0:00:02 > 0:00:03You need to learn the language of film.
0:00:05 > 0:00:09It's a language that is very easy to understand. Anyone can watch a movie.
0:00:09 > 0:00:10But to...
0:00:10 > 0:00:14to tell a story in cinematic terms is difficult.
0:00:21 > 0:00:23This programme contains some strong language.
0:00:38 > 0:00:42'I think everybody should make a documentary about their father.
0:00:45 > 0:00:49'So I went to Dad and I said, "Well,
0:00:49 > 0:00:51' "can I shoot a little portrait on you?"
0:00:53 > 0:00:55'To discover him as a man.
0:01:02 > 0:01:06'Will I be able to recapture something that had been lost?'
0:01:34 > 0:01:38What we'll do is we won't do a tight close. We'll just do a mid-close.
0:01:39 > 0:01:43- If you're making quick cuts to it, you'd better be close.- OK.
0:01:43 > 0:01:44Otherwise...
0:01:48 > 0:01:49All we're going to have, then,
0:01:49 > 0:01:51is the ambience of the river behind you?
0:01:55 > 0:01:59- Well, have a look. I don't know.- OK. Let me have a quick look.- Exactly.
0:01:59 > 0:02:05- Well, let me sit down here for a minute and see if we can...- Here.
0:02:05 > 0:02:08Just sort of here you're sitting. There.
0:02:08 > 0:02:12If I'm here, say, with a bit of luck... Like that.
0:02:12 > 0:02:15And then, you come about here and see.
0:02:16 > 0:02:18You have to be pretty low, I should think.
0:02:18 > 0:02:21And you probably need to be over a bit, don't you,
0:02:21 > 0:02:25- to get the background? I don't know. - Yeah.
0:02:25 > 0:02:27And you've got quite a nice backlight here.
0:02:27 > 0:02:30If you were lighting this, what would you do?
0:02:30 > 0:02:35- I'd just put polystyrene. - That would be it?
0:02:35 > 0:02:37Put a light on the polystyrene.
0:02:37 > 0:02:40Shine the light onto the polystyrene and the polystyrene onto the face.
0:02:40 > 0:02:43And would you put the polystyrene under the camera here?
0:02:44 > 0:02:48- No, just to one side. A sheet of polystyrene.- Right.
0:02:48 > 0:02:51- And then shine a light onto the polystyrene to make it brighter.- OK.
0:02:51 > 0:02:55And then get a soft light onto the face.
0:02:55 > 0:02:57But you've got quite a lot of light on your face here.
0:02:57 > 0:03:00- Yeah.- Is that too much, do you think? - Well, it may be. I don't know.
0:03:00 > 0:03:04- I can't tell from sitting here. - Let me look at the camera.
0:03:10 > 0:03:14I thought you'd solved this problem with a tripod. So, up...
0:03:14 > 0:03:16Check on the adapter... >
0:03:16 > 0:03:18You've both finished talking?
0:03:18 > 0:03:20HE LAUGHS I'll start now!
0:03:22 > 0:03:26- So, after I'd finished Point Blank, Lee...- Hold it.- Oh, for fuck's sake!
0:03:26 > 0:03:28- Listen!- What?
0:03:31 > 0:03:37I started filming a bit with Dad, and he was quite impatient and...
0:03:37 > 0:03:38LAUGHTER
0:03:38 > 0:03:42You know, and then he realised that our camera was sort of tilted
0:03:42 > 0:03:45because what Sophie and I didn't realise was that there's that
0:03:45 > 0:03:48bubble in the tripod that you have to set like a builder's,
0:03:48 > 0:03:50- you know, planar thing... - A spirit level.
0:03:50 > 0:03:53..and there's this bubble. We hadn't got that bit, you know.
0:03:53 > 0:03:55And I'm just hoping maybe you and -
0:03:55 > 0:03:57- if you don't mind - some of your blokes can...?- Yeah.
0:03:57 > 0:04:00Well, I can get the guys to show you some of the equipment
0:04:00 > 0:04:01that you might need.
0:04:01 > 0:04:03I think, you know, having worked with Dad...
0:04:03 > 0:04:07To an extent, you've worked with Dad before. It was Excalibur, wasn't it?
0:04:07 > 0:04:10But he'd always want to tell you what to do as well.
0:04:10 > 0:04:13Well, he's so controlling, isn't he? He's a director but...
0:04:13 > 0:04:16I mean, the idea is to do maybe a five-minute portrait
0:04:16 > 0:04:18but, you know, maybe it could develop into a documentary.
0:04:18 > 0:04:22I don't know. But it's going to be really exciting...
0:04:22 > 0:04:26It's going to be wonderful to spend that kind of time alone with him
0:04:26 > 0:04:29and, you know, really get to the bottom of that secretive man
0:04:29 > 0:04:31- cos he's quite secretive, isn't he?- Good luck!- Thanks.
0:04:31 > 0:04:35I don't think he'll ever tell you that much, will he? He'll probably tell you just enough.
0:04:35 > 0:04:39- Olly, what's that thing on top there?- That's to pick up the sound.
0:04:39 > 0:04:43I'll use this. You film... Put another tape in.
0:04:43 > 0:04:47- That's a pretty good all-round camera.- Don't let that drop.
0:04:48 > 0:04:51- No, that doesn't... - What about this one?
0:04:51 > 0:04:53I don't know what that is, actually.
0:04:54 > 0:04:57- That should fit. - What kind of camera's that, then?
0:04:57 > 0:04:59Is that the professional?
0:04:59 > 0:05:04- No. It's a bit better than that one. - You know, more options for, um...
0:05:04 > 0:05:06You can adjust the image...
0:05:07 > 0:05:08I don't know.
0:05:08 > 0:05:10LAUGHTER
0:05:10 > 0:05:12The sound is obviously the most important,
0:05:12 > 0:05:15- so you can have a couple of, um... - Channels?
0:05:15 > 0:05:19You can have a couple of radio mics on here. And, you know, good luck!
0:05:20 > 0:05:21Thanks, Charley.
0:05:26 > 0:05:27OK, Dad, let's...
0:05:27 > 0:05:31I'd love you to tell us a little bit about your first movie,
0:05:31 > 0:05:33Catch Us If You Can.
0:05:33 > 0:05:35So, I got Peter Nichols, the playwright,
0:05:35 > 0:05:38and we sat in a room for three weeks
0:05:38 > 0:05:43and wrote this story about a young couple on the run across England,
0:05:43 > 0:05:48encountering all the things that you would expect to find in the '60s.
0:05:48 > 0:05:52So, it was a very dyspeptic kind of view of England...
0:05:52 > 0:05:55# Catch us if you can... #
0:05:55 > 0:06:00..which was obviously aimed at a young pop audience,
0:06:00 > 0:06:02so it missed the mark.
0:06:02 > 0:06:05It got quite a lot of attention.
0:06:05 > 0:06:10I think, Telsche and I, the first film appearance
0:06:10 > 0:06:13was in his first film, Catch Us If You Can.
0:06:13 > 0:06:16I remember we had to call the actor Daddy -
0:06:16 > 0:06:17run up and say, "Daddy, Daddy!"
