Of course, this was the most brilliant idea ever. Wasn't it? Well, absolutely. Because we needed no, kind of, real close-ups of flesh or anything. I know but where did it come from? It came from the stage. They didn't have to take their clothes off. It came from the stage, but why was it-- who invented this idea? Because it's theatrical in its innocence, and I think it's probably to do with Jim Sharman's prudery as well... Good show. - But it works. Jim and me, the old prudes. It works for us, because nobody is coerced into doing anything which is overt. No. - You know. It's just, all the salaciousness disappears. Yeah, it's brilliant. - And so you get this... And it just seems like happy fun time. Don't you think? It's divorced somehow rather, isn't it? - Yes. And no clothes come off. We know it's very rude. - This. I thought, "They'll give me a bloody mop." Yes, but this is interesting because we saw that little look between the two of us in "Sweet Transvestite." Now again, you see, subtext... - Well, I tell you... Darling, Lillian Gish has got nothing on me in silent movies. This is the most silent movie I ever made. I'm glad I'm talking now. And I had to do something. - Uh-huh. You know, so I mean... I've never made so many eyes or faces. There are a lot of directors that would be so locked in to the main narrative, to the linear narrative... - There wasn't any. ...that they'd get lost on the subtext. These are the things... We might shoot them, but they would end up on the cutting room floor. And these little moments... Because there isn't a line spoken here. This is a whole scene in silence. - Exactly. I'm in a silent movie. We're secondary players. No, no. - But... No, we're not here, because the director has allowed us to give us some breathing space. But we would be, in many films we'd be secondary players, and they'd excise us from the whole thing. We wouldn't be seen. Well, then they would have had no film. All they would have had was the linear narrative text, just-just the top line. That would have been a bit thin. - Yes, as it is with many films. Now look at this. This is our moment. Well, it's a moment. Another moment. I wouldn't say it's "our moment." Well, I never knew this was going on. I mean, you know that I never thought it had anything to do with incest. And then I suddenly thought, "What's going on here?" This odd little Dracula kiss. You know, so as I say, I never had in my mind incest with my brother. Because we made the sign together and then the fans decided that that was an incestuous thing. Yeah. What do they call it? An elbow fuck? Sorry. Yes. I'm rather shocked. - Sorry. That's what they call it. An elbow-- What's another word for fuck? Well, is there-- Do we need one? Well, you know. So that people... It might have to be cut. Well, don't... - What do you do when... What do you do when you-- Copulate! - Elbow sex. Copulate. An elbow copulation. And that's what they all think we're doing. And I thought, "No, we're making our Transylvanian sign, you idiots." Yeah, but... But it's when you bit my neck, then they really thought, "He's up to no good." It's the chemistry between us, love. Well, I had none at all. I was just doing my job. And you were my brother doing your work. Doing his sister. Not in my game, no. I think that was always present in my mind. Well, it might have been in yours, but it wasn't in mine. I think it builds. I think it works because the innocence of you seems like indifference, cool indifference to the whole idea. You go, "Oh, yes. Go on then, Riff Raff. If you want to." Oh, dear. - "You all right now? You happy now? Good. Off you go. Toddle off." I wish I'd known.
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