There's a famous relationship saying which is,
"it's not you, it's me."
And that's really everyone's attitude to deleted scenes.
On the whole, they tend to be...
Scenes that actually make it to the DVD
tend to be scenes that worked quite well
and that turned out exactly as you hoped.
But somehow, in the finished movie,
they don't fit for complicated reasons
that isn't their responsibility.
It's as if it were my fault, not their fault.
There is a brutal truth, which is that,
certainly, almost every movie that
I've ever done comes out massively too long.
So this movie when we edited it together, it was three hours long,
and we knew we had to get it at least to two, so stuff had to go.
But in the end when the scenes do go,
it's because they break a rhythm that you desperately need
or they often say something that's already being said
or they're a bit lavish for a particular moment
and you don't know that or need to know that about that character.
So, on the whole, these are scenes
that we shot that we really liked,
but for technical reasons just don't quite make it into the film.
And it's fantastic.
Pretty well the reason for the invention of the DVD or Blu-ray
is just so that we can show them to people.
Because the pain of the thought of all the
time and the day and the number of times
someone would hit their head on the table
or had to charge across Abbey Road
is incredibly painful, and the thought that you'll be watching these
and maybe enjoying them as they were intended is a great joy.
This first deleted scene you're about to see
is the most dangerous scene in the movie
because it transpired that almost everybody
we hired on the film couldn't drive.
And the plot of this scene was that
Lydia Wilson, who is playing Kit Kat,
was meant to drive into the house
and then open the door and let Margot Robbie out of the car,
but Lydia Wilson actually did drive into the house.
And she had to learn how to drive in two days,
and every time, she just about crashed into
the wall of this extremely beautiful house that the movie's about.
So watch out for a sense of screeching brakes.
But it was a scene that we did a lot of times with,
as you'll see, Margot coming out of the car
and Domhnall, playing Tim, trying to
make himself handsome and attractive.
And I think this scene is really sweet,
but the reason that it didn't get in was that
I think it over complicated the relationship between the two of them,
between Margot and him right at the beginning,
and we just wanted to get straight into his adoration of her.
TIM: For me, it was always gonna be about love.
And that summer I walked into the eye of the storm.
Her name was Charlotte. Cousin of Kit Kat's
handsome but nasty boyfriend Jimmy.
And she was staying for two whole months.
Charlotte, this is Tim.
No, it's not.
It's definitely not.
Excuse me.
(HEARTBEAT)
Hey, Charlotte, this is Tim.
Hi, Tim.
Hey, Charlotte.
I think you know my cousin.
Really? Jimmy Kincade.
Oh, God, that twat.
I beg your pardon?
Just give me one minute.
(HEARTBEAT)
Charlotte, this is Tim.
Hi, Tim.
Hey.
Charlotte. Hi!
I think you know my cousin, Jimmy Kincade.
Yes, what a guy.
Well... Whata...
How is the old... I love that guy.
Yes, so does your sister.
TIM: Really? Yep.
Not many boys have sex with you the first time you meet.
So, having said that, on the whole,
scenes don't go because of time
but go because of some other reason,
that's a lie.
Because this scene is a scene that seemed to us to work really delightfully,
but we sort of realized at one point
that it was 35 minutes before Rachel entered the movie,
and we really had to try and bring that forward to about 25 minutes.
So, this is a scene that we loved that should be in the movie
that's not in the movie because the movie was too long
and I can't apologize enough to everybody.
At least it wasn't shot in rain and wind.
It was just a cozy afternoon at the top of the stairs.
Wow.
Hey.
Nice pajamas.
I've never met anyone who still wears pajamas.
Really?
What do people wear to bed these days?
T-shirt and boxers.
Or nothing.
Right. Yeah, of course.
(HEARTBEAT)
Hey.
I had you down for a pajama kind of guy.
No, no. T-shirt and boxers.
Or nothing, of course.
KIT KAT: Why are you wearing that? What?
What happened to your lovely stripy pajamas?
Pajamas?
No, no, not me.
No, God, no. Bloody hell, this is the 21st century.
Come on.
KIT KAT: Weirdo.
Let's go burn things.
(KNOCKING AT DOOR)
Mmm-hmm.
We thought we might go light a fire on the beach.
Coming? Yep.
I'll be right there.
(EXHALES)
People often ask me if my films are autobiographical.
And on the whole, they're not particularly.
Except the scene you're about to see
which is an almost second-for-second transposition
of an incident that occurred to me
in a Greek restaurant in Shepherd's Bush.
How was your day?
Can you do the talking?
It was okay, yeah.
A bit tense actually.
It's always stressful before a big case. Nerve wracking.
But, you know, there's just so much at stake, so...
Wow. You are tired, aren't you?
Oh, God, sorry.
Oh!
Two hours sleep is just not enough for me. I need, like, 16 at least.
Don't worry, I'll do the talking and you can just eat.
Or sleep.
Coma.
What?
But I like to take her out sometimes just for old time's sake.
Oh!
What was she like before?