0:06:17 > 0:06:21And I remember crying and saying, "But he's not my daddy!
0:06:21 > 0:06:23"That's my daddy over there!"
0:06:23 > 0:06:25- Can you remember it? - I remember that.
0:06:25 > 0:06:28- I can remember feeling disturbed, you know.- I can't even remember that.
0:06:28 > 0:06:31This guy, Judd Bernard, gave me this script.
0:06:31 > 0:06:34And he also gave it to Lee Marvin.
0:06:34 > 0:06:36We met for lunch and Lee said, "What do you think of the script?"
0:06:36 > 0:06:38I said, "It's really bad!"
0:06:38 > 0:06:40Typical Lee Marvin, he picked up the script.
0:06:40 > 0:06:45He said, "I'll do this flick with you on one condition."
0:06:45 > 0:06:47And he threw the script out of the window.
0:06:47 > 0:06:52That's typical Lee Marvin! A gesture, you know.
0:06:52 > 0:06:56Meaning, you know, rewrite it completely and then we'll do it!
0:06:58 > 0:07:01Well, of course, your father only went to America to make a movie
0:07:01 > 0:07:06with darling Lee Marvin, who was the most unbelievably intelligent person.
0:07:09 > 0:07:11Lee Marvin was a remarkable actor.
0:07:13 > 0:07:16And he was the one who picked your father to do the movie.
0:07:17 > 0:07:20And your father was just perfect for him.
0:07:20 > 0:07:23You know, I didn't aspire to be a film director
0:07:23 > 0:07:24or to be a novelist or anything.
0:07:24 > 0:07:28I mean, I just thought maybe I could write some articles
0:07:28 > 0:07:31and maybe some stories, you know.
0:07:31 > 0:07:35I was very modest in my aspirations.
0:07:35 > 0:07:39And then, going into the army was another phase altogether.
0:07:40 > 0:07:44Um... And, you know, when I was in the army,
0:07:44 > 0:07:47when I was, you know, 19, I met your mother.
0:07:48 > 0:07:52I met Dad in Morvan. He was in the army.
0:07:52 > 0:07:54He was doing his army service for two or three years.
0:07:54 > 0:08:00- What were you doing?- I was a nursing student...- Sorry, but what...?- ..and I went to Morvan,
0:08:00 > 0:08:04which was a kilometre or two away, and that's where I met your father.
0:08:04 > 0:08:06For me...
0:08:07 > 0:08:11..it was a way of escaping England...
0:08:12 > 0:08:15..and the English class system.
0:08:15 > 0:08:18What do you think it was that made Dad
0:08:18 > 0:08:21so appealing to you, as an Englishman?
0:08:21 > 0:08:28Well, he probably, um... Perhaps I was not unattractive.
0:08:28 > 0:08:30And maybe that had something to do with it, OK?
0:08:32 > 0:08:35There was something, you know, slightly exotic about it, too,
0:08:35 > 0:08:39and the fact that, you know, she was German, you know.
0:08:39 > 0:08:41It was like, in a way...
0:08:43 > 0:08:46..courting the enemy!
0:08:47 > 0:08:49Did they accept you, Dad's family?
0:08:49 > 0:08:53You a German, and then they were British, just after the War?
0:08:53 > 0:08:59There was no way I would have even expected them not to accept me,
0:08:59 > 0:09:01Christel Boorman, Christel Kruse!
0:09:03 > 0:09:06I had never any problems with people. Funny, isn't it?
0:09:06 > 0:09:08I was never nervous of that.
0:09:09 > 0:09:11Which was your favourite film that Dad made?
0:09:11 > 0:09:14- My favourite film was Hell In The Pacific.- And why is that?
0:09:14 > 0:09:20Because it's about two people, Lee Marvin and Toshiro Mifune,
0:09:20 > 0:09:25one Japanese and one American, stuck on a beach island,
0:09:25 > 0:09:28and they don't like each other very much.
0:09:30 > 0:09:33It was the most difficult script I've ever attempted
0:09:33 > 0:09:35because there's no dialogue.
0:09:37 > 0:09:41But that film was actually a reflection of their marriage.
0:09:41 > 0:09:43- Yes.- It was these two people, who didn't,
0:09:43 > 0:09:44on some level, didn't get on.
0:09:44 > 0:09:47- They clashed like the Titans! - Yes, they did.
0:09:47 > 0:09:50But they resolved to get on.
0:09:50 > 0:09:53I think he was really and truly...
0:09:53 > 0:09:58I mean, he just pursued me. OK? Pursued me.
0:09:58 > 0:10:02I fell for it, left, right and centre.
0:10:02 > 0:10:07And we had four beautiful children and made sure that marriage lasted.
0:10:07 > 0:10:13You know, we had this tumultuous marriage, and somebody
0:10:13 > 0:10:15described our marriage as
0:10:15 > 0:10:17the continuation of the Second World War...
0:10:20 > 0:10:21..by a different means!
0:10:21 > 0:10:28I absolutely was determined not to leave four children in a school.
0:10:29 > 0:10:32I thought, "I don't care about their education," as such.
0:10:32 > 0:10:34I'll take a tutor with me, you know.
0:10:34 > 0:10:39And he wasn't a great tutor because... That's it.
0:10:39 > 0:10:44And you did all very well. It was OK. You know. You did all right.
0:10:48 > 0:10:50Although we had a wonderful childhood,
0:10:50 > 0:10:52- travelling from place to place... - Yes.
0:10:52 > 0:10:54..going on the movie sets with you and Dad.
0:10:54 > 0:10:57- You created this homely atmosphere. - Yes.
0:10:57 > 0:11:01And you were the real Earth mother.
0:11:01 > 0:11:04As relationships go, I think we were quite a close family.
0:11:04 > 0:11:05We were a good family.
0:11:05 > 0:11:08As we were growing up, we all travelled around the world together.
0:11:08 > 0:11:10We were always in a lot of his films.
0:11:10 > 0:11:12But in Hell In The Pacific, for instance, where we
0:11:12 > 0:11:15were making the film in a very remote South Sea island, where there
0:11:15 > 0:11:21were no doctors or facilities, it was really impractical to take...
0:11:21 > 0:11:23Er, you were five or six.
0:11:23 > 0:11:26And the twins had just been born, Daisy and Charley,
0:11:26 > 0:11:29so we left them behind. They were only...
0:11:29 > 0:11:32what, seven or eight months old?
0:11:32 > 0:11:35And we left them with a couple who were working for us.
0:11:35 > 0:11:38I think Mum was put in a very, very difficult position
0:11:38 > 0:11:43because on the one hand, you know, she had two daughters, you,
0:11:43 > 0:11:45you and Telsche, who were six and seven.
0:11:45 > 0:11:47That's quite a young age, too, you know.
0:11:47 > 0:11:50You needed attention, obviously.
0:11:50 > 0:11:51And I think she was in a tricky position
0:11:51 > 0:11:54and I think that she had to make a decision.
0:11:54 > 0:11:56She couldn't not leave Dad alone out there.
