Lost Highway with David Lowery

[00:00:22] [SPEAKER_03]: We've podcasted before, haven't we?

[00:00:24] [SPEAKER_03]: Keep going.

[00:00:25] [SPEAKER_05]: Hard to do, Blake.

[00:00:27] [SPEAKER_05]: One of the most incredible vocal performances in a movie.

[00:00:30] [SPEAKER_05]: I was a little close.

[00:00:31] [SPEAKER_05]: Yeah, no, you're getting it, but you can't get it because every time you see him in the movie, you're like, I think I know what this guy's gonna sound like and it's not exactly what you think he's gonna sound like.

[00:00:43] [SPEAKER_00]: Have you tried the laugh? It's so hard.

[00:00:45] [SPEAKER_05]: I mean, no.

[00:00:49] [SPEAKER_00]: Like, it's so hard to get that ramp up.

[00:00:52] [SPEAKER_05]: It's like there's just like a baritone like he his voice is kind of wonderful.

[00:00:56] [SPEAKER_05]: Yeah, like you actually it's not like some weird monster voice exactly.

[00:01:01] [SPEAKER_05]: No, and yet it's also so disturbing.

[00:01:03] [SPEAKER_05]: This one must have had a fairly limited budget, right?

[00:01:06] [SPEAKER_05]: 400 million dollars.

[00:01:08] [SPEAKER_02]: No, I'm just saying like Blake must have really done them a major favor by saving them all the hair and makeup time just showing up to set.

[00:01:14] [SPEAKER_02]: Apparently, this movie had a 15 million dollar budget.

[00:01:17] [SPEAKER_02]: I guess that makes sense because it's like entirely French funding though, right?

[00:01:21] [SPEAKER_02]: Well, dig it.

[00:01:22] [SPEAKER_02]: I'm not joking.

[00:01:23] [SPEAKER_02]: Yeah, there's interesting.

[00:01:24] [SPEAKER_02]: I think this movie had no American financing.

[00:01:27] [SPEAKER_00]: I can't imagine it was.

[00:01:28] [SPEAKER_00]: It was an easy sell in the US of A.

[00:01:30] [SPEAKER_00]: It was the short lived Shibby.

[00:01:34] [SPEAKER_00]: Yes.

[00:01:34] [SPEAKER_00]: Sibby 2000.

[00:01:35] [SPEAKER_00]: Sibby 2000.

[00:01:36] [SPEAKER_00]: Sibby 2000.

[00:01:37] [SPEAKER_00]: And which reminded me of I remember when you did the Carpenter series and he had that deal with the live pictures.

[00:01:45] [SPEAKER_00]: Yes.

[00:01:45] [SPEAKER_00]: We're like, we'll give you final cut.

[00:01:47] [SPEAKER_00]: Right.

[00:01:47] [SPEAKER_00]: And I think he had a budget cap, but it was like, great.

[00:01:50] [SPEAKER_00]: I'm gonna do a slate of pictures for them.

[00:01:51] [SPEAKER_00]: And so this was the same thing that Alain Giroux, that's the guy's name, who built the channel, I believe.

[00:01:59] [SPEAKER_00]: All by myself.

[00:02:00] [SPEAKER_00]: Yes.

[00:02:00] [SPEAKER_00]: And he was like, now I'm going to move into film.

[00:02:03] [SPEAKER_00]: And he like post Wild at Heart winning the Palme d'Or was like, hey, David Lynch, make whatever you want.

[00:02:10] [SPEAKER_00]: I'll finance it.

[00:02:11] [SPEAKER_00]: And then I think he had died by the time Lost Highway came out and the deal fell apart.

[00:02:16] [SPEAKER_00]: And it was distributed by October here.

[00:02:20] [SPEAKER_00]: One of the greats.

[00:02:21] [SPEAKER_05]: Yeah.

[00:02:21] [SPEAKER_05]: One of the greats.

[00:02:22] [SPEAKER_05]: I mean, truly one of the coolest.

[00:02:23] [SPEAKER_05]: Yes.

[00:02:24] [SPEAKER_05]: October film is one of the coolest distributors ever.

[00:02:26] [SPEAKER_05]: Like if you look at their list of like movies they distributed.

[00:02:29] [SPEAKER_05]: Good name.

[00:02:30] [SPEAKER_05]: Go see all of them.

[00:02:31] [SPEAKER_05]: Yeah.

[00:02:31] [SPEAKER_05]: Basically.

[00:02:32] [SPEAKER_02]: But that's him coming off of a five year gap and all of his films before that gap post Eraserhead were released by major studios.

[00:02:41] [SPEAKER_02]: Right.

[00:02:42] [SPEAKER_02]: Like he was weirdly a major studio guy.

[00:02:44] [SPEAKER_02]: No, because there weren't other things.

[00:02:46] [SPEAKER_00]: Yeah.

[00:02:47] [SPEAKER_00]: They didn't exist.

[00:02:48] [SPEAKER_00]: And Dune notwithstanding, they were, well, it's, it's weird to look back at his filmography and realize like there weren't that many movies in the eighties.

[00:02:56] [SPEAKER_00]: I had in my memory that.

[00:02:58] [SPEAKER_05]: No, it's three movies.

[00:02:59] [SPEAKER_05]: Yeah.

[00:02:59] [SPEAKER_00]: The fire walk with me, which sort of represents a breaking point was like much later in the nineties, but no, that was 92.

[00:03:05] [SPEAKER_00]: Yes.

[00:03:06] [SPEAKER_00]: And, you know, 10 years after Dune.

[00:03:08] [SPEAKER_00]: And so in that run, he had his great heartbreak of Dune.

[00:03:14] [SPEAKER_00]: Yes.

[00:03:14] [SPEAKER_00]: And then his massive success with Blue Velvet.

[00:03:18] [SPEAKER_00]: Twin Peaks, a couple of.

[00:03:20] [SPEAKER_00]: You're forgetting he wins the Palm Door.

[00:03:22] [SPEAKER_00]: Or Wilder Heart.

[00:03:23] [SPEAKER_05]: And then Twin Peaks.

[00:03:24] [SPEAKER_05]: And it's like, is David Lynch like, you know.

[00:03:28] [SPEAKER_05]: He's on the cover of time.

[00:03:29] [SPEAKER_05]: Name stream.

[00:03:29] [SPEAKER_05]: Yeah.

[00:03:30] [SPEAKER_05]: Yeah.

[00:03:30] [SPEAKER_02]: I think, and this speaks to like the exact age we are, David.

[00:03:36] [SPEAKER_02]: But like, I have grown up feeling like it is so strange that Twin Peaks had its moment of being as big as it was that this weirdo guy made a thing that crossed over that much into the mainstream.

[00:03:48] [SPEAKER_02]: But then you step back and you're like, he was ostensibly a mainstream figure up until fire walk with me.

[00:03:56] [SPEAKER_02]: And that is the collapse.

[00:03:57] [SPEAKER_02]: And then people are like, we're over this guy.

[00:04:00] [SPEAKER_02]: And then when he rebuilds himself, he becomes more of a cult object.

[00:04:04] [SPEAKER_02]: Is that fair to say?

[00:04:05] [SPEAKER_02]: I don't know if that's.

[00:04:07] [SPEAKER_02]: He was always a whatever.

[00:04:08] [SPEAKER_00]: We can raise your head.

[00:04:09] [SPEAKER_00]: I mean, a razor head was a cult film.

[00:04:11] [SPEAKER_00]: Right.

[00:04:11] [SPEAKER_00]: He was a guy.

[00:04:13] [SPEAKER_00]: Yes.

[00:04:13] [SPEAKER_00]: But the esteem that was he was greeted with, you know, when he made Elephant Man, all of a sudden he is on a, you know, that movie is nominated for every Oscar.

[00:04:22] [SPEAKER_00]: It's a little like Yorgos.

[00:04:23] [SPEAKER_00]: It's so classy.

[00:04:24] [SPEAKER_05]: Right.

[00:04:25] [SPEAKER_02]: It's a little like Yorgos.

[00:04:26] [SPEAKER_02]: Sure.

[00:04:26] [SPEAKER_02]: It's like, here's the weird guy that the mainstream public has accepted as the one weird guy who gets to operate at a high level with big stars, with real money.

[00:04:37] [SPEAKER_02]: It's fascinating.

[00:04:37] [SPEAKER_02]: I mean, it is.

[00:04:41] [SPEAKER_02]: You're a little bit older than us, David.

[00:04:43] [SPEAKER_02]: Uh, second David.

[00:04:45] [SPEAKER_02]: Wow.

[00:04:46] [SPEAKER_02]: Just calling him out.

[00:04:47] [SPEAKER_02]: Well, no, cause I'm curious.

[00:04:48] [SPEAKER_02]: I didn't have the like, I couldn't live through the perspective of this.

[00:04:53] [SPEAKER_02]: Do you remember feeling in the time between 1992 and 1997 there being an energy of like, is Lynch never going to make another movie again?

[00:05:02] [SPEAKER_02]: No, the energy was he's cooked.

[00:05:04] [SPEAKER_02]: Right.

[00:05:04] [SPEAKER_02]: I'm not that much older than you guys.

[00:05:06] [SPEAKER_00]: I know.

[00:05:06] [SPEAKER_00]: Hang on here.

[00:05:07] [SPEAKER_00]: I'm just looking for a little perspective.

[00:05:09] [SPEAKER_05]: I'm a little too young for it, but I remember that its reputation was when the straight story came out.

[00:05:14] [SPEAKER_05]: So I was, I was old enough then to really be plugged in that.

[00:05:17] [SPEAKER_05]: It was like lost highway though.

[00:05:19] [SPEAKER_05]: That was when Lynch was fucking off the rails.

[00:05:22] [SPEAKER_02]: Like straight story was like, he's over his bullshit.

[00:05:25] [SPEAKER_02]: He's making a real movie again.

[00:05:27] [SPEAKER_02]: Well, straight story was like, he made a little like G rated Disney movie.

[00:05:29] [SPEAKER_05]: Weird thing for him to do the weirdest thing he ever did.

[00:05:32] [SPEAKER_05]: Right.

[00:05:32] [SPEAKER_05]: And it's like that.

[00:05:32] [SPEAKER_05]: It was a, not a comeback tour, but it was kind of like, okay.

[00:05:36] [SPEAKER_05]: But the vibe on lost highway was just like, he's over.

[00:05:39] [SPEAKER_05]: It's really embarrassing.

[00:05:40] [SPEAKER_00]: It's really interesting.

[00:05:42] [SPEAKER_00]: So I'm like a couple of years older than you guys.

[00:05:44] [SPEAKER_00]: So like I was right in the sweet spot for lost highway, which also was my introduction to David Lynch.

[00:05:51] [SPEAKER_00]: That makes sense.

[00:05:52] [SPEAKER_00]: That was the first movie of his I'd seen.

[00:05:54] [SPEAKER_00]: I knew who he was because as a toddler or a small child, I checked out the Dune storybook from the library, which was like the Star Wars storybook.

[00:06:05] [SPEAKER_00]: It was like the pictures, the space adventure.

[00:06:07] [SPEAKER_00]: It's fun for kids.

[00:06:08] [SPEAKER_00]: Yeah. Right.

[00:06:09] [SPEAKER_02]: Was it like a little golden book?

[00:06:10] [SPEAKER_00]: Now I want to look at these illustrations.

[00:06:11] [SPEAKER_00]: It was like a slightly larger one.

[00:06:12] [SPEAKER_00]: It was all photos.

[00:06:13] [SPEAKER_00]: Okay.

[00:06:14] [SPEAKER_00]: Gotcha.

[00:06:14] [SPEAKER_00]: Right.

[00:06:14] [SPEAKER_00]: It's like the Star Wars one.

[00:06:16] [SPEAKER_05]: I have the Star Wars one.

[00:06:17] [SPEAKER_05]: Yeah.

[00:06:17] [SPEAKER_05]: You know, like it's a, you know.

[00:06:19] [SPEAKER_00]: And, and so I, as I also did, would then look up any movie I was interested in, Roger Ebert's movie Home Companion.

[00:06:26] [SPEAKER_00]: Roger Ebert has a famously fraught history with David Lynch, which I'm sure by this point you will have talked about at length.

[00:06:32] [SPEAKER_00]: But his review of Dune was, you know, one star cardboard cutout spaceships.

[00:06:37] [SPEAKER_00]: He really, uh, he really did not like it.

[00:06:40] [SPEAKER_00]: Right, right.

[00:06:41] [SPEAKER_02]: No disrespect to Dune, but the Dune storybook might be the ideal delivery system for David Lynch's Dune.

[00:06:48] [SPEAKER_00]: Maybe.

[00:06:49] [SPEAKER_00]: I've also got, I have the Dune coloring book.

[00:06:51] [SPEAKER_00]: Mm-hmm.

[00:06:51] [SPEAKER_00]: Also very nice.

[00:06:52] [SPEAKER_00]: Oh yes.

[00:06:53] [SPEAKER_00]: Um, all black and white, which was his original plan for that film was to make him black and white.

[00:06:57] [SPEAKER_00]: Um.

[00:06:57] [SPEAKER_00]: Great plan, David.

[00:06:58] [SPEAKER_00]: Wait, which David are we talking, let's make this very clear.

[00:07:01] [SPEAKER_02]: There's a lot of Davids.

[00:07:01] [SPEAKER_02]: We're dealing with three Davids right now in this episode.

[00:07:03] [SPEAKER_02]: I feel like this happened to us last time.

[00:07:04] [SPEAKER_04]: Didn't this happen to us like before?

[00:07:06] [SPEAKER_04]: Every time.

[00:07:06] [SPEAKER_04]: Yeah.

[00:07:06] [SPEAKER_04]: Were we discussing a third David last time?

[00:07:08] [SPEAKER_02]: Must have been.

[00:07:09] [SPEAKER_03]: Well, we had Ben David on the show.

[00:07:11] [SPEAKER_02]: Well, no, I'm not talking about that.

[00:07:12] [SPEAKER_02]: That was kind of confusing.

[00:07:13] [SPEAKER_02]: People furious that we didn't call out the weirdness of Ben David and Ben David.

[00:07:17] [SPEAKER_02]: I called it out very late in the episode.

[00:07:19] [SPEAKER_02]: Okay.

[00:07:19] [SPEAKER_02]: We finally got to it.

[00:07:20] [SPEAKER_05]: I can't remember why we would have been talking about it.

[00:07:22] [SPEAKER_05]: Anyway, yes, there are three Davids in the room right now.

[00:07:24] [SPEAKER_05]: Um, but the Dune coloring book.

[00:07:26] [SPEAKER_05]: Yeah.

[00:07:26] [SPEAKER_00]: I, I, we don't need to talk too much about Dune because you'll have already done a whole episode

[00:07:30] [SPEAKER_00]: on it.

[00:07:30] [SPEAKER_00]: Sure.

[00:07:30] [SPEAKER_00]: I love his Dune.

[00:07:32] [SPEAKER_00]: I think it's a, yeah, a really fascinating movie.

[00:07:34] [SPEAKER_00]: And if you watch the deleted scenes that are on YouTube, you're like, if this was all

[00:07:39] [SPEAKER_00]: in the movie, it would be a much better.

[00:07:41] [SPEAKER_00]: Sure.

[00:07:41] [SPEAKER_00]: The problem with Dune is the yada yada.

[00:07:43] [SPEAKER_00]: It looks incredible.

[00:07:45] [SPEAKER_05]: Anyway, enough about Dune.

[00:07:47] [SPEAKER_05]: But enough about Dune.

[00:07:48] [SPEAKER_00]: I, I became aware of David Lynch because of that.

[00:07:51] [SPEAKER_00]: And then in the early nineties, I think I talked about this on the, maybe it was the, um, the

[00:07:59] [SPEAKER_00]: Demi episode I did where there was an issue of news week that had Hannibal Lecter on the

[00:08:05] [SPEAKER_00]: cover and inside it had a picture of Laura Palmer wrapped in plastic, which terrified

[00:08:08] [SPEAKER_00]: me.

[00:08:09] [SPEAKER_00]: And it was like America's obsession with murder.

[00:08:11] [SPEAKER_00]: Why are we making murder movies?

[00:08:12] [SPEAKER_00]: Yeah.

[00:08:13] [SPEAKER_00]: Okay.

[00:08:13] [SPEAKER_00]: And that picture, I thought it was a severed head.

[00:08:14] [SPEAKER_00]: I also thought it was from the silence of the lambs, but that was sort of like, I became

[00:08:18] [SPEAKER_00]: aware of twin peaks.

[00:08:19] [SPEAKER_00]: It used to be that.

[00:08:20] [SPEAKER_00]: And then my favorite tangent that I will go on here is there was this, my dad brought

[00:08:27] [SPEAKER_00]: home a new PC, like in 1991 that had a CD ROM drive.

[00:08:32] [SPEAKER_00]: And one of the CD ROMs that it came with was Microsoft Cinemania.

[00:08:35] [SPEAKER_06]: Oh yeah.

[00:08:37] [SPEAKER_06]: Have you guys ever?

[00:08:37] [SPEAKER_00]: Yes.

[00:08:38] [SPEAKER_00]: This was incredible.

[00:08:39] [SPEAKER_00]: So it was like IMDB with Wikipedia for movies combined with a database of Roger Ebert and Paul

[00:08:45] [SPEAKER_00]: and Kale reviews.

[00:08:46] [SPEAKER_00]: I think there was some Malton in there.

[00:08:48] [SPEAKER_00]: Yeah.

[00:08:49] [SPEAKER_00]: You had some James Monaco in there.

[00:08:51] [SPEAKER_00]: Okay.

[00:08:52] [SPEAKER_00]: Interesting.

[00:08:53] [SPEAKER_00]: And it also had clips.

[00:08:55] [SPEAKER_00]: And so all of these movies that I would have been not allowed to see or just unaware

[00:09:01] [SPEAKER_00]: of, you could just watch clips that were embedded in the CD ROM.

[00:09:04] [SPEAKER_00]: Yeah.

[00:09:05] [SPEAKER_00]: In that like weird grainy, like early nineties.

[00:09:08] [SPEAKER_00]: Yeah.

[00:09:08] [SPEAKER_00]: And one of them was the opening to blue velvet, which was with the, with the going into the

[00:09:13] [SPEAKER_00]: earth, the guy having the stroke, the sound design in that sequence just like really was

[00:09:18] [SPEAKER_00]: provocative to me, especially as like an 11 year old.

[00:09:21] [SPEAKER_00]: Um, so now David Lynch is someone I'm aware of, but let's cut to 1997.

[00:09:27] [SPEAKER_00]: I now have like a, I, we're gonna have to break this at some point, but I only talk about

[00:09:31] [SPEAKER_00]: movies on this podcast that came out while I was working at a movie theater.

[00:09:35] [SPEAKER_06]: Yeah.

[00:09:35] [SPEAKER_05]: Well, it's, I feel like that's why you are always asking for these movies.

[00:09:40] [SPEAKER_02]: Probably so.

[00:09:40] [SPEAKER_02]: Yeah.

[00:09:40] [SPEAKER_02]: Very formative.

[00:09:41] [SPEAKER_05]: I'm not a lot of time for you.

[00:09:42] [SPEAKER_02]: Exactly.

[00:09:42] [SPEAKER_02]: But this is sort of a guy who's been like lingering over you and you're finally getting to live

[00:09:48] [SPEAKER_00]: through seeing one of his movies.

[00:09:49] [SPEAKER_00]: So I'm, I'm two months into working at the AMC grand in Dallas, Texas.

[00:09:53] [SPEAKER_00]: So cause like, right.

[00:09:54] [SPEAKER_05]: Sleepy Hollow you did.

[00:09:55] [SPEAKER_05]: Uh, this is blank check and Griff will introduce and all that.

[00:09:58] [SPEAKER_05]: And you're David Lowry.

[00:09:59] [SPEAKER_05]: Wait a second.

[00:09:59] [SPEAKER_05]: I'm not doing that.

[00:10:00] [SPEAKER_05]: I'm just saying you're David.

[00:10:01] [SPEAKER_02]: Well now I need to say it.

[00:10:02] [SPEAKER_02]: This blank check, the Griffin, David's podcast about filmography.

[00:10:04] [SPEAKER_02]: I'm Griffin.

[00:10:05] [SPEAKER_02]: It's a podcast about filmography.

[00:10:06] [SPEAKER_02]: He's directors of a massive success early on in the career of St. Griffin series.

[00:10:08] [SPEAKER_02]: Blank checks me could ever create the passion projects they want.

[00:10:10] [SPEAKER_02]: Sometimes that's clear and sometimes they bounce baby.

[00:10:13] [SPEAKER_02]: It's a series on the films of David Lynch.

[00:10:14] [SPEAKER_02]: It's called twin pods, fire cast with me.

[00:10:16] [SPEAKER_02]: Today, our guest returned to the show is David Lowry.

[00:10:19] [SPEAKER_02]: We're talking lost highway.

[00:10:20] [SPEAKER_05]: All right.

[00:10:21] [SPEAKER_05]: You just sleepy hall.

[00:10:21] [SPEAKER_05]: That's 99 truth about Charlie's what?

[00:10:23] [SPEAKER_05]: 2002.

[00:10:24] [SPEAKER_05]: Yes.

[00:10:24] [SPEAKER_05]: 13th warrior is what?

[00:10:26] [SPEAKER_05]: 99, 98 or 99.

[00:10:28] [SPEAKER_05]: 99.

[00:10:28] [SPEAKER_05]: Yeah.

[00:10:29] [SPEAKER_05]: And this is 97.

[00:10:30] [SPEAKER_05]: So what you worked at this theater from like what?

[00:10:32] [SPEAKER_05]: 97 to 2002.

[00:10:34] [SPEAKER_05]: Oh, I'm still working there.

[00:10:35] [SPEAKER_00]: That's my job.

[00:10:36] [SPEAKER_05]: Yeah, of course.

[00:10:37] [SPEAKER_05]: I never, I never, I never.

[00:10:38] [SPEAKER_05]: Your primary.

[00:10:38] [SPEAKER_05]: Gliding up and down on the chair,

[00:10:40] [SPEAKER_00]: the office chair between all the screens.

[00:10:42] [SPEAKER_00]: The, so, so 1990.

[00:10:44] [SPEAKER_00]: So you've just started working.

[00:10:45] [SPEAKER_00]: I turned 16.

[00:10:45] [SPEAKER_00]: I instantly go and get a job at this movie theater.

[00:10:49] [SPEAKER_00]: I want to work my way up to the projection booth.

[00:10:51] [SPEAKER_00]: That will happen in May, but this is February.

[00:10:55] [SPEAKER_00]: And there's a standee, the standee for lost highway, which I wish I had kept because I took

[00:10:59] [SPEAKER_00]: home a lot of standees was an actual road construction sign with the flashing light on

[00:11:04] [SPEAKER_00]: it.

[00:11:04] [SPEAKER_04]: And we had that.

[00:11:05] [SPEAKER_04]: Yeah.

[00:11:06] [SPEAKER_04]: I remember that.

[00:11:07] [SPEAKER_00]: That was a big outlay for October films.

[00:11:09] [SPEAKER_04]: Totally.

[00:11:09] [SPEAKER_04]: Yeah.

[00:11:10] [SPEAKER_02]: They weren't doing a lot of standees.

[00:11:11] [SPEAKER_02]: I imagine.

[00:11:12] [SPEAKER_04]: Do you know how many batteries we're going to have to buy?

[00:11:15] [SPEAKER_02]: Uh, yeah.

[00:11:15] [SPEAKER_02]: Okay.

[00:11:16] [SPEAKER_02]: They had an apostle standee with Robert Duvall waving his arms.

[00:11:19] It could go.

[00:11:20] [SPEAKER_02]: Thank you.

[00:11:21] It would go like this.

[00:11:22] [SPEAKER_04]: Yeah.

[00:11:22] [SPEAKER_04]: It could pull a string.

[00:11:24] [SPEAKER_00]: I want an apostle.

[00:11:25] [SPEAKER_00]: So I'm, I'm working at this movie theater.

[00:11:27] [SPEAKER_00]: I'm coming into my own Gotham.

[00:11:29] [SPEAKER_00]: I'm realizing I've got like some Goth tendencies, big Tim Burton fan.

[00:11:33] [SPEAKER_00]: Sure.

[00:11:34] [SPEAKER_00]: Big fan of the crow.

[00:11:35] [SPEAKER_00]: Mm hmm.

[00:11:36] [SPEAKER_00]: And of course my favorite band in the world, smashing pumpkins, second favorite, David Bowie,

[00:11:41] [SPEAKER_00]: third favorite nine inch nails.

[00:11:43] [SPEAKER_00]: I go sit down in this theater theater 14.

[00:11:46] [SPEAKER_00]: I think it was an employee screening, but I can't remember for sure.

[00:11:50] [SPEAKER_00]: Sure.

[00:11:50] [SPEAKER_00]: Okay.

[00:11:50] [SPEAKER_00]: And the movie starts and boy, does it start?

[00:11:54] [SPEAKER_00]: Mm hmm.

[00:11:55] [SPEAKER_00]: Like it just slams into you with this, the text, the music hearing a Trent Reznor remix

[00:12:01] [SPEAKER_00]: of a David Bowie song.

[00:12:04] [SPEAKER_00]: And I'm like, oh, this is my favorite movie ever.

[00:12:06] [SPEAKER_00]: And probably this is my favorite director of all time.

[00:12:08] [SPEAKER_00]: And it's never going to get better than this moment right now.

[00:12:11] [SPEAKER_00]: Oh yeah, man.

