Porco Rosso – I just wanna Fio real love

Full transcript of Porco Rosso – I just wanna Fio real love.

0:00KT: Hey, friends and lovers. Welcome back to the For Your Reference podcast. Hopefully, you enjoyed the first course in our Reference Degustation, Spirited Away for Chef Kisses deserves all of the accolades and all of recognition. And if you've watched it for the first time, congratulations. It is a very palatable first start to our Reference Degustation. We have a very exciting episode for you today. You would have read the title already. We do strongly encourage that you've watched this film because it it is great. It is delightful. It is a crackling, delicious, juicy

0:39KT: episode. We love you guys so much. Thank you for supporting us, as we round out into our first year of podcasting. We love you. We love you. We love you. Let's take the show away. Hey, friends and lovers. Welcome back to For Your Reference. You've got your host, KT.

0:39Oti: And Oti.

0:39KT: And welcome back to our holiday series. Mhmm. We are covering some Delicioso Miyazaki films. Yep. If you followed us along the journey,

1:34KT: you are most welcome. If this is the first in the holiday series you're listening to, then you are also most welcome as well. Oti and I are on holiday and we are doing nasty things to each other and you can do some nasty things while you listen to this episode, friends and lovers. Mhmm. We'll oil that propeller and grab your finest glass of swine because today we are covering Kurenai no Buta otherwise known as Porco Rosso. Porco Rosso. Oh, wow. It just rolls off the tongue, doesn't it? Clearly. What a film.

2:11KT: What a film. And as we are doing in the holiday series, obviously, they have a theme being Miyazaki films. There's also Studio, I say Ghibli. I don't say Ghibli. Yep.

2:24Oti: Agree that green on that. Unless it's bitchy bitchy,

2:27KT: then that's another story. So we will go through the themes that Miyazaki is famed and is known for. And we will see if any of that comes through Porco Rosso as well. Mhmm. And then we'll obviously dive into the film, get into our first impressions, the stats, all that sort of thing. Yeah. So let's get into it. It isn't that popular.

2:54KT: Even before we met Oti, did you did you hear about Porco Rosso when you heard about Miyazaki films?

2:54Oti: I didn't know a lot about it.

2:54KT: Yeah. So I I guess the reason why I'm mentioning that is if this is what you chose to listen to before the Spirited Away or even Princess Mononoke episode, we love you and we're all learned and we can all pull our glasses up. This is actually the first we're recording in the holiday series. So your head might go spinning in regards to the timeline

3:25KT: and how we discuss things. But again, welcome. The film did come out in 1992. It is very early in Miyazaki's work, Nausicaa being the first of his films officially. It came out in 1992. Obviously, we have Hayao Miyazaki at the helm being the writer and director. In regards to the music, it was composed by Joe Hisaishi. Mhmm. He's pretty much done the score and soundtrack for all of his films.

3:25Oti: Nice.

3:25KT: Except for

3:25Oti: I could see why he stuck with him. Oh, yeah. Brilliant. Everyone is at the top of their game in Miyazaki's

4:03Oti: world. Like, usually, we just say, like, the score plays such a big part in a movie, creating the ambiance and everything, but with him, it just takes the movies to a different level. Yeah. Considering the amazing artistry that Miyazaki does anyway, it just sublime. You can watch and listen to forever.

4:23KT: And it takes a team. It definitely takes a team. We are new to the cinephile world, but usually when it comes to directors and when it comes to like, I think of Hans Zimmer, I just think of he is great and brilliant in himself. Right? Maybe I'll come to learn that there are more teams and that sort of thing. But it's it's it's nice and it's just amazing. It just pairs so beautifully with the cinematography, which I can't wait to talk about.

4:49Oti: Like the perfect ensemble of Elton John and Bernie. Like, it's just such a symbiotic sort of relationship that once you get it, you just have to re try and recreate the perfection every single time.

5:00KT: Yeah. Like, all of the parts need to work just like a plane. And it's funny. Please listen to our Succession episode, but Miyazaki is famed for not naming a successor.

5:00Oti: Oh, really?

5:00KT: Yeah. And he's quit, like, six times. That's just a fun little knowledge nugget. Just like the Ricky Gervais and the Golden Globes. Hey. Oh, you love you, Ricky. Listen to our After Life episode. Enough of that. We're on holiday. We don't need to work and give you references.

5:37KT: So let's go back. This is based on a three part watercolor manga by Miyazaki, which is interesting because a lot of his films, they draw inspiration and some of them are based on texts as well. Yeah. Howl's Moving Castle as an example. So it came out in 1992. The budget was 9,200,000 and it raked in 59,000,000 US dollars. Yeah.

6:01Oti: That's a pretty porco. That is a pretty porco.

6:04KT: Translated into English as the Scarlet Pig, otherwise known as what Oti calls me. Affectionately so, I would hope. Anyway, we have it's a very simple story. The context is grounded. Actually, in regards to Miyazaki, they it's usually ambiguous as to where things are set. Like, you would have like, you would have flags, but it's not necessarily denoting to a specific place. Porco Rosso is one of the examples where you can actually place this at a point in time. Yep. So it's set after World War one. Porco Rosso is a previous pilot. Mhmm.

6:44KT: So there there are some drawings to real life and you can place them into real places. There were some conflicts so they had to move details around as well. But, yeah, it's interesting and it's it's nice to see the richness that Miyazaki has, which isn't one of the themes that we've noted down, but obviously,

7:04Oti: quality. Yeah. For sure.

7:07KT: Quality over everything. I'm just going to quickly go through the cast that's classified as the main in MAL. Every all of the cool kids call it MAL. Alright. MyAnimeList. Give us a cast mate. We watched the Japanese version. I know Michael Keaton played Porco Rosso in the English dub. Mhmm. Miyazaki is also he also mentioned that he preferred the French Yeah. Sub, particularly for Porco Rosso's character, but I'm just going to focus on the Japanese Mhmm. Main cast. So we have Moriyama Shuichiro playing Porco Rosso. We have Okamura

7:44KT: Akemi playing Fio Piccolo, who we fucking love. Mhmm. We also have Otsuka Akio playing Donald Curtis. And she's not credited as a main because she's also not in the manga as well. But we have Gina played by Kato Tokiko.

8:01Oti: She might not appear a lot in this movie, but for me, Gina is quite one of the main characters, especially when it comes to how it lights Porco Rosso as a character. Oh, yes. So it's just Like, she's the she's the Anchorage. Yeah. And it'll be interesting to read the manga afterwards just to see how it would all pan out without Gina in the picture.