0:11:58 > 0:12:00And we came back, four months later,
0:12:00 > 0:12:03and they were just on their first birthday, and they were walking.
0:12:04 > 0:12:08- So, we missed out on quite a lot there.- That's a big sacrifice.
0:12:10 > 0:12:13- But eventually, you went to Ireland?- Oh, yeah.
0:12:13 > 0:12:15We went to Ireland,
0:12:15 > 0:12:20and we found a marvellous house to live in.
0:12:20 > 0:12:26And I worked on it for 12 years, to make it what's what.
0:12:44 > 0:12:46I thought it was fairy-like.
0:12:48 > 0:12:49You know, when you're little,
0:12:49 > 0:12:53you think that all the little fairies live around in the trees and the woods.
0:12:55 > 0:13:00Mum and Dad allowed us to be free, very free, in terms of adventures.
0:13:03 > 0:13:09All my girlfriends from school, who came up to visit and stay,
0:13:09 > 0:13:12I think everybody was very excited because they knew that they'd
0:13:12 > 0:13:16be either going down a river or going on horseback up some mountain.
0:13:23 > 0:13:27We had this privileged childhood in a way that Mum and Dad hadn't.
0:13:27 > 0:13:30You know, Dad had quite humble
0:13:30 > 0:13:33beginnings in a sort of lower working class family.
0:13:33 > 0:13:38My mother's father had pubs, a gin palace in the Isle of Dogs.
0:13:38 > 0:13:44That's where my mother was born. And this huge gin palace, which...
0:13:44 > 0:13:46In a slum.
0:13:46 > 0:13:51And then we had this upbringing that was in film,
0:13:51 > 0:13:53and we all had each other. We had a very strong bond.
0:14:08 > 0:14:11When you make a film, it's like taking a mistress, really.
0:14:11 > 0:14:16It's worse than that, for a wife, because, you know, you've no
0:14:16 > 0:14:20time and you're away. Even if you're there, present, you're away.
0:14:22 > 0:14:27When I was making Leo The Last, with Mastroianni,
0:14:27 > 0:14:30we were shooting the picture in six-day weeks.
0:14:30 > 0:14:37And Saturday night, I went to dinner, Mr Chow's, with my designer,
0:14:37 > 0:14:41Tony Woollard, and his wife, the four of us. And I was exhausted.
0:14:41 > 0:14:44I was so tired. I didn't really want to be out to dinner, but...
0:14:45 > 0:14:51Christel constantly interrupted everything that was being said.
0:14:51 > 0:14:53She just was unbearable...
0:14:54 > 0:14:57..because she wanted attention.
0:14:57 > 0:15:01And then I said, "OK. Come on. We're leaving." And I pulled her.
0:15:01 > 0:15:05And she said, "No! I'm staying." And she sat down. I said, "Come on. We're going."
0:15:05 > 0:15:07Pulled her again, and just as I pulled her again,
0:15:07 > 0:15:10she decided to get up.
0:15:10 > 0:15:12So she flew over my shoulder,
0:15:12 > 0:15:14and there was a spiral staircase
0:15:14 > 0:15:17and she went flying down this spiral staircase and I thought, "Oh, God!
0:15:17 > 0:15:19"That's it."
0:15:19 > 0:15:21Everybody was watching.
0:15:21 > 0:15:24So I dashed down the staircase and lifted her up,
0:15:24 > 0:15:29grabbed our coats and took her outside.
0:15:29 > 0:15:35It was lucky there was a taxi. People just got out. Jumped into the taxi.
0:15:35 > 0:15:37And we sat back
0:15:37 > 0:15:41and I thought, "This is finally the end of the marriage."
0:15:41 > 0:15:45And we sat there for a moment and she turned to me and said, "You were magnificent!"
0:15:46 > 0:15:50And I looked at her and she said,
0:15:50 > 0:15:52"When I was falling down those stairs,
0:15:52 > 0:15:56"I could see all these women's eyes, and I knew what they were thinking."
0:15:56 > 0:16:01"I wish I had a man who loved me enough to throw me down the stairs!"
0:16:04 > 0:16:10And she finally got the attention she was looking for!
0:16:19 > 0:16:22Um, they were great parents, loving parents,
0:16:22 > 0:16:26and I think that they really, you know, by the time they...
0:16:26 > 0:16:29I think that... I think that Dad, um...
0:16:30 > 0:16:32..you know, had maybe a little bit of a wandering eye.
0:16:32 > 0:16:35Our marriage broke up,
0:16:35 > 0:16:40and then he wanted to go off into the sun...
0:16:40 > 0:16:41sunset.
0:16:41 > 0:16:43THEY LAUGH
0:16:54 > 0:16:57A lot of things had happened in the last 25 years.
0:16:58 > 0:17:02Dad had remarried and had more children, who were wonderful,
0:17:02 > 0:17:05and that had created a rift in the family.
0:17:06 > 0:17:10This documentary coincided with Dad separating from his current wife.
0:17:12 > 0:17:14And in a way, we both found each other again.
0:17:17 > 0:17:21Nothing that much has changed, and I haven't been here for 18 years.
0:17:21 > 0:17:23That's a new bridge! I don't believe it. Wow!
0:17:24 > 0:17:27It's not nearly as big as I remembered it to be. There's Dad!
0:17:37 > 0:17:39I don't believe it!
0:17:44 > 0:17:47- Mm... My baby! - God, this is such a shock!
0:17:49 > 0:17:53- The house looks much smaller than it used to.- Smaller?- It looks...
0:17:53 > 0:17:57- It looks much smaller, you know? - Look at the blossom.
0:17:57 > 0:18:00I can't believe it! It looks gorgeous...
0:18:02 > 0:18:03..for some reason.
0:18:18 > 0:18:20You see, if you had a proper crew...
0:18:22 > 0:18:24What?
0:18:24 > 0:18:27If I was shooting this, I'd be sitting in the other direction,
0:18:27 > 0:18:29so you'd have the beautiful backlight.
0:18:29 > 0:18:34- Front light, like this, is...- Harsh, isn't it?- ..is always harsh.- Yup.
0:18:34 > 0:18:39It's harsh and it doesn't... And also, the landscape looks better.
0:18:39 > 0:18:42- It looks much better, looking that way.- It does, actually.
0:18:42 > 0:18:44You might do a shot, looking up that way.
0:18:44 > 0:18:46Yeah. Further down the river.
0:18:47 > 0:18:52- It's OK.- Just get another hand, will you?- Yeah!- What do you need two for?
0:18:58 > 0:19:01He was a bit of a risk-taker, I have to say. I mean, you know...
0:19:01 > 0:19:04I mean, I wouldn't say health and safety was at the top of his list.
0:19:04 > 0:19:08It always had to be an extreme. It always had to be...
0:19:08 > 0:19:11And I was very interested in how people respond
0:19:11 > 0:19:12in extreme situations.
0:19:12 > 0:19:14Deliverance on the river...
0:19:16 > 0:19:21..how those actors responded to being pushed to limits.
0:19:30 > 0:19:34We had control of it with the sluices of the dam upriver.
