:57:03
No, my point of reference
would be Wallis' painting...
:57:08
of the tragic young writer
Chatterton...
:57:13
that hangs
in the Tate Gallery.
:57:17
[ Audrey Sighs ]
I'd really like to see that.
:57:20
But, Giles, we've seen
Hotpants in theaters with kids.
They don't get any of that.
:57:25
- Of course not.
- But it's made for them.
:57:29
But they're the rabble
in the pit.
:57:31
[ Audrey Laughs ]
We saw Hotpants at this drive-in
used to be here.
:57:35
Ron kept his sunglasses on
the whole time.
:57:39
Giles, did you
ever see Tex Mex?
:57:42
Oh, I did indeed,
more than once.
:57:45
Really killed me
when that one bombed.
:57:48
Ah, yes, I'm afraid it suffered
the same fate in Europe.
:57:53
I really believed
in that project.
It had--
:57:56
had a real message.
:57:58
Yes, it was
a great shame really.
:58:00
In Europe, we have a much
stronger tradition of work...
:58:03
with what
you call a message.
:58:06
That is, after all,
why I've been persuaded
to write my first screenplay.
:58:13
Yes, if Tex Mex
had been, say,
:58:16
German about the plight
of the exploited Gastarbeiters,
:58:20
it would have met
with a far greater success.
:58:22
They have Mexicans
in Germany?
:58:26
It probably would have made
less money than Hotpants,
:58:29
but in Europe we're
not necessarily interested
in that kind of a success,
:58:32
not when a film can change
the way people think.
:58:47
And that, Ronnie,
is why I write.
:58:52
It's also why you act,
:58:54
although you
may not yet know it.