Ed Gamble

Almost immediately.

Someone started writing and went, don't even finish writing.

Really, really excited.

I've seen a few people see it now.

It was the first time I'd seen the finished movie with an audience in London, which is a bit of a risk because everyone's scared of British audiences because we have a reputation for being emotionally restrained.

But the joy of this screening was that I think because we are notionally restrained, when people give us an excuse to express ourselves, we go nuts.

We're always looking for an excuse to open the gates and go, I have feelings!

And then go back to zipping up the upper lip or whatever it is that we do.

So no, people had a really, really great time.

I think low-key, I think that the world is a little bit depressed.

It's pushing it, but it's a little rough out there in the world.

And the idea of having places to go where it's like...

I do believe in reflecting the world as it is, but I also believe in reflecting the world as it could be.

And I think that realism can straddle both lines of that line.

And I think this is the type of movie that does that.

It's the idea of, I think I've been saying to a couple of people, it's not like The Princess Bride, like Tuscany is real.

You can leave the cinema and buy a ticket and actually go, and it does look like that.

Like, we went out there, we shot in Tuscany, and you wake up every morning and it looks like it's not real.

There's a painting outside your window.

You run through the rolling golden fields.