[00:12:13] [SPEAKER_00]: So I just immediately fell in love.

[00:12:14] [SPEAKER_00]: I immediately fell in love.

[00:12:15] [SPEAKER_00]: And the whole movie worked for me on every level.

[00:12:18] [SPEAKER_00]: It would have worked.

[00:12:19] [SPEAKER_00]: They could have done anything at that point from that opening.

[00:12:21] [SPEAKER_00]: It's hard to lose me.

[00:12:22] [SPEAKER_00]: Right.

[00:12:23] [SPEAKER_05]: The rest of the movie is just him like looking at the screen and be like, David Lowry, you,

[00:12:27] [SPEAKER_05]: you suck.

[00:12:28] [SPEAKER_05]: Just him saying that for two hours.

[00:12:30] [SPEAKER_05]: You're like, this is pretty good.

[00:12:31] [SPEAKER_00]: A hundred percent.

[00:12:32] [SPEAKER_00]: Yeah.

[00:12:32] [SPEAKER_00]: And I mean, Ben, did you, have you, have you seen this before?

[00:12:35] [SPEAKER_03]: No, I'd never seen it before.

[00:12:37] [SPEAKER_03]: I fucking loved it.

[00:12:38] [SPEAKER_03]: It's a very Ben movie.

[00:12:39] [SPEAKER_03]: It's a very Ben movie.

[00:12:40] [SPEAKER_03]: Yeah.

[00:12:40] [SPEAKER_03]: I really got locked in on this.

[00:12:42] [SPEAKER_03]: I just love how it's just a bunch of desert scumbags.

[00:12:47] [SPEAKER_00]: You ain't wrong, baby.

[00:12:48] [SPEAKER_00]: Wait, what is, what does Robert Loja say at the end?

[00:12:51] [SPEAKER_00]: What's his final line?

[00:12:53] [SPEAKER_00]: It's something, it's not scumbag.

[00:12:55] [SPEAKER_00]: It's something like that.

[00:12:56] [SPEAKER_03]: And you're right.

[00:12:57] [SPEAKER_03]: The soundtrack is really great.

[00:12:59] [SPEAKER_03]: Hearing of Romstein drop.

[00:13:02] [SPEAKER_03]: Yes.

[00:13:02] [SPEAKER_03]: Like the self titled Romstein song.

[00:13:05] [SPEAKER_03]: Wow.

[00:13:06] [SPEAKER_03]: That's that band really haunted me because of course my last name is Hosley and there

[00:13:11] [SPEAKER_03]: was that popular song of theirs do Hos-t-mish.

[00:13:14] [SPEAKER_03]: Oh.

[00:13:15] [SPEAKER_03]: And that was really, kids would just quote that at my face.

[00:13:18] [SPEAKER_00]: Wait, did you suddenly just accidentally give yourself a nickname for this series?

[00:13:23] [SPEAKER_00]: Do I probably?

[00:13:24] [SPEAKER_00]: Oh, I sure did.

[00:13:25] [SPEAKER_05]: Uh, we can really out ugly them son of a bitches.

[00:13:28] [SPEAKER_05]: I remember that.

[00:13:28] [SPEAKER_05]: That's right.

[00:13:29] [SPEAKER_05]: Some bitches.

[00:13:29] [SPEAKER_05]: Yeah.

[00:13:29] [SPEAKER_05]: Some bitches.

[00:13:30] [SPEAKER_02]: That's sort of one run on board.

[00:13:32] [SPEAKER_02]: Yeah.

[00:13:32] [SPEAKER_02]: It all just comes out.

[00:13:34] [SPEAKER_02]: It is, it is like odd.

[00:13:37] [SPEAKER_02]: It is incongruous to have one David Lynch movie that is so filled with songs of its exact

[00:13:43] [SPEAKER_02]: moment.

[00:13:44] [SPEAKER_02]: Like it feels weird to have a Lynch movie that's like featuring Marilyn Manson and smashing

[00:13:48] [SPEAKER_02]: pumpkins and nine inch nails.

[00:13:50] [SPEAKER_00]: And it doesn't, it's not that it felt like it was shoehorned in there.

[00:13:54] [SPEAKER_00]: Just he had an opportunity to collaborate with artists who happened to fit with his vibe.

[00:14:00] [SPEAKER_00]: That's the phase he was going through.

[00:14:01] [SPEAKER_00]: They all probably were excited to collaborate with him.

[00:14:03] [SPEAKER_02]: Right.

[00:14:04] [SPEAKER_02]: Mainstream music was maybe starting to be invaded by people who were influenced by his work.

[00:14:10] [SPEAKER_02]: Yeah.

[00:14:10] [SPEAKER_02]: You know, like we're tonally.

[00:14:12] [SPEAKER_00]: Yeah.

[00:14:12] [SPEAKER_00]: Yeah.

[00:14:13] [SPEAKER_00]: Yeah.

[00:14:13] [SPEAKER_00]: Yeah.

[00:14:13] [SPEAKER_00]: For sure.

[00:14:14] [SPEAKER_00]: He, he never directed a nine inch nails video, but he could have probably.

[00:14:20] [SPEAKER_00]: Yeah.

[00:14:20] [SPEAKER_00]: How many music videos has he directed?

[00:14:22] [SPEAKER_05]: We do that.

[00:14:23] [SPEAKER_05]: We did the music video for toxic, right?

[00:14:26] [SPEAKER_05]: He did wicked game.

[00:14:28] [SPEAKER_05]: Uh huh.

[00:14:29] [SPEAKER_05]: Uh, he let the dogs out.

[00:14:30] [SPEAKER_05]: Wait a second.

[00:14:31] [SPEAKER_05]: Apparently he did do a nine inch nails video way later though.

[00:14:36] [SPEAKER_05]: Uh, came back haunted in 2013.

[00:14:38] [SPEAKER_00]: Oh, that's from the, yeah.

[00:14:40] [SPEAKER_00]: The much more recent stuff.

[00:14:41] [SPEAKER_00]: And that song is, Oh, is it a video or is it the scene from twin peaks, the return where

[00:14:46] [SPEAKER_00]: nine is is playing in the club, which is a fragmented into a video.

[00:14:50] [SPEAKER_05]: I don't know.

[00:14:51] [SPEAKER_05]: All I know is that it has an epilepsy warning.

[00:14:52] [SPEAKER_05]: Oh, uh, there's also, he did a Moby video that he like animated.

[00:14:58] [SPEAKER_05]: That's like weird drawings of people and the, in skyscrapers.

[00:15:01] [SPEAKER_00]: Anyway, are you going to do a Patreon on dumb land and all of his short films?

[00:15:06] [SPEAKER_00]: We're figuring out what to, there's so much stuff.

[00:15:10] [SPEAKER_00]: David Lynch.com was.

[00:15:11] [SPEAKER_00]: Yeah.

[00:15:11] [SPEAKER_02]: Although they're short.

[00:15:12] [SPEAKER_02]: Larry has his tradition.

[00:15:13] [SPEAKER_02]: We are recording with you like a six months before the episode comes out.

[00:15:18] [SPEAKER_02]: Yes.

[00:15:18] [SPEAKER_02]: We had, we had scheduled this episode before.

[00:15:21] [SPEAKER_02]: Before your last episode had come out.

[00:15:25] [SPEAKER_02]: Yes.

[00:15:26] [SPEAKER_02]: Even though we had been sitting on that one for five months.

[00:15:28] [SPEAKER_02]: Yeah.

[00:15:29] [SPEAKER_02]: Well, welcome back, baby.

[00:15:30] [SPEAKER_02]: Lost highway.

[00:15:31] [SPEAKER_02]: I mean, how could you not do this episode?

[00:15:33] [SPEAKER_00]: Do we need to record like a, a, um, choose your own adventure based on where the world

[00:15:36] [SPEAKER_00]: might be?

[00:15:39] [SPEAKER_05]: Uh, like, Oh, what that this is releasing right after election day.

[00:15:44] [SPEAKER_05]: I don't think.

[00:15:45] [SPEAKER_05]: I don't really want to.

[00:15:46] [SPEAKER_02]: Let's make that really clear.

[00:15:48] [SPEAKER_02]: This episode was recorded many months ago.

[00:15:51] [SPEAKER_05]: Many months ago.

[00:15:52] [SPEAKER_02]: We have no idea.

[00:15:53] [SPEAKER_05]: About a very chill movie.

[00:15:54] [SPEAKER_05]: What things feel like.

[00:15:56] [SPEAKER_05]: With no bad vibes.

[00:15:56] [SPEAKER_02]: In November, 2024.

[00:15:58] [SPEAKER_05]: I was too young to see lost highway in a theater.

[00:16:01] [SPEAKER_05]: I was aware of the film.

[00:16:03] [SPEAKER_05]: Um, I thought, I think I was even interested by it.

[00:16:06] [SPEAKER_05]: Cause I was like, is it about like roads and driving?

[00:16:10] [SPEAKER_05]: Not really.

[00:16:10] [SPEAKER_05]: But that was sort of what the advertising was.

[00:16:13] [SPEAKER_05]: Your excitement with, I don't know, is it about like a map?

[00:16:15] [SPEAKER_05]: I was like, I don't know, is it about like a map?

[00:16:15] [SPEAKER_05]: Yeah, exactly.

[00:16:16] [SPEAKER_05]: Like, is there gonna be like roots in it?

[00:16:17] [SPEAKER_05]: It's a transit movie.

[00:16:19] [SPEAKER_05]: Uh, and then I saw Mulholland Drive when I was 15 years old and it, and it did.

[00:16:23] [SPEAKER_05]: That is, that's, I have that moment with Mulholland Drive.

[00:16:25] [SPEAKER_05]: Mulholland Drive.

[00:16:26] [SPEAKER_05]: And I'm probably, I'm about six years younger than you.

[00:16:28] [SPEAKER_05]: Yeah.

[00:16:28] [SPEAKER_05]: It's the same.

[00:16:28] [SPEAKER_05]: It's the same, it's literally the same thing.

[00:16:30] [SPEAKER_05]: Except that I was less gothy, but Mulholland Drive is less gothy.

[00:16:34] [SPEAKER_05]: It's very much less.

[00:16:34] [SPEAKER_05]: And more like whatever, dreamy or whatever.

[00:16:37] [SPEAKER_05]: Uh, and I watched this movie in college on my 10 inch television that was next to my bed,

[00:16:45] [SPEAKER_05]: wearing headphones, and it scared the bejesus out of me and altered my brain.

[00:16:50] [SPEAKER_05]: That's how I experienced last time.

[00:16:52] [SPEAKER_02]: That was my experience.

[00:16:53] [SPEAKER_02]: College, 10 inch TV, uh, young woman I was possibly dating.

[00:16:57] [SPEAKER_02]: Wow.

[00:16:59] [SPEAKER_02]: I want to be here for Halloween.

[00:17:01] [SPEAKER_00]: Is that cool?

[00:17:01] [SPEAKER_00]: Yeah.

[00:17:02] [SPEAKER_00]: Do you remember if you saw it on VHS or DVD?

[00:17:04] [SPEAKER_05]: It was definitely a DVD.

[00:17:05] [SPEAKER_05]: It was the, the crappy DVD that probably just like loaded the movie without even anything,

[00:17:09] [SPEAKER_05]: you know, happening.

[00:17:11] [SPEAKER_00]: Because this movie's been hard to watch for a long time.

[00:17:14] [SPEAKER_00]: Yeah.

[00:17:15] [SPEAKER_00]: Yes.

[00:17:15] [SPEAKER_00]: And hard to watch in a good, in good quality.

[00:17:17] [SPEAKER_00]: And it is a movie.

[00:17:17] [SPEAKER_05]: Obviously now there's this Criterion release that's very nice.

[00:17:20] [SPEAKER_05]: Okay.

[00:17:20] [SPEAKER_05]: But yeah, but even like.

[00:17:22] [SPEAKER_05]: A long time.

[00:17:22] [SPEAKER_02]: A couple years ago, Kino Lorber put it out on Blu-ray, which was the first time it was

[00:17:26] [SPEAKER_02]: in circulation for a while.

[00:17:27] [SPEAKER_02]: And Lynch came out and was like, don't buy it.

[00:17:31] [SPEAKER_00]: The disc is bullshit.

[00:17:35] [SPEAKER_00]: I've been debating.

[00:17:37] [SPEAKER_00]: Like I've got some, I've got some Lynch quotes that I think are, and I was like, do you do the voice?

[00:17:40] [SPEAKER_00]: We're going to have such a good fucking time.

[00:17:42] [SPEAKER_00]: Oh, you got to do the voice.

[00:17:43] [SPEAKER_03]: That was the first time.

[00:17:45] [SPEAKER_02]: Chronologically for us.

[00:17:45] [SPEAKER_02]: We got to hear the voice.

[00:17:46] [SPEAKER_02]: I was talking.

[00:17:47] [SPEAKER_02]: You know what?

[00:17:48] [SPEAKER_03]: It's fun.

[00:17:48] [SPEAKER_03]: It's always fun to do.

[00:17:48] [SPEAKER_02]: I was talking to a friend about this, but you know, there are different calculations

[00:17:52] [SPEAKER_02]: we make in picking a director.

[00:17:54] [SPEAKER_02]: And obviously this director was picked for us, our March Madness winner.

[00:17:57] [SPEAKER_02]: Right?

[00:17:57] [SPEAKER_02]: But we're like, who makes for a good series?

[00:18:01] [SPEAKER_02]: Is it about the personality of the director?

[00:18:03] [SPEAKER_02]: Is it about the arc of the career?

[00:18:04] [SPEAKER_02]: Is it the individual movies and the episodes?

[00:18:07] [SPEAKER_02]: Is it how much they sort of overlap with movements in film or their own thing or variety or whatever

[00:18:13] [SPEAKER_02]: it is?

[00:18:13] [SPEAKER_02]: I do think one through line that has always served us well.

[00:18:18] [SPEAKER_02]: Is when it will always be funny to do an impression of the director.

[00:18:22] [SPEAKER_05]: Definitely helps us.

[00:18:23] [SPEAKER_05]: The Verhoevens of the world.

[00:18:24] [SPEAKER_02]: When they have a funny voice.

[00:18:25] [SPEAKER_02]: Yep.

[00:18:25] [SPEAKER_02]: And a clear game you can constantly write on.

[00:18:28] [SPEAKER_05]: Right.

[00:18:30] [SPEAKER_02]: Funny voice.

[00:18:31] [SPEAKER_02]: Saying the types of things they would say or saying the types of things they would never say.

[00:18:34] [SPEAKER_02]: Now, here's a question.

[00:18:35] [SPEAKER_03]: Should every Friday we post one of us doing the impression?

[00:18:41] [SPEAKER_03]: Well, I think Griff does it better than me.

[00:18:43] [SPEAKER_03]: Why Friday?

[00:18:44] [SPEAKER_02]: Why are you saying Friday?

[00:18:45] [SPEAKER_02]: His Friday.

[00:18:45] [SPEAKER_05]: He does his videos where he's like, the weather!

[00:18:48] [SPEAKER_05]: I can't do him.

[00:18:49] [SPEAKER_05]: Yeah.

[00:18:49] [SPEAKER_00]: I'll try.

[00:18:50] [SPEAKER_00]: I'll try and drill down to him.

[00:18:51] [SPEAKER_00]: You've got to get that Midwestern part is as important.

[00:18:54] [SPEAKER_00]: Right, the twangy thing.

[00:18:55] [SPEAKER_02]: Fake.

[00:18:57] [SPEAKER_02]: I witnessed Michael Shannon in line at Bear Burger.

[00:19:02] [SPEAKER_05]: It was Moo Burger.

[00:19:04] [SPEAKER_05]: I'm sorry.

[00:19:04] [SPEAKER_05]: He called the burger report.

[00:19:06] [SPEAKER_05]: Yeah.

[00:19:06] [SPEAKER_05]: Oh, what if he did?

[00:19:07] [SPEAKER_02]: David Lynch's Friday burger report.

[00:19:10] [SPEAKER_02]: Hi fellas!

[00:19:10] [SPEAKER_02]: I can't do him.

[00:19:12] [SPEAKER_02]: It's too high?

[00:19:13] [SPEAKER_02]: Snapping, crisp, burnt bacon.

[00:19:16] [SPEAKER_02]: I had it better earlier.

[00:19:18] [SPEAKER_05]: That's the thing.

[00:19:18] [SPEAKER_05]: You just got to do it naturally.

[00:19:20] [SPEAKER_05]: You know, like it'll just come out of you when it needs to.

[00:19:22] [SPEAKER_05]: All right.

[00:19:22] [SPEAKER_05]: So you saw...

[00:19:23] [SPEAKER_05]: I'm getting back to this.

[00:19:24] [SPEAKER_05]: You saw Lost Highway.

[00:19:26] [SPEAKER_05]: Did you then go back and watch other David Lynch movies?

[00:19:28] [SPEAKER_00]: Shortly after watching it, I probably got my first paycheck, which I used to buy a TV

[00:19:35] [SPEAKER_00]: and VCR because I grew up without one.

[00:19:37] [SPEAKER_00]: Sure.

[00:19:37] [SPEAKER_00]: And that was my...

[00:19:38] [SPEAKER_00]: There was no TV in your house?

[00:19:39] [SPEAKER_00]: We had a TV that was on a rolling tray that we'd bring out when we were sick.

[00:19:45] [SPEAKER_00]: And it would take about 15 minutes to warm up.

[00:19:48] [SPEAKER_00]: Wild!

[00:19:48] [SPEAKER_00]: And then we'd rent a VCR.

[00:19:50] [SPEAKER_00]: I can't believe we're unlocking this lore in your fourth appearance.

[00:19:53] [SPEAKER_00]: Oh.

[00:19:53] [SPEAKER_00]: It was...

[00:19:54] [SPEAKER_00]: My parents were anti-television.

[00:19:56] [SPEAKER_00]: Sure.

[00:19:56] [SPEAKER_00]: So when I first...

[00:19:57] [SPEAKER_00]: I grew up in Wisconsin for the first eight years of my life and we had a black and white

[00:20:02] [SPEAKER_00]: TV.

[00:20:02] [SPEAKER_00]: So I saw like Wizard of Oz without color.

[00:20:07] [SPEAKER_00]: I never knew there was a transition.

[00:20:09] [SPEAKER_00]: Yeah.

[00:20:09] [SPEAKER_02]: First 30 minutes played the same for you.

[00:20:10] [SPEAKER_02]: Exactly.

[00:20:11] [SPEAKER_02]: And then she's like,

[00:20:12] [SPEAKER_02]: What's the big deal, darling?

[00:20:14] [SPEAKER_00]: And then...

[00:20:15] [SPEAKER_00]: Weird streets?

[00:20:16] [SPEAKER_00]: When we moved to Texas, we jettisoned that black and white television.

[00:20:22] [SPEAKER_00]: Sure.

[00:20:23] [SPEAKER_00]: Entirely.

[00:20:23] [SPEAKER_00]: Entirely.

[00:20:24] [SPEAKER_00]: No TV...

[00:20:25] [SPEAKER_00]: Out the plane, which was crazy.

[00:20:26] [SPEAKER_00]: Yeah.

[00:20:26] [SPEAKER_00]: Just chunked it right out.

[00:20:28] [SPEAKER_00]: Would you say 30 minutes to warm up?

[00:20:30] [SPEAKER_00]: Was there like a crank?

[00:20:31] [SPEAKER_00]: Like how...

[00:20:32] [SPEAKER_00]: You'd turn it on and it would be static.

[00:20:34] [SPEAKER_00]: Wild.

[00:20:34] [SPEAKER_00]: And we inherited this from my mom's sister, my aunt.

[00:20:37] [SPEAKER_00]: Yeah.

[00:20:37] [SPEAKER_00]: And she warned us.

[00:20:38] [SPEAKER_00]: She was like, just turn it on and walk away and come back.

[00:20:41] [SPEAKER_02]: It was like letting like the hot water heater...

[00:20:44] [SPEAKER_02]: 100%.

[00:20:44] [SPEAKER_02]: Wild.

[00:20:45] [SPEAKER_00]: And then we would occasionally rent a VCR.

[00:20:47] [SPEAKER_00]: Yeah.

[00:20:47] [SPEAKER_00]: Um, on special occasions from Blockbuster and we would go to Blockbuster and pick out two

[00:20:53] [SPEAKER_00]: to three videos.

[00:20:54] [SPEAKER_00]: And, and that was how I watched...

[00:20:56] [SPEAKER_05]: Okay.

[00:20:57] [SPEAKER_00]: ...a lot of films.

[00:20:58] [SPEAKER_00]: And, and I think after I bought my TV and VCR, like that sort of opened the floodgates.

[00:21:04] [SPEAKER_00]: You broke the dam.

[00:21:05] [SPEAKER_00]: They were like, they're like, okay, it won't corrupt the children to have a piece of technology

[00:21:10] [SPEAKER_00]: like this in the house.

[00:21:12] [SPEAKER_00]: And now they've got a big screen TV and Blu-ray player.

[00:21:15] [SPEAKER_05]: And their son's a famous director.

[00:21:17] [SPEAKER_05]: I mean, like their, their lives probably went in ways they didn't see coming.

[00:21:20] [SPEAKER_05]: It worked out well.

[00:21:21] [SPEAKER_05]: It worked out well.

[00:21:22] [SPEAKER_00]: And, and as a result, there were so many movies that I, I, I've talked about this.

[00:21:26] [SPEAKER_00]: Where I would, I'd read about them.

[00:21:28] [SPEAKER_00]: Mm-hmm.

[00:21:28] [SPEAKER_00]: I knew everything about them, but just had not seen them.

[00:21:30] [SPEAKER_00]: Right.

[00:21:31] [SPEAKER_05]: No, I mean, but I was kind of like that too, right?

[00:21:33] [SPEAKER_05]: It was reading Empire Magazine and them telling you like, this is what the Night of the Hunter

[00:21:37] [SPEAKER_05]: is about.

[00:21:38] [SPEAKER_05]: And I'm like, I can't watch this movie.

[00:21:39] [SPEAKER_05]: All those like, but I'll just read about it.

[00:21:41] [SPEAKER_02]: Like large history of film books.

[00:21:43] [SPEAKER_02]: Yes, exactly.

[00:21:44] [SPEAKER_02]: Just devour them.

[00:21:45] [SPEAKER_02]: Right.

[00:21:45] [SPEAKER_02]: And either be like, someday I'll be allowed to watch this or someday I'll just get to.

[00:21:49] [SPEAKER_00]: Yeah.

[00:21:50] [SPEAKER_00]: And, and Roger Ebert reviews were very vivid, particularly his wild at heart review, which

[00:21:54] [SPEAKER_00]: was like described like Willem Dafoe's head coming off and the hand getting carried away

[00:21:59] [SPEAKER_00]: by the dog.

[00:22:00] [SPEAKER_00]: And so as soon as I had the means to do so, I rented all of his movies that I could get my

[00:22:05] [SPEAKER_00]: hands on.

[00:22:07] [SPEAKER_00]: And, and then eBay, I must've been coming into its own towards the end of my high school

[00:22:14] [SPEAKER_00]: tenure.

[00:22:15] [SPEAKER_00]: Yeah, for sure.

[00:22:16] [SPEAKER_00]: Yeah.

[00:22:16] [SPEAKER_00]: And then you're going to bring industrial symphony number seven.

[00:22:18] [SPEAKER_00]: Oh yeah.

[00:22:19] [SPEAKER_00]: And your eraser head.

[00:22:21] [SPEAKER_00]: Was that on its own VHS?

[00:22:22] [SPEAKER_00]: It was.

[00:22:23] [SPEAKER_00]: Okay.

[00:22:24] [SPEAKER_00]: And, and then your eraser head, you had to get a bootleg from Japan.

[00:22:27] [SPEAKER_00]: That was like the only way to see that at that point.

[00:22:30] [SPEAKER_00]: And this was, this was a pre lime green box era.

[00:22:34] [SPEAKER_00]: Pre lime green box and pre the eraser head box that he released on Dave's.com, which was

[00:22:40] [SPEAKER_00]: the weird empty box.

[00:22:43] [SPEAKER_00]: Yes.

[00:22:43] [SPEAKER_00]: Envelope glued to the inside.

[00:22:45] [SPEAKER_00]: Yes.

[00:22:46] [SPEAKER_00]: And yeah, which I still have, which it was pretty cool.

[00:22:52] [SPEAKER_00]: And so I'm just deeply into David Lynch at this point when straight story comes out in

[00:22:57] [SPEAKER_00]: 99.

[00:22:58] [SPEAKER_00]: I'm like, boy, what, what a great way to mess with expectations, make a G rated Disney

[00:23:04] [SPEAKER_00]: movie.

[00:23:05] [SPEAKER_00]: And yet it's still a quintessential David Lynch movie.

[00:23:07] [SPEAKER_00]: It's all him.

[00:23:08] [SPEAKER_00]: It's all there.

[00:23:09] [SPEAKER_02]: I mean, we'll talk about it next week, but that was perhaps unsurprisingly just because

[00:23:14] [SPEAKER_02]: of my age.

[00:23:15] [SPEAKER_02]: That was the first Lynch movie I saw.

[00:23:17] [SPEAKER_02]: My parents took me to see it in theaters and they kept on being like, it's so fucking

[00:23:20] [SPEAKER_02]: weird that he made that.

[00:23:21] [SPEAKER_02]: And I was like, that's the most normal movie I've ever seen.

[00:23:24] [SPEAKER_02]: Why are you guys acting this way?

[00:23:27] [SPEAKER_02]: I didn't understand.