0:19:36 > 0:19:38Open the sluices to a certain extent
0:19:38 > 0:19:40to bring the river rushing down.
0:19:44 > 0:19:47And Voight was saying, "You mad fucker, Boorman.
0:19:47 > 0:19:49"I know what you're going to do. You're going to open
0:19:49 > 0:19:51"those fucking sluices and we're all going to be swept away."
0:19:55 > 0:19:57He's looking for quite a lot of things in life.
0:19:57 > 0:20:05He's looking for great love, he's looking for perfection.
0:20:05 > 0:20:10He wants to be a good dad. You know, he wants to do good by his children.
0:20:19 > 0:20:24It's fantastic. You feel the force of the river.
0:20:24 > 0:20:30It's like...feeling the strength of nature.
0:20:30 > 0:20:35And I find it very exciting. It's a sacred place for me.
0:20:37 > 0:20:39I'll try to get across to the rock.
0:20:49 > 0:20:51I suppose you need that kind of character,
0:20:51 > 0:20:53or the kind of character he is, to be...
0:20:53 > 0:20:55Cos he's not just a film director.
0:20:55 > 0:20:58He's a scriptwriter, he's a writer.
0:20:58 > 0:21:03He's written many books, and he's very competent in what he does.
0:21:03 > 0:21:06I wouldn't change a frame of any movie I've made.
0:21:06 > 0:21:07Not because they're perfect,
0:21:07 > 0:21:13but simply because I'd be too bored to go back and start doing it again.
0:21:14 > 0:21:19I've made films in the way I have, where I want absolute control.
0:21:19 > 0:21:22I write them and direct them, I want to be my own producer.
0:21:22 > 0:21:26I don't want anybody in authority to tell me what to do,
0:21:26 > 0:21:28and possibly, there have been occasions, where
0:21:28 > 0:21:33I could have probably improved the films with more collaboration.
0:21:34 > 0:21:39But somehow, it was essential to me for it to be my vision,
0:21:39 > 0:21:43and to be exactly as I wanted it to be.
0:21:46 > 0:21:50Um...a nightmare. He's an absolute nightmare.
0:21:50 > 0:21:54He's a bully, he's aggressive, he's mean to people, he's cheap.
0:21:56 > 0:21:59I mean, I did Deliverance with him - it was my first film.
0:21:59 > 0:22:01And I got a tricycle.
0:22:01 > 0:22:06You know, that's his own son. I should have been given points.
0:22:06 > 0:22:11If I'd got points, points in the box office, oh, I'd be so rich!
0:22:13 > 0:22:16I've been very lucky to be able to work with Dad, because I worked
0:22:16 > 0:22:20right from when I was three years old, up to not that long ago.
0:22:22 > 0:22:24I cast my son, Charley, he was 17, for a number of reasons.
0:22:24 > 0:22:29First of all, because he has a beautiful personality,
0:22:29 > 0:22:33as simplicity and a purity at that age.
0:22:33 > 0:22:38I knew I could work with him in these difficult circumstances.
0:22:38 > 0:22:42And you know, there was a lot of opposition to it. Because of that,
0:22:42 > 0:22:47I suppose I was very hard on him because I desperately wanted it to work.
0:22:47 > 0:22:50There were a lot of people who were quite negative towards the fact
0:22:50 > 0:22:52that I was going to play the lead role,
0:22:52 > 0:22:55and so I think, in some ways, when I was working with Dad,
0:22:55 > 0:22:56it was always one take with me,
0:22:56 > 0:23:00and six or seven takes with other people,
0:23:00 > 0:23:04so I had to really be on it, and I think it was partly to prove
0:23:04 > 0:23:08to people that I could do the part and stuff like that.
0:23:08 > 0:23:10So he used to put me in these ridiculous situations, where I would
0:23:10 > 0:23:15have to bounce down this waterfall, and Dad would do it all in one shot.
0:23:15 > 0:23:19I remember, I broke both baby toes four times on each foot,
0:23:19 > 0:23:22running around the jungle.
0:23:22 > 0:23:25It's about this boy, who the father finds, eventually, in the jungle,
0:23:25 > 0:23:29and you see him go through rites of passage in the movie.
0:23:29 > 0:23:32Actually, you put your son through a kind of rites of passage,
0:23:32 > 0:23:35father to son.
0:23:35 > 0:23:37That's a statement, not a question.
0:23:40 > 0:23:41I'd prefer that you said it!
0:23:49 > 0:23:56People, to this day, they quote that line, "Squeal like a pig."
0:23:56 > 0:23:58How did that come about?
0:23:58 > 0:24:00Oddly enough, I was...
0:24:00 > 0:24:06Because everyone was very nervous about this male rape scene...
0:24:06 > 0:24:12Warner said to me, "You've got to do some coverage for television,"
0:24:12 > 0:24:16for when it's shown on television. You can do some coverage,
0:24:16 > 0:24:18particularly with the language.
0:24:18 > 0:24:25So there was a lot of foul language during the course of this rape.
0:24:25 > 0:24:28And so we sat around and thought, "Well, what can we say instead?"
0:24:28 > 0:24:32And somebody, I think it was Rospo, came up with, "Squeal like a pig."
0:24:33 > 0:24:37Immediately I thought it was much better than any of the other swear words.
0:24:37 > 0:24:41We cut them all out and used it in the main version.
0:24:41 > 0:24:44And it kind of stuck.
0:24:44 > 0:24:47Poor old Ned Beatty.
0:24:47 > 0:24:49Whenever he's walking on the street, people say,
0:24:49 > 0:24:52"Squeal like a pig."
0:24:52 > 0:24:54- Weee!- Squeal.
0:24:54 > 0:24:56- Squeal louder.- Weee!
0:24:56 > 0:24:58- Louder.- Weeeee!
0:24:58 > 0:25:01- Louder.- Weee!- Louder.- Weee!
0:25:06 > 0:25:09And Deliverance itself, had you read the novel?
0:25:09 > 0:25:11And had you met James Dickey, the author?
0:25:11 > 0:25:15He was a very intimidating figure for the actors.
0:25:17 > 0:25:22He called them all by the names that they were playing - it was all real to him.
0:25:23 > 0:25:25Dickey was a sort of fantasist.
0:25:25 > 0:25:29When I first met him, he took me to one side and he said,
0:25:29 > 0:25:33"I'm going to tell you something I've never told a living soul.
0:25:33 > 0:25:37"Everything in that book happened to me."
0:25:37 > 0:25:39I thought, "Right.
0:25:39 > 0:25:42"They buried this guy up there somewhere. Jesus!"
0:25:42 > 0:25:46He made me promise not to tell a living soul.
0:25:46 > 0:25:48Of course, I wanted to tell someone immediately.
0:25:48 > 0:25:51I said to Charles Orme, "Do you know what he told me?
0:25:51 > 0:25:55"Everything in that book happened to him."
0:25:55 > 0:25:57And Charles said, "Yes, he told me the same
0:25:57 > 0:25:59"when I was at the door waiting for the toilet."
0:25:59 > 0:26:01KATRINE LAUGHS And he went on telling everybody.
