brake alert: Don’t read if you haven’t watched the sixth episode of season one of “The White Lotus,” titled “Departure.”
The White Lotus begins loading a coffin onto a plane but does not address the looming death of the series until the final episode.
When he learns he’s about to be fired from his job as a hotel manager, a binge of drug dealers and poachers Armond (Murray Bartlett) goes to the pineapple suite, which is finally abandoned to “chosen baby” Shane (Jake Lacy), who is downstairs winding up Roaring honeymoon. Armond enters the suite, peeks and quickly unbuttons his pants to defecate in Shane’s open bag.
“It’s a strange combination of Armond being out of his mind but also deeply rooted in his power,” Bartlett says.
Pairing a nude Bartlett with the cinematic score of Cristobal Tapia de Veer, the scene is stunningly portrayed. But before the viewer has time to comprehend what happened, Shane enters the room and Armmond retreats into a closet. When Shane notices “turd” in his bags, Armond tries to escape. Shane hears a noise, picks up a pineapple knife, heads toward the bathroom, turns a corner and plunges a knife into Armond, who then bleeds into the bathtub.
Mike White
Creator, Director, Writer
“I’m not a scatter person, nor do I try to push envelopes in that particular graphical way. But it feels just right because it better expresses how successful Armond has been. Seeing him take the shit in this sanitized hotel with perfect production design perfectly captures his feelings for the service industry and these guests. It’s a transformation About all these beautiful people in this beautiful place. Our choices for scenery were limited to the layout of the different rooms at the Four Seasons Hotel Maui. We found this room with a strange layout because you can see the bathroom from the bedroom. I thought, “If we do this right, there might be a way We can show this incident, the murder, whatever it is, from both perspectives.” So we decided to portray it from the two characters’ point of view, which gave us options in the mod.”
Murray Bartlett
the actor
“We did a lot of coverage of that scene—there were shots of my face and shots of me sitting on the bag. We also shot wide shots, but Mike said, “Don’t worry, we’ll never use wide shots.” He called me the day the last episode aired and said Lee, “Did you see it right? I feel very bad.’ A lot of it is one long shot of me sitting on my suitcase doing my things, which is the perfect shot to obviously use, but Mike was kind of nervous about it. It has been designed with great care. Shane and I walked out of the closet, then went back to the hallway, so I have to go back to the closet. It’s that kind of physical comedy. We had a stunt guy who fell back in the shower. We wanted Armond’s last moment to be somewhat ambiguous–there’s the horror, obviously, of being stabbed in the chest, but there’s also some comfort and perverted humor in it.”
Jake Lacey
the actor
“When we started filming, I had Shane myopia, and Mike was very helpful being like, ‘This is just a guy trying to have a nice honeymoon, and things are getting in the way. In essence, Shane thinks he’s a good guy, but the script and his actions tell a different story. At this point, his wife doesn’t want any part of him. She’s got her own room, and he’s been drinking for an hour. So going upstairs and finding dirt in His suitcase is the last straw, like “What is this cosmic joke on me?” There’s a lot of self-pity, anger, and unfulfilled expectations. One of the perks of filming in the same hotel for three months is that we got access to that room, and they can plan on it – it’s not It’s like we got there in the day and they were saying, ‘Oh, we didn’t realize there was a wall in here. But at the same time, this bathroom is full of mirrors. They had to find ways to shoot so that no one would see the camera while we were shooting.'”
John Valerio
editor
“The biggest choice we made and the impact of defecation in the bag scene was to cut the scene two episodes before that where Armund Belinda tells a story about a weary hotel guest from his past, who pushed him to breaking point while still being used, and how he snuck into the guest room and took dirt in a bag her Louis Vuitton. Now, if this scene stays, our defecation in the bag scene becomes something completely different. This shocking thing no longer happens. Both versions were so effective, they just became Mike’s favourite. In the original editor’s story, I decided not to show defecation. This close-up on Murray’s face is so expressive and perfect…holding on this says it all. Mike watched it and immediately asked me where the wide shot of poo was. I said, “Wait, do you really want to see that?!” (For the final cut, I was told that Our sound effects artist David Van Dyke took various shots of his dog defecating and superimposed that with Murray squatting on the bag.) As much as possible, we made it sound as if the voyeuristic viewer, physically in that room, watching it all unfold tragically. Blocking this scene is great. The less intrusive you are, u I found it more real, tense and tragic. I’ve let all of Jake and Murray’s emotional and frightening moves play out as best I can, all the while keeping their perspectives balanced. I think it was important to show this tragedy from an equal character perspective. The entire series was a set, objectively depicting each character’s point of view without the need for a dog in the fight. This voyeuristic element was spiraling throughout the scene to the extreme, when you watch both sides of the wall, both characters are crawling toward their destiny.”
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