[00:23:29] [SPEAKER_00]: It's weird.

[00:23:30] [SPEAKER_00]: Yeah.

[00:23:31] [SPEAKER_00]: Go.

[00:23:31] [SPEAKER_00]: And, and then Mulholland drive came out and.

[00:23:35] [SPEAKER_00]: Mulholland drive.

[00:23:36] [SPEAKER_00]: I saw at an advanced screening in Dallas at the Angelica film center that exists there

[00:23:40] [SPEAKER_00]: to this day.

[00:23:41] [SPEAKER_00]: And it was, I just realized this the other day.

[00:23:44] [SPEAKER_00]: It was like, that was the first time I saw my wife in person.

[00:23:47] [SPEAKER_00]: She was also at that screening and we hadn't met yet, but later on, had you corresponded

[00:23:51] [SPEAKER_00]: to some other.

[00:23:52] [SPEAKER_04]: You're really like opening every vein of your life right now.

[00:23:55] [SPEAKER_04]: Yeah.

[00:23:55] [SPEAKER_04]: Okay.

[00:23:56] [SPEAKER_00]: David Lynch was for better or worse.

[00:23:58] [SPEAKER_00]: One of my guys, like he runs through my life in a, in a very significant way, which

[00:24:02] [SPEAKER_00]: is one of the reasons I'm excited to talk about this movie.

[00:24:04] [SPEAKER_05]: So your wife was also at this early screening.

[00:24:06] [SPEAKER_05]: Yes.

[00:24:07] [SPEAKER_05]: Which had already been a can or whatever, but like, this is, this is, this is what?

[00:24:11] [SPEAKER_00]: Like September of that's right before.

[00:24:14] [SPEAKER_00]: That sounds plausible.

[00:24:15] [SPEAKER_00]: Right after September.

[00:24:16] [SPEAKER_00]: It came out in October.

[00:24:17] [SPEAKER_00]: It came out in October.

[00:24:17] [SPEAKER_00]: So yeah.

[00:24:18] [SPEAKER_00]: Yeah.

[00:24:18] [SPEAKER_00]: And the reaction that I had was pretty good.

[00:24:24] [SPEAKER_00]: Not as good as fuck, not as good as lost highway, but pretty good.

[00:24:27] [SPEAKER_00]: Right.

[00:24:29] [SPEAKER_00]: And this is coming from someone who felt that Lynch's best film probably was lost highway.

[00:24:33] [SPEAKER_00]: That was still for me, the apotheosis of like what a Lynch movie was.

[00:24:37] [SPEAKER_02]: But I feel like I had a slightly, I mean, there is a part of me that will always kind

[00:24:42] [SPEAKER_02]: of think that the new world is Malick's best movie.

[00:24:44] [SPEAKER_02]: Cause it is the one I saw in theaters for the first time.

[00:24:46] [SPEAKER_02]: Not a bad take.

[00:24:48] [SPEAKER_02]: Not a bad take.

[00:24:49] [SPEAKER_02]: But like, I was sort of ingesting some of the mythical qualities of this guy without

[00:24:53] [SPEAKER_02]: ever having watched any of his stuff and the impact of seeing that for the first time

[00:24:57] [SPEAKER_02]: and being like, this is a totally different language.

[00:25:00] [SPEAKER_02]: I like can objectively step back and go like, maybe this is better.

[00:25:04] [SPEAKER_02]: Maybe this is better.

[00:25:05] [SPEAKER_02]: But there is something about like the love it for sight moments.

[00:25:09] [SPEAKER_02]: Yes.

[00:25:09] [SPEAKER_02]: When you find one of your guys.

[00:25:11] [SPEAKER_02]: Yes.

[00:25:12] [SPEAKER_02]: Yeah.

[00:25:12] [SPEAKER_00]: And you didn't put it on your sight and sound though.

[00:25:15] [SPEAKER_00]: I didn't.

[00:25:17] [SPEAKER_00]: I think that Mulholland Drive is a superior film to Lost Highway, but I'm really, I wanted

[00:25:23] [SPEAKER_00]: to unpack why.

[00:25:24] [SPEAKER_00]: Why is it better?

[00:25:25] [SPEAKER_00]: Why was this film beloved?

[00:25:27] [SPEAKER_05]: Why was Mulholland Drive his right?

[00:25:29] [SPEAKER_05]: It's like Lynch is back.

[00:25:30] [SPEAKER_05]: We missed him.

[00:25:31] [SPEAKER_05]: Here he is.

[00:25:32] [SPEAKER_05]: And not only the similarities between the two.

[00:25:34] [SPEAKER_05]: Yeah, there is for sure.

[00:25:35] [SPEAKER_00]: Yeah.

[00:25:35] [SPEAKER_00]: And back and better than over a hundred percent.

[00:25:38] [SPEAKER_00]: And, and so we can, we can parse this out.

[00:25:42] [SPEAKER_00]: We don't have to jump into why it's better right now.

[00:25:45] [SPEAKER_00]: And you'll have an entire episode of on Mulholland Drive to talk about that in depth.

[00:25:48] [SPEAKER_00]: But the thing that I kind of came away, what I did in preparation for this was I watched

[00:25:53] [SPEAKER_00]: Lost Highway.

[00:25:54] [SPEAKER_00]: Then I watched Straight Story.

[00:25:55] [SPEAKER_00]: Then I watched Mulholland Drive.

[00:25:56] [SPEAKER_00]: Then I circled back to Fire Walk with me just to kind of get the context in which he was

[00:26:01] [SPEAKER_00]: making this movie.

[00:26:02] [SPEAKER_05]: This film is kind of a loop.

[00:26:04] [SPEAKER_05]: So you wanted to go in a loop.

[00:26:05] [SPEAKER_05]: It was a good call by you.

[00:26:06] [SPEAKER_05]: Also just great movies.

[00:26:08] [SPEAKER_02]: That was fun.

[00:26:08] [SPEAKER_00]: It was a good week.

[00:26:09] [SPEAKER_00]: It was a solid week of movie going.

[00:26:10] [SPEAKER_00]: Right.

[00:26:11] [SPEAKER_02]: But, but as we were saying, textually similar to, let's say like to the wonder or song to

[00:26:16] [SPEAKER_02]: song, the response to this movie was like done over self parody.

[00:26:21] [SPEAKER_02]: Negative.

[00:26:21] [SPEAKER_02]: Yeah.

[00:26:21] [SPEAKER_02]: Right.

[00:26:22] [SPEAKER_02]: Let's write this fucking guy off.

[00:26:24] [SPEAKER_02]: Straight Story.

[00:26:25] [SPEAKER_02]: Everyone thought it was weird, but they were like, at least he made something that's

[00:26:28] [SPEAKER_00]: like coherent.

[00:26:29] [SPEAKER_00]: This is like, oh yeah.

[00:26:30] [SPEAKER_00]: And it's so interesting to like also like look at it from the perspective of like my

[00:26:34] [SPEAKER_00]: parents went to see Elephant Man in theaters and they're like, straight story in the long

[00:26:38] [SPEAKER_00]: run isn't that far away.

[00:26:39] [SPEAKER_00]: It's like 18 years.

[00:26:40] [SPEAKER_00]: And they're probably like, finally, Lynch is filling the promise that he displayed with.

[00:26:45] [SPEAKER_00]: I don't know if my parents actually, they did see the Straight Story.

[00:26:47] [SPEAKER_02]: But it is fascinating that Lost Highway and Mulholland Drive are similar on so many levels.

[00:26:53] [SPEAKER_02]: And one of them got such a negative response.

[00:26:56] [SPEAKER_02]: One of them got such a positive response.

[00:26:58] [SPEAKER_02]: And in the middle, there's this like uncharacteristic palate cleanser for him.

[00:27:03] [SPEAKER_02]: And they're really, that is also, as you said, in so many ways as Lynch is any movie.

[00:27:06] [SPEAKER_02]: But yeah, of course.

[00:27:07] [SPEAKER_00]: The fascinating thing also is watching all these movies back to back.

[00:27:13] [SPEAKER_00]: I think that it's not too, you know, this isn't too controversial to take, but I think

[00:27:21] [SPEAKER_00]: Lost Highway is his most beautiful film on a technical level.

[00:27:27] [SPEAKER_05]: This fucking Craterion disc of it too.

[00:27:30] [SPEAKER_05]: Extraordinary.

[00:27:30] [SPEAKER_05]: Kind of blew me away how good it looked.

[00:27:32] [SPEAKER_05]: Because I must have seen it in like fairly shitty quality.

[00:27:35] [SPEAKER_00]: Indeed.

[00:27:36] [SPEAKER_00]: It is never like, like, I think that's one of the reasons also as to why it may have fallen

[00:27:40] [SPEAKER_00]: out of esteem was because it just was unavailable in a way that looked good.

[00:27:44] [SPEAKER_00]: But like Eraserhead and Elephant Man, impeccable.

[00:27:47] [SPEAKER_00]: You know, they look absolutely stunning black and white extravaganzas.

[00:27:52] [SPEAKER_00]: But then after that, his movies kind of have like a mishmash of like they're beautiful,

[00:27:56] [SPEAKER_00]: but they're not as austere as this one.

[00:28:00] [SPEAKER_00]: There's something so formally perfect.

[00:28:03] [SPEAKER_00]: This is a perfect object of a movie.

[00:28:05] [SPEAKER_00]: A tremendous amount of control.

[00:28:06] [SPEAKER_00]: And extreme control.

[00:28:07] [SPEAKER_00]: He had a decent budget.

[00:28:08] [SPEAKER_00]: 15 million is no, you don't want, that's a, that's a time.

[00:28:11] [SPEAKER_00]: 1997?

[00:28:12] [SPEAKER_00]: Yeah.

[00:28:12] [SPEAKER_00]: That's a big budget.

[00:28:13] [SPEAKER_00]: He had 56 days to shoot it.

[00:28:15] [SPEAKER_00]: He had a lot of time to get those levels of darkness just right.

[00:28:21] [SPEAKER_00]: And, and so I think he made, I think it is a perfect movie for what it is.

[00:28:28] [SPEAKER_00]: And Mulholland Drive is the opposite because it was meant to be something else.

[00:28:32] [SPEAKER_05]: Yeah, yeah, yeah.

[00:28:34] [SPEAKER_05]: He's, he's splicing two things together.

[00:28:36] [SPEAKER_05]: It's obvious how he's splicing them together.

[00:28:38] [SPEAKER_05]: It's not like in Mulholland Drive.

[00:28:39] [SPEAKER_05]: You're like, oh, he, you know, yeah, this is a big mishmash.

[00:28:42] [SPEAKER_05]: Like Mulholland Drive basically is just like, here's some more stuff that's weird.

[00:28:46] [SPEAKER_02]: We will, we'll get to it.

[00:28:47] [SPEAKER_05]: We'll get to it next week.

[00:28:48] [SPEAKER_05]: My take on Mulholland Drive is that it's kind of weird.

[00:28:50] [SPEAKER_05]: This is the kind of deep analysis Blink Check is going to be doing about Blink Check.

[00:28:54] [SPEAKER_05]: I mean, about David Lynch.

[00:28:55] [SPEAKER_00]: Well, I've, I'm, it's so interesting how Lynch, Lynchian is a, we'll talk about this

[00:29:03] [SPEAKER_00]: a little bit further on in this episode, but Lynchian is a sort of a catch all phrase

[00:29:08] [SPEAKER_00]: now and yet it's so hard to actually do.

[00:29:11] [SPEAKER_02]: There's the, the Neil Campbell comedy bang bang character.

[00:29:16] [SPEAKER_02]: That is the art critic who just keeps going.

[00:29:19] [SPEAKER_02]: The painting is rather good.

[00:29:22] [SPEAKER_02]: Sure.

[00:29:23] [SPEAKER_02]: If I had to describe it, I'd say it's good.

[00:29:26] [SPEAKER_02]: I know this character.

[00:29:27] [SPEAKER_02]: Yes.

[00:29:28] [SPEAKER_02]: And the problem with like talking about like Lynchian things is so often you're like, it's

[00:29:34] [SPEAKER_02]: quite weird.

[00:29:35] [SPEAKER_02]: There's just kind of a weird vibe.

[00:29:39] [SPEAKER_03]: There's normal.

[00:29:40] [SPEAKER_03]: Yeah.

[00:29:40] [SPEAKER_03]: But then this seems to be weird.

[00:29:42] [SPEAKER_05]: Obviously like David Foster Wallace tried to write about David Lynch sort of the worst

[00:29:46] [SPEAKER_05]: things he ever wrote.

[00:29:46] [SPEAKER_05]: We've got to go into this.

[00:29:47] [SPEAKER_05]: Like, you know, like, like, like major people have tried to tackle David Lynch and not really

[00:29:53] [SPEAKER_05]: been able to write about it very well.

[00:29:55] [SPEAKER_05]: He's a tough person to write about.

[00:29:57] [SPEAKER_00]: I have had a complex relationship with that David Foster Wallace piece.

[00:30:01] [SPEAKER_00]: Sure.

[00:30:02] [SPEAKER_00]: I I'm willing to call it bad.

[00:30:04] [SPEAKER_00]: I'll say it.

[00:30:04] [SPEAKER_00]: Come for me.

[00:30:05] [SPEAKER_01]: Quite bad.

[00:30:07] [SPEAKER_00]: It was certainly also the first piece of writing by David Foster Wallace that I ever

[00:30:11] [SPEAKER_00]: read.

[00:30:11] [SPEAKER_00]: Cause I was definitely reading premier magazine in that era and would have read this.

[00:30:15] [SPEAKER_00]: And I remember thinking like, this is really long and kind of boring.

[00:30:21] [SPEAKER_05]: Right.

[00:30:22] [SPEAKER_05]: Yes.

[00:30:22] [SPEAKER_05]: And a lot of words.

[00:30:23] [SPEAKER_05]: Yeah.

[00:30:24] [SPEAKER_05]: And kind of like going around and around rather than getting at something.

[00:30:27] [SPEAKER_05]: Cause he doesn't know what to get at.

[00:30:28] [SPEAKER_00]: And also I, I remember thinking, and I'm kinder to it now as a fan of David Foster Wallace,

[00:30:33] [SPEAKER_00]: but like, I feel like he was misdiagnosing what Lynchian means.

[00:30:38] [SPEAKER_00]: And he keeps talking, he keeps giving references, like a lot of Tarantino, like talking about

[00:30:42] [SPEAKER_00]: how Tarantino is very Lynchian.

[00:30:44] [SPEAKER_05]: And now an insane thing to say.

[00:30:46] [SPEAKER_05]: You have to forgive.

[00:30:47] [SPEAKER_05]: Of course it's 1997.

[00:30:48] [SPEAKER_05]: It's a different time.

[00:30:49] [SPEAKER_05]: Pulp fiction has just come out.

[00:30:50] [SPEAKER_05]: Right.

[00:30:50] [SPEAKER_00]: Jackie Brown has not come out yet.

[00:30:52] [SPEAKER_00]: Right.

[00:30:54] [SPEAKER_00]: And as I've gotten older and rewatched these movies and especially watching a lot of them

[00:31:00] [SPEAKER_00]: in, in a short run, you kind of like get a better sense, like of what David Lynch is

[00:31:07] [SPEAKER_00]: really after.

[00:31:08] [SPEAKER_00]: And also it helps that he's done so much talking about where his ideas come from, transcendental

[00:31:12] [SPEAKER_00]: meditation, catching the big fish.

[00:31:15] [SPEAKER_00]: You start to understand what he's after, but there is a depth to what he's doing that is.

[00:31:21] [SPEAKER_00]: Hard to replicate.

[00:31:22] [SPEAKER_02]: Well, there is such a fascinating contradiction in Lynch of like how much he is giving you the

[00:31:29] [SPEAKER_02]: audience in terms of the information, the pieces, the insight into his own process and

[00:31:34] [SPEAKER_02]: his like view of the world and what he holds back and refuses to explain.

[00:31:38] [SPEAKER_02]: And in a way that sometimes feels strategic and other times feels like this is just organically

[00:31:43] [SPEAKER_02]: the rules he has set for himself.

[00:31:45] [SPEAKER_02]: Um, but it does turn him into one of these guys where like people either I feel like often

[00:31:52] [SPEAKER_02]: can process his work as like, this is the only guy.

[00:31:56] [SPEAKER_02]: Who has the answers.

[00:31:58] [SPEAKER_02]: This is the only true artist working in this medium.

[00:32:01] [SPEAKER_02]: This is the one guy who's in conversation with some deeper thing, or you can be like

[00:32:07] [SPEAKER_02]: David Foster Wallace and be like, I think this guy's a fraud.

[00:32:10] [SPEAKER_02]: I think there's nothing going on there.

[00:32:12] [SPEAKER_02]: You know, I think it's weird for weird sake or provocation or whatever.

[00:32:16] [SPEAKER_02]: I feel like I, I mean, I don't want to speak for you, David.

[00:32:19] [SPEAKER_02]: I've always been a guy where I'm kind of in the middle on him, which isn't to say that

[00:32:24] [SPEAKER_02]: I'm like, uh, uh, uh, middling in my appreciation for him or that I think he is middling, but

[00:32:31] [SPEAKER_02]: I've never like invested that much strongly into him on either side.

[00:32:35] [SPEAKER_02]: I just have seen his movies and appreciated him, but it does become a like weirdly emotional

[00:32:41] [SPEAKER_02]: thing for people.

[00:32:43] [SPEAKER_02]: He's yes.

[00:32:44] [SPEAKER_02]: This is why this is going to be really annoying series for us.

[00:32:46] [SPEAKER_02]: Yes, absolutely.

[00:32:47] [SPEAKER_02]: This is what I'm trying to get at.

[00:32:48] [SPEAKER_02]: People feel strong.

[00:32:49] [SPEAKER_02]: Yeah.

[00:32:50] [SPEAKER_02]: Um, and, and also much like dreams or whatever.

[00:32:53] [SPEAKER_02]: Another thing we'll fucking talk about a lot.

[00:32:56] [SPEAKER_02]: Oh, but like people get really invested in their interpretation.

[00:33:00] [SPEAKER_02]: Yeah, that's true.

[00:33:01] [SPEAKER_02]: This is what this means.

[00:33:02] [SPEAKER_02]: How do you not see it the same way that I do?

[00:33:05] [SPEAKER_05]: I think I love David Lynch a lot more than you do, which is fine.

[00:33:08] [SPEAKER_05]: Um, and he is more meaningful to me and Mulholland drive in the theater, which we will talk about

[00:33:13] [SPEAKER_05]: next week is the most important theater film experience I ever had.

[00:33:17] [SPEAKER_05]: Like without a doubt.

[00:33:18] [SPEAKER_05]: I was just saying to my friend, which is sounds really like what happened with you in the

[00:33:22] [SPEAKER_05]: last highway.

[00:33:23] [SPEAKER_00]: It was like crucially formative.

[00:33:26] [SPEAKER_00]: And even though I did not meet my wife at lost highway, um, I should give Mulholland drive

[00:33:32] [SPEAKER_00]: some credit for my happy marriage, I suppose.

[00:33:34] [SPEAKER_00]: Yeah, there you go.

[00:33:35] [SPEAKER_00]: Humble, right?

[00:33:36] [SPEAKER_05]: Happy marriage.

[00:33:37] [SPEAKER_04]: Wow.

[00:33:37] [SPEAKER_04]: He's just laying it all out here.

[00:33:38] [SPEAKER_04]: Television that took half an hour to warm up.

[00:33:41] [SPEAKER_04]: Cool job at the movie theater.

[00:33:44] [SPEAKER_00]: Um, yeah.

[00:33:45] [SPEAKER_00]: I think that's it though.

[00:33:46] [SPEAKER_00]: I don't have any other personal tidbits to inject into this story.

[00:33:50] [SPEAKER_02]: David.

[00:33:50] [SPEAKER_00]: Yes.

[00:33:51] [SPEAKER_00]: You know what we like?

[00:33:53] [SPEAKER_02]: Uh, if you had to name one thing that you and I show like, I think we love the movie.

[00:33:58] [SPEAKER_02]: We love the movie.

[00:33:59] [SPEAKER_02]: What?

[00:34:00] [SPEAKER_02]: And what do we love?

[00:34:01] [SPEAKER_02]: We love going to see dumb movies at the theaters.

[00:34:05] [SPEAKER_02]: That is very, very true.

[00:34:07] [SPEAKER_02]: That's very true.

[00:34:07] [SPEAKER_02]: It's very important to us.

[00:34:08] [SPEAKER_05]: The theater experience is worth preserving is the best way to experience a movie.

[00:34:14] [SPEAKER_02]: And let's, let's just say it, David.

[00:34:16] [SPEAKER_02]: We're thrilled.

[00:34:17] [SPEAKER_02]: We're excited.

[00:34:17] [SPEAKER_02]: We're overjoyed.

[00:34:18] [SPEAKER_02]: This has long been in the works to celebrate the great union of Regal and blank check because

[00:34:25] [SPEAKER_02]: Regal cinemas is offering blankies an incredible deal on unlimited movies, you know, from the

[00:34:32] [SPEAKER_05]: Regal unlimited program, David, the Regal unlimited program is an all you can watch movie subscription

[00:34:37] [SPEAKER_05]: pass.

[00:34:37] [SPEAKER_05]: It pays for itself in just two visits.

[00:34:39] [SPEAKER_02]: You see any standard 2d movie anytime with no blackout dates or restrictions premium formats.

[00:34:45] [SPEAKER_02]: You can get your reservations for those as well.

[00:34:48] [SPEAKER_02]: Pay the little surcharge, which of course includes my beloved 4dx with Regal unlimited.

[00:34:53] [SPEAKER_02]: You won't just save money on tickets.

[00:34:55] [SPEAKER_02]: You also save on snacks.

[00:34:56] [SPEAKER_02]: Members get 10% off all non-alcoholic concession items.

[00:35:00] [SPEAKER_02]: So if you're planning to see two movies this month, Regal unlimited just makes sense.

[00:35:05] [SPEAKER_02]: We're both fans of this program.

[00:35:06] [SPEAKER_05]: We're both members.

[00:35:07] [SPEAKER_05]: Regal unlimited.

[00:35:08] [SPEAKER_05]: Exactly.

[00:35:08] [SPEAKER_05]: We're both members card carrying members.

[00:35:18] [SPEAKER_02]: Regal.

[00:35:54] [SPEAKER_01]: Regal.

[00:35:55] [SPEAKER_01]: crown club.

[00:35:56] [SPEAKER_01]: I've been a member since 2008, baby.

[00:35:57] [SPEAKER_02]: You can redeem those points for upgrades on concessions or free concessions, but also

[00:36:02] [SPEAKER_02]: you can log onto the website and you can buy excess promotional merchandise.

[00:36:07] [SPEAKER_02]: I do this all the time.

[00:36:10] [SPEAKER_02]: Oh, how do you get figural cup toppers months later?

[00:36:13] [SPEAKER_02]: Click, click, click, click, click, click, click, type, type, type, type, type redeem points.

[00:36:18] [SPEAKER_05]: Also on Mondays, you get 25% off candy on Tuesdays.

[00:36:20] [SPEAKER_05]: You get 50% off popcorn.

[00:36:22] [SPEAKER_05]: Plus you get discounted movie tickets as low as $5 with a regal value days program.

[00:36:26] [SPEAKER_01]: Look at this.

[00:36:26] [SPEAKER_01]: It's an embarrassment of riches on your birthday.

[00:36:28] [SPEAKER_01]: You get a free popcorn.

[00:36:29] [SPEAKER_05]: I love my birthday.

[00:36:30] [SPEAKER_05]: Every time you visit him, take it to a movie.

[00:36:32] [SPEAKER_05]: Regal crown club just tracks those visits and then you get the bonus extra credits.

[00:36:35] [SPEAKER_05]: You don't have to do anything.

[00:36:36] [SPEAKER_05]: It's just doing it for you.

[00:36:37] [SPEAKER_01]: I sound a little more excited about it, David.

[00:36:38] [SPEAKER_01]: That's incredible.

[00:36:39] [SPEAKER_01]: It's really incredible.

[00:36:40] [SPEAKER_05]: What ease of use.

[00:36:41] [SPEAKER_05]: Once again, go to the regal app or you can use the link in the description and use code

[00:36:45] [SPEAKER_05]: blank check to get 10% off your three month subscription.

[00:36:48] [SPEAKER_02]: And then you can go see movies.

[00:36:50] [SPEAKER_05]: I go to the regal Essex a lot.

[00:36:52] [SPEAKER_01]: That's sort of my local regal.

[00:36:54] [SPEAKER_01]: Where do you go?

[00:36:55] [SPEAKER_01]: I go to Union Square because they got the 40X.

[00:36:56] [SPEAKER_01]: A classic.

[00:36:57] [SPEAKER_01]: Right.

[00:36:57] [SPEAKER_01]: You like the 40X.

[00:36:58] [SPEAKER_01]: Yeah.

[00:36:59] [SPEAKER_01]: I love the 40X, David.

[00:37:02] [SPEAKER_01]: Regal.

[00:37:04] [SPEAKER_05]: Lost highway.

[00:37:05] [SPEAKER_05]: Lost highway.

[00:37:06] [SPEAKER_05]: So I saw it.

[00:37:06] [SPEAKER_05]: Yeah.

[00:37:06] [SPEAKER_05]: I saw it in college.

[00:37:07] [SPEAKER_05]: It sounds like you saw it in college.

[00:37:08] [SPEAKER_05]: Ben saw it last night.

[00:37:09] [SPEAKER_05]: Yep.