0:26:01 > 0:26:03And when I went up there with him,
0:26:03 > 0:26:07when he actually got into a canoe and immediately turned it over,
0:26:07 > 0:26:10I realised that nothing in that book had happened to him.
0:26:17 > 0:26:19"Don't come up here any more, ya hear?"
0:26:21 > 0:26:23Let's do one like this, OK?
0:26:23 > 0:26:25- Ready? Rolling.- Right.
0:26:25 > 0:26:30Everything you can see, left and right here, we planted.
0:26:30 > 0:26:34- Something like 10 or 15,000 trees. - And did that take you all day?
0:26:34 > 0:26:36Yeah, most of the day. SHE LAUGHS
0:26:39 > 0:26:42I started planting too late in life.
0:26:42 > 0:26:47But some acorns are now sturdy trees,
0:26:47 > 0:26:49and I'm not yet too old to climb it.
0:26:49 > 0:26:54And I'd lie in its branches,
0:26:54 > 0:26:58watching the world recede by one foot every year,
0:26:58 > 0:27:00which is how much they grow.
0:27:00 > 0:27:01- It's quite a nice...- Oh, lovely.
0:27:01 > 0:27:03- Did you read the book? - Of course I did.
0:27:03 > 0:27:05Well, there you are. That's at the end of the book.
0:27:05 > 0:27:07Forgive me if I didn't remember every single...
0:27:07 > 0:27:10THEY LAUGH But we could quote that.
0:27:10 > 0:27:13If I could get up there. I haven't climbed it for a while.
0:27:13 > 0:27:15- OK.- Ready?
0:27:15 > 0:27:17- HE GRUNTS - OK.
0:27:19 > 0:27:20- I'm up, I'm up.- He's 74.
0:27:20 > 0:27:22HE GRUNTS
0:27:22 > 0:27:24- Are you up?- Yeah, I've got it.
0:27:24 > 0:27:27- I've got you.- I'm OK. - Are you OK?- Yep.
0:27:27 > 0:27:31I planted this tree, yeah, from an acorn.
0:27:31 > 0:27:33I planted it at the same time as...
0:27:33 > 0:27:35Whoops! KATRINE LAUGHS
0:27:35 > 0:27:37Oh, look out! HE LAUGHS
0:27:39 > 0:27:42You might have to get the fire brigade to get me down.
0:27:42 > 0:27:44THEY LAUGH
0:27:45 > 0:27:47Rolling.
0:27:47 > 0:27:53This is the Hamilton Wood, it's an ancient oak forest.
0:27:53 > 0:27:55And I've shot here several times,
0:27:55 > 0:27:57particularly with Excalibur.
0:27:57 > 0:27:58And, er...
0:28:00 > 0:28:03..there's something very magical about it. Very healing.
0:28:03 > 0:28:08And, er, I really love this place.
0:28:08 > 0:28:10And, of course, you know,
0:28:10 > 0:28:14really, the way to shoot in the oak wood
0:28:14 > 0:28:16is to move the camera
0:28:16 > 0:28:20because then the trees move in relation to each other.
0:28:20 > 0:28:23You never quite... It never quite expresses itself
0:28:23 > 0:28:25in a static shot like this.
0:28:29 > 0:28:34- When we were doing Excalibur, you said...- This was a long time ago.
0:28:34 > 0:28:38You kept saying your lines so fast, so fast.
0:28:38 > 0:28:43I said, "Slow down, Katrine, and cut, slow down. Do it again.
0:28:43 > 0:28:46"You're still too fast. Why are you saying your lines so fast?
0:28:46 > 0:28:49"We can't understand what you're saying."
0:28:49 > 0:28:52- You said, "Well, I..." You were only 17.- 17, yeah.
0:28:52 > 0:28:55"Oh, oh, I'm afraid you're going to say
0:28:55 > 0:28:58" 'cut' before I've finished." SHE CRIES OUT
0:28:58 > 0:29:01I think that if you're the daughter of a director,
0:29:01 > 0:29:05and you're working on a movie, you're always so desperate
0:29:05 > 0:29:08to impress the technicians that you're not a prima donna.
0:29:08 > 0:29:11I know. When I first started,
0:29:11 > 0:29:15that's what I wanted to do. I wanted to impress the crew,
0:29:15 > 0:29:18more than I did anything else, that I knew what I was doing.
0:29:18 > 0:29:22- It's a youthful thing, isn't it? - Yeah. Now I don't give a fuck.
0:29:22 > 0:29:24THEY LAUGH
0:29:24 > 0:29:28You definitely expect 1,000% from everybody
0:29:28 > 0:29:31- because you're giving 2,000% yourself.- Well, no.
0:29:31 > 0:29:33You're quite a taskmaster.
0:29:33 > 0:29:37Well, I just, I feel... All I feel about it is this -
0:29:37 > 0:29:40there's a tendency... The best crew I ever worked with was on
0:29:40 > 0:29:42Hell In The Pacific. It was a Japanese crew.
0:29:42 > 0:29:48They were so disciplined, they didn't move, they didn't...
0:29:48 > 0:29:50A crew in England or America,
0:29:50 > 0:29:53they're always wandering around, eating, with a mouth...
0:29:53 > 0:29:55When you speak to them, they have a mouth full of food.
0:29:55 > 0:29:59Or they're chatting.
0:29:59 > 0:30:02You know, it's...
0:30:02 > 0:30:05The Japanese crew would stand completely still
0:30:05 > 0:30:07until they were required to move.
0:30:07 > 0:30:11That's exactly the way I like it. THEY LAUGH
0:30:15 > 0:30:18Can you do that one more time, and turn to camera with the sword?
0:30:18 > 0:30:21- Why am I turning to the camera? - Just turn.
0:30:21 > 0:30:24Pull it and draw it and just look menacingly at the camera.
0:30:24 > 0:30:26Here's the shot, right?
0:30:26 > 0:30:29Ready? You've got my left hand.
0:30:33 > 0:30:34How about this?
0:30:37 > 0:30:41- If you have the full-length figure... - Yeah.- Like that.
0:30:41 > 0:30:45- ..it's mysterious, you know, and it's me. You're doing it to me.- OK.
0:30:45 > 0:30:47All right, my love. We'll just do that, my angel.
0:30:47 > 0:30:50OK, Dad, great. Rolling.
0:30:56 > 0:30:58And cut.
0:30:58 > 0:30:59Is that all right?
0:31:00 > 0:31:03Well, I think that Dad, in a way,
0:31:03 > 0:31:08is a little bit like Merlin in Excalibur.
0:31:08 > 0:31:12When Merlin says, "Sometimes a dream, sometimes a nightmare."
0:31:16 > 0:31:18I always identified with Merlin
0:31:18 > 0:31:21because, Merlin, what does he represent? Magic.
0:31:21 > 0:31:25And what are movies about? Magic.
0:31:25 > 0:31:29And, you know, you sit back and you think, somehow you've made this thing,
0:31:29 > 0:31:32and there's a satisfaction in that.
0:31:37 > 0:31:43I think the darkness of Dad is - and his secrecy -
0:31:43 > 0:31:46- all goes back to his childhood. - Mm-hm.
