People Who Knew Me - Intimacy: 3. Note To Self, Find Sharks

Episode Date: July 29, 2026

Liza works with the crew to build a safe space for intimate scenes. Gary appears supportive, but over dinner he reveals a very different set of expectations.In 'Intimacy' Episode 3: Lena Headey as Liza Maisie Williams as Bunny Thaddea Graham as Kate Tom Goodman-Hill as Gary Matthew Broome as Alex Hannah Waddingham as LouAdditional voices were: Tom Glenister, Mark Kilcawley, James Nicolaou, Paul Panting, Finlay Paul, Nigel Pilkington, Josh, Singh Sian, Sam Stafford Based on an original idea by: Erika Lust Executive Produced by: Sharon Horgan, Faye Dorn Executive Producer for the BBC: Dylan Haskins Assistant Commissioner for BBC: Lorraine Okuefuna Written, created and directed by: Lena Headey Consultant Audio Director: Celia De Wolff Series Produced by: Emma Morgan Story Produced by: Maddie Beautyman and Megan Heverin Production Manager: Archan Mohile Production Coordinator: Marlene Beauquis Smith Production Runner: Tobias Davies Script Assistants: Liis Miik and Jo Troy Casting Director: Lauren Evans Intimacy Coordinator: Robbie Taylor Hunt Recorded at: Sound Node Sound Designer: Martin Schulz Supervising Sound Editor and Mixer: Daniel Jaramillo Recording Engineers: David Crane and Giancarlo Granata Music and Score composed by: Max Perryment Merman Television Managing Director: Rebecca Parkinson Merman Finance Director: Jackie Sidey Merman Television Head of Production: Amanda Wasey Merman Television Finance Manager: Gemma Wilson Legal and Business Affairs: Mark Rogers and Georges Villeneau Artwork Photography: Stevan Keane Behind the Scenes: Michas Vanni

You're about to listen to Intimacy, the latest series of ARC. This episode contains strong language and sexual content. Intimacy, episode three. The crushing expectation of staying small, eating like a bird, squeezing into baby jeans, the myth that it's a desirable size, wasting energy on trying to shrink. Don't be content in your size 14s because that is. a threat. All right, Bunny.

What's your poison? Can I have five sausages and some of those potatoes? Happy to say this is gloriously ignored by Bunny. Good choice. What? The hash browns. Good choice. I'm getting the same.

Are you going to tell me not to eat it? No, I would never tell you what to eat. There's nothing to do with me. Oh, sorry. Shirley would watch me like a hawk. I think she could weigh me with her eyes. Do you look great eat all the potatoes and sausages? sausages. I saw the location. Bonnie for today I asked him to clear the ground. It was

full of pine needles. The lighting guys have made it really private. It'll just be me and the necessary crew. Nice one. Enjoy breakfast. You too. Right, last orders lovely people, last orders please. Morning Liza. Morning. Oh wow. He is gonna hate this. Why? Feels like an act of rebellion to see an intimacy coordinator actually doing the job, not just kissing his arse and telling Bunny that she'd look better on camera if she skipped lunch. Is she really? Yeah, it's up incoming.

What's this? Eliza asked us to do it. It's not rocket science, dofus. Oh, I've done it before once with the Opals. It makes the light soft and gives the actors a safe space to feel free to explore. God. Oh, you are.

You're good, aren't you? Save us time. Kate, yeah, bring them down as soon as they're out of hair and makeup. Bring me a coffee, please, Kate. Yep. seems pretty happy with that. Swaggering over to the gaffer, pointing up at the light. Let me bad lip read him.

What's that up there? It's a light, Gary. Is it your biggest light? No. Well, go and get it. Bring me the biggest light anyone has ever seen. You take that well? Maybe he appreciates a job well done.

I'll be a close set all day. No one in or out of the after space. Yes, Slicer. You are on the scoreboard. Great day, everyone. Alex, 6 a.m. Pickle. A car sheets will be delivered. I know, be delivered to our rooms.

Tonight. Night, Liza. Night, Alex. Lovely work today. Yeah, felt good. Thanks for that setup. Of course. Liza Simmons, polling first position

to become the actor's favorite. Oh, Liza. You've got dinner in 30 minutes. Oh, fuck. Is there a car? Yes, yes. Jump in this one here. All right, you've got it.

Good luck. Yeah. Calamara. Calamara. Fingers crossed, go get them. Break a leg. Must look into the etymology of those. Let me coin a new one.

Burst an eyeball with your crossed fingers. Just shove it in. Apologise later. Sorry, Gary. I was crossing my fingers and I slipped. You look great with an eye patch. With your eyes open really defeats the purpose of a shower. staring at the tile

we playing the same film he kept the water running thought it would drown my noise my rests in his hands I want to have just one shower without feeling you I think he was supportive

grateful even well I'm told he didn't want to undermine you in front of the crew but that he was furious What? He said you set up a shield? Please make sure no one is crying at the end of the day, but Liza just let him make his film.

The shield? I created a space. I am doing my job. I've got dinner with Gary in five minutes. Good. I'm wearing something nice. I've got my schmooze dress on. Mitch more party.

Soon with a shiny new career. If you play your cards, right. Yeah. Bye. I thought she'd rally. be outraged, come sailing in on a boat, making a wild display of her sisterhood. I thought she'd do that. But 10% commission is worth drowning your morality.