[00:37:10] [SPEAKER_05]: More like lost tonight.

[00:37:14] [SPEAKER_03]: I felt a little weird after that.

[00:37:16] [SPEAKER_03]: You've been sick.

[00:37:17] [SPEAKER_03]: A bit of a head shrinker.

[00:37:19] [SPEAKER_02]: Is it fair to say you're on a number of over the counter drugs?

[00:37:21] [SPEAKER_02]: Oh yeah.

[00:37:22] [SPEAKER_03]: How many?

[00:37:23] [SPEAKER_03]: Uh, three.

[00:37:24] [SPEAKER_02]: Two, three.

[00:37:25] [SPEAKER_02]: Yeah.

[00:37:25] [SPEAKER_03]: 2.5.

[00:37:27] [SPEAKER_03]: I'm sort of floating.

[00:37:28] [SPEAKER_02]: We had to do like three consecutive record days.

[00:37:31] [SPEAKER_02]: Yeah.

[00:37:31] [SPEAKER_02]: And the last two, you were basically nonverbal.

[00:37:34] [SPEAKER_02]: Yeah.

[00:37:34] [SPEAKER_02]: So you did.

[00:37:35] [SPEAKER_02]: You set up the mics and then you just kind of put your head down on the desk.

[00:37:38] [SPEAKER_02]: They were remote episodes.

[00:37:39] [SPEAKER_02]: They were Zoom episodes.

[00:37:40] [SPEAKER_02]: Total peek behind the curtain.

[00:37:41] [SPEAKER_05]: Also, it was the trio of open range, Beverly Hills Cop and Lost Highway.

[00:37:46] [SPEAKER_05]: Yeah.

[00:37:46] [SPEAKER_02]: That's an incredible normal three movies to think on between.

[00:37:51] [SPEAKER_03]: It's quite a spread.

[00:37:51] [SPEAKER_03]: But I'm feeling better today.

[00:37:53] [SPEAKER_03]: I did watch this movie very late last night.

[00:37:56] [SPEAKER_03]: Oh, good.

[00:37:57] [SPEAKER_02]: Yeah.

[00:37:58] [SPEAKER_03]: Yeah.

[00:37:59] [SPEAKER_03]: It's kind of a late night movie.

[00:38:00] [SPEAKER_02]: It is.

[00:38:01] [SPEAKER_05]: It feels weird to put it on in the morning.

[00:38:02] [SPEAKER_05]: I'm also in the middle of writing a 6,000 word piece on M. Night Shyamalan that I hope

[00:38:06] [SPEAKER_05]: got published.

[00:38:07] [SPEAKER_05]: I mean, this is no pub.

[00:38:08] [SPEAKER_05]: This is hitting in November.

[00:38:10] [SPEAKER_02]: The carbon dating of this episode.

[00:38:11] [SPEAKER_02]: Of like we are simultaneously.

[00:38:12] [SPEAKER_05]: I've been like driving to Pennsylvania to hang out with him.

[00:38:15] [SPEAKER_02]: We're existing in like four time continuums.

[00:38:17] [SPEAKER_05]: We're touching Shyamalan, Brest, Costner and Lynch as like the four corners of America.

[00:38:24] [SPEAKER_05]: David's going to go shoot maybe one to two more movies in between these.

[00:38:27] [SPEAKER_05]: Like who knows?

[00:38:28] [SPEAKER_00]: Hopefully society is still existing.

[00:38:30] [SPEAKER_00]: Yeah.

[00:38:30] [SPEAKER_03]: And society exists.

[00:38:32] [SPEAKER_00]: I can't wait to know what I'm going to be up to.

[00:38:34] [SPEAKER_05]: Right.

[00:38:34] [SPEAKER_02]: It definitely exists.

[00:38:35] [SPEAKER_02]: Like, is it going amazing?

[00:38:37] [SPEAKER_02]: Who knows?

[00:38:37] [SPEAKER_02]: Yeah.

[00:38:38] [SPEAKER_02]: I'm going to call it right now.

[00:38:39] [SPEAKER_02]: I'll be married by the time this episode comes out.

[00:38:42] Hey.

[00:38:43] [SPEAKER_02]: Yeah.

[00:38:44] [SPEAKER_02]: Please send gifts to Griffin Newman.

[00:38:47] [SPEAKER_02]: One, two, three.

[00:38:48] [SPEAKER_02]: Blink check way.

[00:38:49] [SPEAKER_05]: David Lynch.

[00:38:50] [SPEAKER_05]: I'm cracking open the dossier.

[00:38:52] [SPEAKER_05]: Had reached his lowest point as director since the release of Dune.

[00:38:55] [SPEAKER_05]: Yeah.

[00:38:55] [SPEAKER_05]: Dune is obviously also a big bottoming out for him.

[00:38:58] [SPEAKER_05]: Starts the nineties.

[00:39:00] [SPEAKER_05]: Like I said, Twin Peaks wins the palm door.

[00:39:03] [SPEAKER_05]: Everything's going great.

[00:39:04] [SPEAKER_05]: By the mid nineties, it's like Twin Peaks has been canceled kind of in disgrace.

[00:39:09] [SPEAKER_05]: He makes a movie version of it like that.

[00:39:12] [SPEAKER_05]: Everyone is just like question mark, question mark, question mark.

[00:39:15] [SPEAKER_05]: I think more than like, like, right.

[00:39:18] [SPEAKER_05]: Yeah.

[00:39:18] [SPEAKER_02]: Like people are coming at it from like, you can tie things up.

[00:39:22] [SPEAKER_02]: Twin Peaks got fucked up and you're going to solve it now.

[00:39:25] [SPEAKER_02]: Right.

[00:39:25] [SPEAKER_02]: You're going to swing back and like clean up this mess.

[00:39:28] [SPEAKER_02]: No, sir.

[00:39:28] [SPEAKER_02]: Yeah.

[00:39:29] [SPEAKER_00]: Have you seen that recently?

[00:39:32] [SPEAKER_00]: Or ever with me?

[00:39:33] [SPEAKER_00]: I will have seen at this point.

[00:39:35] [SPEAKER_00]: Yes.

[00:39:35] [SPEAKER_05]: He's never seen any Twin Peaks.

[00:39:37] [SPEAKER_05]: Things.

[00:39:38] [SPEAKER_05]: Yes.

[00:39:39] [SPEAKER_05]: I think I've only seen the pilot.

[00:39:41] [SPEAKER_05]: I am.

[00:39:42] [SPEAKER_05]: Fire Walk with me is the thing I am the most afraid to rewatch.

[00:39:45] [SPEAKER_05]: Now I do love that movie a lot.

[00:39:46] [SPEAKER_05]: I find it very sad.

[00:39:47] [SPEAKER_00]: It's genuinely upsetting.

[00:39:48] [SPEAKER_00]: Yes.

[00:39:49] [SPEAKER_00]: It's terrifying, upsetting.

[00:39:51] [SPEAKER_05]: And more than anything else he's ever made.

[00:39:52] [SPEAKER_00]: And even in the context of people wanting more just donuts and coffee from Dale Cooper,

[00:39:57] [SPEAKER_05]: which does not give you.

[00:39:58] [SPEAKER_00]: Even if it had that, which he shot, you can watch them.

[00:40:00] [SPEAKER_00]: There's the deleted scenes.

[00:40:01] [SPEAKER_00]: All deleted scenes.

[00:40:02] [SPEAKER_00]: He shot all that.

[00:40:03] [SPEAKER_00]: It's still just like, it is a, it's just aggressively unpleasant movie.

[00:40:07] [SPEAKER_00]: But let's say in a good way, in a good way, but in a way that you have to

[00:40:10] [SPEAKER_00]: be prepared for it.

[00:40:12] [SPEAKER_02]: Dune, Fire Walk with me, Lost Highway, Inland Empire are the four movies that upon release

[00:40:18] [SPEAKER_02]: people were like, what the fuck?

[00:40:19] [SPEAKER_02]: To some degree?

[00:40:20] [SPEAKER_02]: Is that fair to say?

[00:40:21] [SPEAKER_05]: Yeah, I think Inland Empire by that point, the Lynch cult was so massive that there was,

[00:40:28] [SPEAKER_05]: there was a stronger reception for it, would you say?

[00:40:31] [SPEAKER_00]: It was very well received.

[00:40:33] [SPEAKER_00]: Like it was warmly received and everyone knew what he was doing.

[00:40:36] [SPEAKER_05]: But no one was like, expecting big commercial success.

[00:40:41] [SPEAKER_05]: You're right.

[00:40:42] [SPEAKER_00]: He's self distributing this three hour.

[00:40:45] [SPEAKER_00]: He's out there with a cow doing FIC ads.

[00:40:47] [SPEAKER_05]: You know, by that point, Lynch had become the internet boyfriend.

[00:40:50] [SPEAKER_05]: Right.

[00:40:50] [SPEAKER_02]: Right.

[00:40:51] [SPEAKER_02]: And it's like, he's making this for his people.

[00:40:53] [SPEAKER_02]: He's not trying to reach anyone else at this point.

[00:40:55] [SPEAKER_02]: Anyway, it's just interesting to me that like basically the reputation has become positive

[00:41:00] [SPEAKER_02]: for every one of his films.

[00:41:02] [SPEAKER_02]: Dune is probably the one that's still the trickiest, but I would argue.

[00:41:05] [SPEAKER_05]: It has its big fans.

[00:41:06] [SPEAKER_02]: And I think the Val Nuve movie actually kind of like makes people kinder to that.

[00:41:11] [SPEAKER_02]: Of course, because now Dune has been done a little more pressure off.

[00:41:14] [SPEAKER_00]: Right.

[00:41:14] [SPEAKER_00]: Right.

[00:41:15] [SPEAKER_00]: And there's that wonderful, you'll talk about, I'm sure in the episode, there's like a 600

[00:41:19] [SPEAKER_00]: page making of Dune book that came out last year that is exhaustive and makes you appreciate

[00:41:24] [SPEAKER_00]: it even more.

[00:41:25] [SPEAKER_00]: I think that movie is, is gaining love every day.

[00:41:29] [SPEAKER_00]: It's a good movie.

[00:41:29] [SPEAKER_00]: I mean, it's got flaws, but it's a good movie.

[00:41:32] [SPEAKER_05]: But at this time.

[00:41:34] [SPEAKER_05]: He's bounced.

[00:41:35] [SPEAKER_05]: He has bounced.

[00:41:36] [SPEAKER_05]: His ass has bounced.

[00:41:37] [SPEAKER_05]: Uh, he premieres.

[00:41:38] [SPEAKER_05]: Of course, we also should mention on the air on ABC, you know, which is post twin peaks.

[00:41:43] [SPEAKER_05]: That is a disaster.

[00:41:45] [SPEAKER_05]: Only airs three episodes.

[00:41:46] [SPEAKER_02]: It's a deeply weird show that we watch all of for the George Lucas talk show.

[00:41:50] [SPEAKER_05]: How was it?

[00:41:51] [SPEAKER_05]: I, that's the one big Lynch thing I've never seen.

[00:41:53] [SPEAKER_05]: I mean, I know it's Lynch and Frost.

[00:41:54] [SPEAKER_02]: It is in most ways.

[00:41:55] [SPEAKER_02]: It's like 85% quote unquote normal sitcom.

[00:42:00] [SPEAKER_02]: And I'd say in the law, in the wild.

[00:42:03] [SPEAKER_02]: Why am I listing every other title in the straight story way where you're like, well,

[00:42:08] [SPEAKER_02]: it's normalness is the weirdest aspect.

[00:42:10] [SPEAKER_05]: And then there's little moments I suppose that are okay.

[00:42:14] [SPEAKER_05]: Oh, have you, what do you think of on the air?

[00:42:16] [SPEAKER_00]: I have not seen it.

[00:42:17] [SPEAKER_00]: Yeah.

[00:42:17] [SPEAKER_00]: It's also a blind spot.

[00:42:18] [SPEAKER_00]: Hard to watch.

[00:42:19] [SPEAKER_00]: Now it's on YouTube.

[00:42:20] [SPEAKER_00]: Yes.

[00:42:20] [SPEAKER_00]: But at the time when I was really into Lynch tracking these things down, it was hard to

[00:42:25] [SPEAKER_00]: find.

[00:42:25] [SPEAKER_00]: He did hotel room.

[00:42:27] [SPEAKER_00]: Have you, have you seen that?

[00:42:28] [SPEAKER_00]: I have never seen hotel room.

[00:42:29] [SPEAKER_00]: That one is really worth looking at the final episode that he did, which is like an hour

[00:42:34] [SPEAKER_00]: long, basically teleplay with Crispin Glover and Alicia Witt is, is really, as I recall,

[00:42:42] [SPEAKER_00]: really beautiful.

[00:42:43] [SPEAKER_05]: That was on HBO and sort of 1993.

[00:42:46] [SPEAKER_05]: Yeah.

[00:42:46] [SPEAKER_00]: It was meant to be a series and.

[00:42:49] [SPEAKER_05]: Right.

[00:42:49] [SPEAKER_05]: He created it with the cowboy.

[00:42:50] [SPEAKER_05]: Yeah.

[00:42:51] [SPEAKER_05]: Lonnie Montgomery.

[00:42:52] [SPEAKER_05]: From fucking, uh, uh, the, the, the, the loved, the, the loveless.

[00:42:58] [SPEAKER_05]: Loveless.

[00:42:58] [SPEAKER_05]: He, he co-directed the loveless.

[00:43:00] [SPEAKER_05]: Oh, a million years ago.

[00:43:02] [SPEAKER_05]: Yes.

[00:43:02] [SPEAKER_00]: Uh, okay.

[00:43:03] [SPEAKER_00]: Uh, yes.

[00:43:03] [SPEAKER_00]: That's another thing.

[00:43:04] [SPEAKER_00]: Um, which was his first collaboration with Peter Deming, who is now his go to cinematographer.

[00:43:09] [SPEAKER_00]: His guy.

[00:43:10] [SPEAKER_00]: Right.

[00:43:10] [SPEAKER_00]: Yeah.

[00:43:10] [SPEAKER_00]: Who's probably the most tragadolic DP alive.

[00:43:13] [SPEAKER_02]: Yes.

[00:43:13] [SPEAKER_05]: He did also shoot the awesome parasolies and scream.

[00:43:16] [SPEAKER_02]: Yeah.

[00:43:16] [SPEAKER_02]: Uh, not the first one maybe, but I think most of them.

[00:43:19] [SPEAKER_05]: It's that he replaced the DP on scream who was fired midwifery and then he, yeah,

[00:43:23] [SPEAKER_05]: they get the rest of them.

[00:43:24] [SPEAKER_05]: Um, after fire walk with me tanks hard at can.

[00:43:29] [SPEAKER_05]: Lynch and Mary Sweeney, his editor producer, sometimes sweetheart, uh, go to Madison, Wisconsin,

[00:43:36] [SPEAKER_05]: which is near where you grew up possibly.

[00:43:39] [SPEAKER_05]: Uh, they go to Lake Mendota.

[00:43:42] [SPEAKER_05]: They start looking for property there.

[00:43:44] [SPEAKER_05]: David sort of reconnecting with his Midwestern vibes, right?

[00:43:48] [SPEAKER_05]: Going to the hardware store.

[00:43:50] [SPEAKER_05]: She says, uh, watching the OJ trial.

[00:43:53] [SPEAKER_05]: That's the crucial part of this for this movie.

[00:43:55] [SPEAKER_01]: Yes.

[00:43:56] [SPEAKER_05]: Yes.

[00:43:57] [SPEAKER_05]: And he starts thinking about lost highway.

[00:44:00] [SPEAKER_05]: Um, he was working at tandem press, making monoprints with a squeezing machine and a paper

[00:44:04] [SPEAKER_05]: that was a quarter of an inch thick, uh, hotel room premieres around then, uh, which

[00:44:09] [SPEAKER_05]: Barry Gifford, I guess worked on.

[00:44:11] [SPEAKER_05]: Yeah.

[00:44:12] [SPEAKER_00]: He scripted some of it.

[00:44:13] [SPEAKER_00]: He wrote, I think he wrote all of them.

[00:44:15] [SPEAKER_05]: Yes.

[00:44:15] [SPEAKER_05]: Uh, the two episodes that Lynch directed, Barry Gifford wrote, uh, muted reception to that

[00:44:21] [SPEAKER_05]: one.

[00:44:21] [SPEAKER_05]: So HBO is like, Ooh, don't worry about it.

[00:44:24] [SPEAKER_05]: Um, he directs X Japan's longing music video and he's always making art things like that.

[00:44:30] [SPEAKER_05]: It's not like Lynch is never not doing stuff.

[00:44:33] [SPEAKER_05]: Right?

[00:44:33] [SPEAKER_05]: Like even to this day, he's really into furniture making and obviously paints and has dabbled

[00:44:39] [SPEAKER_02]: in photography, but this is why I asked, I was curious and, and brutally implied that

[00:44:43] [SPEAKER_02]: you were old enough to have a consciousness of this at the moment.

[00:44:46] [SPEAKER_02]: Like, did it feel in these five years that he might not make another movie because it

[00:44:50] [SPEAKER_02]: did feel that way a little bit in between Mulholland and inland where it's like, is he

[00:44:54] [SPEAKER_02]: just done?

[00:44:55] [SPEAKER_02]: It felt that way in between inland and twin peaks, the return certainly feels that way.

[00:44:59] [SPEAKER_02]: And we've been living in that way now where you're like, there's like, there will never

[00:45:03] [SPEAKER_02]: do anything again or tomorrow.

[00:45:04] [SPEAKER_02]: He's like, actually I've been making something and he never disappears because he's

[00:45:08] [SPEAKER_02]: multidisciplinary like Ben Hosley.

[00:45:10] [SPEAKER_02]: They're always projects.

[00:45:12] [SPEAKER_02]: We're both multi-hyphenates.

[00:45:14] [SPEAKER_05]: He's posting.

[00:45:14] [SPEAKER_05]: He posts more than Ben, not to call out Ben, but Ben could post more.

[00:45:18] [SPEAKER_05]: Yeah.

[00:45:18] [SPEAKER_05]: I could.

[00:45:19] [SPEAKER_02]: I've been taking a break.

[00:45:20] [SPEAKER_02]: It's good.

[00:45:21] [SPEAKER_02]: But you could see coming off a couple bounces, this guy just being like, fine, I'll do my

[00:45:26] [SPEAKER_02]: own shit.

[00:45:26] [SPEAKER_02]: And there's this quiet aspect to Lynch being this kind of stealth mogul where he is a quietly

[00:45:32] [SPEAKER_02]: savvy businessman who has controlled the rights to a lot of his things, but also knows that

[00:45:37] [SPEAKER_02]: his audience is so locked in that he can like put out an album or an art show or a book or

[00:45:42] [SPEAKER_02]: whatever.

[00:45:42] [SPEAKER_02]: And it will always sell fairly well.

[00:45:45] [SPEAKER_02]: All his kind of like independent projects that you always believe that he could just

[00:45:50] [SPEAKER_02]: pull out of movies and not return.

[00:45:52] [SPEAKER_00]: My suspicion is that that probably wasn't the perception then because I don't, I think

[00:45:57] [SPEAKER_00]: obviously he had done commercial, a lot of commercials, music videos.

[00:46:01] [SPEAKER_00]: I don't think, um, probably just wasn't an awareness at that because of the lack of the

[00:46:08] [SPEAKER_00]: internet.

[00:46:08] [SPEAKER_00]: There wasn't an awareness of all of his, his hobbies that really to him are as meaningful

[00:46:13] [SPEAKER_00]: to him as filmmaking from where I was sitting at that point.

[00:46:17] [SPEAKER_00]: I didn't have any awareness of this.

[00:46:19] [SPEAKER_00]: I had not, you know, I didn't have a sense of the gap, nor did I know that he was out

[00:46:25] [SPEAKER_00]: of favor.

[00:46:26] [SPEAKER_05]: Now Lynch says this time is beautiful to him.

[00:46:29] [SPEAKER_05]: When you're down, you wouldn't even kicked in the street and kicked a few more times until

[00:46:32] [SPEAKER_05]: you're bleeding and your teeth are out.

[00:46:33] [SPEAKER_05]: Then you only have up to go.

[00:46:35] [SPEAKER_05]: Uh, it's beautiful down there.

[00:46:36] [SPEAKER_05]: It's so beautiful.

[00:46:37] [SPEAKER_05]: Someone else do the voice a lot faster than he would have said.

[00:46:40] [SPEAKER_05]: Um, the other thing beautiful.

[00:46:43] [SPEAKER_05]: The other big difference though is like after Dune, he is embarrassed.

[00:46:47] [SPEAKER_05]: He doesn't like the final product.

[00:46:49] [SPEAKER_05]: The movie was taken away from him with fire walk with me and wild at heart and stuff.

[00:46:53] [SPEAKER_05]: He's like, I like those movies.

[00:46:55] [SPEAKER_05]: I'm happy with what I did.

[00:46:56] [SPEAKER_02]: Dude is the only one.

[00:46:57] [SPEAKER_02]: He seems to have any level of right.

[00:46:59] [SPEAKER_02]: He's like, I don't want to talk about it.

[00:47:00] [SPEAKER_02]: Yeah.

[00:47:01] [SPEAKER_00]: He won't, he won't acknowledge it, but those ones like it hurt because people were rejecting

[00:47:05] [SPEAKER_00]: things that mattered to him, but it didn't make him rethink his approach to filmmaking.

[00:47:10] [SPEAKER_00]: In fact, it made him double down.

[00:47:11] [SPEAKER_00]: He was like, okay, I just need to do my own thing even more.

[00:47:14] [SPEAKER_02]: You also have to imagine.

[00:47:16] [SPEAKER_02]: He always reads to me like the type of guy who doesn't understand why some of his projects

[00:47:21] [SPEAKER_02]: connect more with people than others.

[00:47:23] [SPEAKER_02]: It must be somewhat inexplicable to him.

[00:47:25] [SPEAKER_00]: I thought that, but then I read that same quote about how down he was after a fire walk

[00:47:30] [SPEAKER_00]: with me didn't connect where he is like, I think it, I mean, maybe it is surprising to

[00:47:35] [SPEAKER_00]: him, but I also think it hurts.

[00:47:36] [SPEAKER_00]: Like, I think it definitely not saying it doesn't hurt, but that like, I'm not saying it

[00:47:40] [SPEAKER_02]: like to him.

[00:47:40] [SPEAKER_02]: It's like, why do they like blue velvet and not fire walk with me?

[00:47:44] [SPEAKER_02]: These are both coming from the same place.

[00:47:47] [SPEAKER_02]: Yeah.

[00:47:48] [SPEAKER_02]: He has a couple movies.

[00:47:49] [SPEAKER_05]: He's thinking about making, uh, an adaptation of Kafka Kafka's metamorphosis, which is

[00:47:54] [SPEAKER_05]: like a long running, never realized Lynch idea.

[00:47:57] [SPEAKER_05]: I feel like his take on that would be kind of weird.

[00:47:59] [SPEAKER_00]: I'm flabbergasted that that script is not manifested on the internet.

[00:48:02] [SPEAKER_00]: Yeah.

[00:48:02] [SPEAKER_00]: Let me see it.

[00:48:03] [SPEAKER_02]: But cause like once alive, a bubble and Ronnie rocket are always float.

[00:48:06] [SPEAKER_02]: Yeah.

[00:48:07] [SPEAKER_02]: You can read those.

[00:48:07] [SPEAKER_05]: Yeah.

[00:48:08] [SPEAKER_05]: Uh, there's a movie called love in vain about Robert Johnson, the blue singer, which is

[00:48:12] [SPEAKER_05]: another thing that he long would meet with producers and it never materialized.

[00:48:17] [SPEAKER_05]: I don't know if you know anything about that one.

[00:48:19] [SPEAKER_05]: He also is interested in a live adaptation of the manga Domu, a child's dream.

[00:48:25] [SPEAKER_05]: Dream.

[00:48:27] [SPEAKER_05]: He doesn't like that kind of stuff.

[00:48:28] [SPEAKER_05]: No.

[00:48:29] [SPEAKER_05]: Uh, the most discussed, uh, of these of this era unrealized project is the dream of the

[00:48:34] [SPEAKER_05]: bovine, a surreal comedy scripted by Robert angles who had worked with him on twin peaks.

[00:48:39] [SPEAKER_05]: Uh, angle says it's about three guys who used to be cows.

[00:48:42] [SPEAKER_05]: They're living in Ben is trying to assimilate, trying to live with us.

[00:48:45] [SPEAKER_05]: They look like people, but they're cows.

[00:48:46] [SPEAKER_05]: They do cow like behavior.

[00:48:47] [SPEAKER_05]: They like to watch cars drive by the house and stuff.

[00:48:51] [SPEAKER_05]: Sounds pretty good.

[00:48:52] [SPEAKER_05]: He wanted to cast Harry Dean Stanton and maybe Marlon Brando.

[00:48:56] [SPEAKER_05]: Okay.

[00:48:57] [SPEAKER_05]: This would have been incredible.

[00:48:58] [SPEAKER_05]: Uh, Brando apparently read the script and thought it was pretentious bullshit.

[00:49:03] [SPEAKER_05]: Weird.

[00:49:03] [SPEAKER_05]: Brando was kind of aggressive about this.

[00:49:06] [SPEAKER_05]: Um, and so whatever, it just didn't happen.

[00:49:09] [SPEAKER_05]: I, I, I'm a little sad.

[00:49:10] [SPEAKER_05]: He never made a movie about people who are cows.