8:01KT: It's a tasteful one. It's not the ones you usually read. So

8:28KT: before we get into first impressions, let's go through the recurring sort of Miyazaki themes that he has in films. And let's see if we came across that. Spoilers spoilers spoilers. Definitely do yourself a favor. It's only about ninety minutes Yeah. This film. Do yourself a favor. Watch this. I'm not sure about the English dub, but have have a viewing Have a double regardless.

8:52Oti: You'll see yeah. You'll see beautiful animations and the score. Just watch it. It doesn't really matter anyway. So it's

9:01KT: it's our responsibility. You know, treat it like a holiday. You're sailing away with Porco Rosso and then come back to this episode. I just wanted to say spoilers because we're going to talk about the film. So the first theme that we have is planes slash flying. So Miyazaki's father actually made parts for planes. So it is quite a strong theme and, you know, the the wonder and the curiosity in regards to flying and the innovation of flying as well because Miyazaki is very innovative as well.

9:34KT: That is quite a strong theme that he has in this film and it it obviously it it, you know, carries through in Porco Rosso as well. Yeah.

9:34Oti: It was interesting to see once Porco Rosso's plane got shot down by Curtis

9:48Oti: and then they're like oh yeah he went to Piccolo and they're going to replace his engine and the engine was Ghibli yeah at you small things mate We should start a podcast, team. We should.

10:02KT: Definitely. So it's it's pretty straightforward. We don't really need to discuss it. It's a pig in a plane. Pig in a plane. Pigs do fly. Exceedingly so. The next theme that we have for Miyazaki is anti war. Yeah. That's quite a strong theme that he has. They they do have military elements in a lot of not in a lot of his films, but it it is tangible where you can see it in the films and usually there's a political message about war is bad. Don't do the war, war is bad.

10:35Oti: Okay, McKay? Okay.

10:39KT: Leave Ali out of this. Are you okay there Oti? See, we're on holiday but we just can't help ourselves. If you get the reference, you reference. But yeah. So and usually, what flows into that theme is the environment and how we need to take better care of it and how it's kind of take, take, take. Yeah. And I guess when you try and pin it down to the main character in this being Porco Rosso,

11:07Oti: you could see that he is quite disillusioned by the the fact that he went to war. Yes. He was a hero and all, but with the results of the war, he's lost three of his friends. And he he starts pushing himself away from society, and you could see the effects and his transformation afterwards. I think that's Mhmm. Kind of how he seems he sees himself. But, yeah, it's just one of those things that we could see in Miyazaki's kind of movies that he's done,

11:35Oti: an underlying theme of war and what it does and its effects.

11:40KT: And that's why I think art is so impactful because as you're explaining that, we can even think to scenes in Porco Rosso, you know, let's stay in this world for a little bit, when they were actually with the fighter jets. And, you know, all of all of the planes from both sides started to go down. And then he it became a sequence where he ended up above the clouds. And he started to see all of the planes, you know, essentially going to heaven. Right? And it's so beautifully done. Sometimes

12:14KT: saying things directly because I'm a straight shooter. Pow pow. But sometimes saying things exactly as they are doesn't hit you in the way that it needs to hit you to make a meaningful sort of change Yeah. To stir any sort of feelings within you. And, you know, even when you were talking about that, the the imagery is so strong. I could see that. It's

12:36Oti: just you know, it's one of those movies that you could rewatch it a million times over, and you'd probably pick up a few things as far as you go. And I can't just and the fact that it's all hand drawn as well Yes. You could you could tell a lot of attention to detail went into this.

12:55KT: Miyazaki was very strong on keeping things analog, so to say. Mm-mm. Try to steer away from digital. But it is such it is such a beautiful film, and that's why I love it. I love talking about it. Obviously, we'll talk more about how we came across Porco Rosso in our first impression. So let's continue to the next sort of theme that Miyazaki has. It's kids slash female leads.

13:22KT: He loves a strong female lead. Mhmm. Don't you?

13:22Oti: He really does. Like

13:22KT: No. I'm saying don't you? Don't you, Oti?

13:22Oti: Yeah. You know I do.

13:34KT: I think also a lot of his protagonists allow themselves to feel, not necessarily in the case of Porco Rosso, but you do have a very fun sort of sidekick character in Fio. So that that kind of ground him as well. And we'll definitely need to talk more about that and what the spell actually represented because I think Fio contributed to that as well. But in regards to, you know, or female leads, it is a strong sort of theme, not necessarily here. So that's fine. The next theme that we have is

14:13KT: usually with Miyazaki films, it's not cut and dry. It's not this person is inherently evil and the spawn of Satan. I'm not talking about myself. There's usually some ambiguity in regards to good and evil. You know? And and that's that's true to life. Right? True. As fantastical and as whimsical as Miyazaki gets, there is a grounding of seeing people in multiple sort of dimensions.

14:42Oti: Yeah. Because we don't live in a sort of two d world where we just get either black or white. It's Yeah. It's multidimensional,

14:52KT: and people can be good or bad in a varying spectrum, and they're not inherently evil. Yeah. And I think a lot of the time, a lot of the characters that Miyazaki has in his films, you know, the the initially presented evil characters just usually, they're misunderstood. And I guess you could say the same for Porco Rosso because you see that he's still a Mac daddy though. Like, he still gets all the ladies. Because he was in the club Adriano and the lady's like, tell me a story. And he's like, I will next time we're alone.

15:27Oti: Yeah. For sure, he he had his way around, but it just shows you as well that people, especially, I think, the Italians are taken to him and they're happy to see him. You know, it's weird seeing a pig walking around and, you know, and when he's walking across the lawn and people are giving him their eyes, it's like, it doesn't apply to me Yeah. Because I'm a pig.

15:49KT: But yeah. So I guess I guess the point of that is he he presented a certain way, but people treated him as a human, essentially. And I think, actually, that's a good point because, you know, it is whimsical and that is one of the themes for Miyazaki. But it felt like the spell that he had on him was the way that he felt about himself. Yeah. Because, again, he was a mac daddy. Everyone wanted a piece of the pork.