I mean, I'm suffocating mine, so we all have mouths and rent and habits to feed. Shmooze. This is nice. The view is... I mean, look at that. Gorgeous. Wine? Well, healthy.

Thanks. There you look nice. This is old. Why can't women just say thank you? Just chug it, Liza. Thank you. Better. Doesn't it feel good?

Must it take a compliment? Depends who from? Oh, for me, that feels good, no? It feels conditional. Well, I think you look like you made an effort, and I appreciate that. Look at my shirt. No, you look like a denim sausage. It's a nice blue, ocean-y.

Oh, I should invite him snorkeling. Thank you. You're not so hard. Yeah, have some more. Pretty sure they have sharks in Greece. Note to self. Find sharks. Oh, I, I, um, ordered for us, vegan menu.

I don't eat flesh. No, you just tear at it. You know, you made me look like an idiot today, and I don't appreciate that. We're on the same team. You don't need to try and one-up me. I, I was, that was not my intention. Far from it. I was simply doing my job.

Ah, God, less door bitch. Divert. Bread. This bread is so fresh right out of the oven. Liza. Yeah. Don't do anything like that again.

Ever. Give him your best smile. Got it. Here's the thing, Gary, Gaz. Does anyone ever call you that? No. Of course. I didn't want to bring this up

because it could sound weird, but, uh... Fuck. We worked together before a long time ago. Liza, I've worked with a lot of people, remind me. You don't... We did that film in Surrey. It was December, freezing.

I didn't have anywhere to change. You let me use your trailer. That? God, God. What was that called? Edge of day. Oh, God, yes. I've tried to forget I ever made that.

So have I? I can't. Why? You give a terrible performance? I'll have to go back and watch it through my fingers. Oh, you should. You might remember. Remember what?

I stopped acting. I gave up the thing I'd always loved. Because of edge of day. Because of my experience on that job. Just say it, Liza. Let me take this. Of course. Yeah.

I wish I could ruin your life and make mine easier, but here's the truth. To make mine easier, to see this job through, I have to make you look good. To get the leg up I need, to make the life I keep promising, Ruby. I have to play the game. It's never ending. Yes, yes.

Good night. Everything okay? Uh, it's, um, Shirley, she didn't make it. So, job's yours if you want to stay. I mean, it's only meant to be a couple of weeks. You may have other work lined up. I could talk to the producers, maybe find a bit more money. Gary, I'm sorry, we didn't finish the conversation before.

What did you want to tell me? Oh, just that I'd like to stay and finish the job. And this is you? Yeah. Room 37, great view of the car park. Should I come in? I don't... To see your view.

I can get the rum and check. I like the view. Car park is comforting. Oh, I'm tired. All those lentils. You look tired. Get some rest. Yeah. Kate? Hi.

It's 11.30. What do you want? Yeah, sorry. Are you okay? I didn't wake you, did I? No, you did. Don't tell me I look tired. You look haunted. That's poetic. Yeah, um, Gary asked me to give you a script. Congrats, you've made it into the club. Lifetime membership.

Only private club I've ever been allowed into. Oh, the irony. And... What? What is it? Um... Yeah, no, look, I'm sure it's nothing. It's just, I saw Bunny come out of his room just now. It's probably just a meeting, but, you know,

It is late for a meeting. Yeah, anyway, I just thought I'd mention. Cool, good night. Hi. Night, Kate. Do I go and knock on her door, bang on his, demand to know why he's meeting her in his room? No, I know that will not end well for me.

Not my place, not now. Bonnie will be fine. Kate didn't say anything that would suggest otherwise. She wasn't sobbing in the hallway, and women have changed. Bunny is already more savvy than I am now. She's probably in there demanding more money or asking for a later call. Yeah, I am sure she's totally fine, in her room, writing a song about how grass has feelings. I'll just send her.

That was a fast response. You see, she's... Oh, it's you. Shit. In Intimacy Episode 3, Lena Hidi as Liza, Maisie Williams as Bunny, Thaddea Graham as Kate, Tom Goodman Hill as Gary, Matthew Broom as Alex, Hannah Warringham as Lou. Additional voices by Tom Glanister, Mark Kilcali, James Nicolao, Paul Panting, Finley, Nigel Pylkington, Nigel Pylkington, Josh Singh-Sion, Sam Stafford, based on an original idea by Erica Lust, Executive Produced by Sharon Hogan and Faye Dorn. Executive producer for the BBC, Dylan Haskins. Assistant Commissioner for the BBC, Lorraine Mukafuna.

Written, created and directed by Lena Heady. With additional direction by Celia DeWolf. Series produced by Emma Morgan. Story produced by Maddie Biedeman and Megan Heverin. Production manager, Archon Mohele. Production coordinator Marlene Boakie Smith. Production runner, Tobias Davies. Script assistants, Lee Smick and Joe Troyes.

casting director Lauren Evans, intimacy coordinator Robbie Taylor Hunt. Audio production and post-production by Sound Node. Sound designer, Martin Schultz. Supervising sound editor and mixer, Daniel Haram Medeo. Recording engineers, David Crane and Giancarlo Granata. Music and score composed by Max Periment. For a full list of credits, go to the episode description. For further support on any of the issues raised in this series,

go to BBC.com.com.uk forward slash actionline. Intimacy is a Merman Television Scotland production for BBC Sounds.