and trampy and bloated and drunk. | 0:41:31 | 0:41:39 | |
But, Daddy! I mean, but, sir, this isn't a novel at all! | 0:41:39 | 0:41:44 | |
-You will not say this. -Keep away from me. | 0:41:44 | 0:41:48 | |
This isn't a novel. This is the truth. This really happened to me. | 0:41:48 | 0:41:53 | |
'I think the average person doesn't think about how difficult it is | 0:41:53 | 0:41:58 | |
'to give a really explosive and emotional performance in film | 0:41:58 | 0:42:04 | |
'because you stop in the middle of the scene and do it over again. | 0:42:04 | 0:42:10 | |
'You have to stop for the cut, reshoot for the reverse angle shots for the other actor. | 0:42:10 | 0:42:16 | |
'Your emotion is constantly taken away from you.' | 0:42:16 | 0:42:20 | |
And the kind of physical, mental and emotional control it takes | 0:42:20 | 0:42:25 | |
to give a raw, angry performance like the one Elizabeth Taylor gives in Virginia Woolf | 0:42:25 | 0:42:32 | |
is exceedingly difficult. | 0:42:32 | 0:42:34 | |
You're working and you put on that...working coat. | 0:42:34 | 0:42:39 | |
And that never became clearer to me than when we were doing Who's Afraid Of Virginia Woolf? | 0:42:41 | 0:42:49 | |
Because on the set, | 0:42:49 | 0:42:53 | |
we would scream and blood would drip | 0:42:53 | 0:42:58 | |
and brains would spill. | 0:42:58 | 0:43:01 | |
And we'd get home and play with the kids, go to bed and make love, | 0:43:01 | 0:43:07 | |
then get around to studying our lines for the next day. | 0:43:07 | 0:43:12 | |
The most difficult part of all was Elizabeth's. | 0:43:12 | 0:43:19 | |
She quite rightly dominated the film and won an Oscar - he said bitterly! | 0:43:19 | 0:43:26 | |
Getting angrier, until he watched for a couple of years | 0:43:26 | 0:43:30 | |
and started thinking maybe it wasn't such a good idea after all! | 0:43:30 | 0:43:33 | |
Maybe Georgie-boy didn't have the stuff - didn't have it in him! | 0:43:33 | 0:43:39 | |
And I didn't, he said equally bitterly! | 0:43:39 | 0:43:44 | |
The other day, I saw about the last fourth of Who's Afraid Of Virginia Woolf? | 0:43:44 | 0:43:52 | |
I was so compelled by Richard. | 0:43:52 | 0:43:56 | |
And why he didn't get an Oscar makes me so angry. | 0:43:56 | 0:44:03 | |
He was so brilliant. | 0:44:05 | 0:44:08 | |
But it was Elizabeth who won the Oscar - her second. | 0:44:12 | 0:44:17 | |
Yet perhaps her greatest challenge was yet to come, | 0:44:17 | 0:44:21 | |
taking a different form from the roles she'd played before. | 0:44:21 | 0:44:26 | |
In Hollywood, show-business stars, | 0:44:40 | 0:44:42 | |
shocked at the revelation that Rock Hudson has AIDS, | 0:44:42 | 0:44:45 | |
have joined forces to raise money for research into the disease. | 0:44:45 | 0:44:48 | |
Ever since Rock Hudson crossed his own version of the River Styx last month | 0:44:48 | 0:44:54 | |
and went public with his AIDS sickness, | 0:44:54 | 0:44:56 | |
there has been a significant new focus on a disease | 0:44:56 | 0:44:59 | |
that threatens to become an epidemic. | 0:44:59 | 0:45:01 | |
I was involved with AIDS | 0:45:01 | 0:45:06 | |
long before I knew Rock had AIDS. | 0:45:06 | 0:45:09 | |
In the early years of AIDS, | 0:45:09 | 0:45:12 | |
the public homophobia, the dislike of people who are gay | 0:45:12 | 0:45:18 | |
was so intense that it infuriated Elizabeth and hurt her. She was indignant. | 0:45:18 | 0:45:25 | |
Everybody was talking about it, | 0:45:25 | 0:45:27 | |
but like...this. | 0:45:27 | 0:45:31 | |
And nobody was doing anything about it. | 0:45:31 | 0:45:34 | |
