Our first, and hopefully not last, dive into the work of Luca Guadagnino starting with his 2015 film A BIGGER SPLASH.
What could be better? You have the sunshine. You have your lover. You have fresh fruits, food and a beautiful location for relaxation and isolation. But then your veracious and intrusive friend from your past phones up and barges into your life. We've all been there I guess. It starts out like fun then gets painfully annoying when that guy tries to steal away your girlfriend and his daughter just won't leave you alone.
In Luca Guadagnino's remake / adaption of the original book/film THE SWIMMING POOL (LA PISCINE) (1969) we see a bunch of equally beautiful people enacting this psychological dramatic piece.
In short, floatation devices were created for a reason.
Splashing into Cinema Nudity: A Bigger Splash
Laura: Well, ciao there, and welcome to On the BiTTE, the podcast that uncovers full frontal male nudity in cinema. My name is Laura, and I am joined by my co host, Ryan.
Ryan: Jesus.
Laura: Si?
Ryan: Oh, God. It's not bad enough that you're saying French all the time now you've gone.
Laura: Oui.
Ryan: Yeah. All right.
Laura: Okay.
Ryan: We're now into the Italian. The Italian pool. The Swimming Pool, as it were.
Laura: La Piscine. We're talking about the 2015 psychological drama A Bigger Splash, directed by Luca Guadagnino, starring Tilda Swinton, Matthias Schoenaerts, Ralph Fiennes, and Dakota Johnson. Hooray.
Ryan: Yeah. It's full of some very attractive looking people.
Laura: Thank goodness.
Ryan: Yes.
Laura: There's not a lot that I love more.
Ryan: Thank God it wasn't full of fuglies, you know?
Laura: Exactly.
Ryan: Yeah. Ah, just be disgusting. They'd be like, they don't have a pool. They'd be sinking to the bottom of that pool.
Laura: Love a film with good looking people relaxing by a pool. Which is probably why I also love Call Me By Your Name so much, which does not have a penis. So that's unfortunate.
Ryan: Yeah. Sitting by a pool reading books and enjoying the sunshine. Yeah, that's, like, your thing.
Laura: That's my dream.
Ryan: It's also something you haven't really done. There is pools in Florida, but you haven't. I haven't really seen you read a book or relax by a pool that way.
Laura: Usually partying.
Ryan: You're too busy partying. That's the issue.
Laura: Yeah.
Ryan: Cause you're an animal. A party animal, as it were. Yeah.
Laura: Out there living that margaritaville lifestyle.
Ryan: I am kind of like Tilda Swinton in this movie. In that. I quite like the silence and I quite like the peace. The peace and quiet.
Laura: And unfortunately, I'm Ralph Fiennes in this film.
Ryan: You are? Yeah.
Laura: Crazy.
Ryan: Yeah. Crazy Hattie. Yeah, he's. Yeah, he is a, ah, force of nature. Um, through the course of this movie, he is one of the standout roles, but also, it's like he is the forebearer for the breakneck pace that this film goes at. And I guess as we get into this, I'm gonna figure out if I like that or not.
Laura: I do. So, um, here's the synopsis from Letterboxd. I changed it a little bit. It annoyed me. It had mistakes.
Ryan: I would. What do you mean it had mistakes?
Laura: It just had grammatical errors in it.
Ryan: Well, you spend your vocational life effectively going through grammar and spelling and all sorts of stuff. Like, I think this is oozing now into your.
Laura: Oh, no.
Ryan: Into your avocational life.
Laura: I'm not an editor. I am an archaeological report writer. But.
Ryan: So you do.
Laura: But I do do that. I do go through people's grammar. I go, oh, that doesn't sound good. Well, we gotta fix that. I can point out mistakes on signs from far away. Really bothers me. Spelling errors. Okay, here we go.
Ryan: Yep.
Laura: Paul and Marianne spend their vacation in Italy and experience trouble when Marianne invites a former lover and his teenage daughter to visit, which leads to jealousy and dangerous sexual scenarios.
Ryan: Yeah. So there's issues I have with that synopsis in general.
Laura: I know, and I even changed it, but I didn't change the base of what it's saying, which I don't think is good because you don't know that Penelope, played by Dakota Johnson, is a teenager.
Ryan: No, you don't. By that point. It's one of the, uh, I guess, like, one of the crucial points, plot points to the movie, is that when that, when that happens, there's not any.
Laura: Dangerous sexual scenarios either. Um, you have the young Dakota Johnson flirting with the boyfriend.
Ryan: Yes. Is he a boyfriend?
Laura: The boyfriend of Tilda Swinton?
Ryan: What's his name? Was the actor's name?
Laura: Matias Schonarts.
Ryan: Right. Okay.
Laura: He.
Ryan: Yeah, she's playing, uh, yeah, she's playing it saucy with ol Mathias. Um, but, yeah, I mean, I would say that, like, there's danger on all fronts when they come in, obviously, a little bit more. A little bit more on, uh, the side of Harry. Like, Harry's a kind of voracious character.
Laura: Um, he's got a lust for life, a lust for women, and a lust for Tilda Swinton, which I can't deny him that.
Ryan: I also do just jump into the fire, that, uh, Harry Nilsen song, which you hear quite a fair amount in this movie, although it's not used as iconically as it is in the helicopter scene in Goodfellas, which I think. Yeah, it's iconic, um, in that movie, but it's nice. Yeah, it's nice to hear Harry Nelson jump into the fire, you know? That's a good song.
Laura: The standout song in this is definitely emotional rescue by the Rolling Stones.
Ryan: Yeah, I guess if you're a fan of the Rolling Stones, you're in for a treat.
Laura: If you're not a fan of the Rolling Stones, you get to see Ray Fiennes dance to it like a maniac. And it's amazing.
Ryan: He's got quite a fair amount of big daddy energy going on. Um, it was hot. Yeah.
Laura: I liked it.
Ryan: Yeah. The story's told kind of two separate ways. It has a bunch of flashbacks and stuff to try and, I guess, try and characterize, try and get. Bring a little bit more depth to the relationship of these characters, certainly between Tilda Swinton and Ray Fiennes characters. Um, but the thing is, is that from the off, um, Tilda Swinton's character, she's completely ruined her voice, so she's not able to really communicate for the majority of the movie.
Laura: She's a David Bowie esque rock star, and he is a, uh, manager and producer, or maybe he's just a producer. And then she falls for his friend, who's a documentarian, a documentary filmmaker. And then you have Dakota Johnson, who shows up as the long lost daughter of Harry, the music producer. Right.