[00:49:12] [SPEAKER_05]: It sounds like far side.

[00:49:14] [SPEAKER_05]: Sounds kind of cool.

[00:49:15] [SPEAKER_02]: He saved the cows for his, uh, Oscar campaign.

[00:49:17] [SPEAKER_02]: Of course.

[00:49:18] [SPEAKER_05]: Um, but okay.

[00:49:19] [SPEAKER_05]: Barry Gifford.

[00:49:20] [SPEAKER_05]: So Barry Gifford, um, obviously is someone he has an existing relationship.

[00:49:24] [SPEAKER_05]: Wrote the wild at heart.

[00:49:25] [SPEAKER_05]: Wild at heart was based on.

[00:49:26] [SPEAKER_05]: Yeah.

[00:49:26] [SPEAKER_05]: Um, have you read much of his, uh, fiction or poetry or anything?

[00:49:31] [SPEAKER_05]: None of it.

[00:49:32] [SPEAKER_00]: Yeah.

[00:49:32] [SPEAKER_00]: Neither have I.

[00:49:33] [SPEAKER_00]: And I know he did.

[00:49:34] [SPEAKER_00]: Didn't he write and or direct the sequel to wild at heart that came out a couple of years

[00:49:38] [SPEAKER_00]: ago?

[00:49:38] [SPEAKER_00]: Like, I don't know what his relationship.

[00:49:40] [SPEAKER_05]: Uh, he definitely wrote, he wrote further wild at heart books, right?

[00:49:43] [SPEAKER_05]: There's like a, a trilogy.

[00:49:45] [SPEAKER_05]: Well, there's the whole Perdita Durango saga.

[00:49:48] [SPEAKER_00]: Exactly.

[00:49:49] [SPEAKER_00]: Like there was a movie called sailor and Ripley that came out as well, but that sounds familiar.

[00:49:54] [SPEAKER_00]: I don't know.

[00:49:54] [SPEAKER_00]: I don't know.

[00:49:56] [SPEAKER_00]: Um, but my, my familiarity for better or worse with Barry Gifford is through Lynch's

[00:50:01] [SPEAKER_00]: work.

[00:50:02] [SPEAKER_00]: Right.

[00:50:03] [SPEAKER_00]: Um, they seem to be good collaborators.

[00:50:04] [SPEAKER_00]: I like what they've made together.

[00:50:06] [SPEAKER_05]: I totally agree.

[00:50:07] [SPEAKER_05]: He also wrote a novel called night people, which has a sentence, uh, where that Lynch

[00:50:13] [SPEAKER_05]: says evoked something for him, which is about two characters going down the lost highway.

[00:50:17] [SPEAKER_05]: And that little phrase wedges into his brain.

[00:50:21] [SPEAKER_05]: And he says, it made me dream and it's just the possibilities.

[00:50:24] [SPEAKER_05]: And I told that to Barry and he said, well, let's write something.

[00:50:28] [SPEAKER_05]: And Lynch was like, okay, I'm thinking like a saxophonist.

[00:50:31] [SPEAKER_05]: And then he goes down this weird hallway, turns into Balthazar Getty and Barry Gifford's

[00:50:35] [SPEAKER_05]: like, yeah, say no more.

[00:50:36] [SPEAKER_05]: I'll fucking turn it out tomorrow.

[00:50:38] [SPEAKER_05]: Piece of cake.

[00:50:39] [SPEAKER_05]: And, uh, they start writing together.

[00:50:41] [SPEAKER_05]: Uh, Lynch says we got together over coffee.

[00:50:43] [SPEAKER_05]: I told Barry some things.

[00:50:45] [SPEAKER_05]: He told me some things and we hated each other's ideas and we hated our own ideas after

[00:50:48] [SPEAKER_05]: that.

[00:50:49] [SPEAKER_05]: Um, but the one thing that Lynch mentioned that Barry Gifford liked was the idea of the

[00:50:54] [SPEAKER_05]: videotapes of a couple.

[00:50:56] [SPEAKER_05]: Right.

[00:50:57] [SPEAKER_00]: Which I think that came to him earlier.

[00:50:58] [SPEAKER_00]: Like that was something that I've been like, that was maybe something he was going to do

[00:51:02] [SPEAKER_00]: for twin peaks.

[00:51:02] [SPEAKER_00]: Yeah.

[00:51:03] [SPEAKER_00]: Put in there.

[00:51:04] [SPEAKER_00]: One of those little ideas that just like was waiting for its time to blossom.

[00:51:08] [SPEAKER_05]: And Barry was like, geez, I really like that.

[00:51:10] [SPEAKER_05]: And that's the first third of the script.

[00:51:12] [SPEAKER_05]: A couple living at home and a videotape is delivered.

[00:51:14] [SPEAKER_05]: It's the front of their house.

[00:51:15] [SPEAKER_05]: And then they get another one and it's.

[00:51:16] [SPEAKER_00]: And then they're bad.

[00:51:19] [SPEAKER_00]: 20 years later, you see a cachet and you're like, what is this hack ripping off David Lynch?

[00:51:23] [SPEAKER_00]: Hanukkah.

[00:51:24] [SPEAKER_00]: That guy should have just retired in shame.

[00:51:27] [SPEAKER_02]: The other part of this was that if, if stories are to be believed that David Lynch

[00:51:32] [SPEAKER_02]: lived next door to David Lander, AKA Squiggy from Vernon Shirley.

[00:51:37] [SPEAKER_02]: That's cool.

[00:51:38] [SPEAKER_02]: And one day someone rang his intercom outside his house and said, Dick Lord is dead.

[00:51:43] [SPEAKER_02]: Yes.

[00:51:43] [SPEAKER_02]: And then he went outside to find the guy and the guy was gone.

[00:51:47] [SPEAKER_02]: Right.

[00:51:47] [SPEAKER_02]: And he was like, was that meant for me or meant for the other guy whose name shares a lot

[00:51:52] [SPEAKER_02]: of letters and is right next door?

[00:51:54] [SPEAKER_02]: Probably.

[00:51:55] [SPEAKER_00]: I don't know.

[00:51:55] [SPEAKER_00]: Who knows?

[00:51:56] [SPEAKER_00]: Yeah.

[00:51:56] [SPEAKER_00]: And then almost certainly that is that because David Lynch then bought that house.

[00:52:00] [SPEAKER_00]: And now he has three houses next to each other in the hills.

[00:52:03] [SPEAKER_00]: And my very first trip to Los Angeles.

[00:52:06] [SPEAKER_00]: I, you can find out what the addresses are.

[00:52:07] [SPEAKER_00]: And I was like, have you ever met the man?

[00:52:09] [SPEAKER_00]: I've never met him.

[00:52:10] [SPEAKER_00]: You should, you should, you should go buzz his doorbell.

[00:52:12] [SPEAKER_00]: Can you imagine how many people do that?

[00:52:14] [SPEAKER_00]: Or how many people go leave videotapes on that door?

[00:52:17] [SPEAKER_00]: Right.

[00:52:18] [SPEAKER_00]: It must be terrible.

[00:52:19] [SPEAKER_00]: He must have a full time staff member whose job is just to get the videotapes off of his

[00:52:23] [SPEAKER_00]: front door before he wakes up in the morning.

[00:52:26] [SPEAKER_04]: Fucking lost highway fans.

[00:52:28] [SPEAKER_04]: It's not even his most popular movie.

[00:52:31] [SPEAKER_05]: Other big inspiration at the time.

[00:52:33] [SPEAKER_05]: Yes.

[00:52:33] [SPEAKER_05]: OJ Simpson, David was glued to the TV.

[00:52:36] [SPEAKER_05]: He was soaking it all up.

[00:52:37] [SPEAKER_05]: He was, you know, so that's, this is an L.A.

[00:52:40] [SPEAKER_05]: noir saga about a man who kills his wife.

[00:52:45] [SPEAKER_05]: It's in this movie.

[00:52:47] [SPEAKER_05]: And obviously this movie is about how OJ is innocent.

[00:52:50] [SPEAKER_01]: Yeah.

[00:52:51] [SPEAKER_01]: No, clearly.

[00:52:51] [SPEAKER_01]: That's dearly departed.

[00:52:52] [SPEAKER_01]: That's what I want you to take away from it.

[00:52:54] [SPEAKER_05]: Gone too soon.

[00:52:55] [SPEAKER_02]: Yeah.

[00:52:55] [SPEAKER_02]: Oh yeah.

[00:52:56] [SPEAKER_02]: Right.

[00:52:56] [SPEAKER_02]: R.I.P.

[00:52:57] [SPEAKER_02]: OJ Simpson.

[00:52:58] [SPEAKER_02]: Yeah.

[00:52:58] [SPEAKER_02]: There is the, there is the dark side of Hollywood.

[00:53:02] [SPEAKER_02]: Not R.I.P.

[00:53:03] [SPEAKER_02]: Fuck that guy.

[00:53:04] [SPEAKER_05]: Sorry.

[00:53:04] [SPEAKER_05]: Carry on.

[00:53:06] [SPEAKER_02]: Rest in chaos.

[00:53:08] [SPEAKER_02]: R.I.C.

[00:53:08] [SPEAKER_02]: Yeah.

[00:53:10] [SPEAKER_02]: Um, there, there's like the Kenneth Anger dark side of Hollywood obsession that Lynch

[00:53:14] [SPEAKER_02]: is always tapping into, uh, which I think is very tied to him constantly using these

[00:53:19] [SPEAKER_02]: like, uh, legacy actors.

[00:53:21] [SPEAKER_02]: I will not call them Nepo babies, but using people who are like second generation, third

[00:53:25] [SPEAKER_02]: generation entertainers Wagner.

[00:53:28] [SPEAKER_00]: Yes.

[00:53:28] [SPEAKER_00]: And while they're getting to a certain extent and using people like Robert Blake, who are

[00:53:32] [SPEAKER_02]: like, or child stars, where there's like some kind of innate, um, tragedy in like the

[00:53:38] [SPEAKER_02]: lineage of a broken spirits.

[00:53:41] [SPEAKER_00]: That's really, yeah, that's, I didn't think about that connection.

[00:53:44] [SPEAKER_00]: This one, it hits me really hard.

[00:53:47] [SPEAKER_05]: Yes.

[00:53:48] [SPEAKER_05]: Yes.

[00:53:48] [SPEAKER_05]: And he knew that Bill Pullman would eventually have a Nepo baby.

[00:53:51] [SPEAKER_05]: Yes.

[00:53:52] [SPEAKER_05]: He knew that.

[00:53:53] [SPEAKER_05]: He's cooking.

[00:53:54] [SPEAKER_05]: Yeah.

[00:53:54] [SPEAKER_02]: He will play the century.

[00:53:57] Is that what he's doing?

[00:53:59] [SPEAKER_02]: I think so.

[00:54:01] [SPEAKER_02]: But I think it's not even like he's using these people as like tokens, like it's meta casting.

[00:54:06] [SPEAKER_02]: I think he is responding to some innate kind of like, um, acquired, uh, sad brokenness in

[00:54:13] [SPEAKER_02]: people.

[00:54:14] [SPEAKER_00]: I think so.

[00:54:15] [SPEAKER_00]: And I, but I also don't necessarily look, think that he looks at it as a brokenness

[00:54:18] [SPEAKER_00]: either.

[00:54:19] [SPEAKER_00]: Like, I think, I think he acknowledges that.

[00:54:21] [SPEAKER_02]: Not brokenness.

[00:54:22] [SPEAKER_02]: I'd say there's like, there's a quiet tragedy to the actors.

[00:54:26] [SPEAKER_02]: He usually picks.

[00:54:27] [SPEAKER_02]: Yes.

[00:54:27] [SPEAKER_02]: Right.

[00:54:27] [SPEAKER_02]: Even when these people do not seem broken.

[00:54:30] [SPEAKER_02]: Definitely.

[00:54:31] [SPEAKER_02]: Um, that, that speaks to some element of, yeah.

[00:54:34] [SPEAKER_05]: I wonder what it's like to like audition for him.

[00:54:37] [SPEAKER_00]: Like, apparently it's just a conversation.

[00:54:39] [SPEAKER_00]: Like he doesn't actually, it's not like he's giving you signs.

[00:54:41] [SPEAKER_00]: He just meets with someone and if he likes them.

[00:54:43] [SPEAKER_02]: But that's the thing.

[00:54:44] [SPEAKER_02]: It's like, it's an energy thing and a look thing.

[00:54:46] [SPEAKER_02]: And there's something from like, well, then perhaps dig into a little bit, but like you

[00:54:51] [SPEAKER_02]: read about fucking Patricia Arquette's childhood, you know, and this like group of kids who

[00:54:57] [SPEAKER_02]: all basically became actors whose father was this like guy desperately trying to find

[00:55:02] [SPEAKER_02]: his foothold and show business.

[00:55:05] [SPEAKER_05]: Um, they lived in a commune, right?

[00:55:08] [SPEAKER_05]: And like the dad kept switching religions.

[00:55:10] [SPEAKER_05]: It's always good when your dad keeps switching religions being like, nah, Catholicism, Islam.

[00:55:15] [SPEAKER_05]: Um, one of these is going to do it for me.

[00:55:17] [SPEAKER_05]: One of these is going to click.

[00:55:19] [SPEAKER_05]: Really settle everything down for me.

[00:55:21] [SPEAKER_05]: Uh, yeah, the eventually Gifford and Lynch just, uh, apparently David was staying at a

[00:55:26] [SPEAKER_05]: hotel and would, uh, call him and say, Barry, I'll be there in exactly eight and a half minutes.

[00:55:30] [SPEAKER_05]: And eight and a half minutes, he'd walk in with a big cup of coffee and they would write

[00:55:33] [SPEAKER_05]: the script on a legal pad together.

[00:55:35] [SPEAKER_05]: And Gifford is like, I know the film confuses people.

[00:55:38] [SPEAKER_05]: I know it doesn't, people don't understand it, but it is the screenplay we wanted to write.

[00:55:43] [SPEAKER_05]: I would argue that is what we wrote down.

[00:55:45] [SPEAKER_00]: I argue that's not that confusing.

[00:55:48] [SPEAKER_01]: I would agree.

[00:55:49] [SPEAKER_01]: And it's not, well, there's a couple of questions.

[00:55:54] [SPEAKER_00]: It's, and I say this having had the benefit of having seen it several times over, you know,

[00:56:07] [SPEAKER_00]: the subject and founding.

[00:56:09] [SPEAKER_03]: I'll say this.

[00:56:10] [SPEAKER_03]: I feel like it scared me and it felt very much like an eerie fable.

[00:56:19] [SPEAKER_03]: And I didn't really try to get too bogged down in thinking about the actual logic or the

[00:56:27] [SPEAKER_03]: linear, like way of how did this guy switch places?

[00:56:31] [SPEAKER_03]: It to me felt more just like, this is a, a scary story.

[00:56:38] [SPEAKER_03]: And there's these unknowns that are just out there.

[00:56:42] [SPEAKER_00]: Is that like, I think you just became David Lynch's favorite audience member of all time.

[00:56:47] [SPEAKER_00]: Right.

[00:56:47] [SPEAKER_00]: Unsurprisingly.

[00:56:49] [SPEAKER_05]: Um, excuse me.

[00:56:51] [SPEAKER_05]: I noticed that in me to 37, you're, you're revealing the ending here, right?

[00:56:55] [SPEAKER_05]: Like the Easter egg that I found or whatever.

[00:56:57] [SPEAKER_02]: Like that's what I like David Lynch a lot, but I also feel like when I watch his movies,

[00:57:01] [SPEAKER_02]: I don't try to solve them.

[00:57:04] [SPEAKER_02]: I'm just sort of trying to like pull back and engage with the whole object that he's built.

[00:57:10] [SPEAKER_02]: Definitely.

[00:57:10] [SPEAKER_02]: I also think it is fascinating reading the reviews of this movie from the time where like beyond

[00:57:16] [SPEAKER_02]: people saying like he's lost it, he's up his own ass.

[00:57:19] [SPEAKER_02]: It's pretentious.

[00:57:20] [SPEAKER_02]: It's whatever.

[00:57:23] [SPEAKER_02]: Incoherent is this word that people throw out over and over again of like this movie.

[00:57:27] [SPEAKER_02]: Does not make sense.

[00:57:28] [SPEAKER_02]: You cannot track it for a second.

[00:57:31] [SPEAKER_02]: I think it's not like divided cleanly into an act one, act two, act three things, certainly

[00:57:36] [SPEAKER_02]: in terms of like real estate of runtime.

[00:57:39] [SPEAKER_02]: But this movie is basically got three parts.

[00:57:42] [SPEAKER_02]: And I would say each of those three parts makes sense completely in and of itself.

[00:57:48] [SPEAKER_02]: And the weirdness mostly comes from the relationship between those parts and how much they do or

[00:57:53] [SPEAKER_02]: don't connect.

[00:57:55] [SPEAKER_00]: And the overall general ambiance, which is that people talk very slowly.

[00:58:00] [SPEAKER_02]: Right.

[00:58:01] [SPEAKER_02]: But especially the middle chunk, which is the vast majority of the running time of the movie.

[00:58:06] [SPEAKER_02]: Yes.

[00:58:06] [SPEAKER_02]: With Balthazar Getty and Charquette.

[00:58:09] [SPEAKER_02]: If you cut that into just basically its own like 50 minute short film, that is an oddly stylized,

[00:58:17] [SPEAKER_02]: pretty classical noir tale.

[00:58:19] [SPEAKER_02]: It is not incoherent.

[00:58:22] [SPEAKER_05]: Not really.

[00:58:23] [SPEAKER_05]: I mean, if if any, it's not incoherent at all.

[00:58:26] [SPEAKER_05]: I would even know it's always a better.

[00:58:28] [SPEAKER_05]: It's all right there.

[00:58:29] [SPEAKER_05]: It's all right there.

[00:58:30] [SPEAKER_05]: I mean, there's like it's lacking in exposition, but it doesn't really need exposition.

[00:58:35] [SPEAKER_05]: Like it doesn't have scenes where guys are like, all right, here's the deal.

[00:58:37] [SPEAKER_05]: Like, I want this to happen.

[00:58:38] [SPEAKER_05]: You don't need them.

[00:58:39] [SPEAKER_05]: Yeah, you're right.

[00:58:40] [SPEAKER_05]: You understand everyone's relationship to each other.

[00:58:42] [SPEAKER_00]: And maybe we are gifted with a little bit of media literacy that the old guard didn't

[00:58:47] [SPEAKER_00]: have at that time.

[00:58:48] [SPEAKER_04]: I think it was just an era of movies that are confusing or crazy.

[00:58:52] [SPEAKER_05]: Like in that late 90s.

[00:58:53] [SPEAKER_05]: Yeah.

[00:58:54] [SPEAKER_05]: I don't know.

[00:58:55] [SPEAKER_05]: I mean, I definitely when I watch Mulholland Drive, I'm like, OK, I want to know more about

[00:58:58] [SPEAKER_05]: David Lynch.

[00:58:59] [SPEAKER_05]: I was aware of Twin Peaks.

[00:59:00] [SPEAKER_05]: I'm aware of like Eraserhead's Elephant Man.

[00:59:02] [SPEAKER_05]: And I'm like, what's Lost Highway about?

[00:59:04] [SPEAKER_05]: And they're like, Bill Pullman is in the movie.

[00:59:05] [SPEAKER_05]: And then he just turns into another guy.

[00:59:08] [SPEAKER_05]: And I was like, that sounds great.

[00:59:11] [SPEAKER_05]: Like, that sounds like the coolest thing in the world.

[00:59:13] [SPEAKER_02]: No one's ever done that.

[00:59:14] [SPEAKER_02]: Yeah, no, I love that conceptually.

[00:59:16] [SPEAKER_02]: I will say it is my biggest strike against this movie that I just need to get out of the

[00:59:20] [SPEAKER_02]: way.

[00:59:21] [SPEAKER_02]: Balthazar Getty is no Bill Pullman.

[00:59:23] [SPEAKER_02]: There is some juice for me that gets lost when the movie, the baton gets handed.

[00:59:29] [SPEAKER_02]: Hand it over to a guy who is infinitely less compelling.

[00:59:32] [SPEAKER_02]: I have no other complaints with that section of the movie.

[00:59:35] [SPEAKER_02]: I don't have complaints with the narrative.

[00:59:37] [SPEAKER_02]: I think it remains engaging.

[00:59:39] [SPEAKER_02]: But I do.

[00:59:40] [SPEAKER_02]: Perhaps I also just like Bill Pullman a lot.

[00:59:43] [SPEAKER_02]: And it's interesting seeing him in this milieu.

[00:59:46] [SPEAKER_02]: And I'm not super into Balthazar Getty.

[00:59:49] [SPEAKER_02]: I would not say he is bad in this.

[00:59:51] [SPEAKER_02]: But you watch this and just imagine like if Kyle McLaughlin had been the right age, if

[00:59:56] [SPEAKER_02]: Justin Theroux had been the right age.

[00:59:58] [SPEAKER_02]: Like there are other types of guys in this vein he has used throughout his career.

[01:00:02] [SPEAKER_02]: I don't have to look for it though.

[01:00:03] [SPEAKER_02]: I think he looks good.

[01:00:04] [SPEAKER_00]: He has the right look.

[01:00:05] [SPEAKER_00]: Yeah.

[01:00:06] [SPEAKER_00]: I agree a hundred percent.

[01:00:08] [SPEAKER_00]: I have two things to say about Balthazar Getty.

[01:00:10] [SPEAKER_00]: One is, or three.

[01:00:11] [SPEAKER_00]: One is that I don't have-

[01:00:12] [SPEAKER_00]: He's your favorite rapper of all time.

[01:00:13] [SPEAKER_00]: My favorite rapper of all time.

[01:00:14] [SPEAKER_00]: I-

[01:00:15] [SPEAKER_00]: He's a weird guy.

[01:00:17] [SPEAKER_00]: Yes.

[01:00:17] [SPEAKER_02]: Also falls into the bucket of what I was saying of people with like weird kind

[01:00:20] [SPEAKER_02]: of-

[01:00:21] [SPEAKER_02]: He's part of the Getty family.

[01:00:22] [SPEAKER_02]: Tragic family past.

[01:00:24] [SPEAKER_02]: Definitely.

[01:00:24] [SPEAKER_02]: I figured.

[01:00:25] [SPEAKER_03]: With a name like Balthazar.

[01:00:27] [SPEAKER_03]: Yeah.

[01:00:28] [SPEAKER_03]: His dad-

[01:00:29] [SPEAKER_03]: Strong man.

[01:00:30] [SPEAKER_02]: Strong man.

[01:00:30] [SPEAKER_02]: His dad was the one who was kidnapped, correct?

[01:00:33] [SPEAKER_02]: Correct.

[01:00:33] [SPEAKER_02]: Yeah.

[01:00:34] [SPEAKER_02]: His dad is the center of all the money in the world.

[01:00:37] [SPEAKER_05]: Oh, wow.

[01:00:38] [SPEAKER_05]: Yeah.

[01:00:39] [SPEAKER_05]: You know, the one whose ear was cut off, not to be lurid about it.

[01:00:42] [SPEAKER_02]: And the family, like just most of the people in that lineage have had very tragic outcomes.

[01:00:47] [SPEAKER_02]: And he's turned out better than almost the majority of the Getty's.

[01:00:50] [SPEAKER_02]: I said better.

[01:00:51] [SPEAKER_02]: Yeah.

[01:00:52] [SPEAKER_02]: Uh-

[01:00:52] [SPEAKER_00]: Is it The Evil Within?

[01:00:54] [SPEAKER_00]: Right.

[01:00:54] [SPEAKER_00]: Yeah.

[01:00:54] [SPEAKER_00]: Which was his uncle.

[01:00:55] [SPEAKER_00]: His uncle made this movie that he was like an obsessive passion project.

[01:01:00] [SPEAKER_00]: And he filmed it over like 10 years.

[01:01:02] [SPEAKER_00]: It was self-finance.

[01:01:02] [SPEAKER_00]: With like Michael Berryman is in it.

[01:01:03] [SPEAKER_00]: Yes.

[01:01:04] [SPEAKER_00]: It is.

[01:01:05] [SPEAKER_00]: It's weird.

[01:01:06] [SPEAKER_00]: It is so bizarre.

[01:01:07] [SPEAKER_05]: Yeah.

[01:01:08] [SPEAKER_05]: I feel like at the point that Balthazar, obviously he's in Lord of the Flies, produced

[01:01:11] [SPEAKER_05]: by Griffin Newman's father.

[01:01:13] [SPEAKER_05]: Also a child actor.

[01:01:14] [SPEAKER_05]: Yeah.

[01:01:14] [SPEAKER_05]: Not my father, Balthazar Gatty.

[01:01:16] [SPEAKER_05]: Which he's Ralph in that.

[01:01:18] [SPEAKER_05]: And I feel like the take on that, you know, that's the lead part, obviously.

[01:01:21] [SPEAKER_05]: I was thinking Lord of the Flies.

[01:01:22] [SPEAKER_05]: Uh, was like, ooh, like, ooh, this sort of some intensity here.

[01:01:25] [SPEAKER_05]: This is interesting.

[01:01:26] [SPEAKER_05]: And by the time he's in this, he's a bit of a like talent, right?

[01:01:32] [SPEAKER_05]: Like he's in White Squall and stuff and Mr. Holland's out.

[01:01:34] [SPEAKER_05]: Like he'd been in stuff and it's kind of like, ooh, is this like Balthazar Gatty's coming

[01:01:37] [SPEAKER_05]: out as a, you know, hot young actor?