16:16Oti: Yeah. I don't know if I'm the only one that noticed this, but whilst majority of the people walking saw him and they thought he was cute and whatever and they didn't even butter an eye. Mhmm. The people in authority just gave him this murky look. He would walk across the town and you'd see the coppers around just, you know, tilting and squinting their face a bit. And I didn't know if you picked on it, but I just saw it. I was like,

16:46KT: If we it's 2020. If we wanna be real, it's because he had an undeniable specialist skill and he wasn't serving the government or the army. Yeah. Really. If it wants to boil down to that and we do love Ferrarin, his friend. I think he was quite a good friend. Yeah. But I think that's what it boils down to, at least in a, you know, sort of nutshell. But, yeah, usually there's ambiguity about good and evil. And I think this film definitely

17:17KT: portrays that because, like you said, he he did what he had to do as a soldier, but that didn't take away the pain and the results of war True. And the collateral damage of war, unfortunately. So let's go to we have two more themes to go through. Miyazaki loves pigs. Is there really anything else to say? It's it's pretty obvious. I I just wanna bring to a scene that we had in the film where Porco is in a cinema and he's watching and I think it's a Betty Boop film.

17:56KT: I don't think it's Disney. Think it's Betty Boop and that's one of the inspirations that Miyazaki has as well. So if you're doing a bingo card of mind nuggets, you can cross that off. But he's in the cinema and he's watching it and that's where we see Ferrarin for the first time. Yeah. And he's like, you can't hide forever. That's where we found out that he pretty much turned his back on the authorities

18:18KT: and that's where he became a bounty hunter. Yeah. Because it's a fascist government. So But that's what he said. I'd rather be a pig than a fascist. Yeah. Interesting. Very interesting. And obviously, he is a pig so there's a lot of dialogue in regards to the pig. Obviously, you saw pigs in Spirited Away as well. But but who doesn't love pigs? I don't know. Except for was it Family Guy? Had a they had a cutaway for Peppa Pig. Go and watch it, guys. They had a cutaway. But,

18:51KT: yes, let's let's dive into the last theme that is very common in Miyazaki films, and we've kind of touched on it already, is that whimsical slash fantasy sort of element.

19:01Oti: Yeah. Watching Miyazaki movies, you get a sense of being taken on a journey. Like, it's all fantastical and you're just it's like an out of body experience. Oh, yes. It's something if I was to live in a world, I would want to live in a Miyazaki world any day, all day. Hire us Studio Ghibli. Oh, yeah. That's just one of the dreams, mate.

19:33KT: And it definitely is it. And you'll hear it in our other episodes as well. But Miyazaki to me is full escapism. It is literally for at least in this case for ninety minutes, I'm just going to forget about everything. For sure. And I'm going to allow myself this indulgence. In in earlier interviews, Miyazaki, he described this film as foolish and he was asked to clarify what he meant by that. And essentially, a paraphrase to foolish to make a film for kids about adults. And I think this is the most grown sort of film.

20:14KT: Not to say that you can't have, like, relatability in Miyazaki's other films, but, again, we talk about kids a lot and, you know, that coming of age Yeah. And, you know, dealing with the world around you. And Porco Rosso had been through shit.

20:29Oti: Yeah. He had been through shit. I think initially they wanted to just to make this movie as an in flight sort of entertainment.

20:36KT: Oh.

20:36Oti: Then

20:36KT: Look who's come to the party.

20:36Oti: It just became something bigger because, you know, it's And it is it is a lot more serious than the manga as well.

20:36KT: Yeah. Yeah. Yeah. Well, look at us playing tit for tit. Tit for tit, tit for tat, mate. Trot for trot. Oh, but it's like, oh, I enjoyed it. I enjoy it. But those are the themes for Miyazaki. We're going to get into first impressions and actually start talking about the film now. But, you know but even with those themes, we could sit here

21:11KT: all day and talk about them in full. Yeah.

21:15Oti: Yeah. Right?

21:17KT: It is so steeped in richness and it truly is a reward. So let's talk about first impressions. You know, there are many things I introduced to Oti's life. I didn't introduce Miyazaki films, but that is what I will tell everyone. So let's start off with you. How did you come across Porco Rosso? And I guess it's important to know what other films you would watch before that, and how did you feel generally about the film?

21:50Oti: So in as much as I love Miyazaki movies, I've watched, like, four. So there's still heaps of Studio Ghibli movies that I want to watch.

21:50KT: Well, just just to clarify, Studio Ghibli isn't just Miyazaki

21:50Oti: Yeah. That's what I'm saying. Like, there's a whole lot of catalog on there. And Mhmm. I've watched Wind Rises, Spirited Away, and now Porco Rosso was my this was my first time to watch it. Mhmm. And I was just completely engulfed

22:21Oti: the minute it started. And you could tell that so much was put into this. And once you realize that, you're fully engulfed in it and you pay your whole attention to it. Mhmm. I loved it completely. And it's one of the movies that I think I'll rewatch

22:37Oti: about four times in the next couple of weeks because Oh, wow. I just I feel like there are things that I'm still missing Uh-huh. And I need answers for. Okay. And I've tried researching it and nothing I'm not happy. I I feel like I can dig so much deeper into this.

22:37KT: Well, it's a good thing you have a podcast then we can explore that together, my love.

22:37Oti: Oh, for sure. For sure. What about you?

22:59KT: So yeah. I think because the international sort of acclaim came with Princess Mononoke in regards to Miyazaki films and Studio Ghibli. Depending on how old you are, so I think most come and tweet us and email us if you're super learned and Spirited Away wasn't your first introduction. But usually for most people, Spirited Away is the introduction into Miyazaki. Right? So I started off with Spirited Away. I'm pretty sure I watched Howl's Moving Castle. Next, I found Nausicaa. There's it's in Australia and Europe. It's known as Laputa Castle in the Sky. He

23:44KT: actually Miyazaki actually took Laputa from Spanish because from what he understood, it meant in being in disarray, being up in the clouds. But if you know what La Puta means

23:55Oti: Oh, we've watched too much of Narcos not to know.

24:02KT: But isn't that interesting? We can live in a world where we enjoy the realism of Narcos Mhmm. But we also love being swept away in a world of fantasy in Miyazaki. Yeah. For sure. You are most welcome, friends and lovers. This is the qualita. Whether it's lack of or whether it's overwhelming qualita, it is up to you. But, yeah, I've I've watched a good chunk of Miyazaki films and I remember watching Porco Rosso for the first time. I'm like, oh, this is interesting because it does address the theme of whimsical sort of fantasy

24:40KT: but it is more grounded in reality to his more recent works. I think as his filmography went on, it became more whimsical and more fantastical. Yeah. And that isn't a bad thing, you know? But it's it's interesting to watch that evolution as well. That's why after we watched Porco Rosso, I was wondering your thoughts about the evolution of that as well.