Ryan: That's the story that doesn't really get given a lot of either clout or a lot of kind of headroom. And sadly, for a film that's like 2 hours long, I was expecting maybe a little bit more than what we gave us there. But you've got. Yeah, you hit the nail on the head with everybody else. It's kind of like showbiz. It's like incestual showbiz, kind of, uh, like relationships and stuff. Everyone's fucking each other, and it's like passing this person off to this other person because they're tired of them. And.
Laura: Yeah, it's, uh, that kind of Marianne back, I guess. Or maybe he's just jealous because someone else is sleeping with her, and that annoys him because he seems to get anything he wants all the time based.
Ryan: On how his character is. Showboat. Yeah, he's quite. He's quite abrasive. He's incredibly forceful.
Laura: Magnetic, though. Very magnetic. Everyone seems to show up every time he talks. Like he just brings crowds in.
Ryan: There are plenty of shots. And I do like what Luca does here, where it is just a close up on this motherfucker's mouth, and the guy won't shut the fuck up. Um, and he's incredibly brash, and he's very brave, and a lot of that will come into play, ah, as the film continues, as it develops.
Laura: This is our first Luca.
Ryan: This is our first guadagnino. Yeah. Um, so we get to. We get to speak about him.
Laura: Yay.
Ryan: At, ah, relative length. Um, big fan.
Laura: I'm a big, big fan of his.
Ryan: Yes. I've not seen as much stuff of his is yours, but we'll have at least one movie that we both love from Luca Guadagnino. Um, so, yeah, Luca Guaragoniro. Um, he's an italian film director and producer. Um, his films would be characterized by emotional complexity, sensuality, and sumptuous visuals. I would say that his films do have quite a level of depth in their cinematography. Bigger splash. It looks nice. I have issues with the editing, and we'll get into that. Yeah, I don't like the editing that much. Um, but in terms of his feature film projects, um, we have protagonists from 99. We have Melissa M. P. From 2005. I am love from 2009. A bigger splash in 2015. Call me by your name. 2017, which is obviously the standout from, as far as I'm concerned, uh, suspiria, 2018, Bones and all from 2022, challengers, 2024. And queer. 2024, challengers and queer. Um, still to, I think, at the time of this recording, still to be released. But challengers comes out literally, um, within weeks.
Laura: I think challengers comes out the day that this comes out.
Ryan: Right.
Laura: So maybe hold onto your butts on that one, potentially.
Ryan: Again, we record well before the time that these release.
Laura: So that's not too far.
Ryan: Yes, not too far. We try our best. Um, I've got a list here of, like, frequent collaborators. There's not an awful lot on Luca, really. Um, I think he's an incredibly solid filmmaker. Um, I think he's made some standout films. Uh, albeit, obviously, his filmography is not incredibly vast. Um, but, yeah, I could knock out some of these names, and then people might. People might recognize them, they might not. Uh, Walter Fasano, who's an editor. Marco Morabito, who's a producer. Francesco Mezze d'Azir. Uh, uh, is a producer. Giello Priusanti is a costume designer. Marco Costo is an editor. Uh. God, this is gonna be hard. This is a cinematographer. Um, sion buu moodie prom. Okay, is a cinematographer. Um, but yes, uh, you'll notice a lot of those names shorn out quite frequently. M. But, yeah, like I said, I think call me by your name, uh, is one of the standout pieces. But I don't so much think that that's like a Luca Guacanino movie, which is fine. I always think call me by your name is more of a James Ivory picture.
Laura: Those two should do something together. I know that it didn't work out with call me by your name, but the bones were there. The bones and all.
Ryan: Oh, dear. Oh, God.
Laura: Um, yeah, that I didn't love as much. Call me by your name. I could watch anytime. I think it's in my top four, unletterboxed. Every time I log it, I go, oh, Jesus, I've logged this, like, ten times. Yeah, it's just kind of gross. Now, how much I love that movie.
Ryan: Call me by your name's just a very good. But it's also call me by your name is a fantastic example of how cheated we were in terms of a. Ah, movie that's not only a gay movie, but it's also a movie that's full of sex. But you do not see any wiener whatsoever.
Laura: If James had it, which is where I'm gonna say, if James had it. But then we have Luca, who doesn't shy away from it either, so.
Ryan: No, that's why we're here, technically.
Laura: Yeah.
Ryan: Um, yeah.
Laura: Interesting.
Ryan: Let's get back to the pool, Laura, uh, before the sandstorm hits.
Laura: Speaking of the pool, this film was inspired by Jacques de Ray's 1969 film La Piscine, which we. Well, I watched the whole thing the.
Ryan: Other day, so I watched, like, it's.
Laura: Been on my watch list for ages.
Ryan: I watched some of it, and I fell asleep.
Laura: We usually walk, um, all day that day. It was a Sunday fun day. And then I came home. I go, let's watch luppy scene.
Ryan: Yeah, it's like the worst. Yeah, the worst possible choice.
Laura: But it's another. I mean, obviously, it's really good looking people hanging out by a pool and having a nice time. Yeah, I really liked it.
Ryan: You said something weird the other day where you were like. You were like, oh, Luca said that he'd never even heard of this movie, that he was not inspired by this movie, like, whatsoever. But then it's obvious, uh, it's a remake, and you're like, the same names and everything. So it's like, you.
Laura: Well, you have to dig through a lot of weird junk on the web when you're doing research, and some research is wrong, which is why I did not include that in our stuff here today, because all I'm talking today is facts.
Ryan: Good, I'm glad. Did you find that on IMDb, by any chance? Because that's certainly where a lot of the crimes take place.
Laura: Yes.
Ryan: People just make up flagrant lies on IMDb.
Laura: You go deep. Cause if there's a lot of trivia, you go really deep. I'll sometimes look at the trivia, but then I research that trivia. That's true, because I am also a researcher.
Ryan: You are?
Laura: Yeah, by trade.
Ryan: You're much better at it than I. I'm kind of. I'm someone who, you know, stuff goes in one ear comes out the other, and then I like, I look nice looking images, and as long as they're put together well and the story's interesting.
Laura: You like your moving pictures?
Ryan: I do like my moving pictures. I am, um. I'm kind of. Yeah, I'm like a moth to the flame or sometimes and like a magpie to the silver screen.
Laura: Holy shit.
Ryan: I know. That just came out of fucking nowhere as well. Yeah, I'm so smart. Here we go. Square bear. Time square bear.
Laura: The, uh, film is named after the 1966 David Hockney painting by the same name, obviously, because it's named after it.