[01:01:41] [SPEAKER_05]: And then he was not ever really that.

[01:01:46] [SPEAKER_05]: He became more of a TV guy.

[01:01:47] [SPEAKER_05]: Yeah.

[01:01:48] [SPEAKER_05]: He becomes brothers and sisters.

[01:01:49] [SPEAKER_05]: Well, he is fucking bizarre on that show.

[01:01:52] [SPEAKER_05]: Sure.

[01:01:52] [SPEAKER_05]: As someone who watched Brothers and Sisters, right?

[01:01:54] [SPEAKER_05]: Which is the show which is every episode someone's like, I'm a Republican.

[01:01:57] [SPEAKER_05]: And the other one's like, I'm a Democrat.

[01:01:58] [SPEAKER_05]: And then they're like, well, this is what we think about this issue.

[01:02:01] [SPEAKER_05]: And then on it goes.

[01:02:03] [SPEAKER_05]: Anyway, your sister's in a fire truck that just fell off a cliff.

[01:02:05] [SPEAKER_05]: You know, it's like a soap opera with politics.

[01:02:08] [SPEAKER_05]: Right.

[01:02:08] [SPEAKER_05]: He makes no sense in that show as one of the brothers and sisters.

[01:02:12] [SPEAKER_05]: Wish he is one of the brothers and sisters.

[01:02:14] [SPEAKER_05]: All the other ones, what worked about that show is they actually felt like a family.

[01:02:19] [SPEAKER_05]: You were kind of vibing with that.

[01:02:20] [SPEAKER_05]: And then Balthazar Gatty will walk in and you're like, is this like a stranger?

[01:02:23] [SPEAKER_05]: He's so weird on that.

[01:02:24] [SPEAKER_05]: They wrote him out of the show, which is hard to do in a show about a family.

[01:02:28] [SPEAKER_05]: But they were like, we, you gotta go.

[01:02:30] [SPEAKER_05]: One episode.

[01:02:31] [SPEAKER_02]: They're like, we just don't talk to him anymore.

[01:02:32] [SPEAKER_05]: Like truly.

[01:02:33] [SPEAKER_05]: Yes.

[01:02:34] [SPEAKER_05]: Like he's got to fucking go.

[01:02:36] [SPEAKER_00]: Um, anyway, I feel like that's the last I heard of him.

[01:02:38] [SPEAKER_00]: The one of the funniest parts of the David Foster Wallace piece

[01:02:41] [SPEAKER_00]: is where he's just kind of subtly throwing shade at Balthazar Gatty the entire article.

[01:02:46] [SPEAKER_00]: But like, he's like, I don't want to talk badly about somebody.

[01:02:48] [SPEAKER_00]: He doesn't go into it.

[01:02:49] [SPEAKER_00]: Yeah.

[01:02:49] [SPEAKER_00]: And then finally, then he's like, fuck it.

[01:02:51] [SPEAKER_00]: This guy sucks.

[01:02:52] [SPEAKER_00]: Here's why.

[01:02:53] [SPEAKER_00]: I wouldn't even go as far as to say that he sucks.

[01:02:56] [SPEAKER_00]: Well, no, not not.

[01:02:57] [SPEAKER_00]: I know.

[01:02:58] [SPEAKER_00]: Yeah.

[01:02:58] [SPEAKER_00]: Yeah.

[01:02:58] [SPEAKER_00]: Yeah.

[01:03:01] [SPEAKER_00]: What were you going to say about him?

[01:03:02] [SPEAKER_00]: Sorry.

[01:03:02] [SPEAKER_00]: We derailed.

[01:03:04] [SPEAKER_00]: Well, one of those was those things.

[01:03:05] [SPEAKER_00]: That's that's one of the funny parts.

[01:03:06] [SPEAKER_00]: The David Foster Wallace piece, which is very, very interesting read.

[01:03:10] [SPEAKER_00]: And then the other thing is that one of the brilliant the things that makes Lynch a cut

[01:03:15] [SPEAKER_00]: above the rest in this type of film is that nine out of 10 other filmmakers would have had

[01:03:20] [SPEAKER_00]: Balthazar Gatty, Pete Dayton show up somewhere in the in the in the in the Fred Madison sequence.

[01:03:26] [SPEAKER_00]: Yeah.

[01:03:26] [SPEAKER_05]: In the early part of the movie.

[01:03:28] [SPEAKER_00]: So you see his face.

[01:03:30] [SPEAKER_00]: And Fred's like that he's like, oh, he's fixing my car or like something like that.

[01:03:34] [SPEAKER_00]: And then like the fact that he has been spun out of hundred out of invented out of Fred Madison's, you know, subconscious.

[01:03:42] [SPEAKER_00]: And it is really what makes this movie work because that's how subconscious is work.

[01:03:50] [SPEAKER_00]: I have.

[01:03:50] [SPEAKER_00]: I've had dreams where I'm like, I wake up and I'm like, where did that person come from with a name and a life that fully exists?

[01:03:56] [SPEAKER_00]: And my brain conjured that in my sleep.

[01:03:58] [SPEAKER_02]: I also think it's a thing that like, at least for me, happens all the time in my dreams where I am in a dream engaging with one person.

[01:04:07] [SPEAKER_02]: And in a moment that I do not clock, they turn into a different totally.

[01:04:11] [SPEAKER_02]: They either turn to a fictional person or they turn to a different person from my life.

[01:04:15] [SPEAKER_02]: We have a segment where we talk about our dreams on every Lynch episode.

[01:04:18] [SPEAKER_00]: You kept Romley's dream corner.

[01:04:22] [SPEAKER_00]: And that was there's like a lie in the movie where he's like, I think.

[01:04:27] [SPEAKER_00]: She's like, it looked like you, but it wasn't you, which is another classic dream scenario where you you're you recognize the face.

[01:04:33] [SPEAKER_00]: But it is definitely I'm always like explaining my wife next morning like, yeah, it was you in my dream last night.

[01:04:38] [SPEAKER_00]: But but this wasn't actually you.

[01:04:40] [SPEAKER_00]: It wasn't what I'm about to describe didn't actually happen with you.

[01:04:43] [SPEAKER_00]: It was just look like you.

[01:04:44] [SPEAKER_02]: And when that happens to me in my dream, I do feel like I feel myself justifying it going like, oh, no, I guess it was him the whole time.

[01:04:52] [SPEAKER_05]: Yes.

[01:04:54] [SPEAKER_05]: Oh, I don't like dreams.

[01:04:55] [SPEAKER_05]: I had a weird dream last night.

[01:04:56] [SPEAKER_05]: Don't remember it, David.

[01:04:57] [SPEAKER_05]: I don't remember.

[01:04:58] [SPEAKER_05]: I never remember my dreams very well.

[01:05:00] [SPEAKER_05]: You remember the vibe.

[01:05:01] [SPEAKER_05]: You remember the rest of that.

[01:05:02] [SPEAKER_05]: Like sort of just like you like leaves that weird.

[01:05:04] [SPEAKER_05]: I like woke up early, too.

[01:05:06] [SPEAKER_05]: So I was like in the.

[01:05:07] [SPEAKER_03]: I've been off THC now for a month.

[01:05:10] [SPEAKER_03]: We've been talking about it.

[01:05:11] [SPEAKER_03]: Yeah.

[01:05:12] [SPEAKER_03]: Yeah.

[01:05:12] [SPEAKER_03]: And I've been dreaming like a motherfucker.

[01:05:15] [SPEAKER_03]: Mm hmm.

[01:05:15] [SPEAKER_03]: Your brain's like like the TV.

[01:05:17] [SPEAKER_03]: It's like warming up.

[01:05:18] [SPEAKER_03]: It's like.

[01:05:18] [SPEAKER_03]: Yeah.

[01:05:20] [SPEAKER_03]: I'm having full cinematic.

[01:05:23] [SPEAKER_03]: Yeah.

[01:05:23] [SPEAKER_03]: Like it's a franchise every night for me.

[01:05:26] [SPEAKER_00]: You're building a cinematic dream.

[01:05:27] [SPEAKER_03]: I am.

[01:05:28] [SPEAKER_03]: Absolutely.

[01:05:28] [SPEAKER_03]: Over under on like good dreams versus bad dreams.

[01:05:31] [SPEAKER_03]: So far, it's been kind of mostly scary.

[01:05:35] [SPEAKER_03]: But I think it's because I've been pumping stuff into my head that is sort of lending itself

[01:05:40] [SPEAKER_03]: to that.

[01:05:40] [SPEAKER_03]: Like this movie.

[01:05:41] [SPEAKER_03]: Yeah.

[01:05:42] [SPEAKER_03]: I think helped with like waking up in the middle of the night and being discombobulated.

[01:05:47] [SPEAKER_03]: Probably also all of the meds.

[01:05:48] [SPEAKER_03]: Yeah.

[01:05:49] [SPEAKER_03]: Also, why'd you walk down that weird hallway in your apartment all of a sudden?

[01:05:52] [SPEAKER_03]: And I really do insist on having no lights on.

[01:05:55] [SPEAKER_03]: Very slowly.

[01:05:56] [SPEAKER_03]: Constantly.

[01:05:57] [SPEAKER_03]: Or one red light.

[01:05:58] [SPEAKER_03]: Right.

[01:05:58] [SPEAKER_03]: Well, cause red light is just a nice atmosphere.

[01:06:01] [SPEAKER_03]: Yeah.

[01:06:01] [SPEAKER_05]: I have 14 lamps though.

[01:06:03] [SPEAKER_05]: I always, I, there's a lamp and Lynch has cool lamps in his movies.

[01:06:06] [SPEAKER_03]: He has great furniture.

[01:06:08] [SPEAKER_03]: He built all of that furniture.

[01:06:09] [SPEAKER_03]: Really?

[01:06:09] [SPEAKER_00]: You should actually consider that the next branch in your.

[01:06:13] [SPEAKER_00]: What?

[01:06:14] [SPEAKER_00]: Architect Ben?

[01:06:15] [SPEAKER_00]: Yeah.

[01:06:43] [SPEAKER_00]: I would love to.

[01:06:46] [SPEAKER_00]: I'm scheduling.

[01:06:46] [SPEAKER_00]: It didn't work out, but it is incredibly therapeutic.

[01:06:50] [SPEAKER_02]: Yeah.

[01:06:51] [SPEAKER_02]: I mean, Harrison Ford, that guy feels like he's got it all figured out.

[01:06:54] [SPEAKER_02]: And I've always assumed the carpentry is a big part of it.

[01:06:57] [SPEAKER_02]: Yeah.

[01:06:57] [SPEAKER_02]: Yeah.

[01:06:58] [SPEAKER_02]: Um, I feel like I keep derailing you, but it is just the thing of like, I do love that

[01:07:03] [SPEAKER_02]: he doesn't tease that character at the beginning.

[01:07:05] [SPEAKER_02]: It's what makes the movie work.

[01:07:06] [SPEAKER_02]: That it's a hard minute 40 or whatever.

[01:07:09] [SPEAKER_02]: You're seeing this guy's face for the first time.

[01:07:11] [SPEAKER_02]: Yep.

[01:07:11] [SPEAKER_02]: But it also puts a lot of pressure on that performance.

[01:07:15] [SPEAKER_02]: It does.

[01:07:16] [SPEAKER_02]: Because you're just ready for like, this handoff is happening and I want to feel excited

[01:07:21] [SPEAKER_02]: about this and not feel the absence of like, wait, so is Pullman not coming back?

[01:07:26] [SPEAKER_02]: And there, I love when movies do this.

[01:07:28] [SPEAKER_02]: I mean, it's hard to think of another movie that does exactly.

[01:07:31] [SPEAKER_02]: I was about to say, right.

[01:07:32] [SPEAKER_02]: It's not like Moonlight has the handoff of the three different actors playing the same

[01:07:36] [SPEAKER_02]: character and they're very different performances.

[01:07:39] [SPEAKER_02]: And every time you're like, oh, am I not getting that guy back again?

[01:07:43] [SPEAKER_02]: You start to acclimate to the new guy.

[01:07:44] [SPEAKER_02]: And I think all three of them are great.

[01:07:46] [SPEAKER_02]: Like Barbarian does a somewhat similar.

[01:07:49] [SPEAKER_00]: 2001 is famously.

[01:07:50] [SPEAKER_00]: Yes.

[01:07:50] [SPEAKER_00]: That's a great.

[01:07:52] [SPEAKER_05]: We're not, we're not going to see that guy anymore.

[01:07:54] [SPEAKER_05]: Yeah.

[01:07:54] [SPEAKER_02]: Part of it is that I just do think like Pullman is so weirdly compelling at all times.

[01:07:59] [SPEAKER_02]: Pullman rocks in the world.

[01:08:00] [SPEAKER_02]: 97, he's cooking with gas.

[01:08:02] [SPEAKER_02]: This is his peak period.

[01:08:03] [SPEAKER_02]: And this is a movie using him unlike any other movie has ever used him.

[01:08:07] [SPEAKER_05]: Now, can I just, obviously you're referring partly to Independence Day, which was gigantic

[01:08:12] [SPEAKER_05]: hit that he was in the year before.

[01:08:13] [SPEAKER_05]: But are you also thinking he's cooking with gas because Casper came out in 1995?

[01:08:16] [SPEAKER_05]: Of course.

[01:08:17] [SPEAKER_05]: Okay.

[01:08:17] [SPEAKER_05]: Thank you.

[01:08:17] [SPEAKER_05]: Obviously.

[01:08:18] [SPEAKER_02]: Dr.

[01:08:19] [SPEAKER_02]: Harvey, the drunk ghost, the scene where he is a drunk ghost and he has to apologize

[01:08:24] [SPEAKER_02]: to his daughter for wanting to stay dead.

[01:08:27] [SPEAKER_05]: It's funny because Pullman, obviously Independence Day is his peak as a box office star.

[01:08:33] [SPEAKER_05]: And everything after that is a decline for him.

[01:08:36] [SPEAKER_05]: Yep.

[01:08:36] [SPEAKER_05]: He enters the wilderness right starting with this.

[01:08:39] [SPEAKER_05]: Because he never really was an A-lister.

[01:08:41] [SPEAKER_05]: No offense to Bill Pullman who I like.

[01:08:43] No.

[01:08:43] [SPEAKER_05]: And then it's like, well, you're in this big fucking movie.

[01:08:45] [SPEAKER_05]: Shouldn't we have some vehicles for you and all that?

[01:08:48] [SPEAKER_05]: But like this is his best performance.

[01:08:49] [SPEAKER_00]: My arc in my mind is like Spaceballs.

[01:08:52] [SPEAKER_00]: This is like for me as a kid, Spaceballs, Casper, Independence Day, Lost Highway, Zero Effect.

[01:08:57] [SPEAKER_00]: Zero Effect is 98.

[01:08:59] [SPEAKER_00]: He is.

[01:09:00] [SPEAKER_05]: That's right.

[01:09:01] [SPEAKER_02]: That's them being like, all right, let's make you a movie and nobody watches it.

[01:09:04] [SPEAKER_02]: We talk a lot about like leading men guys, a character actor stuck in leading men bodies.

[01:09:11] [SPEAKER_02]: Right.

[01:09:11] [SPEAKER_02]: And very often those guys want to like must themselves up.

[01:09:15] [SPEAKER_02]: They want to look weirder.

[01:09:16] [SPEAKER_02]: They resent their handsomeness or whatever.

[01:09:18] [SPEAKER_02]: Bill Pullman's a weird example of like a traditionally handsome guy who plays character versions of leading men.

[01:09:28] [SPEAKER_02]: If that makes sense.

[01:09:29] [SPEAKER_02]: No, 100%.

[01:09:29] [SPEAKER_02]: Like he's not playing against his looks or his kind of like clean cut vibe.

[01:09:34] [SPEAKER_02]: But he's playing them and sort of odd functions within movies where like even an Independence Day, the bit is sort of like you're too hot to be.

[01:09:44] [SPEAKER_05]: Right.

[01:09:45] [SPEAKER_05]: No one takes you seriously.

[01:09:46] [SPEAKER_05]: You're a little too pretty.

[01:09:48] [SPEAKER_05]: I think the movie is kind of the vibe of that movie.

[01:09:50] [SPEAKER_05]: Yeah.

[01:09:51] [SPEAKER_05]: I like Bill Pullman.

[01:09:52] [SPEAKER_05]: I think he's great.

[01:09:52] [SPEAKER_05]: I think he's great in this.

[01:09:54] [SPEAKER_02]: He is the Baxter.

[01:09:56] [SPEAKER_02]: He is the guy that the archetype basically gets based off of.

[01:09:59] [SPEAKER_02]: Of course.

[01:09:59] [SPEAKER_02]: Right.

[01:09:59] [SPEAKER_02]: Sleepless.

[01:10:00] [SPEAKER_02]: For so long where it's like the movie is either based around, well, you don't actually marry this guy or you fight with him the entire running time until the end.

[01:10:10] [SPEAKER_02]: You realize you actually do love him or whatever.

[01:10:12] [SPEAKER_02]: While you're sleeping.

[01:10:13] [SPEAKER_02]: Right.

[01:10:13] [SPEAKER_02]: While you're sitting.

[01:10:14] [SPEAKER_05]: Yeah.

[01:10:14] [SPEAKER_05]: Which he's great in.

[01:10:14] [SPEAKER_02]: But he's always this odd version of a romantic protagonist.

[01:10:17] [SPEAKER_02]: You watch this and you're like, it's so funny that like Lynch used Bill Pullman at this point in his career.

[01:10:25] [SPEAKER_02]: It's definitely where his public persona and what we were all used to out of him is so different.

[01:10:29] [SPEAKER_02]: And then you see him in this like fucking wailing on a saxophone and you're like, this feels like the more obvious version of who Bill Pullman is.

[01:10:36] [SPEAKER_02]: Like he ended up in this weird zone, but you're like, yeah, Bill Pullman as like sad, tragic, stoic jazz player.

[01:10:43] [SPEAKER_02]: With fucking dyed black hair.

[01:10:45] [SPEAKER_01]: Makes perfect sense.

[01:10:46] [SPEAKER_01]: It really does.

[01:10:46] [SPEAKER_02]: He looks incredible with that hair.

[01:10:48] [SPEAKER_00]: It feels like this is like the most natural fit for him of any part he ever played.

[01:10:53] [SPEAKER_00]: And he seemed by all accounts very happy making the movie.

[01:10:56] [SPEAKER_00]: You watch the behind the scenes like interviews with him and he seems like he's having a great time.

[01:11:00] [SPEAKER_02]: And I think Bill Pullman's anger has always been like an underrated strong suit.

[01:11:06] [SPEAKER_02]: Yeah.

[01:11:06] [SPEAKER_02]: Let's nuke the bastards.

[01:11:07] [SPEAKER_02]: Right.

[01:11:08] [SPEAKER_02]: Which often movies will let him deploy it like one or two times a key scenes.

[01:11:12] [SPEAKER_02]: And this is a movie where that's simmering the whole time.

[01:11:15] [SPEAKER_02]: We will not go quietly into the night.

[01:11:16] [SPEAKER_02]: I do just feel the absence when I'm like, oh, no, it's not.

[01:11:19] [SPEAKER_00]: But then you get Robert Loja to show up and fill that void.

[01:11:23] [SPEAKER_00]: Loja.

[01:11:24] [SPEAKER_00]: Times 10.

[01:11:25] [SPEAKER_05]: Loja coming in with just two buckets of gasoline.

[01:11:29] [SPEAKER_05]: He's like, don't worry about it.

[01:11:30] [SPEAKER_05]: Yeah.

[01:11:31] [SPEAKER_05]: You get he's not giving you energy.

[01:11:32] [SPEAKER_05]: That's fine.

[01:11:33] [SPEAKER_02]: Loja who infamously wanted the Frank Booth role.

[01:11:36] [SPEAKER_02]: Sure.

[01:11:37] [SPEAKER_02]: Very badly.

[01:11:38] [SPEAKER_02]: Sure.

[01:11:38] [SPEAKER_02]: I think went after it very hard.

[01:11:40] [SPEAKER_02]: Lynch was like, but I'm sure him going after it was chill.

[01:11:42] [SPEAKER_05]: Yeah, actually.

[01:11:45] [SPEAKER_00]: He didn't even get to audition for it.

[01:11:47] [SPEAKER_00]: He was he was waiting in the room waiting in line.

[01:11:50] [SPEAKER_00]: Then then the line up to go audition, by the way, is also an independent.

[01:11:54] [SPEAKER_04]: It is hilarious that this.

[01:11:56] [SPEAKER_04]: Okay.

[01:11:57] [SPEAKER_05]: That's how that's how this happened.

[01:11:59] [SPEAKER_05]: Yeah, I'm going to.

[01:12:00] [SPEAKER_05]: Okay.

[01:12:00] [SPEAKER_05]: I'm going to make sense of this.

[01:12:02] [SPEAKER_00]: But they like I think Robert Loja was in line to audition for Frank Booth, like in

[01:12:07] [SPEAKER_00]: like the sitting in the chairs outside the room.

[01:12:10] [SPEAKER_00]: And David Lynch was meeting maybe with Dennis Hopper, someone else and got so carried away that he ran out of time to audition Robert Loja.

[01:12:18] [SPEAKER_00]: And Robert Loja just lost it on him and just exploded.

[01:12:20] [SPEAKER_00]: It was like, this is not how you treat actors.

[01:12:22] [SPEAKER_00]: This is so disrespectful.

[01:12:23] [SPEAKER_00]: How dare you, you know, treat me this way?

[01:12:27] [SPEAKER_05]: And he files this away.

[01:12:28] [SPEAKER_00]: Lynch files this away.

[01:12:29] [SPEAKER_00]: And when this role comes up, he's like, I know who is going to nail this.

[01:12:32] [SPEAKER_02]: And Loja is like attacking this role with the energy of a guy who is waited like eight years, 10 years at this point.

[01:12:40] [SPEAKER_02]: Blue Velvet is 87, 86.

[01:12:42] [SPEAKER_02]: Yeah.

[01:12:43] [SPEAKER_02]: So he's waited over 10 years to play in Lynch's field.

[01:12:47] [SPEAKER_02]: You feel that he's so fucking good.

[01:12:50] [SPEAKER_02]: Mm hmm.

[01:12:51] [SPEAKER_05]: He is very good.

[01:12:54] [SPEAKER_05]: I want to get back to the dossier, the dossier.

[01:12:57] [SPEAKER_00]: I think we should touch on the psychogenic fugue state of it all.

[01:13:02] [SPEAKER_00]: Which I love is like that describes the movie, but it was the movie's unit publicist was like, David, have you ever heard of a psychogenic fugue?

[01:13:10] [SPEAKER_00]: And then she described it to him, which is like a mental shift, a break where someone just loses their entire sense of identity and and sometimes goes wandering off thinking there's someone else.

[01:13:21] [SPEAKER_00]: And he's like, oh, great. That's exactly what this movie is. And henceforth, he described it as any time anyone asks.

[01:13:26] [SPEAKER_00]: Thank you for giving me the one phrase.

[01:13:28] [SPEAKER_05]: Yes, exactly.

[01:13:29] [SPEAKER_05]: Like that is 100% what it is.

[01:13:30] [SPEAKER_05]: Right. Like Gifford in his attempt, he said, like when we're writing it and Lynch agrees, like we are not talking about like meaning, quote unquote.

[01:13:37] [SPEAKER_05]: Right. We're not like and what this means when he does this is this. Right.

[01:13:41] [SPEAKER_05]: They're not doing that.

[01:13:42] [SPEAKER_05]: But Gifford's like, yeah, it's about a man in a dire situation who has a kind of a panic attack. Like, you know, essentially a disassociative sort of thing happens to him.

[01:13:52] [SPEAKER_05]: I mean, as you logged on Letterboxd, it's a movie about headaches, movie about headaches.

[01:13:57] [SPEAKER_05]: It's a movie about headaches.

[01:13:58] [SPEAKER_05]: Yes.

[01:13:59] [SPEAKER_05]: And so, right, then Lynch gets on this the psychogenic fugue term and is basically like put that on the poster.

[01:14:07] [SPEAKER_05]: But, you know, like he's like, I love that term. And he likes, of course, that a fugue is also a musical thing.

[01:14:14] [SPEAKER_05]: And he's like jazz is this is Lynch. Jazz is the closest thing to insanity that there is in music.

[01:14:20] [SPEAKER_05]: So I love that we're like merging these things together because jazz is.

[01:14:24] [SPEAKER_05]: And I say this with respect for the art form, someone going up there and going like.

[01:14:32] [SPEAKER_03]: But you're fair.

[01:14:33] [SPEAKER_03]: He did that very respectfully.

[01:14:34] [SPEAKER_03]: He did that very respectfully.

[01:14:35] [SPEAKER_03]: Everyone at home needs to know that it was done with great care.

[01:14:39] [SPEAKER_03]: It was very respectful.

[01:14:40] [SPEAKER_00]: I think he actually conveyed what they intended meaning.

[01:14:44] [SPEAKER_03]: I do love jazz, to be clear.

[01:14:45] [SPEAKER_03]: I got no beef with jazz.

[01:14:47] [SPEAKER_03]: Let me say this.

[01:14:47] [SPEAKER_03]: Let me say this.

[01:14:48] [SPEAKER_03]: You love free jazz especially.

[01:14:50] [SPEAKER_03]: The freer the better.

[01:14:51] [SPEAKER_03]: Off mic David is constantly talking about Ornette Coleman.

[01:14:56] [SPEAKER_02]: Let me say this and I want to say this as respectfully as possible.