Including myself. | 0:45:35 | 0:45:37 | |
And then I got really angry. | 0:45:39 | 0:45:41 | |
Rock Hudson is in his private suite in this Los Angeles hospital, | 0:45:41 | 0:45:47 | |
suffering from a disease | 0:45:47 | 0:45:48 | |
which has particularly afflicted the homosexual community. | 0:45:48 | 0:45:53 | |
I got in touch with Rock's doctor, before I got in touch with Rock. | 0:46:00 | 0:46:06 | |
And I said, you know, "Does Rock have AIDS?" | 0:46:08 | 0:46:13 | |
And he said "yes". | 0:46:13 | 0:46:16 | |
Then I asked him all about it. | 0:46:16 | 0:46:19 | |
Rock had no chances. | 0:46:19 | 0:46:22 | |
People were telling me not to become involved, | 0:46:25 | 0:46:29 | |
I received death threats. | 0:46:29 | 0:46:31 | |
And I was getting angrier and angrier. | 0:46:31 | 0:46:35 | |
And I thought... | 0:46:35 | 0:46:38 | |
"I have to do something about it." And I put myself out there. | 0:46:38 | 0:46:44 | |
All we can do, at this point... | 0:46:44 | 0:46:47 | |
..is help our friends who have AIDS. | 0:46:49 | 0:46:52 | |
'Rock's estate sent a cheque' | 0:46:52 | 0:46:56 | |
for a quarter of a million dollars, which started us off. | 0:46:56 | 0:47:01 | |
Then I found a brilliant woman in New York. | 0:47:01 | 0:47:06 | |
She found out we were trying to do that she was trying to do - | 0:47:06 | 0:47:11 | |
Dr Mathilde Krim - so we joined forces | 0:47:11 | 0:47:14 | |
and came up with the name AMFAR for research. | 0:47:14 | 0:47:22 | |
And, um, I think we've raised about 160 million. | 0:47:22 | 0:47:27 | |
When one meets someone like Elizabeth for the first time, who is really Hollywood royalty - | 0:47:27 | 0:47:34 | |
maybe the last one we have - | 0:47:34 | 0:47:37 | |
one, er...goes with thoughts of perhaps, er... | 0:47:37 | 0:47:42 | |
she may not be with the cause as much as I would like. | 0:47:42 | 0:47:47 | |
She may be more window-dressing than anything else. | 0:47:47 | 0:47:51 | |
That feeling was dispelled instantly. | 0:47:51 | 0:47:54 | |
She was obviously very sincere. | 0:47:54 | 0:47:57 | |
As I travelled around the country and visited hospices... | 0:47:57 | 0:48:03 | |
Because I would do my perfume tour and then anonymously go to visit a hospital, | 0:48:03 | 0:48:10 | |
without photographers or anybody else knowing. | 0:48:10 | 0:48:15 | |
I asked the patients what they wanted, | 0:48:15 | 0:48:19 | |
what THEY needed. | 0:48:19 | 0:48:22 | |
And they said, | 0:48:22 | 0:48:25 | |
"We just want somebody to put their arms around us. | 0:48:25 | 0:48:30 | |
"We're not contagious." | 0:48:30 | 0:48:33 | |
Elizabeth Taylor is a passionate person, | 0:48:33 | 0:48:36 | |
and when she feels, or SINCE she feels so strongly about AIDS, | 0:48:36 | 0:48:43 | |
and about defending her friends, | 0:48:43 | 0:48:45 | |
she is very passionate about that. That is, I think over recent years, | 0:48:45 | 0:48:51 | |
her big passion. | 0:48:51 | 0:48:54 | |
And she will never give an inch on this. | 0:48:54 | 0:48:57 | |
Wanting to give direct help to those affected by HIV and AIDS, | 0:48:57 | 0:49:02 | |
Elizabeth set up the Elizabeth Taylor AIDS Foundation. | 0:49:02 | 0:49:06 | |
It is as a result of this tireless campaigning | 0:49:06 | 0:49:09 | |
and in recognition of her body of work as an actress | 0:49:09 | 0:49:12 | |
that she's recently been made a Dame of the British Empire. | 0:49:12 | 0:49:15 | |
-ANGELA LANSBURY: -She's earned it. | 0:49:15 | 0:49:17 | |
I'm delighted for her. It's a lovely thing, that recognition... by the country of her birth, | 0:49:17 | 0:49:24 | |