0:31:48 > 0:31:53You know, what had a profound effect on me was my mother's affair.
0:31:53 > 0:31:58Unconsciously, that situation has occurred in my films.
0:31:58 > 0:32:01For instance, in Point Blank, it's about
0:32:01 > 0:32:05this man, played by Lee Marvin, who is betrayed by his wife,
0:32:05 > 0:32:06who goes off with his best friend.
0:32:11 > 0:32:15Again, that triangle, it's Arthur, Lancelot and Guinevere.
0:32:18 > 0:32:20SHE CRIES OUT
0:32:20 > 0:32:26My father and his best friend Herbert were both wooing my mother.
0:32:26 > 0:32:29She favoured Herbert
0:32:29 > 0:32:31but my father had a job and Herbert didn't.
0:32:31 > 0:32:35She married my father, really, out of a kind of proxy.
0:32:35 > 0:32:41She married the man she loved, his best friend.
0:32:41 > 0:32:44My father went off into the army,
0:32:44 > 0:32:46and Herbert didn't.
0:32:46 > 0:32:48My mother went to work for him, and they were together a lot,
0:32:48 > 0:32:53finally reconciled with the man that she loved.
0:32:53 > 0:32:56I liked him very much.
0:32:56 > 0:32:58In fact, in some ways, I preferred him to my father.
0:32:58 > 0:33:02But I suppose it was a dilemma for me.
0:33:02 > 0:33:07I was either betraying my father, or betraying my mother.
0:33:07 > 0:33:09There was a choice, in a sense.
0:33:16 > 0:33:21You know, my father was a disappointed man, in a way.
0:33:21 > 0:33:25Because of the presence of this lover who was always there,
0:33:25 > 0:33:30and somehow, he felt it.
0:33:30 > 0:33:33And I was, somehow,
0:33:33 > 0:33:34a rival...
0:33:37 > 0:33:40..for my mother's affections.
0:33:40 > 0:33:45So, he wanted me to succeed where he had failed.
0:33:45 > 0:33:48And at the same time, he also wanted me to fail.
0:33:48 > 0:33:53So there was a terrible strain there between those two things.
0:33:55 > 0:33:59Was your mother somebody you could talk to, or your sisters?
0:33:59 > 0:34:02- Was there anybody you confided in as a child?- No.
0:34:02 > 0:34:05I never did confide in anybody.
0:34:05 > 0:34:07And this is something that obviously carried through your life?
0:34:10 > 0:34:14Yeah. I think that, um...
0:34:16 > 0:34:18Yes, I think it did, yeah.
0:34:24 > 0:34:26This is all stuff I'm working on here,
0:34:26 > 0:34:29all these scripts and things here.
0:34:29 > 0:34:31And then...
0:34:32 > 0:34:37- You know, my book shelves are all full.- Yeah.
0:34:37 > 0:34:40There's no more room on my book shelves for any more books.
0:34:40 > 0:34:45There's probably no more room in my mind and memory,
0:34:45 > 0:34:49because that's what happens when you become senile.
0:34:49 > 0:34:53You've used up all your memory.
0:34:53 > 0:34:55There's nowhere left to go.
0:34:56 > 0:34:58I've got a little bit left.
0:35:00 > 0:35:02I always loved, um...
0:35:02 > 0:35:03Er...
0:35:05 > 0:35:07..Blake.
0:35:08 > 0:35:12- There was a time when I read nothing else but Blake.- Why was that?
0:35:14 > 0:35:19His whole vision of a kind of... England.
0:35:21 > 0:35:23It was very, um...
0:35:24 > 0:35:28It had a huge impression on me. Um...
0:35:31 > 0:35:33The Sick Rose.
0:35:33 > 0:35:35O Rose, thou art sick
0:35:35 > 0:35:36The invisible worm
0:35:36 > 0:35:38That flies in the night
0:35:38 > 0:35:40In the howling storm
0:35:40 > 0:35:42Has found out thy bed
0:35:42 > 0:35:44Of crimson joy
0:35:44 > 0:35:47And in his dark, secret love
0:35:47 > 0:35:50Does thy life destroy.
0:35:53 > 0:35:55Does that make you think of...?
0:35:55 > 0:35:58It makes me think of Telsche.
0:35:58 > 0:36:01It makes me think of a beautiful young woman taken in her prime.
0:36:01 > 0:36:03Yes, well, that's what it's about.
0:36:03 > 0:36:07You know, every...beauty in nature
0:36:07 > 0:36:12has within it the worm of... of death, you know.
0:36:12 > 0:36:14That's the nature of life.
0:36:16 > 0:36:18And, er...
0:36:19 > 0:36:24- Where's Telsche's tree? There. - There.- So you planted that when she, um...?
0:36:24 > 0:36:28That, yeah. We had a ceremony here. All the village came and everything.
0:36:32 > 0:36:35Telsche, my sister...
0:36:35 > 0:36:38Dad planted this when she died, just after she died.
0:36:38 > 0:36:43- It's lovely, isn't it?- Yeah. So that's been there 11 years.- 11 years.
0:36:43 > 0:36:47- It was about this high when it went in.- Amazing.- So it's grown.
0:36:51 > 0:36:54- What was your relationship like with her?- Well, it was very...
0:36:56 > 0:37:00..very special. You know, there was this occasion when she was -
0:37:00 > 0:37:04before she was one year old - she walked very early and she was...
0:37:07 > 0:37:10She fell into a pond, face down and...
0:37:12 > 0:37:16..your mother found her and she couldn't do anything,
0:37:16 > 0:37:18she just collapsed.
0:37:18 > 0:37:21I heard this wail and I ran out to the garden
0:37:21 > 0:37:24and there she was lying and I took her out
0:37:24 > 0:37:26and she... There was no...
0:37:29 > 0:37:30..pulse.
0:37:31 > 0:37:35No heartbeat... She was just white.
0:37:35 > 0:37:37Dead. And...
0:37:37 > 0:37:40This was a time, it was before...
0:37:41 > 0:37:47It was before mouth-to-mouth resuscitation was widely known
0:37:47 > 0:37:48and I'd read in...
0:37:48 > 0:37:51I'd just glanced at it in a newspaper...
0:37:52 > 0:37:55Just like an illustration. I didn't even read the article.
0:37:55 > 0:38:00Suddenly, it just appeared before my eyes...
0:38:01 > 0:38:03And I read it.
0:38:03 > 0:38:06That's the extraordinary thing. I hadn't read it at the time,
0:38:06 > 0:38:11but when it appeared in front of me, I looked at it and it told me
0:38:11 > 0:38:15how to do it, and I gave her mouth-to-mouth...
0:38:16 > 0:38:18..and she started to breathe.
0:38:19 > 0:38:23There were four of us - Telsche being the eldest.
0:38:23 > 0:38:25She would have been 49 this year,
0:38:25 > 0:38:28but she died, in 1996, of cancer.
0:38:28 > 0:38:31When you think of your children, and you see the two of them
0:38:31 > 0:38:35together and then your heart breaks when you think about her.
0:38:44 > 0:38:47Well, there is no way of coping with it. I mean...