Ryan: Yeah.
Laura: Huge painting at the Tate in London.
Ryan: Not too well, I've seen that painting, but certainly not to obviously mixed the film up with another movie called a bigger Splash was directed by Jack Hasen in 1973, which is effectively on the creation of that painting.
Laura: Yeah.
Ryan: Um, but yes, it's a series of.
Laura: Three paintings from when David Hockney visited Los Angeles. And he goes, everyone has pools here. So he was doing these big, beautiful paintings of pools. And the other two, I believe, are in a private collection, but that one is at the Tate, which I'm excited to go see whenever we go visit.
Ryan: David Hockney plays himself in that movie. I would recommend.
Laura: Go check it out.
Ryan: I would recommend probably watching that because I think I've seen it before. I just can't really remember it too much. I do like, yeah, I do like, um. Yeah, I do like his pictures of either, like, the bigger splash. And obviously, uh, there's one thing. It's just called the swimmer, or it's like swimmer one, swimmer two, I think it is. I'm not too sure. Um, yes, if you're in London, I would suggest going to the Tate, because it's worth going to see anything at the Tate, actually.
Laura: Yeah. I'm more of a natural history museum type of person.
Ryan: Okay, all wrong. God forbid.
Laura: Seeing all the stolen items at the British Museum.
Ryan: Of course, yes. The products of colonialism. Yes.
Laura: You see those elegant marbles. So I haven't been to the Tate because I don't usually go to art museums.
Ryan: Oh, for God's sakes.
Laura: Anyway, yeah. So the film starts off at Marianne Lane's concert scene. So that scene was filmed at the San Siro stadium in Milan. Uh, they shot it in front of 70,000 people, and it was during the show of italian rock star Lorenzo Giovannotti. So Tilda Swinton has a mutual friend with Giovannotti. And so they had an agreement to have her come out before he actually got on stage for, like, 15 minutes so they could shoot that scene. And they had. They asked the audience to just shout, Marianne Lane. Marianne Lane. Before he came out so they could get that.
Ryan: Okay. Yeah. I wondered how they did that, because, yeah, that looked incredibly real.
Laura: Um, it was.
Ryan: That is insane.
Laura: Maybe that was not movie magic. That was just magic. Well, I guess it was movie magic.
Ryan: Movie.
Laura: It was planning.
Ryan: It was production.
Laura: Production magic.
Ryan: Yes, it was produced. Um, yeah. Okay. Yeah. Because the film does jump. It jumps back and forth within the story, like I said before, to try and lend a little bit more depth to, uh, just the relationships between these characters and specifically how they met and how, I guess those relationships decide. Like, they started to kind of fall apart.
Laura: Well, specifically Marianne and Harry being her producer.
Ryan: Yes.
Laura: And how they did drugs together and how they were very compatible sexually and how she broke up with him and stuff like that. And if you were talking about editing, and I don't know if this would be part of the editing, but I don't think they needed any of those. I don't think they needed any of those flashbacks personally.
Ryan: No, maybe not.
Laura: Um, because I get it. Like, they have a really good chemistry, so I could see them having a history, and I can use my imagination. I don't need those personally.
Ryan: No, no, you're right there. Um, I'm not mad about it.
Laura: I really like this movie. Anyway, she had one criticism.
Ryan: Well, she had an office space that had, you know, it was full of photos and stuff like that, which makes me kind of think, like, is this their holiday home or is this, like, their. This is like their getaway place. Because, like, there was photos and their own belongings, like, everywhere.
Laura: It's interesting because Harry also mentioned that she was wearing all of her mother's clothes. So she was going through her mom stage.
Ryan: Okay.
Laura: And there was a picture of her mother on the nightstand.
Ryan: Right.
Laura: But this all might be a part of something deeper, actually, because Tilda Swinton's mother had passed away in real life before they shot the film. So she had been saying no to project after project for a long time because she was in mourning. Cause her mother had passed away, of course. So that was the actual seed from where the. I'm, um. My character's not going to speak.
Ryan: Okay.
Laura: Because she just didn't feel like speaking. And she was having, you know, she was sad and having a hard time. And so that's where she came up with the idea, what if Marianne doesn't speak? You know, what if she's a singer and she had surgery, and she can find another way to communicate. And I think that kind of helped her through the morning phase. But potentially, that's where a lot of the mother stuff could come. Could have come from wearing her mom's clothes and stuff like that in the film. Yeah, that's a guess, but that. But her mom did actually pass away.
Ryan: So I mean, it. Yeah, it just kind of shines a little bit of a light on that synopsis. The synopsis is kind of. It's different from the. Some of the, uh. Like, some of the featurettes on the discs that we have. They're awful, by the way, and this movie is not.
Laura: It's not. It's not hard to find. You can rent this film. It's not streaming anywhere. I do think there might be a reason for that, which I'll talk about a little later. But it was hard to find on physical as well.
Ryan: Really difficult. Yeah. Even to the point where the physical copy we have is like, the bog standard. Like, uh, blu ray DVD double discs.
Laura: Yeah. You find it in a Walmart bin and you go, oh, I haven't seen this.
Ryan: It's one of. Yeah, it's one of those, um.
Laura: Like those old DVD's where they only have the trailers or stills from film.
Ryan: Yeah, a gallery.
Laura: There's more featurettes on YouTube.
Ryan: Yeah, there is. Yeah. The big issue I had was that some of the featurettes, uh, they're, like, for advertising space, basically. They're only, like, 30 seconds long.
Laura: It's like they got them when the film went to Venice and they just filmed them and then just popped in the DVD. They didn't do any more work.
Ryan: Pretty much. Yeah, just like. Sorry, Johnny. Um, yeah, no, like, little press. Little press junket things for. For their press packs and things like that, which are. Yeah, they're kind of just. Yeah, they're just kind of what? They are a little bit shallow, but, uh, some of the information you get from them is slightly different from that synopsis. So you're kind of. I was reading into what they were saying as well as I was like, oh, wait, okay, so there is also this as well.
Laura: So, yeah, it changed a lot from concept to delivery, you know, but I think that also has a lot to do with how Luca and Tilda Swinton have worked together so many times. And they have a really great rapport, so they could kind of bounce ideas off of each other, and I think that happened a lot through the filming as well.
Ryan: Okay.
Laura: Just best friends being best friends.