25:01Oti: Yeah. Which is weird because I think I didn't even look at it from that point of view because, again, like, I watched this and I was I I didn't even think in terms of the timeline where this was placed in in his in his works. Uh-huh. Thinking about Spirited Away and comparing it to this. Of course, could you could definitely see the differences in terms of your writing and all. But I think I just I don't know. I was just swept away. I didn't even want to think about anything else other than what was before me.

25:32KT: Yeah. But it's like, you know, even with, like, musical artists, can tell what's the earlier work and you can tell what's the newer one. Not to say that one's better than the other. Yeah. I will never ever want to rank these films. And you oh, actually, name your price, but I would say you can never pay me enough. But name your price, please. We've got some very expensive dog mouths to feed. I said mouths because I'm a bitch.

26:03Oti: Yeah. You had I didn't disagree with that. So

26:06KT: Are you working are you still working on your screenplay, Bitcho Rosso?

26:06Oti: Yep.

26:06KT: We're a couple, guys. If this is the first time you've ever listened to this episode, apparently, we're a couple. And apparently, we're in an enthralling, whimsical adventure just like a Miyazaki film. Right, Oti?

26:06Oti: Oh, for sure. I think Miyazaki is working on KT and Oti.

26:06KT: But what a film it is. I am pretty much with all the Miyazaki films. Actually, I have qualms. I'm not revealing my identity, but my cousin has all my Miyazaki DVDs. And I will cut a bitch.

26:52KT: But anyway, because

26:55Oti: It's good that Apple TV now has Studio Ghibli movies you can purchase. For a while, we couldn't find any sort of movies from Studio Ghibli at all. Why isn't it on Disney Plus though? I don't know. But you could find them now. You can buy them actually. So it's it's one of those times just get your shit right now. Yeah.

27:16KT: Yeah. But anyway, the the the point that I was making is you watch what's available to you at the time. So I had watched Porco Rosso a couple of times, but it was well over five years ago that I watched it. And it was little KT not little KT, young woman KT struggling to make a living and I watch Porco Rosso off a laptop. I think if you listen to a lot of our podcast episodes, we talk about watching stuff on a laptop and then rewatching

27:46KT: it again on a proper TV. Yeah. And it really transcends or sometimes it magnifies the imperfections of what you're watching, but definitely magnifies the brilliance of Miyazaki. That's how it should be consumed. Yeah. But, yeah, I watched the English dub a couple of times five years ago and we finally got to watch the Japanese sub version just last night, and it was delightful.

28:15Oti: And that it was.

28:16KT: I would whenever we do decide to revisit Porco Rosso, I do wanna see if we can find the French.

28:24Oti: Yeah. Because I I think that's what he prefers. Right? Yeah.

28:29KT: Interesting. Definitely very interesting. But, yeah, those are our first impressions of the film. I I because you said that you would wanna watch it multiple times in the in the next coming weeks. I see Porco Rosso as as I like to say in a lot of our podcast episodes, as like a vintage wine. Like, it's an event. You know? We can't afford to nor would I want to indulge in it regularly. It's something that you it has so much richness and you'll just visit it every so often.

29:05KT: But, you know, if you wanna watch it again, I'm obviously down. I'll definitely watch it again with you. There's no dramas about that.

29:12Oti: I'll pin you down regardless.

29:14KT: Damn, dawg. Listen to our Christmas episode because Oti mentions that at least for the first time on the podcast. But let let's get into the film. Also, Porco Rosso is rated, I think, G or PG. But as you're listening, we are not family friendly.

29:37Oti: No. We're not.

29:39KT: So unlike Miyazaki, we only appeal to the filthiest of people. A very small but very dedicated handful of listeners and we fucking love you guys. Mhmm. So let's get into the film. Obviously, let's spend some time focusing on Porco as a character.

29:59Oti: Where do we start? So Porco was turned into Marco, as he used to be, turns into a pig. And I think the ambiguity into why this is, I think, is one of the most intriguing things about the movie as well. Mhmm. Watching this, I expected by the end of it, they would have given us a reason and an answer, a clear defined answer as to why he is a pig, but we weren't given that. And now it's up to us to try and analyze and reanalyze the movie

30:31Oti: and try and pick the bits that we think as to why this happened. And Which isn't necessarily a bad thing. It's not a bad thing. I I quite enjoyed it. And I think that the way it ended and the glimpses of what it showed and whether Porco Rosso actually turned into Marco at the end of it Mhmm. Was up in the air as well.

30:52Oti: So I feel

30:52KT: Whether him and Gina got together. Because Fio is like, that's not nice.

30:52Oti: Well, I have I have a theory about that because

30:52KT: Oh, you've got a theatre?

30:52Oti: I've got a theatre.

30:52KT: Is it a conspiracy theatre?

31:05Oti: Not that far. No. Because I glimpse this in the last shot of the movie, we have Gina sorry. Fio narrating. Right? That she's never seen Porco Rosso again. Yep. There's a close-up shot of Porco Rosso, but they don't show us his face. Uh-huh. Making it even more like, oh, did he change or did he not?

31:30KT: When when Porco turned into Marco, he did become slimmer, and that was his stumpy ass body.

31:38Oti: Well, the fact that he didn't show his face, you don't know. Maybe it's it was a close-up shot, so you couldn't really tell the perspective of it. Porco was thick.

31:46KT: C c h I c c q, thick. Stop stop submitting my pictures to films.

31:53Oti: When they're doing an overshot of of Gina's garden, Gina wasn't there. So it's one of those things that I think

32:01KT: But then she also says she visited Gina every summer. Unless she doesn't no. But she would recognize Marco. Yeah. She would.

32:11Oti: But the only time she visited Gina was at night when she was performing. And during the day, Gina would wait for would wait for Porco Rosso in in her garden, and he never showed up to tell him that he Yeah. To tell to, like, tell him that he loved him. Mhmm. So I think Porco Rosso changed remained a pig, but they ended up with Gina. Interesting. You're welcome.