0:38:47 > 0:38:51you...you... Part of you dies with the child.
0:38:53 > 0:38:54And, um...
0:39:00 > 0:39:02- I miss Telsche every day...- Yeah.
0:39:02 > 0:39:04And, you know,
0:39:04 > 0:39:07I remember on Long Way Round, I think she was with me
0:39:07 > 0:39:10every step of the way. I definitely felt her on my shoulder.
0:39:10 > 0:39:13So she died 12 years ago and that's just...
0:39:13 > 0:39:17There was a kind of moment where the whole family just collapsed.
0:39:17 > 0:39:19I think it changes, doesn't it,
0:39:19 > 0:39:21the dynamic of the family afterwards, because there's
0:39:21 > 0:39:25somebody missing and there's always this feeling of someone missing?
0:39:25 > 0:39:29Telsche always said that,
0:39:29 > 0:39:32"My mother and father both gave birth to me."
0:39:34 > 0:39:38It was an extraordinary thing and I think that...
0:39:38 > 0:39:42made a bond between us which was...
0:39:43 > 0:39:47..so extraordinarily close and complex.
0:39:47 > 0:39:50And she was very much the working arm of Dad.
0:39:50 > 0:39:54You know, she did second unit and co-directed with him...
0:39:58 > 0:40:02- I suppose, living in Paris... - She was wonderful with you.
0:40:02 > 0:40:06- You two were absolutely together, weren't you, really?- Mm.
0:40:06 > 0:40:11And I always felt that it was the saddest thing that you lost her.
0:40:15 > 0:40:19It was unimaginable that Telsche could die.
0:40:19 > 0:40:22I think of her every single day and she always helps me from above
0:40:22 > 0:40:25because I always think of her laughing or how
0:40:25 > 0:40:27she would joke or what she would say
0:40:27 > 0:40:30in a difficult situation. "What would Telsche do?"
0:40:30 > 0:40:32So I feel that she always helps me out.
0:40:32 > 0:40:36She and I were doing a comedy live on French TV every week,
0:40:36 > 0:40:37- do you remember?- Yeah.
0:40:37 > 0:40:39We would write the sketches
0:40:39 > 0:40:43and we were the Boorman Sisters on a kind of family show
0:40:43 > 0:40:44that was comedy.
0:40:44 > 0:40:49- Venez, les garcons!- Venez! Nous rejoindre! Alors...
0:40:49 > 0:40:51Looking back, I think maybe...
0:40:51 > 0:40:54- that was destiny, maybe it was meant to be.- It was meant to be, maybe,
0:40:54 > 0:40:56that we would have the time with Telsche.
0:40:56 > 0:40:59- With Telsche, before she died.- Yes.
0:41:02 > 0:41:06And sometimes, the phone rings and for a second...
0:41:06 > 0:41:07I think, "Oh, it's Telsche."
0:41:07 > 0:41:11NO SPEECH
0:42:08 > 0:42:11HE SNIFFS
0:42:11 > 0:42:14- The rain does it enough. - Yeah. That's pretty.
0:42:16 > 0:42:20- I love this, don't you?- Let's put the small ones at the front.
0:42:21 > 0:42:24- Well, she was so special, wasn't she?- Yeah.- And so loved.
0:42:24 > 0:42:26Um...
0:42:27 > 0:42:33I remember, at the funeral, there must have been 100 people there who
0:42:33 > 0:42:35thought they were her best friend!
0:42:37 > 0:42:41Well...she was their best friend. It's true.
0:42:43 > 0:42:47But, I mean, I always had a very special relationship with her.
0:42:47 > 0:42:51I remember once, when she was about 12, and she said to me,
0:42:51 > 0:42:56"Dad, Dad, which of us do you love best? Which of the four?"
0:42:57 > 0:43:00And I said, "I love you all the same." You know?
0:43:00 > 0:43:03"When you arrived, I loved you dearly
0:43:03 > 0:43:06"and then when Katrine arrived,
0:43:06 > 0:43:10"I loved her and love is not something that you can measure
0:43:10 > 0:43:12"exactly in that way."
0:43:12 > 0:43:15"Yes," she said, "but there must have been one of us
0:43:15 > 0:43:18"that you love just a bit more." You know.
0:43:18 > 0:43:21She knew it was her, in a way!
0:43:21 > 0:43:23And I said, "No, no, no!"
0:43:23 > 0:43:27I said, "Look...
0:43:27 > 0:43:31"Telsche, if I tell you which one it is,
0:43:31 > 0:43:34"I want you to swear to me you'll never mention it to a living soul.
0:43:34 > 0:43:37She said, "I swear, I swear!" I said, "Katrine."
0:43:39 > 0:43:42She so knew that wasn't true!
0:43:42 > 0:43:44But she's in good company here.
0:43:44 > 0:43:48- Stendhal is here, isn't he? - Yes.- Truffaut.
0:43:48 > 0:43:50- And...- Dalida, the showgirl singer!
0:43:50 > 0:43:54THEY LAUGH
0:44:21 > 0:44:26- Is she here? Hello!- Hello, John. How are you?
0:44:26 > 0:44:30- Here's a present for you. - Oh, how sweet of you.
0:44:30 > 0:44:31Thank you very much.
0:44:31 > 0:44:34So, the pan of the house, the family arrive.
0:44:34 > 0:44:37Cut to me opening the door so you know we're in my house.
0:44:37 > 0:44:40- Then I have two cameras here, just trained on dinner.- Mm-hm.
0:44:41 > 0:44:44Tell me what you'd have done
0:44:44 > 0:44:47to establish, from my point of view...
0:44:47 > 0:44:52Well, I would've been tempted just to do your pan down the house
0:44:52 > 0:44:54and discover everybody at the table. Then straight into it.
0:44:55 > 0:44:57- OK.- That's what I'd have done!
0:44:59 > 0:45:01I'll just wire Dad up for sound.
0:45:01 > 0:45:03Don't do anything where I have to talk,
0:45:03 > 0:45:05because I'm not very good on film.
0:45:05 > 0:45:08Brush your hair and put lipstick on, then you'll look great!
0:45:08 > 0:45:11- Why don't you brush your hair and put lipstick on?- I did! I did.
0:45:11 > 0:45:14GIRL LAUGHS
0:45:17 > 0:45:21- You've got a big trip ahead of you. - Yes.
0:45:21 > 0:45:25I was shooting a picture and I had this huge fever and a rash.
0:45:25 > 0:45:29This rash included the palms of my hands...
0:45:29 > 0:45:31Not on the palms of your hands!
0:45:31 > 0:45:34Shh! I went to UCLA emergency.
0:45:34 > 0:45:38They got very interested in this because a rash on the palms
0:45:38 > 0:45:41of the hands is one of the signs of syphilis!
0:45:41 > 0:45:43You couldn't even tell me.
0:45:43 > 0:45:47I went back and Christel said, "So what did they say?"
0:45:47 > 0:45:50I said, "Well, they think it's syphilis." So she said...
0:45:50 > 0:45:53you'll have to have your own knife and fork and plate
0:45:53 > 0:45:56and keep separate from the rest of us!