Ryan: Yeah, no, that's okay. That's all right. There's not a bad player in the piece. Um, but I do feel like one of the major detriments, at least as far as I'm concerned, is some of the creative editing choices, which do make me feel like, I guess. I guess, like I thought it was trying to represent the. The discomfort and the, uh, strife that Harry brings into this relatively quite peaceful environment. So then everything starts cutting. It's like you don't really have too many shots that last any longer than, say, six or 7 seconds.
Laura: Example. Which part are you talking about? Are you talking about when Harry and Penelope show up, or is there a part that you are thinking of that you don't like in particular?
Ryan: I felt like after they show up, there are certain cuts and cuts to shots and sequences that just, for me personally, just cut a little bit too much. And I'm trying to figure out, uh, the reasons why things like that happened. There is one of. One of the most notable ones, and I would say it's more of a stylistic choice than anything else, is when they go on that hike and we lose Dakota Johnson, at one point, we lose Penelope, and he's, like, looking around. But I'm pretty sure I've seen this editing technique in other films before.
Laura: You're talking about when Paul and Penelope go on that hike.
Ryan: Yes.
Laura: Okay. That's way, way later.
Ryan: Okay. I thought you were talking about that. This is just one of my notes. It's this kind of weird, like, jump cut sequence where he's, like, looking at separate things, and it's cutting to the things that he's looking at, but we never, at one point, like, see him turn his head. That's very much a stylistic choice. But there's a point where, like, penelope lights a cigarette, and it cuts so fast. The point to putting a cigarette in her mouth, cuts away, comes back, lights a cigarette, goes back, takes a first straw, comes back, and I'm like, okay, okay, okay. And it was happening a lot, and I do wonder what was the decision behind that kind of editing style, because it's not apparent all the way through the film, but when it does happen, it feels incredibly jarring. But I feel like it's a deliberate choice. But I just don't know if, for me, familiar with, say, like, call me by your name, which I feel is a little bit more classical than this one. Um, yeah, I was kind of slightly taken out of it a little bit because I didn't fully understand why it was cutting so much.
Laura: I didn't notice that I did. Sorry.
Ryan: Yes. It's something I notice in films a fair amount sometimes. Um, if films cut around a little bit too much, it pulls me out of it. It's kind of like Michael B. He cut. He cuts way too much.
Laura: He should cut a lot of stuff out. Um, his films are always long for a smooth operator. Right. That's what you're looking for.
Ryan: That's what I'm looking for.
Laura: Smooth operation.
Ryan: I want developing shots more so than then tons and tons and tons of cuts.
Laura: Sort of interesting pov shots as well.
Ryan: One of the best shots in the film, I think, is when Paul, they meet them at the airport, and we are looking through Paul's pov, but he's wearing sunglasses, so everything's slightly blue.
Laura: Oh, uh, yeah.
Ryan: And I thought that was clever because there's a few pov shots. They're definitely. There's definitely little stylistic flourishes in the film, which I quite appreciate. The povs are quite, um, they're quite emotive and they're incredibly restrictive because a lot of them are in close ups and things, and they feel very, uh, what would I say? Very intimate. It's kind of a little bit. It reminded me a little bit of peeping Tom. Some of those povs, not in the same way, but kind of reminded me a little bit like, they're incredibly effective, I think.
Laura: Well, speaking of peeping toms, uh, this film starts off pretty hard, letting you know that there's gonna be nudity in this film. Um, right off the bat, tilda Swarton and Matthias are both nude by the pool, enjoying each other, you know, like right in the beginning. Kind of sets the tone, but also, you have that really nice tone of relaxation. And that's why they're there, is so that I should just pick whether I'm calling her tilda or Marianne while Marianne is recovering from her surgery. Right. So they're rubbing each other in motion and just relaxing, and she's not speaking, and I'm sure she's eating a lot of honey and stuff like that. But it is. It looks like a dream because it was shot in pentelia. Pentelaria. Pentelaria. Pentelaria. Italy.
Ryan: Yeah.
Laura: It's a little island southwest of Sicily, kind of off the coast of, um, Tunisia, I believe. Just off the coast of Africa.
Ryan: Yes. And I do. I do think, contextually that them being naked and doing the. I mean, that that makes sense to me.
Laura: Like that whole, oh, my gosh, if I am in a villa in Italy and I'm up on a mountaintop, and.
Ryan: No one can see? Shit.
Laura: Yeah. I'm not wearing clothes. I'm getting a full tan. I'm swimming. I am enjoying life. I'm eating fresh fruit. Get out of town.
Ryan: Yes.
Laura: Yeah, well that's how the shift changes. I mean as ah, soon as Harry and Penelope show up, um, Paul goes, well, we can't be naked anymore. Yes it's funny because they aren't, but Harry is.
Ryan: Harry is. Harry is um. This film reminded me a little bit sexy beast where Don Logan turns up and it's like he is just a force of nature. He will not take no for an answer. He is abrasive, he is charming, but at the same time terrifying.
Laura: Harry's not scary at all.
Ryan: No, but he is. He's uh, he's blissfully unaware or he's just ignorant to the fact that, that things have moved on. Like he can't just continue going to the, going to the sweet cart or the cake whenever he sees fit, you know, because I think he's always kind of seen, he's always seen her as someone that he can just put on a shelf and if there's nothing else he can go back to that shelf. Like, I kind of feel like they have that kind of relationship which is, you know, uh, uh, blossomed from a romantic one is now them being friends but they are still relatively quite romantic with each other. It's like they can't seem to do without each other. Even though she's trying her best to let him know that she's moved on and that she's in a very different place in her life. Um, but Harry doesn't see it that way. Or at least like in the way that he's doing it with this is that he's having fun and he is trying his best to kind of, you know, romance her a little bit, you know.
Laura: And he's also trying to show the difference between himself and Paul. Yes, because he keeps calling Paul. Uh, well at one point he did call Paul what?
Ryan: A square bear.
Laura: A square bear?
Ryan: Yes.
Laura: And he's like, he's square. He's boring. So at every turn he's showing how fun he is and how romantic he is, how he cares about her and he knows her better than anyone else.
Ryan: Yeah, because Paul's more an introvert and Harry's a very obvious extrovert who kind of puts himself out there and likes an audience. And they have that karaoke session and they're doing this, they're doing that and.
Laura: Exactly, you know, because at 17 minutes and 15 seconds into the film, basically right after Harry and Penelope show up to, um, when they get to Marianne and Paul's place. Yeah, Harry jumps in the pool, uh, with his clothes on. So then he ends up kind of walking around in a towel, and at one point just slings it off when he's, like, going to his room. So he's just obviously naked and just kind of using their house as his own house and just making himself immediately comfortable.