32:34KT: And you know what the great thing is about Miyazaki films is, you you can talk about different directors and what they pull on. But in regards to Miyazaki, I would say 90% of of my experience is emotion. I could like, we can sit here and discuss, not necessarily analyze, but I feel like a lot of what we're saying is our emotional resonance. Yeah. Because by god, there is a lot. And that's exactly it. And that's a long way to say, friends and lovers, everything we say is valid because it's fucking emotions. It's

33:15KT: interesting. It's interesting. I think oh, I don't know. I I wanna believe that there is a world that exists where Gina and Porco are together. A lot of the time when it comes to Miyazaki films and there are spells like Howl's Moving Castle with Sophie as well, It is more about them whether it is within their own volition or it's been forced upon them. The spell is more to do with qualms, some might say foundational qualms that they need to reconcile within themselves. Yeah. If Porco

33:55KT: Marco is at a point that he is ready to receive love, then I would believe that spell would be broken. Let's talk about it. Let's talk about this spell in a bit more detail. So he was a fighter jet. Is that the right term? Mhmm. He flew planes and he was in the war. Whether that's a fighter jet or not, come and fight us. But he was he was flying as a pilot in the war. So, you know, he had seen the atrocities of war and he had lost people. Let's theorize, conspiriting or not,

34:31KT: conspirited away. I saw that coming. I will get my fucking writer's credit.

34:38Oti: Oh, dear lord.

34:38KT: Who's to say I'm not KT Miyazaki?

34:38Oti: There's so much fucking obvious jokes, mate. You should run for SNL.

34:45KT: Boom. Better than Mad TV.

34:49Oti: Okay, Dash Point o. Wow. Really?

34:52KT: Okay, James Corden. Now you're taking it too far. You defiled this episode. You really defiled this episode. We were building a beautiful tapestry. And you fucked it up.

35:04Oti: Alright. Let's continue building on the tapestry.

35:08KT: You're worse than you're worse than the pirates. Oh, we need to talk about them, but we're not gonna talk about them now. So let's talk about the Let's theorize, conspirited away or arise, how that spell came to be. Because I've got a fair and as KT Miyazaki, I feel like I'm spot on.

35:08Oti: Alright. So do you want me to go first?

35:08KT: Of course. It's always good to bring the wrong answers out first. Alright. Actually, let's let's digress for a second. Yeah. In school,

35:43KT: when the teacher was asking someone, let's say a mathematical equation Yeah. And they were asking someone to answer Yeah. Would you be the kid putting your hand up?

35:43Oti: No. I'll be the kid telling the other kids the answer.

35:43KT: I say it a lot, friends and lovers. What's the number one rule? Self awareness is Key. Yes. Yeah. That's why I said something about it. Go out and spank yourself in the hall because I'm not doing it today.

36:11Oti: Yeah. I I always never teacher's pet.

36:11KT: Why you?

36:11Oti: No. Something about his

36:17KT: screams naughty. Well, between you and I, but that's not the school context.

36:22Oti: So here's my theory as to why he turned into a pig.

36:22KT: Oh, finally. Okay.

36:28Oti: So

36:31Oti: he sees his friends, his three friends die. Mhmm. Right? And then he survives. He's disillusioned with the fascist government. Yep. He's disillusioned by the fact that he participated in that victory. Mhmm. He has a lot of guilt.

36:48KT: Mhmm.

36:49Oti: And I think he doesn't look at himself in the best of light. Yep. And that's why he pulls away from society. Mhmm. He keeps everyone at arms reach.

37:01KT: I agree. Yep.

37:02Oti: The one person that loves him in Gina, he doesn't really want to express or to show or to say anything emotional towards her. And the fact that he only visits her when she's performing says everything because he knows he doesn't want any sort of emotion underlying emotion to kind of cloud his his guilt or underlying or he feels like he wants to to to to punish himself. Mhmm. So his hatred for himself and his guilt of himself turns him into a pig. So the way he views himself in inwards and his emotional state

37:45Oti: kind of just transpires and he becomes a pig.

37:50KT: Damn, dog. I don't even need to be on this podcast. Like, I agree with everything you said. What I will, I guess, unzip and flop on the table is another element of that spell. Do you think him being a pig had anything to do with him turning his back on the government. I guess it's a particular perspective, turning his back on the government and becoming a full on bounty hunter. Do you think the spell had anything to do with that? Or it was more his inability

38:26KT: to love which equated from his lack of self worth?

38:31Oti: I think it was more geared towards I think he turned into a pig before he became a bounty hunter. I think he turned into a pig immediately after the war.

38:31KT: Oh, so it's not a question of what, but when?

38:43Oti: Yes.

38:45Oti: So I think once he turned into that and he felt the way he felt towards the government, there was no way he was ever going to either become a pirate because that's just he's not that. He's not a bad person.

38:58KT: Uh-huh.

38:58Oti: And the bounty a bounty hunter was all he could be.

38:58KT: But to be fair, the pirates were so lovable in this film. Yeah. The pirates are so lovable. More lovable than Jack Sparrow. Yeah. Yep. For sure. It was they they were harmless. Like, that that wasn't the intention of this film. But that that is very interesting. I also believe that the spell was very introspective. Not to say that he's a witch and he put it on himself, but I do feel like it is a lot about how he felt about himself Yeah.

39:31KT: And just shutting himself off. So I definitely agree pretty much on all fronts in regards to that. Actually, that brings me to a scene in the film. I think it was right after his plane got damaged and then he went to go and source bullets. And the kid that was selling him bullets was like, do you want these ones with spikes? Do you want these ones that do this, this? I'm not a bullet guy. So don't come for me, yeah. But he was naming

39:59KT: all of the malicious things that the bullets can do and Porco is like, mate, this isn't a war. Right? And the older shopkeep, I think he referred to himself as a mole, he he made a comment about the difference between a soldier at war and a bounty hunter. Mhmm. And the themes that they were talking about was quite interesting as well.

40:26Oti: Yeah. They really were. And I think tying the bullets into when he was actually inspecting all the bullets when Fio was sleeping Mhmm. I think just to make sure nothing was there too lethal and he got actually what he wanted to get Mhmm. Kind of showed his humanity and his self sort of worth in it in terms of how he is a good person intrinsically.

40:54KT: I I needed zero. I needed zero time to emotionally invest myself in Porco. Yeah. There were many examples to show his humanity because he was very gruff. You know? He was like, I'm I don't need to talk to you. I don't need to have friends. He was very Clint Eastwood about it. But I saw I saw through that, and I saw the humanity in Porco quite early. Yeah. And and that's interestingly,

41:19Oti: that's the point where Fio saw Porco Rosso's true form in Marco

41:25KT: just for a second. On the beach which is based on a real beach in Croatia.

