Two For the Road was a completely different thing. Audrey was divine, and I had a great moment with Audrey, a very chastening moment actually when we were shooting in the south of France, and I read the scene we were going to do that day, and I rewrote it because I didn't like it, and I said to Audrey at lunch, 'Audrey, I think we should do this scene this way tomorrow if you don't mind, this is much better'. And after we'd finished she said, 'I like the first scene'. So I said, 'I promise you actually, the second one is much better. The first one didn't actually make any sense; this is, you know, makes sense'. So she said, 'Well, would you read them with me?' Yes. I consented to read it with her, so we went into her caravan and she said, 'Which one should we do first?' So I said, 'Do the first, the old one first because I think you'll see when you do it...' I don't know what the first line in the old script was – it was something like, 'Hello'. I said, 'You're quite right, Audrey, it's fine'. She was terrific.

Albert only made one mistake. Again, I can't help feeling it's a sort of British mistake, a British provincial mistake, and that was, it somehow never occurred to him how terrific it was to be with this woman. He loved her, and then he didn't love her so much, and then he loved her again and... but, you know, he didn't understand that he was with this woman. When Audrey saw Beetle, she said, 'Oh, I get it now'. She called Beetle 'Legs', which coming from Audrey wasn't bad.