Ryan: He is making himself at home, makes a whole bunch of food. He's effectively at least trying to, or at least he's creating the illusion that he is the perfect houseguest, which is kind of what you would want. He's kind of like, entertaining. Everything's for free. He's making food. You know, he is accommodating to the people that have allowed, uh, him to be a guest.
Laura: But he does invite people up to the house.
Ryan: It feels like there's an ulterior motive from the minute he's. They are. Um, but certainly you do get that idea that Harry can be, in small doses, perfectly, uh, entertaining. But I feel like it gets a little nauseating when they finally invite him to stay.
Laura: He goes, well, that took forever.
Ryan: Yeah, come on.
Laura: I would be furious if I had an ex boyfriend or whoever who that I was still friends with, invited them up, and then they just started inviting people over to my house while I'm trying to relax.
Ryan: It would be pretty crazy, like, bringing.
Laura: Them into my safe space, especially if I was a super famous singer.
Ryan: Yeah, no people out of my house. Yeah. Certainly when she's not able to play the, play the host, because she literally can't talk, she literally can't say anything. So she's kind of tied by that. Um, but certainly, I mean, all the nakedness, for the most part, Paul does get naked later on, but most of the nakedness comes from, I guess, Harry's fairly brazen displays.
Laura: Yes, Tilda Swinton is nude a lot, but that's not what we're here for.
Ryan: No.
Laura: Um, man, you should watch. I am love for that. Anyway, she's amazing. So there's that dance scene. Yes, I know he's not naked in this scene, but I do want to talk about it. So the whole cast actually went and saw the Rolling Stones in Rome when they were filming. So they took some time off, went and saw the Rolling Stones, um, because the script was actually given to the Rolling Stones to sign off on it.
Ryan: Okay.
Laura: Because Harry is off telling that whole story while he's playing the Rolling Stones records. Like, oh, I made this record and this record came out before I was even old enough to drink. And so he has, like, a really long relationship with them, um, personally and just emotionally.
Ryan: Yeah.
Laura: But Ralph Fiennes actual brother, Magnus, is a music producer, so he kind of used him as a guide and a reference for his character.
Ryan: Okay.
Laura: But that dance scene. Ralph Fiennes hired a choreographer, her name is Ann Yee, to work with him on his dance sequence. Um, but it wasn't choreographed necessarily. But she helped him figure out kind of how to move his body, because he goes, I'm not a singer. I'm not a dancer. It does not come naturally to me. So he hired someone to help him kind of figure out how to move his body.
Ryan: Yeah, that sequence is pretty good. And there's some very, very notable fourth wall breaking stuff. Certainly when he goes behind that curtain and then m he comes back out, uh, of the curtain.
Laura: Harry said something about, is this music the last thing you listen to before you die? Or some horrible thing about the lovely music that we're listening to?
Ryan: Yeah.
Laura: And then he just starts, in an annoying way, just puts on one record and just talks over it the whole time. He's like, oh, okay, something else. Something else. And then just puts on another Rolling Stones record, and then just starts talking about that and singing and dancing. I wasn't mad because he actually played the whole song that time.
Ryan: Yeah, yeah, he's, uh. Yeah, yeah, I love that.
Laura: I love that part so much. Um, yeah, and then you mentioned the karaoke.
Ryan: Yes, the karaoke.
Laura: Because Marianne and Harry just end up at this bar. Um, it's not like they're trying to get away from Paul. But Paul is sober. He's not smoking, he's not drinking. He had a really rough time.
Ryan: And, yeah, he went through rehab and.
Laura: Stuff, so he's trying not to get into that place again. Right.
Ryan: So.
Laura: Because he also tried to kill himself. So, yeah, he's trying not to get dark. Dark and deep.
Ryan: Well, it's also like he's Harry's needling Paul with some of these things. And he kind of does this periodically.
Laura: Marianne as well.
Ryan: Yeah, a lot of needling.
Laura: Bjork could talk two weeks after her surgery. Adele could talk after her surgery. Come on. This is. You kept saying to her, singing is everything that's your entire life.
Ryan: Yeah.
Laura: She's like, jesus Christ.
Ryan: It'd be a rough thing to be like, yeah, no, my. The entire existence of my being the thing that's centered around it, uh, is the one thing that I can't do because they even do it. They even mention, uh, Julie Andrews in the movie as well. And she famously lost her voice. And she was known for being a singing performer.
Laura: Yeah.
Ryan: So, you know, there are. Yeah, there are real life tragic stories, but none of the sort of things you want to be hearing for the advent that if you do, you do lose your voice. You don't want to be reminded of the fact that, like. Yes, that is a very strong possibility that you could lose your voice.
Laura: As if she hadn't been thinking about it day and night ever since her surgery.
Ryan: Pretty much.
Laura: What if I never sing again? Oh, dear.
Ryan: Yeah.
Laura: But when they do go to the karaoke bar and he goes, let's sing something that I would never sing in front of people that we know. And he just takes over the entire thing. There's four people in the bar, and then there ends up being 70 people all around. Nobody else sings. He's the only one singing until Penelope and Paul show up. And then Harry and his daughter Penelope sing. Oh, no. What was the song that they sung? Do you remember?
Ryan: It was incredibly uncomfortable. Cause they were like, all over each other.
Laura: Endless love or something. I can't remember.
Ryan: Yes, probably.
Laura: I, uh, don't think that's what it was. But they're just holding each other. She's got, uh, her back to him and he's just holding her from behind. And one guy yells, can I have her when you're done, daddy?
Ryan: It's weird.
Laura: Well, yeah, because that becomes a bit of tension between everyone is just how he's acting with her. But he did say, I only knew about her, what, a year ago?
Ryan: So it's like he just met her and he's still. He admits at some point that, uh. Yeah. Have I ever thought about fucking her? I would be lying if I didn't.
Laura: He's just a very honest person. And I guess he also feels very comfortable with Marianne because they've known each other for so long. But he doesn't let falsities come out. He just says anything that comes into his head, just comes out of his mouth at all times.
Ryan: Yes, yes.
Laura: So, yeah, well, they don't know if they're actually related. Also, Penelope says at one point, I want him to take a test for nothing alive. Uh, which unfortunately, she won't be able to do.
Ryan: No. Dum, dum, dum.
Laura: Uh oh, there's a couple more penis scenes, actually. Um, at, ah, 58 minutes and 40 seconds.
Ryan: Yes.
Laura: So this is the point where.