41:31Oti: V. And it's just

41:34KT: Actually, let's talk about that. Why do you think the this the spell was lifted at that point? Because he was still polishing bullets. Like, it's it's not like he was, like, crocheting something.

41:49Oti: I think it was just more of a vulnerability in the moment. A moment where he saw that the future wasn't as bleak as he thought he was. A moment where he realized that Fio is the future, and if there's someone like Fio who is capable, loving, understanding, and can and clever, you know, it's not all going down in the drain. Yeah. Which I think is what Fio presented.

42:17KT: I have another olive branch for you, Oti. It is I'm not going to say which Miyazaki films, but it is a very common sort of theme where people let their guard down and that's usually where the spell disenchants itself. Yeah. At least momentarily. So I think even though he was polishing bullets, it really was the time where he wasn't on. You know what I mean? He was on that secluded deserted island, Fio was sleeping.

42:52Oti: He was just within his own thoughts. His guard was down so to say.

42:56KT: I'm pretty sure I said that thirty seconds ago. Not those words exactly, mate. Wow. You really would have fit well in Porco Rosso.

43:03Oti: Yeah. I'm Piccolo, mate.

43:07KT: I don't don't see I wouldn't even call it sexism, but I don't see Porco in particular. I don't see his attitude towards Fio as anything malicious.

43:19Oti: No. It wasn't anything malicious. I think he he saw he saw himself in Fio when

43:19KT: No. But he he would make comments.

43:28KT: He would make comments about like he I think when she was sketching all night and he's like, you should get some rest because if you're building this thing, want you to be well rested and you'll also look better. Like, I actually didn't see that as malicious at all. I think he was just from a different time. I don't know because people get angry over everything. Yeah. And you know, I don't I don't necessarily think that it hasn't aged well. I think it's fine. Sometimes you just have grumpy people from an older generation.

44:02Oti: Yeah. The world wasn't all perfect and PC so Yeah. Right?

44:07KT: So it's not like he went to war so he can say whatever he says, but I don't think his comments towards Fio, like, reflects how he feels about women overall. No. Because but you know what I mean, Oti. Like, there are wankers out there that will try and draw that. I know. I know. And just let Miyazaki draw. No one else should be drawing. Really. So let's go back to the spell. I I understand what you're saying. I think he might have turned into a pig right after that fiasco. There's a reference.

44:38KT: Probably not one I wanna have. It's a fiasco. There you go. If you if you can't connect the dots from there, then there's nothing else to say. But it was a very interesting sort of thing because when it came to seeing Marco, like in the time of the narrative, not flashbacks, it was through Fio. And he mentioned it, I think in that actual in that same scene earlier in the day where he said, you know what? Maybe the world isn't all bad. And

45:13KT: he was saying that in reference to Fio. Yeah. Right? She was like this cute little puppy dog that kept him going. You know what I mean? So, you know, his attitude towards the goodness of the world was framed within him meeting Fio.

45:28Oti: Yeah. For sure. And and it's one of those things that I think he needed other time in his life.

45:37KT: But I think it's quite key that the I'm pretty sure I counted two moments where his face was human. It was when she was sleeping and it was also when she said bye to him. So if we were to go off that, both examples where we got to witness him being a human, well, that last one we didn't, but where he had a human face was when was influenced by Fio. Yeah. Which which kind of interweaves into his relationship with Gina because you would think

46:10KT: that because you knew deep down that Porco loved Gina. Yeah. Right? So you would think that Gina would be the one to undo that spell. I have a fairer. Mhmm. It's all about fairers. What what do you think about the fact that the spell becomes disenchanted via Fio as opposed to Gina?

46:32Oti: Because in as much as he loves Gina, Fio kind of lifts the lid off his disillusionment with the world, and I think that's more why he's even a pig in the first place.

46:32KT: No. But what I'm saying is anyone could've lifted the lid. Not like Fio was the one to do it.

46:32Oti: No. Because Fio is different. Fio is is as ambitious as he was. He's she's intelligent. She's She's got gumption. So it wouldn't be just anyone compared to the fact that the people we met and saw that

47:04Oti: Porco Rosso interacted with, no one near Fio.

47:09KT: But I feel like Gina could have. She definitely could have, but I think this is a great sort of case study in regards to, hello. I think this is a great case study in regards to human nature because Gina definitely could have been the one to lift the lid but we as humans, sometimes it's who we let in. And I think there was too much history. I think there was too much pain between Porco and also Gina because her latest husband was his best friend. Right?

47:45KT: So I feel like there was too much history there. There was too much pain there for her to be the one to lift the lid. Yeah. For sure. But if Porco let her in, she could have done it definitely.

47:59Oti: I don't think she could have done it. Just barely sold on the fact that you've just said right now. Too much history. There's no way that goes.

48:05KT: Well, there's history and there's her as a person, but her as a person definitely could've lifted the lid. Not not because because the history is still there.

48:14Oti: With disillusionment, the person that you already know is rarely the person that is able to get you out of that state. Mhmm. Because let me just take this into a more realistic kind of view. Okay. With politicians, you'll be disillusioned with them all. Mhmm. And regardless of what they say, you just know they're lying because of their history.

48:37Oti: Uh-huh. So nothing they say will lift you off the funk. Okay. Unless someone new comes, someone fresh, someone with new ideas, someone that's they're saying the same thing. Sometimes you just need someone else. Need someone new to get you off that funk. And I think this is the same thing that happens with Porco. There's just too much history with Gina and and to be able to do that. Even if even if love, you'd think, cure us all, it doesn't. Mhmm. Especially when it comes to

49:05Oti: the guilt that he feels and the fact that Gina was with, I think, pretty much the three of the friends before, and they all died. Come on. I just don't think it really ever was, like, the fact that she could do it, even if the love was there. Porco needed fresh a fresh face, a fresh eyes to believe that the world isn't going to shit, to believe that the fascism

49:30KT: Someone that wasn't jaded by the world. Exactly.

49:33Oti: Someone who still had hopes of a better future, hopes of making something better of themselves.