She was livelier, you know, but she had a brilliant brain.
Oh, gosh, I'm so sorry.
That's okay.
You're a wonderful man.
I know.
Good. Thank you.
Thank you. Sorry.
Did I fall asleep?
No. No.
Phew!
I mean, your eyes dipped a tiny bit,
but no, you've been excellent company.
How... Well... Never mind.
So this next chunk is the bit that
it's most bad that it's not in the movie.
And if you really watch the movie carefully, you can see the scars here.
This was a really complicated sequence to do.
We had, really, five different weather
schemes when we were trying to film it.
You'll probably be able to see that
because we haven't really regraded it properly for the DVD.
And if you watch the movie carefully,
there are signs of what's been lost.
Right at the end, Rachel's about to
give birth again and Domhnall says,
"You can't believe the detail with which I know the way to the hospital,"
which is in the movie, but is a reference
to this bit of the movie that's been cut out.
And when Lindsay Duncan is on the beach
asking Rachel what her character's like,
she says, "I've got a very bad temper,"
and this is the scene in which you can see the very bad temper.
So, it's a terrible loss to the movie,
and I am really thrilled that you should be able to see it now.
I think the actors are brilliant in this section and it's a bit
I'm really sorry had to go out of the movie,
and it went out of the movie because we had to move on,
but, alas, alas.
(MUSIC PLAYING ON RADIO)
Oh, no.
Um...
Hospital.
Yeah. Oh, no.
Yeah. Oh, no. What do we need?
What do we need?
No, no, no, I've done it all, honey.
It's in that big red bag with the little bunnies on it.
Well, no, 'cause phone chargers, nappies.
Every single thing, I've got it. You just get the car.
Okay? All you have to do is drive me to the hospital.
MARY: This is exciting.
Hurts, but it's exciting. (TIM LAUGHS)
Ooh.
Wait.
Where are we going?
To the hospital.
That's in the opposite direction!
Of course it is. Of course it is. (SCREAMS)
Stop the car!
I just... I want to point out to you that you had just one job.
That's one.
The buying of the baby clothes, I did.
The packing of the bag, I did.
The carrying the alien in my stomach for nine years, I did!
I'm so hot right now.
Your one and only job, besides impregnation,
was driving me to the hospital!
Do you actually know which hospital we're going to?
Yes. Yes, I do.
Okay, good. Which hospital?
You tell me the name of the hospital
or I'm giving birth to this baby in your face!
It's either St. Mark's something, or Paddington something.
Drive.
I will guide you.
Oh, God!
This traffic is not good.
Well, honey, you better do something
because I think there's an actual head
appearing between my legs right now.
Oh, what's going on?
Oh, no.
Abbey Road.
I'll be...
What...
I'm so sorry. I'm very sorry, but would you just...
Beatles. John, George, Paul, Ringo.
Yeah. Yeah. Okay.
Yeah, absolutely... If you could just...
Fast as you can, though. As fast as you can. Okay.
No, no, no, that's enough. No, two is the limit.
Two is the limit. Okay, bye-bye.
Okay, fantastic. That's great.
Can we get you through, please? Can we...
I'm terribly sorry. Could I ask you to...
I'm not taking the picture. I want to be in the picture.
Well, I'm not doing it.
I didn't come all the way from Minnesota
just to be holding a goddamn camera.
Yeah. No, no, that's fair enough.
(HORN BLARING)
Be careful, and that's the one!
Fantastic! You all look brilliant!
Yeah, that was so great. Off you go.
If we can get you through now, and if we can also get you through...
No,no,no.No,no,no.
See, the thing is, my wife's actually giving birth in a car and...
It's not going to be any good anyway.
But only the three of us is going to look stupid.
MAN: Just spread out a bit.
You got to fill the crossing. Just spread out a bit. The three of us is fine.
No, that's rubbish.
No, that'll look crap.
Look. Okay, I've had an idea. I'll be Paul.
I'll be Paul and then we can do the thing quite quickly.
Is that all right? Okay.
You've got to take your shoes off.
What?
Paul wasn't wearing any shoes.
Have you got it?
Actually, we should do one where we're all jumping in the air.
You know, like, you've got to twist and shout.
Can we do that one? Okay, ready. On the count of three.
One, two, three.
That's brilliant. Can we go again?
Just one more?
Yeah, yeah, absolutely. Yeah, yeah...
What the four-fold fuck are you doing?
I'm so sorry. I'm so sorry.
What's going on?
It's a complicated situation...
Oh, God, I think it's really coming.
Oh, no. Okay...
A whole baby's coming out.
Oh, God.
Abbey Road! Okay, you stay there.
You stay there. Let go of my hand.
Oh, my God! Just stay there, honey. Just keep calm.
(BREATHING RAPIDLY)
(HEARTBEAT)
Oh, Jesus.
Hospital now.
Cool. I've finalized the route.
We need the rabbit bag of course.
St. Mary's, here we come. And I think we should avoid Abbey Road.
Okay, great.