Ryan: Well, this is a scene that also repeats again. Right. Because it's when his. The car gets stuck.
Laura: Yes.
Ryan: And then he's driven back. And then he, he just, yeah, he.
Laura: Just, he, uh, drops trow.
Ryan: He just drops trout and dives into the pool the full of day. And this moment is repeated again, um, when, uh, him and Paul have the argument. So I guess everything's kind of come to a head. Things have started to happen.
Laura: Everything happens around that piece.
Ryan: Both opposing couples have had some, I guess, some level of sexual altercation or just sexual tension.
Laura: I do not think that Paul, it never is explained, and it, I think it's knowingly ambiguous.
Ryan: Yes.
Laura: Um, the same way in Lapisin. Ambiguous. You don't know. Yeah, because that's, which I think that Paul wouldn't have done it at that point because he was sober still. And, you know, Penelope, just before getting naked in front of him was like, want to see me do a handstand? Like, it's not, uh, am, um, giving a lot of sexy energy. A lot of the things that she does. She is a kid and acts like a kid, even though they don't know how young she is yet.
Ryan: Yeah, she does act like a child.
Laura: But of course, doubt is there. We don't know.
Ryan: I think the fact that the doubt is there makes it more interesting, um.
Laura: Because nobody ever says, no one ever admits or denies. And. Yeah, then you do have Marianne and, and Harry having a little, a moment as well.
Ryan: They have a little bit of a.
Laura: It didn't seem sexy.
Ryan: Well, I don't think it was meant to be. It looks sad. Yeah, it did look sad. And it was sad because it didn't, you know, it didn't, it didn't conclude. It was just kind of sad. Yeah. Everyone's crying.
Laura: Paul knows his way around Marianne. I can. She seems like a happy lady, so.
Ryan: Yeah, but they have their altercations. Harry's gone out drinking. He's come back, he's brought the truck pack. Paul's outside. And, yeah, they have, they start with a conversation that.
Laura: Gosh, yeah. Where do you even start?
Ryan: Well, here's the thing. Harry jumps into the pool again.
Laura: Yeah.
Ryan: He just completely naked, takes all of.
Laura: His clothes because he wants to have a nighttime skinny dip.
Ryan: And he gets out the pool and he's still naked. So when they're having their conversation, that leads to an argument.
Laura: One of them leads to one confrontation. I think Harry says at one point, he goes, are we fighting? While he's toweling himself off, he goes, okay, okay. And then he just drops the towel. He's like, if we're fighting, I'm gonna do it with my dick out. That's not what he says, but, yeah.
Ryan: It'S like, yeah, it's this. It's like trying to. Trying to explain the power dynamic in this scene, because, yeah, you're like, I've been having an argument with someone that you don't usually see naked. They're naked, and you're having a literal argument with them.
Laura: He's soaking wet, too, so he's very slippery.
Ryan: He's very slippery. Yes.
Laura: Physically and argumentatively slippery man.
Ryan: Yes. But, yeah, it's as much like it is set at nighttime, so there's not really anything being hidden here. But I think it's the fact that, like, they're having this full on argument, the power. There's a power reversal, and you're kind of just like, well, Harry, you do understand that you're having an argument that's 100% what's happening here, because you're part of the instigating issue here that started this argument.
Laura: Also, this is at 1 hour, 23 minutes, and 30 seconds that this kind of starts off and doesn't end for a very long time. So this is a very, very long argument. And I wish I could pull out every single quote that I loved in this thing. It's just these two men who have been friends for a very long time, because we were more than friends. We were like brothers, saying, you know, I gave you marianne, and it's just this awkward and sad kind of breakdown of a life. Not a lifelong friendship, but a very close friendship.
Ryan: Yeah. It's very, um. Yeah, it's very upsetting, I suppose.
Laura: Think what you want, but don't tolerate me.
Ryan: Yeah.
Laura: Is what he said. And I was like, oof.
Ryan: Yeah. It was pretty harsh.
Laura: Yeah. So I think it starts with a slap and then a, uh, push in.
Ryan: The pool and then fight in the pool.
Laura: Fight in the pool.
Ryan: And then. And then someone has a little accident.
Laura: Didn't seem like an accident to me.
Ryan: It didn't? No. Harry gets murdered.
Laura: He gets full murdered.
Ryan: He gets full on murdered.
Laura: That shot of him, that was a long shot as well from them going into the pool. And I was like, is this one whole shot? Like, are they not cutting? But they had some movie magic in there somewhere.
Ryan: Yeah.
Laura: But just seeing his face under the water. Oh, my God. It was intense.
Ryan: He sunk like a stone as well. He just went bonk right. Right down at the bottom.
Laura: I don't think he tried hard enough. I think that he. He really was trying at first.
Ryan: Yeah.
Laura: But he only blew into his mouth three times, and then he was. And then I feel like he thought about it, you know, he thought about it and he goes, do I really want to bring this guy back?
Ryan: I mean, this is just conjecture.
Laura: I'm just talking. I'm talking through my feelings.
Ryan: Oh, God.
Laura: And I thought, this motherfucker wants to get rid of Harry and he's gonna do it.
Ryan: Yeah. I don't, I don't know. I don't know about that. But ambiguous. Yeah. But as it, like, as it transpires anyway, like, it really, it really doesn't, it really doesn't matter. M.
Laura: Yes, because that's how the film goes. I understand that. I'm just saying I'm having a little bit of fun. So I really thought that sequence was interesting.
Ryan: Exactly. I don't, I don't want to, I don't want to spoil the ending or anything like that. Like, I think, I think as far as we go with, like, this dick scene, like, sorry, they have an entire argument with him completely naked and not losing a beat. And then obviously there's a little bit of a murder. There is a further dick scene there. It's incredibly brief, but it's like after the death. And Paul goes to bed, it's about ten minutes later.
Laura: This is an hour, 31 and 28 seconds.
Ryan: Um, she's, uh, walking up by the, I guess, is it the maids or whoever else?
Laura: The housekeeper.
Ryan: Housekeeper. Who's like. Yeah. How? He's in the fucking pool.
Laura: Yeah. Well, him being naked was him getting into bed, so she got woken up after that.
Ryan: But, yeah, it's also going into bed, but it's also when she gets woken up, he walks past in the bathroom and he's also completely naked there. Yes.
Laura: So there is the hot diggity dog.
Ryan: Yes. The Paul nakedness does happen.
Laura: What, um, is smorgasbord of male nudity.
Ryan: Chary of Wang sausage. Yeah. Chopped sausage.
