"Sex is a conversation carried out by other means. If you get on well out of bed, half the problems of bed are solved"
About this Quote
Ustinov turns sex into dialogue, and in doing so he drains it of mystique without draining it of charge. “A conversation carried out by other means” is a sly reframing: the body becomes a language, with timing, listening, misread signals, and the occasional monologue disguised as intimacy. It’s funny because it’s deflationary - sex, that supposedly transcendent act, reduced to a familiar social skill. It’s also generous. If sex is communication, then “good” sex isn’t a performance review; it’s mutual comprehension.
The second line delivers the seasoned actor’s pragmatism. “If you get on well out of bed” treats compatibility as something you can test in daylight: how two people handle boredom, conflict, kindness, and small negotiations. Ustinov’s subtext is that libido doesn’t compensate for contempt or chronic misunderstanding. Emotional fluency does a surprising amount of work once the door closes. Half the “problems of bed” - anxiety, resentment, power games, mismatched expectations - are really problems of speech and attention.
Context matters: Ustinov was a public raconteur and a professional reader of people. Actors survive by detecting subtext, by noticing what’s being communicated underneath the lines. He’s applying that craft to intimacy: the erotic isn’t separate from the relational; it’s the same scene played in a different register. The wit softens the advice, but the intent is clear-eyed: if you can talk, you can touch. If you can’t, touch won’t save you.
The second line delivers the seasoned actor’s pragmatism. “If you get on well out of bed” treats compatibility as something you can test in daylight: how two people handle boredom, conflict, kindness, and small negotiations. Ustinov’s subtext is that libido doesn’t compensate for contempt or chronic misunderstanding. Emotional fluency does a surprising amount of work once the door closes. Half the “problems of bed” - anxiety, resentment, power games, mismatched expectations - are really problems of speech and attention.
Context matters: Ustinov was a public raconteur and a professional reader of people. Actors survive by detecting subtext, by noticing what’s being communicated underneath the lines. He’s applying that craft to intimacy: the erotic isn’t separate from the relational; it’s the same scene played in a different register. The wit softens the advice, but the intent is clear-eyed: if you can talk, you can touch. If you can’t, touch won’t save you.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Help us find the source |
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