[01:15:00] [SPEAKER_02]: Everything you just said, Sims, is correct.

[01:15:03] [SPEAKER_02]: That is jazz.

[01:15:05] [SPEAKER_01]: But jazz is also about this.

[01:15:10] [SPEAKER_06]: The things you don't hear.

[01:15:12] [SPEAKER_06]: The notes you don't play.

[01:15:14] [SPEAKER_02]: I don't know if you've heard this.

[01:15:16] [SPEAKER_02]: This is a theory that I've come to recently.

[01:15:18] [SPEAKER_00]: I believe.

[01:15:19] [SPEAKER_00]: Are you a jazz man?

[01:15:19] [SPEAKER_01]: I have always said.

[01:15:21] [SPEAKER_00]: Jazz has never been my cup of tea, but I greatly appreciate the form.

[01:15:26] [SPEAKER_00]: Yes.

[01:15:26] [SPEAKER_00]: It's about the notes you don't play.

[01:15:32] [SPEAKER_05]: I've known people who are very into jazz and they'll take me to jazz shows.

[01:15:35] [SPEAKER_02]: And those guys are always really cool and fun.

[01:15:37] [SPEAKER_02]: They're your best friends.

[01:15:38] [SPEAKER_05]: Chicken on a stick.

[01:15:40] [SPEAKER_05]: They're always taking me to chicken on a stick.

[01:15:41] [SPEAKER_05]: My favorite jazz club.

[01:15:42] [SPEAKER_05]: I love that place.

[01:15:43] [SPEAKER_05]: That basically was where jazz was born.

[01:15:46] [SPEAKER_05]: Correct.

[01:15:46] [SPEAKER_05]: Of course.

[01:15:47] [SPEAKER_05]: Invented.

[01:15:48] [SPEAKER_05]: Down in the bayou of chicken on a stick on Sunset Boulevard or wherever it is.

[01:15:53] [SPEAKER_05]: But yeah.

[01:15:54] [SPEAKER_05]: And it is so where like I do love.

[01:15:57] [SPEAKER_05]: And again, I'm saying this with obvious understanding for jazz music that I know so much about that

[01:16:02] [SPEAKER_05]: it'll suddenly be like, all right, now this guy's going to do, you know, for like five

[01:16:06] [SPEAKER_00]: minutes.

[01:16:07] [SPEAKER_00]: Which by all accounts, what he's doing is really hard.

[01:16:10] [SPEAKER_00]: He's like so hard and complex that they have to keep up with him.

[01:16:14] [SPEAKER_00]: And he rehearsed for months to like get to be able to do, like look like he was doing

[01:16:16] [SPEAKER_00]: that.

[01:16:16] [SPEAKER_03]: And you're kind of like, ah, and someone's like, do you want another $48 drink?

[01:16:20] [SPEAKER_03]: You know, like.

[01:16:22] [SPEAKER_03]: Sometimes it's not even a wind instrument.

[01:16:24] [SPEAKER_03]: Sometimes it's the guy just like.

[01:16:28] [SPEAKER_03]: Or the drum, the drum guy does drums.

[01:16:31] [SPEAKER_05]: The drums are fun.

[01:16:32] [SPEAKER_05]: Cool.

[01:16:33] [SPEAKER_05]: I'm seeing.

[01:16:34] [SPEAKER_05]: I feel like this is what I'm trying to feel like I'm saying this with mockery and I'm not.

[01:16:38] [SPEAKER_05]: Wait, we should do a cool.

[01:16:39] [SPEAKER_03]: We should do a jazz spinoff show.

[01:16:42] [SPEAKER_03]: It's the worst jazz spinoff show of all time.

[01:16:46] [SPEAKER_03]: And then when he's like.

[01:16:48] [SPEAKER_02]: All right.

[01:16:49] [SPEAKER_02]: That part.

[01:16:49] [SPEAKER_02]: It's kind of weird.

[01:16:51] [SPEAKER_02]: We're very committed to not being a video podcast, but I do wish our listeners could

[01:16:54] [SPEAKER_02]: have some of the pantomiming Sims did.

[01:16:57] [SPEAKER_02]: If you thought the sound was rich and respectful.

[01:17:01] [SPEAKER_00]: If you thought Bill Pullman in Lost Highway was cutting loose.

[01:17:05] [SPEAKER_02]: It was like fucking shields in your nail were in the studio.

[01:17:08] [SPEAKER_02]: Suddenly you could see the object work was so precise.

[01:17:14] [SPEAKER_02]: Nice.

[01:17:16] [SPEAKER_05]: I'm not lost highway.

[01:17:18] [SPEAKER_05]: To me, mystery is like a magnet.

[01:17:19] [SPEAKER_05]: Whenever there's something that's unknown, it has a pull to it.

[01:17:22] [SPEAKER_05]: If you were in a room and there was an open doorway and stairs going down and the light just fell away, you'd be tempted to go down there.

[01:17:29] [SPEAKER_05]: Good point, David Lynch.

[01:17:30] [SPEAKER_05]: Kind of describing what you're so good at.

[01:17:32] [SPEAKER_00]: I would.

[01:17:33] [SPEAKER_00]: I actually wouldn't.

[01:17:34] [SPEAKER_00]: Me too.

[01:17:35] [SPEAKER_00]: I would be like closing the door, maybe locking it if I can.

[01:17:37] [SPEAKER_00]: But on a movie, I would be delighted to watch a character disappear into that darkness and stay in it for a long period of time while nothing else happens on screen.

[01:17:44] [SPEAKER_00]: That's fantastic.

[01:17:44] [SPEAKER_00]: That's cinema.

[01:17:45] [SPEAKER_05]: Lynch, of course, his other big thing is when mysteries are solved, I usually feel tremendously let down.

[01:17:49] [SPEAKER_05]: It's like at the end of Chinatown.

[01:17:51] [SPEAKER_05]: The guy says, forget it, Jake, it's Chinatown.

[01:17:52] [SPEAKER_05]: You understand it, but you don't understand it.

[01:17:54] [SPEAKER_05]: Keeps the mystery alive.

[01:17:55] [SPEAKER_05]: That's the most beautiful thing.

[01:17:57] [SPEAKER_05]: Of course, he's saying this to people who have money, who he needs to fund his projects.

[01:18:02] [SPEAKER_05]: And they're like, what?

[01:18:04] [SPEAKER_05]: You know, I hate resolutions.

[01:18:07] [SPEAKER_05]: How did he get someone to fund the film Lost Highway?

[01:18:10] [SPEAKER_05]: Well, CB 3000, 2000.

[01:18:12] [SPEAKER_05]: 2000.

[01:18:15] [SPEAKER_05]: What did he do to deal with them?

[01:18:17] [SPEAKER_05]: You know, they also worked with Campion back in the day.

[01:18:21] [SPEAKER_05]: Yeah, yeah, yeah.

[01:18:22] [SPEAKER_05]: Portrait of a Lady?

[01:18:23] [SPEAKER_05]: Which movies did they do with her?

[01:18:24] [SPEAKER_05]: It must have been Portrait of a Lady.

[01:18:25] [SPEAKER_05]: I think it was Portrait of a Lady.

[01:18:26] [SPEAKER_05]: Yeah, yeah.

[01:18:27] [SPEAKER_05]: Because that would have been that era.

[01:18:29] [SPEAKER_05]: And even they balked slightly at this one, being like, it's about what?

[01:18:36] [SPEAKER_05]: Like, mm-hmm.

[01:18:37] [SPEAKER_05]: So they give them the treatment, March 95.

[01:18:42] [SPEAKER_05]: And they were like, we need to shoot in, you know, as soon as possible.

[01:18:46] [SPEAKER_05]: But they didn't get to shoot until November.

[01:18:48] [SPEAKER_05]: They only did the piano with her.

[01:18:50] [SPEAKER_06]: Yeah, yeah.

[01:18:51] [SPEAKER_05]: Interesting.

[01:18:52] [SPEAKER_05]: Sorry.

[01:18:52] [SPEAKER_05]: Lynch was annoyed that they were shooting in the desert in the winter because it was cold.

[01:18:57] [SPEAKER_05]: Uh, he always wanted Bill Pullman.

[01:18:59] [SPEAKER_05]: Um, he said, I've always seen him in these films playing the second fiddle, but there's

[01:19:03] [SPEAKER_05]: something in his eyes that made me think he could play something strange and tough and

[01:19:07] [SPEAKER_05]: difficult.

[01:19:07] [SPEAKER_05]: He really popped in Casper.

[01:19:11] [SPEAKER_05]: Pullman, love David Lynch, said it was like meeting a member of the family.

[01:19:14] [SPEAKER_05]: It was like tuning forks humming together.

[01:19:16] [SPEAKER_05]: They do both have like this Midwest thing too.

[01:19:20] [SPEAKER_05]: I think they both have a Montana connection.

[01:19:22] [SPEAKER_05]: Like they, you know, whatever.

[01:19:24] [SPEAKER_05]: They, uh, they, they vibed immediately.

[01:19:29] [SPEAKER_05]: Uh, on his sax solo, he said, quote, I just kind of put the sax up like here and then

[01:19:33] [SPEAKER_05]: made a bunch of noises.

[01:19:34] [SPEAKER_05]: No, he didn't say that.

[01:19:36] [SPEAKER_05]: I studied David Sims.

[01:19:39] [SPEAKER_05]: Uh, you know, Angela Badalamenti, Badalamenti, Badalamenti, uh, writes the music and, uh,

[01:19:48] [SPEAKER_05]: David's like, here's the session track.

[01:19:50] [SPEAKER_05]: Like we, you know, we recorded this music and, uh, Bill was like, I can't play that.

[01:19:56] [SPEAKER_05]: Like, that's crazy.

[01:19:57] [SPEAKER_05]: And, but David's like, it'll be fine.

[01:19:58] [SPEAKER_05]: And while he's doing it, David Lynch is offset just screaming crazier, crazier.

[01:20:03] [SPEAKER_05]: Um, Patricia Arquette.

[01:20:05] [SPEAKER_05]: I feel like she's hot stuff right now.

[01:20:07] [SPEAKER_05]: Right?

[01:20:07] [SPEAKER_05]: She's new.

[01:20:08] [SPEAKER_05]: Yes.

[01:20:09] [SPEAKER_05]: Right?

[01:20:09] [SPEAKER_05]: Like flirting with disaster.

[01:20:10] [SPEAKER_05]: True romance.

[01:20:11] [SPEAKER_05]: True romance, obviously.

[01:20:13] [SPEAKER_02]: She was like the, the dream girl for movies about broken men, a certain type of misunderstood,

[01:20:19] [SPEAKER_02]: broken loner weirdo.

[01:20:20] [SPEAKER_02]: Is that fair to say?

[01:20:22] [SPEAKER_02]: And she's such a lynchie.

[01:20:23] [SPEAKER_02]: I mean, she makes so much sense with his whole vibe.

[01:20:26] [SPEAKER_02]: Right?

[01:20:26] [SPEAKER_02]: Also her natural speaking voice.

[01:20:28] [SPEAKER_02]: Like she's just everything she says is always in a very slow whisper in a way that doesn't feel affected.

[01:20:35] [SPEAKER_02]: It's just who she is.

[01:20:36] [SPEAKER_02]: Yes.

[01:20:37] [SPEAKER_02]: And yeah, very soft.

[01:20:38] [SPEAKER_00]: Very.

[01:20:39] [SPEAKER_05]: Yeah.

[01:20:39] [SPEAKER_05]: She's styled basically like Betty Page when she's in dark hair mode.

[01:20:43] [SPEAKER_05]: The first Veronica Lake maybe.

[01:20:45] [SPEAKER_00]: Yeah.

[01:20:46] [SPEAKER_05]: Yeah.

[01:20:46] [SPEAKER_05]: Very platinum blonde.

[01:20:47] [SPEAKER_05]: And David Lynch apparently didn't know who Betty Page was, which is kind of amazing to think about.

[01:20:52] [SPEAKER_05]: That feels impossible.

[01:20:54] [SPEAKER_05]: I know.

[01:20:54] [SPEAKER_05]: I'm not calling bullshit on him.

[01:20:56] [SPEAKER_05]: Patricia Arquette said, I'm who's that?

[01:20:58] [SPEAKER_05]: And then he was like, wow, she's the beast knees.

[01:21:02] [SPEAKER_05]: No, now, now that story is 100% true.

[01:21:05] [SPEAKER_05]: Yeah.

[01:21:05] [SPEAKER_05]: That's exactly how that would go.

[01:21:07] [SPEAKER_05]: Arquette said like, so I'm reading the script and I'm like, these are two people.

[01:21:10] [SPEAKER_05]: And Lynch was like, no, these are the same person.

[01:21:13] [SPEAKER_05]: And so she's like, I guess I'm playing two different interpretations of the same woman.

[01:21:17] [SPEAKER_05]: She thinks the movie is about a man trying to recreate a relationship with a woman he loves so much.

[01:21:22] [SPEAKER_05]: So and this time it'll end up better.

[01:21:24] [SPEAKER_05]: That's the that's a kind of really rose colored.

[01:21:26] [SPEAKER_05]: Yeah.

[01:21:27] [SPEAKER_00]: Glasses perspective on the movie.

[01:21:28] [SPEAKER_05]: I would agree with that.

[01:21:29] [SPEAKER_05]: But I guess if you're playing the part, I can understand.

[01:21:32] [SPEAKER_05]: Yes.

[01:21:33] [SPEAKER_05]: If you're trying to like, what is my relationship with this man?

[01:21:36] [SPEAKER_02]: Not to fucking derail again here.

[01:21:39] [SPEAKER_02]: But I feel like we get into this oftentimes where an actor will be promoting their movie and they will offer some soundbite.

[01:21:46] [SPEAKER_02]: Right.

[01:21:46] [SPEAKER_02]: And this is look in fucking 1997.

[01:21:49] [SPEAKER_02]: Patricia Arquette says that one time to premiere magazine.

[01:21:52] [SPEAKER_02]: Only weirdos like us ever remember it.

[01:21:54] [SPEAKER_02]: It's gone in the culture.

[01:21:55] [SPEAKER_02]: Right now.

[01:21:56] [SPEAKER_02]: Someone says a quote like that and it gets repeated on the Internet a billion times and people go like actors are so fucking dumb.

[01:22:02] [SPEAKER_02]: How could that be your interpretation?

[01:22:03] [SPEAKER_02]: And it's like your job is specifically to make sense of just your one part of it.

[01:22:09] [SPEAKER_00]: I know vision.

[01:22:09] [SPEAKER_00]: That's part of the job.

[01:22:10] [SPEAKER_02]: Right.

[01:22:11] [SPEAKER_02]: Anytime an actor comes out and they're like, I found this be a sympathetic character.

[01:22:14] [SPEAKER_02]: People are like, you're playing the Joker.

[01:22:17] [SPEAKER_02]: How could you fucking feel that way?

[01:22:18] [SPEAKER_02]: And it's like your job is whatever it takes.

[01:22:22] [SPEAKER_05]: All right.

[01:22:22] [SPEAKER_05]: I just had lunch with Emma and Fran friends of the show.

[01:22:25] [SPEAKER_05]: Isn't it crazy how the whole part of the movie Joker is that like what if there was a guy that was crazy?

[01:22:30] [SPEAKER_05]: Like that's that's the whole part of Joker because there's no Batman.

[01:22:34] [SPEAKER_05]: I know he's like off to the side, you know, but like the whole part of Joker is like this guy's crazy, but he's good at comedy.

[01:22:39] [SPEAKER_02]: Yeah, great.

[01:22:40] [SPEAKER_02]: You know what the plot of Joker Folly Ado is?

[01:22:43] [SPEAKER_02]: What if there was a good movie?

[01:22:44] [SPEAKER_02]: What if he met a crazy lady?

[01:22:46] [SPEAKER_02]: Do you like Joker?

[01:22:48] [SPEAKER_05]: I appreciate it.

[01:22:49] [SPEAKER_05]: Yeah, I liked it.

[01:22:50] [SPEAKER_05]: I think that's a good call.

[01:22:51] [SPEAKER_05]: Appreciate is probably a good like way to put it.

[01:22:54] [SPEAKER_00]: Yeah.

[01:22:54] [SPEAKER_00]: I had a quality time at the movie theater watching that movie.

[01:22:59] [SPEAKER_02]: That's another thing we're releasing this episode.

[01:23:01] [SPEAKER_02]: We won't know the impact that Folly Ado had on culture.

[01:23:03] [SPEAKER_03]: Oh my God, it could be thought it was going to be a cultural moment.

[01:23:12] [SPEAKER_01]: Everyone thought it was going to be cool.

[01:23:14] [SPEAKER_03]: Well, okay.

[01:23:15] [SPEAKER_03]: Gaga's in it.

[01:23:16] [SPEAKER_02]: It's definitely not cool, but I want to defend myself by saying it is undeniably a cultural moment.

[01:23:26] [SPEAKER_00]: I didn't want to actually say what it might be.

[01:23:28] [SPEAKER_03]: Later, we'll have a pickup and we'll insert something.

[01:23:32] [SPEAKER_03]: The correct answer?

[01:23:32] [SPEAKER_03]: Yeah, the correct answer.

[01:23:33] [SPEAKER_05]: Yeah, decently sized hit.

[01:23:35] [SPEAKER_05]: Robert Loja does get this role because Pullman on the set of Independence Day is like,

[01:23:40] [SPEAKER_05]: Yeah, I'm working on this Lynch movie next.

[01:23:42] [SPEAKER_05]: And Loja's like, That piece of shit!

[01:23:44] [SPEAKER_05]: No, he truly is like, He's not going to want to yell at him.

[01:23:48] [SPEAKER_05]: Like he's like, Oh, he'll never want to yell at him.

[01:23:52] [SPEAKER_05]: A shell you say?

[01:23:55] [SPEAKER_05]: And Pullman's like, Well, there's this one character who screams his fucking head off every time he's in the scene.

[01:24:00] [SPEAKER_04]: Yeah.

[01:24:01] [SPEAKER_05]: Um, and so, uh, let's see.

[01:24:06] [SPEAKER_05]: And we also have these like Richard Pryor.

[01:24:10] [SPEAKER_02]: Richard Pryor's last.

[01:24:11] [SPEAKER_02]: I mean, it's Robert Blake's last performance.

[01:24:13] [SPEAKER_02]: It's Jack Nance's last performance.

[01:24:15] [SPEAKER_02]: Blake, Nance and Pryor.

[01:24:16] [SPEAKER_02]: This is the last movie for all three of them.

[01:24:19] [SPEAKER_05]: That's I mean, that's crazy.

[01:24:21] [SPEAKER_05]: So wait, when did Jack Nance die?

[01:24:23] [SPEAKER_05]: Before this film.

[01:24:24] [SPEAKER_05]: Yeah, right, right.

[01:24:24] [SPEAKER_05]: I knew that it was basically yeah.

[01:24:26] [SPEAKER_05]: And then Pryor dies a few years later.

[01:24:28] [SPEAKER_05]: Right.

[01:24:28] [SPEAKER_05]: But obviously, he's already in like very tough shape.

[01:24:31] [SPEAKER_05]: It's kind of a beautiful thing to see him in this movie.

[01:24:34] [SPEAKER_05]: But yes, you know, obviously.

[01:24:35] [SPEAKER_00]: I think that was another thing watching this movie in 97.

[01:24:38] [SPEAKER_00]: I hadn't seen blazing saddles.

[01:24:41] [SPEAKER_00]: Sure.

[01:24:41] [SPEAKER_00]: Or anything that he had been involved with.

[01:24:44] [SPEAKER_00]: So I didn't have that context and watching it now like now having had that context.

[01:24:48] [SPEAKER_00]: I'm like, it's really moving.

[01:24:50] [SPEAKER_02]: Yeah, well, it's also there's something about like seeing Richard Pryor's speech patterns slowed down.

[01:24:57] [SPEAKER_02]: Right.

[01:24:58] [SPEAKER_02]: In fighting his illness.

[01:24:59] [SPEAKER_02]: Same guy.

[01:25:00] [SPEAKER_02]: Right.

[01:25:00] [SPEAKER_05]: You know, and he's recognizable.

[01:25:02] [SPEAKER_02]: This is the last moment when he's still able to do some version of his thing.

[01:25:06] [SPEAKER_02]: And it's like when you get to what another you I think is the last Gene Wilder movie.

[01:25:11] [SPEAKER_02]: And that's the one where people are like, you can tell he's sick.

[01:25:14] [SPEAKER_02]: He's like slowed down.

[01:25:16] [SPEAKER_02]: And then after this movie, he would just do like sort of like Kennedy Center honors.

[01:25:21] [SPEAKER_02]: He'd get on stage.

[01:25:22] [SPEAKER_02]: He'd say thank you.

[01:25:23] [SPEAKER_02]: But he clearly like wasn't able to say much.

[01:25:26] [SPEAKER_02]: There's something to a guy who had such recognizable, controlled, powerful speech patterns be slowed down.

[01:25:34] [SPEAKER_02]: That has the same effect as like Lynch playing someone's dialogue backwards.

[01:25:40] [SPEAKER_02]: It has that eerie quality.

[01:25:43] [SPEAKER_02]: Yeah, no, you're right.

[01:25:43] [SPEAKER_05]: It is eerie to see him talking slowly.

[01:25:46] [SPEAKER_05]: And yeah, he's very sweet guy.

[01:25:47] [SPEAKER_05]: He's very sweet.

[01:25:50] [SPEAKER_05]: Getty Lynch saw a picture of him was like, that's the guy.

[01:25:52] [SPEAKER_05]: Sure.

[01:25:53] [SPEAKER_05]: Robert Blake.

[01:25:53] [SPEAKER_05]: He's got the right look.

[01:25:54] [SPEAKER_05]: Robert Blake Lynch saw on Carson and was like, there's a guy who doesn't give a shit about anything in this industry and puts him in the back of his also doesn't give a shit about the law.

[01:26:04] [SPEAKER_05]: Uh, uh, Blake, uh, the Colbert joke.

[01:26:08] [SPEAKER_05]: I always think of it's from, it's like from an ancient daily show.

[01:26:10] [SPEAKER_05]: Like I went back to get my gun was his alibi.

[01:26:14] [SPEAKER_05]: Yes, but it was a different gun.

[01:26:16] [SPEAKER_05]: Uh, to be clear, you can Google Robert Blake, but he was probably involved in the murder of his wife who was herself an interesting figure.

[01:26:24] [SPEAKER_05]: Yes.

[01:26:25] [SPEAKER_05]: Uh, the whole thing is very cursed dark side of Hollywood.

[01:26:29] [SPEAKER_05]: Yeah, exactly what we're talking about.

[01:26:30] [SPEAKER_05]: Yes.

[01:26:31] [SPEAKER_05]: Um, Blake, he was like the last little actor.

[01:26:33] [SPEAKER_05]: But obviously he's a child actor.

[01:26:34] [SPEAKER_05]: Right.

[01:26:34] [SPEAKER_05]: And then he was Beretta.

[01:26:36] [SPEAKER_05]: In Cold Blood was the thing I think I knew him from.

[01:26:38] [SPEAKER_05]: Of course, that was sort of his breakout.

[01:26:41] [SPEAKER_05]: I mean, the, obviously the Once Upon a Time in Hollywood is very, very obviously inspired by Robert Blake to the point that he's dedicated to him.

[01:26:48] [SPEAKER_05]: Yes.

[01:26:49] [SPEAKER_05]: Um, and uh, you know.

[01:26:51] [SPEAKER_05]: Wait, is it really?

[01:26:52] [SPEAKER_05]: Yeah.

[01:26:53] [SPEAKER_05]: Like there's a dedication?

[01:26:54] [SPEAKER_05]: I believe so.

[01:26:55] [SPEAKER_05]: Yeah.

[01:26:55] [SPEAKER_05]: Yeah.

[01:26:56] [SPEAKER_05]: Um, because the, the idea is possibly Robert Blake hired a stunt man to kill his wife.

[01:27:01] [SPEAKER_05]: Right.

[01:27:01] [SPEAKER_05]: That was always this.

[01:27:02] [SPEAKER_05]: That was his body man.

[01:27:04] [SPEAKER_05]: Yes.

[01:27:04] [SPEAKER_05]: And Cliff Booth, it feels like he's sort of like, Tarantino's kind of swirling both of those legends together.

[01:27:09] [SPEAKER_02]: Right.

[01:27:10] [SPEAKER_02]: Along with obviously like the Burt Reynolds and Hal Needham and all these other things.

[01:27:14] [SPEAKER_02]: All that other shit.

[01:27:14] [SPEAKER_02]: Like, you see them at parties and you're like, is that the guy that, did that guy like kill his wife?

[01:27:19] [SPEAKER_00]: Like, you know.

[01:27:20] [SPEAKER_05]: And because it was on a boat in that movie.

[01:27:21] [SPEAKER_05]: So there's Natalie Wood as well.

[01:27:23] [SPEAKER_05]: Obviously.

[01:27:23] [SPEAKER_05]: Yes.

[01:27:24] [SPEAKER_05]: Yes.

[01:27:25] [SPEAKER_05]: Um, and the spear gun that's Aquaman, obviously that's an Aquaman reference.

[01:27:29] [SPEAKER_05]: Yeah, of course.

[01:27:30] [SPEAKER_05]: Arthur Curry.

[01:27:31] [SPEAKER_05]: Um.

[01:27:31] [SPEAKER_05]: King of the ocean.

[01:27:32] [SPEAKER_02]: But not the ocean master.