49:39KT: And we talk about frame of reference a lot in our podcast because, again, if you think you can watch something and your nature nurture experiences don't influence that, then again, there are some qualms you need to reconcile within yourself. But I think it's interesting that the device that you use to, you know, explain Gina and Porco and also Fio was politicians. I think I think that says a lot about Oti. But it's interesting. It's interesting that that was a way that you and I get it. Like, I understand exactly,

50:19KT: and you definitely got your point across, but I just thought it was interesting that you went to politics to further exemplify the point.

50:27Oti: Because part of the time is what was happening in the world and this because we you said at the start of this, this is one of the Miyazaki movies where it actually has like a timeline in real life that it happened. Mhmm. And that's right after the first world war. Yep. So in that, a lot of politics

50:46Oti: was being played at that time. So it's not completely left field or me trying to conjure an example out of something that is completely unrelatable with the film because the policies of the time didn't really affected Porco Rosso after the fact. So we can probably tie the two in together as well.

51:05KT: So there you have it friends and lovers. My default is sexual shit and Oti's default is corrupt politicians. Nothing better. Choose the flavoring of reference you prefer. But it it even now, it's generating such a discussion and it is just as tantalizing as watching the film. Yeah. And like you said, there wasn't a complete resolve to what we have. But what it leads into is continual discussion in regards to the themes that are explored and in some cases aren't explored as well. And while you were talking,

51:48KT: I would call back to earlier in the episode where you talked about whether Gina and Porco ended up together. Mhmm. The romanticism in us would say, yes, yes, a thousand times yes. However, based on what you were just saying right now, I don't think that they did get together. Why is that? Let's let's explore this because what you were saying was you can have the same person, you know, in your example, same politician telling you something but because you're so disillusioned, you can't accept that. Right? So maybe that was with Gina as well.

52:34KT: Maybe he didn't open himself up to love in that aspect. It would be nice to think that they're together and they're happy and they're in love. But again, I I take you back to the point of Fio saying that she sees Gina all the time.

52:34Oti: Oh.

52:34KT: Maybe they didn't.

52:34Oti: Fuck, man. This is this is this is bloody grim. Okay. Okay. Here here here's a nugget for you then.

52:57Oti: During the movie Mhmm. And when Porco was fighting with Curtis Yep. We come to see that Porco really didn't think that Gina would ever see him romantically. Oh, yes. And when Curtis said that Gina actually loves you, he was like he'd seen a ghost. It was out of well,

53:17KT: Curtis said it out of frustration, and this just shows I'm a vengeful motherfucker. Because if someone told me that they love someone else, I would not tell that someone else. I would. But, yeah, like, after they'd already finished their mission and whatever,

53:30Oti: I I really do think that he flew away somewhere and Gina did track him down. And maybe just Gina didn't tell

53:30KT: But that's more what you want to feel. I don't think that's what actually happened.

53:42KT: I don't think that Porco has shut himself off completely. I think he I think that he is okay with expressing love, but he's not okay with receiving love. Because if you saw in that scene with Curtis and also Gina when they're in her garden, he came by in his plane and he did his loop de loops for her. And then Fio was like, what are you doing? I hit my head when we were going through the spins. And Porco is like, I was just saying hello.

54:12KT: Right? So I think he knows what it's like to give love. Whether he sees that as important, I think he does. But I don't think he's at least at this point, I don't think he's ready to receive love. And that's what Gina was offering.

54:27Oti: Yeah. I think by the end of it, he was ready to receive love wholly, truly, just because

54:32KT: Then why wasn't why wasn't Gina the one lifting the spell? This is very interesting.

54:37Oti: Because it comes down to him being disillusioned as the main cause and the guilt being the main reason why he's a pig anyway.

54:46KT: And it has nothing to do with love. That's what I'm saying. One of his best friends, and Miyazaki named a lot of the pilots after famous Italian pilots. But that's what I'm saying. That was his best friend's widower or widow. Widower is a man. Right? Widow. So obviously, it's not easy to accept that love. So it's like you're conflicted as well because you said that he couldn't receive that message and we didn't see the spell disenchanted with Gina but then somehow miraculously they ended up happy in love.

55:15Oti: Because I think it's not as black and white as you want to paint it out as.

55:15KT: No. But how does it is do they just go behind a magic screen and it's all fixed?

55:15Oti: Not that it's all fixed. Of course, Porco will always have this guilt and whatever. It's just down to him never realizing that Gina actually had feelings for him and him realizing

55:37Oti: all along. Because when he was doing the loop de loops in the air and Gina was standing in the garden, it wasn't just a random loop de loop because it's what exactly he was doing with when he was Marco and Gina when they were younger. Mhmm. And that sparked a memory in Gina when you know, to throw us back to when he was doing that. Yeah.

56:00Oti: So, of course, there are feelings there from both sides. And the club was named after the plane? Yeah. Oh. So you could see these small nuggets that tell us that these two really do love each other. And on the end of it, him realizing that there's actual love from Gina's side, I really do think they ended up together. Okay. Because they showed an overshot of Gina's garden and Gina wasn't there. Come on, give a guy some hope.

56:26KT: Curtis said something to the effect of, oh, a lonely rose growing in the garden. What a fucking creep, man. Yeah. They didn't really specify whether Fio was of age because lots of men's were hitting on her. Curtis in particular, fucking creep.

56:44Oti: No, she wasn't of age, she was 17.

56:48KT: Right? Yeah. Well, there you go. That speaks more to it, doesn't it? But that's what I'm saying because it's like we're talking about, you know, what the situation is but you're like, yeah, they end up together and that's okay. That's so romantic in me. It is. And but that's but that's fine. That's okay. Because again, this is more feeling as opposed to analyzing. Right? Yep. But what a film. What a film indeed. Let's finish off with some characters that we didn't get to touch upon. Grandpa Piccolo.

57:27KT: He's

57:28KT: fun. I liked him. I think he was fun. I think he's if we're talking about a trophy case of friends, I think he's a nice friend to have but he's definitely a friend you need to watch your wallet around. Because you see him sitting there with all of these stacks of money and he was like, oh, this isn't worth the paper it's printed on while he's sitting with this mountain of money.

57:52Oti: Of course, you would say that. And then he's like, oh, you're a bit short on the money, but don't worry. I'll loan you as a friend.

58:01KT: And exactly. That at least he reveals to you the sort of friend that he is. And I I thought it was quite fun where he was like, don't touch my granddaughter as well. But, you know, he really let Fio fly. He did grandpa Piccolo did make a comment about how Fio has something that her sons don't have, but then he didn't finish the sentence. So maybe he doesn't have brains either. I'm assuming that's that was the missing element. It was nice it was nice to see the factory of women

58:40KT: making all of the planes and then scoping out all of the spies Yeah. As well. That was a nice moment. Let's talk about the pirates.