which is interesting. She's lived here for years, but never became a citizen. | 0:49:24 | 0:49:29 | |
She's always remained English. | 0:49:29 | 0:49:32 | |
"Sir Rodney" sounds better than "Dame Elizabeth". | 0:49:32 | 0:49:35 | |
Or Sir Tony. Here comes Sir Rodney. That's got royalty! | 0:49:35 | 0:49:40 | |
Whatever they get, they deserve. | 0:49:40 | 0:49:43 | |
I'm jealous. I'd like to be Sir Rodney. "Sir Rodney's car is coming." | 0:49:43 | 0:49:49 | |
"Sir Rodney's getting out. Sir Rodney fell on his face." | 0:49:49 | 0:49:53 | |
Ladies and gentlemen - Mrs Micos Cassadine. | 0:49:55 | 0:50:01 | |
Over the last 20 years, Elizabeth's attempts to pick up her film career have had mixed results. | 0:50:01 | 0:50:08 | |
But she's determined to return to the screen. | 0:50:08 | 0:50:11 | |
I have seen General Hospital and the university. | 0:50:11 | 0:50:15 | |
And I approve as my husband would have approved. | 0:50:15 | 0:50:20 | |
Micos Cassadine had a deep and abiding love... | 0:50:20 | 0:50:24 | |
-I said, "Cassadine!" -OTHER ACTORS: That's right! | 0:50:24 | 0:50:28 | |
Oh, shit! | 0:50:28 | 0:50:30 | |
I startled myself! | 0:50:36 | 0:50:38 | |
Sorry, Bob. I'm not used to acting(!) | 0:50:38 | 0:50:42 | |
I just would like to do something to see first of all if I can, not at their expense. | 0:50:42 | 0:50:49 | |
I think I still can. | 0:50:49 | 0:50:52 | |
I want to see Elizabeth Taylor - | 0:50:52 | 0:50:55 | |
knowing, as we all do, this extraordinary arc of her life. | 0:50:55 | 0:51:00 | |
Her suffering and her overcoming of suffering, | 0:51:00 | 0:51:04 | |
and her humour, and her beauty, and her children and her jewels, and her men and her paintings, | 0:51:04 | 0:51:11 | |
and her...food - | 0:51:11 | 0:51:13 | |
I would like to see ANYTHING that Elizabeth would do. | 0:51:13 | 0:51:18 | |
I think they're afraid of me. | 0:51:18 | 0:51:21 | |
I mean... | 0:51:21 | 0:51:23 | |
I can't think why! | 0:51:23 | 0:51:25 | |
I've only broken my back three times in the last two years. | 0:51:25 | 0:51:30 | |
We have a great script! It's called "These Old Broads". | 0:51:32 | 0:51:36 | |
Carrie Fisher wrote it for me, for Debbie, for Betty Bacall or Julie Andrews, and Elizabeth. | 0:51:36 | 0:51:43 | |
It is the greatest part she'll ever play and it's in bed! | 0:51:43 | 0:51:48 | |
She doesn't have to get up early. She can stay there! And she doesn't have to stay long. | 0:51:48 | 0:51:54 | |
Let's just get this thing over with. | 0:51:54 | 0:51:57 | |
I assume you and Wesley have discussed some preliminary figures? | 0:51:57 | 0:52:02 | |
But I wanted to show you a number for each of these ladies | 0:52:02 | 0:52:09 | |
that I think is... closer to the mark. | 0:52:09 | 0:52:13 | |
Eeeh... | 0:52:20 | 0:52:21 | |
OK. | 0:52:27 | 0:52:28 | |
Ha! | 0:52:32 | 0:52:33 | |
Ladies, will you excuse me a minute? | 0:52:37 | 0:52:41 | |
Come! | 0:52:47 | 0:52:48 | |
-Hmm. -Hmm. -Hmm. | 0:52:51 | 0:52:55 | |
She is as famous today as she ever was. | 0:52:55 | 0:52:59 | |
That's the level of her celebrity. That is what is unique about her. | 0:52:59 | 0:53:04 | |
She transcends her own work. We don't need her work! | 0:53:04 | 0:53:09 | |
We just need her. | 0:53:09 | 0:53:12 | |
That's really the mark of the most remarkable movie star. | 0:53:12 | 0:53:18 | |
The last of the great royal movie stars of the Hollywood studio system - | 0:53:18 | 0:53:23 | |
Elizabeth Taylor. | 0:53:23 | 0:53:25 | |
Subtitles by Red Bee Media Ltd | 0:53:55 | 0:53:58 |