Laura: Oh, no, we're so professional. It's okay. Yeah, that was surprising. I think we went, whoa. Also, when they cut to Dakota Johnson down by the lake, we went, whoa.
Ryan: Yeah, we both went, oh, we weren't expecting that. Oh, Jesus, there she is. Yeah, well, it's not the first time we've seen Dakota Johnson, like, naked. You see your naked.
Laura: This is just. Oh, gosh. I think they had finished filming the first 50 Shades of Grey.
Ryan: Yeah.
Laura: And then she, like, the 50 shades hadn't even come out yet when they started filming this.
Ryan: Yeah, well, she doesn't get naked at Madame Webb, does she?
Laura: I wish.
Ryan: Yeah. She is beautiful. Um, yeah, she is her and Tilda Swinton.
Laura: Oh, man. Both of them. So Dakota Johnson's hair now is what I want. And then, like, madam Webb, that's the kind of hair I want. But then also Tilda Swinton's hair in this movie is what I want. And they're very different. Can't have both.
Ryan: No, you can't have both because one is incredibly shorter than the other.
Laura: Like, quite a bit.
Ryan: Yes, quite a bit.
Laura: So Margot Robbie was, uh, originally cast as Penelope.
Ryan: Huh huh.
Laura: Dakota, uh, Johnson came in very late after everyone else had been cast because Margot Robbie had had a shooting conflict with the legend of Tarzan. You remember that movie?
Ryan: Fuck, yeah, I do.
Laura: You do?
Ryan: Yes.
Laura: I don't.
Ryan: She played Gene.
Laura: She sure did. Maybe I should watch it because this is, uh, not middle Skarsgard. Or is it oldest Skarsgard son, Alexander?
Ryan: Uh, is Tarzan, potentially. Um. Yeah. Isn't that, like. Well, no, I saw, like, um. There's, like, Tarzan after the main Tarzan. Or is that, like.
Laura: I don't know the story of that Tarzan? I've never seen that motion picture.
Ryan: It's not gray stroke, that's for sure. It's not that shit.
Laura: No.
Ryan: Um, or the anime Tarzan. Um, yeah, no, I think that film's meant to be. I mean, it's not the Phil Collins song. It's the Phil Collins sound track. Oh.
Laura: Ah, right.
Ryan: Yeah. The whole fucking album is fire. I love that movie.
Laura: I didn't catch that. Could you do that again, like, a little louder this time? Wow. Get this guy a karaoke mic. He's going off. Uh, Luca received a lifetime achievement award at the Gothenburg Film Festival in 2022. So very, very recently. And instead of doing a retrospective, which he said, I don't have enough to do, retrospective. Don't do that. He decided to re cut a bigger splash into a 195 minutes cut, which he called an even bigger splash. I'm not lying.
Ryan: Okay, that's true. Right?
Laura: He screened a cut of it at the Gothenburg, uh, film festival without any effects or mixing. And, uh, at the time, he was working on finalizing it with new songs and effects and plan to screen it at some small festivals before releasing it to streamers. It was expected to come out last year in 2023, and it did not. I haven't seen any updates about it recently, but the 10th anniversary would be either in 2025 or 2026, depending on. I think it actually got released in american theaters in 2016. Yeah, it's 2016, so maybe he's waiting for that. Maybe because he's really into it. He's got new music, new songs, everything he really want. He's, like, obsessed with it. So if I were him, and I'm like, oh, I'm really close to the ten year anniversary of the OG. Maybe I'll just wait. But I don't know.
Ryan: Right.
Laura: Uh, maybe Kino Lorber will pick it up and, uh, yeah, all new extras.
Ryan: I just don't know if we need a three hour version of that movie. I mean, I'd be interested in seeing it.
Laura: I would watch it for sure. Because maybe you'll just have more lovely, relaxing pool scenes and, like, fresh fruit and delicious salad.
Ryan: Yeah, maybe some of the breakneck pacing is taken out a little bit because the film, the film itself is also a little bit is a little too long. It's not boring, but it's also, I'd say it's a little too long.
Laura: Fresh ricotta cheese also.
Ryan: Yes. Yes, there is that. Yes. You want to see. Yeah. You want some italian neorealism right there. You want to see her making ricotta cheese from scratch.
Laura: Yes. And I want to see them feed each other. I want to see them eat full meals. Yeah. I want to watch that for 3 hours, and then I want to go on vacation. Oh, there was a cameo from Luca in the.
Ryan: He's the documentary crew guy.
Laura: Yeah, he's in the documentary crew. Oh, thanks for stealing it from me. I told you while we were watching it.
Ryan: You did, but you didn't have to. That was your mistake.
Laura: Well, you didn't know he was there. You didn't see him.
Ryan: No, I didn't see him. No. Because, uh, this was the first time I'd seen this movie, so I love this movie.
Laura: Ratings, visibility in context, my friend. Five out of five. I hadn't seen it since it came out, and it's been quite some time, and I didn't remember all of it because it's been hard to find, so I haven't seen it. And me. Oh, my. That fight scene is incredible. Absolutely incredible. It's interesting as well. I was watching, uh, some interviews with Ralph Fiennes, and they kind of asked him, and they asked Dakota Johnson, how do you feel about nudity? And Raife was really. It's like he didn't, he doesn't care. He has no qualms about it. This isn't the first time he's been naked on screen, of course. No, he doesn't. He's. He's a cool guy. He doesn't care. I mean, he has sex with airline stewardesses on airplanes like he's the mile high club. Rafe is a rake.
Ryan: Yeah, I know.
Laura: I told you about how my ex boyfriend broke. Well, one of his arguments for breaking up with me, or we got in an argument, was because I was really into Ralph Fiennes at one point. I'm always into Ralph finds, but he was wondering why I was so into him. And he goes, why do you want to go fly to Australia and try and fuck refines on an airplane? And I'm like, can I. Is he just always on the airplane?
Ryan: Like, Australia?
Laura: Can I do that?
Ryan: I would. It's so surreal. Anyway, it's such a surreal thing to get annoyed about. It's like, yeah, it's like, it's just Ray Fiennes in this alternate world, just flying air Australia, like every day.
Laura: I'm just trying to get laid by Ray fines, by buying many, many tickets back and forth from Australia, just hoping to run into him in the tournament.
Ryan: From where, though? He's not going from coast to coast.
Laura: I swear, my ex thought that I knew his flight path. I had, you know, I knew his passport number and I could track him or something. All I did was go like, oh, that's interesting.
Ryan: It's also a story predicated on the fact that Rafe also knows who the fuck you are.