58:49Oti: Oh, the pirates. And here's here's the thing because we went back to when we finished the movie, we went back and played the pirate scene where they were in Croatia at the beach Uh-huh. And Fio was trying to talk to the pirates to let them off Yep. To make the bet. He said Let them off. Not get them off. Yes. Yeah. And that conversation was quite fun. Yeah. And it was all happy and groovy, and you could tell the expressionism.

59:17Oti: And that's why I love the Japanese language so much. Mhmm. The emotions just flow. It's all fun when it's fun. And then when you played it with in the English version, it just sounded so fucking lame. I don't know. Maybe it's some biases in me that the Japanese version just sounded way better and more fun. I made the pirates more likable in my opinion.

59:41KT: Yeah. Right? Yeah. I think this is the best way I can describe Japanese subs as opposed to English subs. And you're not wrong either because this isn't even set in Japan but like you said, there is a richness and the best sort of imagery that I can compare it to is just talking normally is an English dub. Walking into a cave and hearing the voice vibrate into different sections of that cave is Japanese voice acting. You hear so much dynamic marking. That's a Naruto reference. Tweet us the character if you know.

60:27KT: But you know what I mean? Like, there's so much depth and we talk about subs versus dubs a lot. And we we do make jokes about shunning dubs,

60:38Oti: but, you know, it it's to get people into exploring things that they would never do before. Yeah. And it's it's one of the binge of problems in the film industry at the moment because they're trying to redo a lot of subtitled or, like, international films that are not in English natively into some English versions. And I think we're watching the Golden Globes and the director yeah. For He said, once you overcome the one inch tall barrier of subtitles, you'll come to experience so much more. And it's just true. Yeah. It's just true.

61:12KT: But like why can't you enjoy something if it's completely foreign, if you'll pardon the word, to your own frame reference. I think it's different for me because again, we do talk about frame of reference a lot. I am a Polynesian woman in Australia. So 99.9% of the shit that I watch doesn't have my face represented there. Yeah. So I think maybe it makes it easier for me to, by default, not expect characters that I automatically, by default, resonate with because they are me.

61:52KT: It's interesting. It's interesting. And I guess maybe one of these days it could be like a Patreon open kimono if you're nasty where we can explore that. But it it definitely is it. Like, I don't care if my face isn't in something. Mhmm. What I look for, what I gravitate to, what I spend my emotional investment on is characters that have depth. Characters that have it doesn't even need to be universal themes, but characters that have a good standing of who they are

62:30KT: and where they fit in the world that they exist in. Yeah. And Porco is a perfect example of that. Because he was a great guy. Like you said, even when he was fighting with Curtis, you know, even the crowd was like, why isn't like, is his gun jammed? Why isn't he shooting at him? Because it wasn't necessary. Yeah. Even one of the pirates was like, forget about sportsmanship and just shoot him. Yeah. I also going back to the pirates, when they had between Curtis and Porco in the final scenes where they were going to,

63:07KT: you know, race together, someone in the crowd got angry at the pirate and was like, enough of the speeches. We came here for a dog fight. So then they started shooting at the audience. And it's like, well, there's your fucking dogfight there. Yeah. You dickhead. Yeah. That's that's one way to handle hecklers. Mhmm. Right? We talked a bit about Curtis. Is there anything else you wanna say about him?

63:32Oti: No. No. I'm glad that he ended up as a as a Hollywood superstar.

63:37KT: Right. He he's definitely the type. He is the type.

63:41Oti: And, of course, he had skills. Like, he was a really good pilot, and Porco admitted it as much in the first scene. Oh, yes. We saw him fly. Yeah. Oh, yes.

63:52KT: Another character that we didn't really get to that I just wanna spend a bit of time talking about was Ferrarin, the friend.

64:00Oti: Yeah. He's he was really good for Porco even though he wanted Porco back into the military. Mhmm. He still understood and respected his decision not to. But he helped him a lot. Yeah. And he helped him a lot. He did really did. And it's just I think all of us aspire to have friends like that.

64:20KT: Yeah. Whether it's Ferrarin in Porco Rosso or it's Reginald in Archer.

64:25Oti: Oh, it's Kuririn in Dragon Ball. Kuririn. Yeah. I thought you'd go with that. Nah, man.

64:33KT: I don't need a Kuririn. I've got Oti Kuririn in my life. And this the English version called him what? Krillin?

64:40Oti: Krillin. Krillin. Oh, fuck off. Krillin.

64:44KT: That that was a nice old man Logan.

64:46Oti: Yeah. Fuck off. Fuck off.

64:51KT: Oh, but what a film. Thank you for continuing along with this episode with us, friends and lovers. Also, please let us know if you came across Porco Rosso before all of the other films or even if you chose to listen to this episode before all of the other ones. Yeah. Again, I never ever want to rank Miyazaki films. I think they are all great. Oh, but this is I'm glad we covered this because and it deserves all of the hype. You know, Spirited Away and also Howl's Moving Castle and even Princess Mononoke as well.

65:36KT: But I'm glad we got to cover this film. Yeah. Me too. And if if by in some way we introduced Porco Rosso not introduce, but we encourage you guys to watch the film and you enjoyed it, please let us know. We would love to continue the discussion with you guys after as well. For sure. So usually Oti, this is where we would implore you guys for some further watching in the segment we call For Your Reference. However, this is a tantalizing holiday special. So every film that we're covering is a Miyazaki film. Mhmm.

66:18KT: So they're all kind of a box set reference special.

66:22Oti: Yeah. Watch a Miyazaki movie as your reference.

66:26KT: And try try ones you haven't tried before. Yeah.

66:29Oti: Expand your your your your world. Delve into the world of Studio Ghibli even if it's not a Miyazaki movie, and you will fall in love. Yeah. Especially Ponyo because Tina Fey is in the English dub. Skip the dub. Skip the dub.

66:44KT: I'll dub you in a second. Good. Okay. We'll all agree. The court is adjourned, your honor. On Twitter and Instagram, we are for your ref pod. You can write us an email at hello@fyrpodcast.com. We're also on Patreon, guys. We need to pay for these Mai Tais. Oh, for sure. And we'll see you guys next week.

67:03Oti: See you. Bye.