0:45:57 > 0:45:59He couldn't have gotten syphilis from anybody...
0:45:59 > 0:46:02Well, I think we can all gather that!
0:46:02 > 0:46:05You don't get syphilis unless you've been poking it around a bit!
0:46:05 > 0:46:09- Sticking it in places you're not supposed to!- I said it to him.
0:46:09 > 0:46:12But it was...
0:46:12 > 0:46:15- No, it was valley fever. - It was valley fever when they took a blood test.
0:46:15 > 0:46:18Wasn't that the time you packed off and left Daisy
0:46:18 > 0:46:22- and I behind when you went to the South Pacific?- Yeah.
0:46:22 > 0:46:25Imagine that! They were only, what, three months old?
0:46:25 > 0:46:29- I am massively fucked up because of that.- John!
0:46:29 > 0:46:32John, little do you know, and you're their father.
0:46:32 > 0:46:34They were nearly two.
0:46:34 > 0:46:38- They were not nearly two! - We were tiny!
0:46:38 > 0:46:40He left for 12 weeks.
0:46:40 > 0:46:43I left them with Mr and Mrs Miller who were like my grandparents.
0:46:43 > 0:46:47- You left us with two people you barely knew.- And I went.
0:46:47 > 0:46:49I could not leave you to go off by yourself.
0:46:49 > 0:46:51Who knows what you might have done?
0:46:52 > 0:46:55You know that I wasn't going to lose you
0:46:55 > 0:46:56when the children were small.
0:46:56 > 0:46:58There was no way.
0:46:58 > 0:47:01- Let me tell you how old they were. - Yes, we get it, we understand.
0:47:01 > 0:47:05You were just two irresponsible parents making a movie rather
0:47:05 > 0:47:07than looking after their children.
0:47:07 > 0:47:10I did not want to lose a husband to another woman.
0:47:10 > 0:47:12It's a very LA thing to do, you know?
0:47:12 > 0:47:13JOHN LAUGHS
0:47:13 > 0:47:16It's fine. I'm comfortable if you're comfortable.
0:47:16 > 0:47:19Sweetheart, when I came back, you walked towards me...
0:47:19 > 0:47:22Yes, we were walking already, that's the whole point.
0:47:22 > 0:47:26- I was going, "Look, Mum - look what you've missed!"- No.
0:47:26 > 0:47:28You just make me puke.
0:47:28 > 0:47:30Puke! Puke.
0:47:31 > 0:47:34We were happy when you left us with Mr and Mrs Miller.
0:47:34 > 0:47:37- We finally had a stable home! - JOHN LAUGHS
0:47:37 > 0:47:39- Have an opinion.- What?
0:47:39 > 0:47:41Have an opinion while you're sitting here about that.
0:47:41 > 0:47:46- About your marriage.- What?- You had a wonderful marriage.- Exactly.
0:47:46 > 0:47:50- We had a wonderful childhood. - He was a very lucky man.
0:47:52 > 0:47:55I've just got to make a phone call.
0:47:56 > 0:47:59- Yeah, but I feel.... - Is Olly coming later?
0:47:59 > 0:48:03- Above you?- Charley, sit in the window there with your sister.
0:48:05 > 0:48:08He loves to push it and take the piss out of me here.
0:48:08 > 0:48:10What sort of son are you?
0:48:10 > 0:48:12A loving son.
0:48:12 > 0:48:16Ja. Just switch off this...
0:48:16 > 0:48:17- It's off.- It just drives me nuts.
0:48:17 > 0:48:20Look at her. I can't stand it any longer.
0:48:20 > 0:48:23- It's finished, it's off. - Three, four hours. It's not off.
0:48:23 > 0:48:25- Olly's going to take you home. - What?
0:48:27 > 0:48:29Olly is going to take you home!
0:48:29 > 0:48:31What do you mean? When is she going to take me home?
0:48:31 > 0:48:33Very soon, I hope!
0:48:34 > 0:48:36What about a singsong?
0:48:36 > 0:48:39# Take you home... #
0:48:39 > 0:48:42- Just a minute... - # Take you home, take you home
0:48:42 > 0:48:45# Take you home, take you home
0:48:45 > 0:48:47- DAISY:- # Take me home
0:48:47 > 0:48:50# To my family
0:48:50 > 0:48:53# Who I love forever and ever... #
0:48:53 > 0:48:54Shh!
0:48:54 > 0:48:57# Through eternity
0:48:57 > 0:48:59# And Telsche
0:48:59 > 0:49:03- # Will be with us forever... # - HER VOICE FALTERS
0:49:03 > 0:49:05You've got a lovely voice, Daisy.
0:49:05 > 0:49:08(Take me.)
0:49:08 > 0:49:10- I wish...- Oh, Daisy.
0:49:12 > 0:49:13Telsche!
0:49:15 > 0:49:18Could you just switch that thing off?
0:49:18 > 0:49:20SOUND FADES
0:49:22 > 0:49:24You know, more than making a film or wanting to direct,
0:49:24 > 0:49:29that was really secondary to just wanting you back in my life.
0:49:31 > 0:49:34I can cut away, chop everybody out and it's just you and me.
0:49:34 > 0:49:36That's how I feel.
0:49:37 > 0:49:40This viewfinder, which was given to me by David Deutsch
0:49:40 > 0:49:44when I made my first film, he was the producer, and he inscribed it there.
0:49:44 > 0:49:46And, um...
0:49:46 > 0:49:49I've used it on many films and...
0:49:49 > 0:49:51I want you to have it.
0:49:51 > 0:49:55I've inscribed it with your name here, "Katrine, love Dad,"
0:49:55 > 0:49:58because I'm passing the baton over to you.
0:49:59 > 0:50:04- I'm so touched.- The shots must belong to you. The images.
0:50:05 > 0:50:09Thank you, Dad. I'm so touched. That's amazing.
0:50:12 > 0:50:15For me, I mean, I just enjoy
0:50:15 > 0:50:20you know, hanging around with you. I don't...
0:50:20 > 0:50:21As long as...
0:50:21 > 0:50:23I'll be happy about this film
0:50:23 > 0:50:27as long as you don't release it or
0:50:27 > 0:50:29put it on television or anything!
0:50:29 > 0:50:31LAUGHTER
0:50:31 > 0:50:34You know what Billy Wilder said to me once?
0:50:34 > 0:50:38He'd just finished what was his last film and I said,
0:50:38 > 0:50:40"How's the film, then, Billy?
0:50:40 > 0:50:45He said, "Well, John, you know, our movies are like our children.
0:50:47 > 0:50:51"When you have a kid, you hope he's going to grow up to be Einstein.
0:50:51 > 0:50:54"But sometimes, he turns out to be a congenital idiot."
0:50:54 > 0:50:56SHE SNORTS WITH LAUGHTER
0:50:57 > 0:51:00And it was really bad, that last film of his!
0:51:04 > 0:51:06- I love you, Dad.- Do you?- Yeah.
0:51:07 > 0:51:09I wish I could say the same for you.
0:51:14 > 0:51:17I think that was very nice. It was lovely...