00:16My favorite scene from Lawrence of Arabia, it's entirely silent.
00:21It is just T. Lawrence wandering around right through the night.
00:25It just follows this young man thinking, thinking, thinking, and then
00:29comes to dawn, and he's sitting near a bush, holding a stone, and says just one word.
00:39Aqaba.
00:40I love that scene.
00:42The common denominator with David Lean is the same as it was with Willie Wyler or John
00:47Houston, is that they all had this real admiration for good acting, and they all despised bad acting.
00:58David was nothing but helpful.
01:00When we did that scene, putting on the white clothes with the golden dagger, David said
01:07to me, Pete, with his cigarette holder, there's a hole in the script.
01:16Because in the script, it was simply, he gets the thing, gets on his camel, goes around
01:20the corner, and he said, what do you think a young man would do alone in the desert wearing
01:28this extraordinary white robes for the first time?
01:32I said, well, shall I think about it?
01:34He said, yes, would you please?
01:35So, I noticed that you could hold out the sides, and it would look like wings.
01:42And David says, could you give me please one minute of mime?
01:48And I said, I think I've got it, and just left me to it.
01:50And I went around doing bits and pieces, and there was one moment I remember when I thought,
01:57what would a young man want to do?
01:59And of course, what a young man would want to do was to see himself.
02:02But there aren't too many mirrors in the desert, and there's no water.
02:06And I suddenly realized I did have one thing.
02:08She was a dagger.
02:09So I pulled out the dagger and looked in the dagger.
02:21And I heard from behind the camera, clever boy, and that was David.
02:26Yeah.
02:28Oh, God, but I do love being king.
02:32Hender II.
02:34I could make a career of playing Hender II.
02:36There was Beckett, which is Hender II, and there was Lion in Winter.
02:41He's a very interesting character, a brilliant man.
02:45At the same time, he was as wild as they come.
02:48Come for me!
02:54I don't think there's any one scene in it that I don't like.
02:59Any of the scenes playing with Kate Hepburn, that was a great joy, working with Kate.
03:06She was a superb actress.
03:08She's also an extraordinarily eccentric and delightful woman.
03:12Do you truly care who's king?
03:15I care because you care so much.
03:18Don't fight me, Eleanor.
03:19What would you have me do?
03:20Give out, give up, give in?
03:23Give me a little peace.
03:24A little?
03:25Why so modest?
03:27How about eternal peace?
03:29Now there's a thought.
03:33Goodbye, Mr. Chips.
03:34Well, the script of Goodbye, Mr. Chips was written by Terence Rattigan.
03:39And I don't think there's been a finer playwright in the 20th century.
03:43That's what intrigued me and attracted me.
03:45I've managed to bankrupt, I think, about two film studios.
03:48And I've certainly been in a musical that closed as soon as it opened.
03:52I can't sing a note.
03:54Where did my childhood go?
04:03Many years ago, I sent an old beloved jacket to a cleaner.
04:08The Sycamore Cleaners.
04:10It was a leather jacket covered in Guinness and blood and marmalade.
04:13One of those jobs.
04:14And it came back with a little note pinned to it.
04:19And on the note it said,
04:21It distresses us to return work which is not perfect.
04:27So that will do for me.
04:28That can go on my tombstone.
04:31That can go on my tombstone.
04:34That canصل
04:35to that. That
04:36can go on my tombstone. It
04:39to start it out at night. I was
04:39scary because of your tidlin. I'm
04:39to die in Antarctica. I'm not
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