Laura: So he doesn't have to know who I am.
Ryan: Uh, no, I guess he doesn't need to know you on a first name basis. I guess he would. Well, yeah, that doesn't necessarily mean that he has to, but, yeah.
Laura: Laura. Toilet. Airplane toilet girl number 37. I'm sure he does it all the time. God, maybe that's his thing. Poor Rafe. Doubtful.
Ryan: That's. That's just the way he gets it, though. Like, he can't do it any other way. You don't want to be in a shame him has to be in an airport.
Laura: Airplane bathroom.
Ryan: Yeah, that's what I meant to say. Yeah, airplane bathroom.
Laura: Maybe that's his kink. But, uh, I digress. He lays it on the line. Oh, what was I saying? Um, about. Okay, sorry. He said that in terms of being nude on film, that you have to have, at least in your contract, have final say on the shots. So he doesn't care. He just wants to make sure that he likes the shots that are chosen for the film. And he has final say because he doesn't want to look a certain way. So that's what he said. Dakota Johnson had a little bit more. Um, she goes, well, it's my character, right? And if that makes sense for my character, then I'm an actor. That's my job, and that's what I do. Rafe's like, psh, I have it in my contract. I want to make sure I look great.
Ryan: Yeah, I mean, that makes sense. That does make sense.
Laura: I just thought that was a funny contrast. But I don't know. You guys will see it. It's really great. Five stars.
Ryan: So, yeah, I would say that I would also give it five stars for the visibility in the context. And I do like the fact that this is a naked fighting argument. And certainly the way that we're seeing it and the way that it's being displayed, it does make you think about. It does make me think about, like, uh, women in love. It makes me think about that get rich or die trying scene where they fight, fight naked in the shower with the ships and shit.
Laura: Um, eastern promises.
Ryan: Eastern promises. But they are, they're. At least those last two that I said, they are very cinematic. You know, like, that's, that sort of thing doesn't really happen very often in real life.
Laura: Naked, um, brawls.
Ryan: Yeah, naked brawls. Naked brawls. Certainly to the extent that those, those fucking happen. Like, they are insane.
Laura: Well, this one just starts off with, like, it's not even a hard fight.
Ryan: It's not just. Yeah, but I'm not. Yeah, but I'm not referring to it as like a, uh, fight in women in love, though. Like, that's kind of, that's like a power struggle where it's, you know, they're wrestling and they're, they're trying to assert their own sense of dominance, which is certainly what I think, uh, Ray Fiennes character, Harry is doing in this scene, which, you know, you've got a fully dressed Paul and then you have a completely naked Harry. And certainly I do think it creates this parallel, like, this certain kind of paradigm of just like, you know, the power in this and the shots that are chosen and the way that he is looking. I think it's, I think it's interesting. But, yes, for visibility and context, I would. Yeah, I gave it, I gave it five.
Laura: Yeah, you're right. It was, it's an interesting. He makes a choice as well. When he grabs his towel, he goes, oh, we're fighting. And then he puts his towel down, he goes, okay.
Ryan: Because, like, if they were in a fight, like most instincts would be, you would try and cover yourself up because there's an element of weakness there. That's kind of how I saw it. But for him, he's just all out and he knows this is progressing. So to me, it's quite an evident power struggle. But it's certainly. It's different. Like it's juxtaposed in a certain way.
Laura: So it's also quite characteristic of him, just as a character to. He's naked the whole time.
Ryan: Yeah.
Laura: He's always showing off, so.
Ryan: Yeah.
Laura: Anyway, yeah, you're right. Five stars for me. I, uh, gave the film a four and a half. I really, really love this film. I've seen it before. I'll watch it again. I'm glad that we have it, even if the special features on that Blu ray are crap. But I want to give it a five. I might one day give it a five because it is one of those that I might just have on. It might be my next. Call me by your name and I'll log it ten times. Maybe not.
Ryan: Yeah.
Laura: If they kissed, maybe I would have. If those two men had kissed.
Ryan: God. Um, well, they kind of did. He gave them out of mouth in the pool. Yeah, it was kind of like a kiss.
Laura: Could have been better. Four and a half. I don't know. It's got all the things I like. It's got fresh fruit and vegetables. It's got cooking scenes. It's got the pool, sunshine, hot bodies. Everyone's pretty. They do karaoke. I mean, Jesus Christ. Dream. This movie's a dream without the murder. Love it.
Ryan: Okay, well, on that note, I gave it a four. Um, but it probably deserves something closer to three and a half, personally.
Laura: Shut your mouth.
Ryan: I think it does. I don't like it as much as you did. I do like, I like certain aspects of it. Um, but, yeah, from what I've kind of already pointed to, God, like, some of the editing and stuff like that, I don't really particularly enjoy. Um, I do think it's a little bit long, but, yeah, it's still enjoyable. Um, I just don't think it ends the way I also want it to end either.
Laura: Um, so just wait till you'll finish Lapisin.
Ryan: Yeah, yeah, well, I will eventually, but, yeah, I gave it. I gave it four. I'm gonna stick with four, even though I probably think it's three and a half, because I do. I did enjoy it. It's not boring in any way, shape or form, but, yeah, it's. Yeah, that's kind of where I'm sitting on it.
Laura: It's like you said before, when you rate it low, that means there's always room for it to go up. And I hope this for you.
Ryan: Yeah, I'm a, uh, you know, as you know, I'm a glass half fool sort of guy.
Laura: You're a total. Oh, yeah. You were total optimist.
Ryan: I am an optimistic by heart. No. I sometimes wish I was dead.
Laura: Going the way. Hopefully not going the way of Harry Hawks in this film.
Ryan: No.
Laura: Brutal.
Ryan: Certainly. Yeah. Certainly won't find myself fighting with another man in a pool who drowns me.
Laura: Yeah.
Ryan: Yes.
Laura: Well, I'm glad we got to do this on our first Luca. Hopefully not our last. Luca.
Ryan: I'm. Huh.
Laura: Looking at you Challengers and coming to you from Panteleria.
Ryan: Okay.
Laura: I couldn't really think of any other thing to put, so there wasn't a lot of.
Ryan: I would have just said. Coming to you from La Picine.
Laura: Shit. Coming to you from La Picine.
Ryan: Pisson.
Laura: Pissing. La pisson.
Ryan: La pissette.
Laura: Oh, my God. Yeah, I have been Laura.
Ryan: I'm still Ryan.
Laura: Ciao, bella.
Ryan: Uh, um, cheerio.