[01:27:33] [SPEAKER_05]: Blake says that Lynch told him, hey, I want you to play this.

[01:27:36] [SPEAKER_05]: I have no idea why.

[01:27:38] [SPEAKER_05]: I read the script like nine fucking times.

[01:27:39] [SPEAKER_05]: I didn't understand one fucking word of it.

[01:27:41] [SPEAKER_05]: I said, are you sure you want me to play this?

[01:27:42] [SPEAKER_05]: I'll be cooperative because I have no fucking opinion on anything of what the hell to do.

[01:27:47] [SPEAKER_05]: And, uh, Lynch is like, yeah, man.

[01:27:50] [SPEAKER_05]: He said he didn't under, he said he called him Captain Ahab and didn't understand shit

[01:27:54] [SPEAKER_05]: about the script, but he liked doing it and he's really good in it.

[01:27:56] [SPEAKER_05]: Not only is he really good at it, it is one of the most incredible screen performances

[01:28:00] [SPEAKER_04]: of all time.

[01:28:01] [SPEAKER_00]: Kind of.

[01:28:02] [SPEAKER_00]: It was his idea to shave his eyebrows.

[01:28:04] [SPEAKER_00]: I believe.

[01:28:05] [SPEAKER_02]: Robert, you nut.

[01:28:06] [SPEAKER_02]: Lynch left up to him and was like, come up with whatever look you want.

[01:28:08] [SPEAKER_02]: Right.

[01:28:09] [SPEAKER_02]: And he showed up like this.

[01:28:10] [SPEAKER_05]: He shows up with this like kabuki kind of thing.

[01:28:13] [SPEAKER_02]: Like Klaus Nomi inspired to some degree.

[01:28:15] [SPEAKER_05]: Yes.

[01:28:16] [SPEAKER_05]: It feels like.

[01:28:16] [SPEAKER_05]: Yeah.

[01:28:17] [SPEAKER_05]: To quote Robert Blake, who liked to talk.

[01:28:20] [SPEAKER_05]: Robert Blake could pop off.

[01:28:21] [SPEAKER_05]: Yeah.

[01:28:21] [SPEAKER_05]: It's not like Robert Blake was mysterious.

[01:28:23] [SPEAKER_05]: He could pop off in several ways.

[01:28:25] [SPEAKER_05]: I'm sorry.

[01:28:27] [SPEAKER_05]: Uh, he said, I sort of knew what the devil looked like.

[01:28:30] [SPEAKER_05]: I knew what fate looked like.

[01:28:31] [SPEAKER_05]: I had this image of myself that would come to me.

[01:28:33] [SPEAKER_05]: Sometimes I'd go out to the desert and get involved in some strange isolated kind of thing.

[01:28:38] [SPEAKER_05]: And I would come to myself as this white ghostly creature.

[01:28:41] [SPEAKER_05]: I said, oh yeah, that's my conscience talking with me.

[01:28:44] [SPEAKER_05]: So I started going with that.

[01:28:45] [SPEAKER_05]: I cut my fucking hair off.

[01:28:46] [SPEAKER_05]: I put a crack in the middle of it and all this shit.

[01:28:48] [SPEAKER_05]: And the makeup people said, you're going crazy.

[01:28:50] [SPEAKER_05]: Nobody moving the movie looks like this.

[01:28:52] [SPEAKER_05]: Everyone else looks regular.

[01:28:54] [SPEAKER_05]: And I said, just leave me alone and give me some shit.

[01:28:57] [SPEAKER_05]: And put the black outfit on.

[01:28:58] [SPEAKER_05]: I walked up to David and he said, wonderful.

[01:29:00] [SPEAKER_02]: Turned around and walked away.

[01:29:02] [SPEAKER_02]: I sort of knew what the devil looked like is one of the crazier things a person could say.

[01:29:07] [SPEAKER_02]: Because if you go look, I have seen the face of the devil.

[01:29:10] [SPEAKER_02]: There's a, there's a confidence to that versus like, I sort of know what the devil is.

[01:29:15] [SPEAKER_00]: Yeah, the vague shimmer of understanding.

[01:29:18] [SPEAKER_05]: Um, yes.

[01:29:19] [SPEAKER_05]: This is his last film in 2002.

[01:29:21] [SPEAKER_05]: He was arrested and not convicted for the murder of his wife.

[01:29:24] [SPEAKER_05]: But then he is convicted in a civil trial.

[01:29:27] [SPEAKER_05]: Blakely, he was found liable for her death in a civil trial.

[01:29:29] [SPEAKER_05]: Yeah.

[01:29:29] [SPEAKER_05]: Bonnie Lee Blakely, who was married 10 times.

[01:29:32] [SPEAKER_02]: He was her 10th husband.

[01:29:34] [SPEAKER_05]: Uh, yes.

[01:29:35] [SPEAKER_05]: Who was herself this sort of person who's fascinated with Hollywood people and would like sort of

[01:29:39] [SPEAKER_05]: try to meet them and get to know them.

[01:29:40] [SPEAKER_05]: It's a whole saga you can read about.

[01:29:43] [SPEAKER_02]: It's, it's something out of a David Lynch movie.

[01:29:46] [SPEAKER_02]: It is.

[01:29:47] [SPEAKER_02]: I was reading through the Wikipedia entry today and it does feel like Lynch shit.

[01:29:50] [SPEAKER_05]: And Lynch, yeah, really wanted to work with Pryor before, you know, basically he was not able to work with him anymore.

[01:29:56] [SPEAKER_05]: So he was like, I just really like, love that guy.

[01:30:00] [SPEAKER_02]: He is the warmest presence in the entire movie, right?

[01:30:03] [SPEAKER_02]: Yeah.

[01:30:03] [SPEAKER_00]: Like he's the one guy who does.

[01:30:04] [SPEAKER_00]: He's like, it's wonderful to see you.

[01:30:06] [SPEAKER_00]: He's just so happy to see Balthazar Getty show up again.

[01:30:08] [SPEAKER_00]: Yes.

[01:30:09] [SPEAKER_05]: Um, and as you say, during the production of this movie, he buys his neighbor's house.

[01:30:13] [SPEAKER_05]: And now he has the three houses, which is crazy.

[01:30:16] [SPEAKER_05]: So he's like creating, one of the houses is sort of like where he does sound stuff.

[01:30:19] [SPEAKER_05]: Like it's a sound recording.

[01:30:20] [SPEAKER_00]: There's like the house you live in, the house you build furniture in and the house you record music in.

[01:30:25] [SPEAKER_02]: That's how I live my life too.

[01:30:26] [SPEAKER_02]: Yeah.

[01:30:26] [SPEAKER_02]: Like Vin Diesel's three trailers, right?

[01:30:28] [SPEAKER_02]: One for him, one for his boys.

[01:30:30] [SPEAKER_02]: And one of the third is a gym.

[01:30:32] [SPEAKER_04]: You can't just drive to the gym.

[01:30:34] [SPEAKER_02]: On every set, he has three trailers.

[01:30:36] [SPEAKER_02]: One's for him, one's for his entourage who he wants there with him, but also wants space.

[01:30:40] [SPEAKER_00]: And then the third one is just for fucking pumping iron.

[01:30:43] [SPEAKER_00]: To go back to the David Foster Wallace piece, there's a question he asked him there.

[01:30:46] [SPEAKER_00]: He's like, he's like, Premiere Magazine really needs to do an expose on what actors do in their trailers.

[01:30:51] [SPEAKER_00]: Yeah.

[01:30:51] [SPEAKER_00]: He was just ahead of the curve.

[01:30:53] [SPEAKER_00]: Way ahead.

[01:30:53] [SPEAKER_00]: Like, like trailer life now is not what it was in 1997.

[01:30:57] [SPEAKER_00]: No.

[01:30:58] [SPEAKER_05]: Trailers are not as cool anymore.

[01:30:59] [SPEAKER_05]: I feel like, right?

[01:31:00] [SPEAKER_05]: Oh, it depends on who you are.

[01:31:01] [SPEAKER_05]: I guess it depends on who you are.

[01:31:02] [SPEAKER_05]: Absolutely.

[01:31:03] [SPEAKER_05]: I feel like, I just feel like much as the nineties was the height of movie stardom, it's the height of crazy trailers.

[01:31:08] [SPEAKER_00]: No, I think, I think crazy trailers.

[01:31:11] [SPEAKER_00]: Like I remember the stories of Will Smith's trailer, Men in Black 3.

[01:31:13] [SPEAKER_02]: Obviously we respect Will Smith's Men in Black trailer.

[01:31:15] [SPEAKER_02]: The three story trailer.

[01:31:16] [SPEAKER_02]: Yes.

[01:31:16] [SPEAKER_02]: Yeah.

[01:31:16] [SPEAKER_02]: Very good.

[01:31:17] [SPEAKER_02]: I think to a certain degree, post Men in Black 3, stars have been really good about keeping their trailers out of the press.

[01:31:23] [SPEAKER_02]: Sure.

[01:31:23] [SPEAKER_02]: I think they realized-

[01:31:24] [SPEAKER_02]: Well, they didn't have to park it on fucking Spring Street like he did.

[01:31:27] [SPEAKER_02]: You didn't know about the fucking Vin Diesel thing until I just said it.

[01:31:29] [SPEAKER_02]: No, I didn't.

[01:31:29] [SPEAKER_02]: And I talked to you about Vin Diesel every day.

[01:31:34] [SPEAKER_00]: Oh, should we talk about the film?

[01:31:36] [SPEAKER_00]: Yeah.

[01:31:37] [SPEAKER_00]: I mean, jumping off of the OJ of it all.

[01:31:41] [SPEAKER_00]: I was like really interested watching this now, like having seen OJ made in America.

[01:31:45] [SPEAKER_00]: And I'd always known that.

[01:31:46] [SPEAKER_00]: Like that was like always, I always knew that that was what-

[01:31:49] [SPEAKER_00]: It's a seed.

[01:31:50] [SPEAKER_00]: It's a seed.

[01:31:51] [SPEAKER_00]: It's not what the movie's about.

[01:31:52] [SPEAKER_00]: Like looking at it as like David Lynch tackles the OJ saga is very-

[01:31:56] [SPEAKER_00]: It's wrong.

[01:31:57] [SPEAKER_00]: There's an energy.

[01:31:58] [SPEAKER_00]: Yes.

[01:31:59] [SPEAKER_00]: But right.

[01:32:00] [SPEAKER_00]: But the thing that really, there's two aspects of it that kind of like stuck out to me.

[01:32:04] [SPEAKER_00]: One was, was related to the psychogenic fugue idea, which that Bill Pullman's line when

[01:32:09] [SPEAKER_00]: the cops are arresting him is like, tell me I didn't kill her, which is really crucial

[01:32:14] [SPEAKER_00]: to understanding where the movie is about to go.

[01:32:18] [SPEAKER_00]: And then I also just was thinking about Robert Blake and the mystery man and something really

[01:32:23] [SPEAKER_00]: just leapt out at me that couldn't have been one of those things that David Lynch was

[01:32:27] [SPEAKER_00]: really thinking about at least consciously at the time.

[01:32:29] [SPEAKER_00]: But like, we can all say what the mystery man is.

[01:32:33] [SPEAKER_00]: Is he the devil?

[01:32:34] [SPEAKER_00]: Is he the subconscious?

[01:32:35] [SPEAKER_00]: Like what is it?

[01:32:36] [SPEAKER_00]: But he's also, he's mass media.

[01:32:39] [SPEAKER_00]: Yeah.

[01:32:40] [SPEAKER_00]: He is the 24 seven news cycle.

[01:32:41] [SPEAKER_00]: Holding the camera.

[01:32:42] [SPEAKER_00]: Holding the camera.

[01:32:43] [SPEAKER_00]: He is like, he's in our house right now because we invited him.

[01:32:47] [SPEAKER_00]: And he's the one chasing us with the cameras, like putting the knife in our hands because,

[01:32:52] [SPEAKER_00]: you know, he's perpetuating, he's perpetuating what we can't help but want to see.

[01:32:57] [SPEAKER_00]: And at the end, he gives Robert Loja a TV to watch his own death on.

[01:33:03] [SPEAKER_00]: And it's a hundred percent like that's like, that is the media frenzy around a case like

[01:33:08] [SPEAKER_00]: OJ's.

[01:33:09] [SPEAKER_06]: Yes.

[01:33:10] [SPEAKER_00]: I don't think that I think that I'm, I'd put money on the fact that David Lynch was

[01:33:15] [SPEAKER_00]: not sitting down with Barry Gifford saying like what this guy represents is, and I'm

[01:33:19] [SPEAKER_00]: like, can't do the voice, but that that is what he was going for.

[01:33:23] [SPEAKER_00]: But it is so thoroughly realized that it now registers on that level in a really profound

[01:33:30] [SPEAKER_00]: and clear way.

[01:33:31] [SPEAKER_02]: Well, in this morbid, um, obviously like film being very voyeuristic, I think that Lynch

[01:33:38] [SPEAKER_02]: is very tapped into.

[01:33:39] [SPEAKER_02]: Right.

[01:33:40] [SPEAKER_02]: And he's also obviously always very engaged with this sense of like the, the really dark

[01:33:46] [SPEAKER_02]: shit happening just under the surface of this sort of projection of American normalcy

[01:33:52] [SPEAKER_02]: and happiness, which like OJ is the celebrity version of what he's getting at with Blue

[01:33:59] [SPEAKER_02]: Velto.

[01:33:59] [SPEAKER_02]: Sweet family man.

[01:34:00] [SPEAKER_02]: Right, right, right, right.

[01:34:01] [SPEAKER_02]: Right.

[01:34:02] [SPEAKER_02]: Um, but we as the public are like constantly demanding as much as we love to like cast our

[01:34:07] [SPEAKER_02]: judgment.

[01:34:08] [SPEAKER_02]: It's the same thing that like, uh, historically, uh, cause people to fucking line up in the streets

[01:34:14] [SPEAKER_02]: for executions or whatever.

[01:34:15] [SPEAKER_02]: OJ was this like example, this perfect case of just like the news cycle and the media and

[01:34:22] [SPEAKER_02]: technology had all caught up to turn this thing into like a fucking 20 ring circus that

[01:34:28] [SPEAKER_02]: would stretch out for a year and a half where we would feed on every single morsel of it

[01:34:32] [SPEAKER_02]: and every person adjacent to it.

[01:34:34] [SPEAKER_02]: And you can like cast aspersions at the mechanisms that like feed this to us.

[01:34:39] [SPEAKER_02]: But also it's like, we wanted it.

[01:34:41] [SPEAKER_02]: We wanted it.

[01:34:42] [SPEAKER_02]: We still fucking want the OJ story.

[01:34:44] [SPEAKER_02]: We want people to make.

[01:34:45] [SPEAKER_02]: Yes.

[01:34:46] [SPEAKER_03]: Like Kim Kardashian owes some of her fame to the OJ trial.

[01:34:50] [SPEAKER_02]: Who?

[01:34:51] [SPEAKER_03]: Yeah.

[01:34:52] [SPEAKER_02]: Yeah.

[01:34:53] [SPEAKER_02]: The tendrils are so deep, but it is this weird thing where like I talked about before.

[01:34:59] [SPEAKER_02]: I feel like I've said this before on the podcast, but I love the naked gun movies so much.

[01:35:03] [SPEAKER_02]: And sometimes people say to me, like, does it not like bump for you at all that OJ is

[01:35:07] [SPEAKER_02]: in them?

[01:35:07] [SPEAKER_02]: Not like, do you take a moral stance against them?

[01:35:10] [SPEAKER_02]: But don't you get uncomfortable when you get to the OJ parts?

[01:35:13] [SPEAKER_02]: And my answer is always OJ being in those movies feels like the way they have someone

[01:35:18] [SPEAKER_02]: dressed up as Queen Elizabeth or, or George HW Bush, where like somehow OJ being in them

[01:35:24] [SPEAKER_02]: adds to the weird parody quality of like, well, he's one of the clear stamps of the

[01:35:29] [SPEAKER_02]: nineties of the culture.

[01:35:31] [SPEAKER_02]: There's something about the fact that Robert Blake a couple of years after this movie gets

[01:35:36] [SPEAKER_02]: caught up in his own lynchian murder.

[01:35:38] [SPEAKER_02]: A hundred percent.

[01:35:39] [SPEAKER_05]: Yes.

[01:35:39] [SPEAKER_02]: In a lurid Hollywood murder thing that the performance is incredible.

[01:35:44] [SPEAKER_02]: It always was going to be.

[01:35:46] [SPEAKER_02]: And then how there's this added layer onto it where you're like the guy who is playing

[01:35:50] [SPEAKER_02]: the specter of our like obsession with celebrity and crime and death and all of this sort of

[01:35:56] [SPEAKER_02]: stuff also like fell prey to the exact same thing is so fascinating to me.

[01:36:02] [SPEAKER_00]: It's wrong to say that makes the movie richer, but it adds a level to it that it's

[01:36:10] [SPEAKER_00]: There's certainly a power.

[01:36:11] [SPEAKER_00]: It's a power.

[01:36:11] [SPEAKER_00]: A power is a great way to put it.

[01:36:13] [SPEAKER_00]: It adds a heaviness to it that is again, the filmmakers would never have assumed that might

[01:36:18] [SPEAKER_00]: be a possibility, but it came to pass.

[01:36:21] [SPEAKER_02]: And you imagine he's casting him primarily for like, uh, you know, like Dean Stockwell.

[01:36:26] [SPEAKER_02]: He uses so incredibly well in blue velvet.

[01:36:28] [SPEAKER_02]: Who's another like child actor who sort of struggled as a child and then found the second

[01:36:32] [SPEAKER_02]: life for himself as an adult character actor in a very different vein than how he was presented

[01:36:37] [SPEAKER_02]: as like a child actor.

[01:36:39] [SPEAKER_02]: Uh, seen Beretta.

[01:36:41] [SPEAKER_02]: No, I've never watched it.

[01:36:42] [SPEAKER_02]: I mean, not.

[01:36:43] [SPEAKER_05]: Why would you have?

[01:36:44] [SPEAKER_05]: Obviously it was sort of way before our time, but I feel like Brett is reputation was that it

[01:36:48] [SPEAKER_05]: was kind of a little cooler and more hard edge than the other hit cop shows of the

[01:36:53] [SPEAKER_05]: seven.

[01:36:53] [SPEAKER_05]: Like NYPD blue of its day.

[01:36:55] [SPEAKER_05]: Yes.

[01:36:55] [SPEAKER_05]: Like, I'm sure now it would feel insanely dated, but just that it had a little more edge

[01:37:02] [SPEAKER_05]: to it or whatever.

[01:37:04] [SPEAKER_05]: Um, yeah.

[01:37:05] [SPEAKER_05]: So it lost how it's about Fred Madison, Los Angeles saxophonist having a great time.

[01:37:09] [SPEAKER_05]: He's married to his wife Renee.

[01:37:11] [SPEAKER_05]: He's not, he's not amazing in the sack, but whatever.

[01:37:14] [SPEAKER_05]: He gets it done.

[01:37:16] [SPEAKER_02]: Does he?

[01:37:16] [SPEAKER_02]: Maybe.

[01:37:17] [SPEAKER_05]: I think, I think he actually is struggling to get it done.

[01:37:20] [SPEAKER_02]: Uh, and Jordan fish always says that you can tell a lot about a filmmaker from how they

[01:37:24] [SPEAKER_02]: film their sex scenes.

[01:37:25] [SPEAKER_02]: It says something kind of like innate about their like view of humanity and relationships

[01:37:30] [SPEAKER_02]: to people.

[01:37:31] [SPEAKER_02]: Uh, and he covers, there are many sex scenes in this film.

[01:37:34] [SPEAKER_05]: He covers it a lot of sex.

[01:37:35] [SPEAKER_02]: A number of different ways.

[01:37:37] [SPEAKER_02]: Right.

[01:37:37] [SPEAKER_02]: But the, the choice, he'll go back to the shot a lot, like right over the man's right

[01:37:43] [SPEAKER_02]: shoulder when he is on top of the woman and you're just sort of seeing her face disappear

[01:37:50] [SPEAKER_02]: and reappear.

[01:37:51] [SPEAKER_02]: You're like mostly locked into her eyes, but constantly getting obstructed.

[01:37:56] [SPEAKER_02]: It's really, uh, interesting.

[01:37:58] [SPEAKER_00]: And then the reverse of that, which is the low angle where he's just looming.

[01:38:02] [SPEAKER_00]: Yes.

[01:38:03] [SPEAKER_00]: Looming in this really uncomfortable way and often, uh, frozen in that position.

[01:38:07] [SPEAKER_02]: And there's this like serenity to the women and there's this like effort and stress to the

[01:38:13] [SPEAKER_02]: men.

[01:38:13] [SPEAKER_02]: Right.

[01:38:13] [SPEAKER_05]: Yeah.

[01:38:14] [SPEAKER_05]: Uh, he hears on his intercom that Dick Laurent is dead.

[01:38:17] [SPEAKER_05]: Mysterious.

[01:38:18] [SPEAKER_05]: Gets a weird VHS of the outside of their house.

[01:38:21] [SPEAKER_02]: Mysterious.

[01:38:21] [SPEAKER_02]: Basically gets a paranormal activity dropped off on his doorstep.

[01:38:25] [SPEAKER_02]: Hears you and your wife sleeping.

[01:38:27] [SPEAKER_02]: She describes the dream, right?

[01:38:30] [SPEAKER_05]: Or no, he describes that he has the dream of, uh, uh, Robert Blake's face on her face.

[01:38:36] [SPEAKER_05]: The most, the best Lynch image there is.

[01:38:39] [SPEAKER_00]: And it's, it's an early example of like these like naive visual effects that he would come

[01:38:44] [SPEAKER_00]: to employ with more frequency and twin peaks and inland empire where he could just do it

[01:38:48] [SPEAKER_00]: himself and you know, final cut pro or whatever.

[01:38:51] [SPEAKER_00]: But in this something about, you know, shooting on 35, having just the right level, it's a

[01:38:55] [SPEAKER_00]: very simple effect.

[01:38:56] [SPEAKER_00]: And it is so scary that usually when I watch this movie and I kind of look away when I

[01:39:00] [SPEAKER_00]: know it's coming.

[01:39:01] [SPEAKER_05]: I am so scared by it.

[01:39:03] [SPEAKER_05]: I don't like it when there's a face on a face and he's going to keep doing it to us.

[01:39:07] [SPEAKER_05]: He does it in twin peaks to watch out.

[01:39:09] [SPEAKER_05]: Just wait.

[01:39:10] [SPEAKER_05]: And he'll put face on face in that one too.

[01:39:12] [SPEAKER_05]: And the inland empire is like, it's terrifying.

[01:39:15] [SPEAKER_05]: I have multiple like unconnected friends who have told me like that the image of Laura

[01:39:19] [SPEAKER_05]: Dern's face being distorted in inland empire and stuff like is the scariest thing.

[01:39:24] [SPEAKER_05]: Like they don't like even talking about it.

[01:39:25] [SPEAKER_00]: Yeah.

[01:39:26] [SPEAKER_05]: I don't know.

[01:39:27] [SPEAKER_00]: And you see it disconnected from the movie.

[01:39:28] [SPEAKER_00]: You're like, oh, it's just like a Photoshop filter, you know, but distortion.

[01:39:32] [SPEAKER_00]: But it's so in context, it is.

[01:39:35] [SPEAKER_02]: He's he's just always been incredibly good at finding ways to create images that just

[01:39:40] [SPEAKER_02]: are wrong.

[01:39:41] [SPEAKER_02]: And it's not just that they feel wrong in like meaning of what they represent.

[01:39:44] [SPEAKER_02]: But it's like, as you're saying, he's using the technology like he's making it a little

[01:39:48] [SPEAKER_02]: bit off.

[01:39:49] [SPEAKER_00]: Yes.

[01:39:50] [SPEAKER_00]: Oh, I can't wait to hear.

[01:39:52] [SPEAKER_00]: I've been wanting to rewatch when peaks.

[01:39:54] [SPEAKER_00]: Amen.

[01:39:55] [SPEAKER_00]: And I will be doing so.

[01:39:56] [SPEAKER_00]: But I can't wait to just hear you lose my mind.

[01:40:00] [SPEAKER_05]: It is.

[01:40:00] [SPEAKER_05]: It is a journey.

[01:40:01] [SPEAKER_00]: Yeah.

[01:40:02] [SPEAKER_05]: Um, so the, you know, not long after is the, uh, the party scene, right?

[01:40:10] [SPEAKER_05]: Like, is there anything else we need to address?

[01:40:12] [SPEAKER_05]: I mean, he goes to the, he plays sax.

[01:40:14] [SPEAKER_00]: He's getting a sense that something is up with Renee.

[01:40:16] [SPEAKER_00]: Like she doesn't want to go to the club because she'd rather stay home and read like who would

[01:40:22] [SPEAKER_00]: want to stay home and read.

[01:40:23] [SPEAKER_02]: And he's doing like deep shadow, real, like kind of fouries be noir look to this whole

[01:40:30] [SPEAKER_00]: movie.

[01:40:30] [SPEAKER_00]: He and Peter Deming were like really studious in their, you know, explorations of darkness

[01:40:37] [SPEAKER_00]: and, and the term that like they'd have different gradations.

[01:40:40] [SPEAKER_00]: And Peter Deming has talked about how like they'd have dark and then they'd have next door

[01:40:44] [SPEAKER_00]: to dark and always have to choose between the two.

[01:40:47] [SPEAKER_00]: And, and that those were the two things in prep.

[01:40:49] [SPEAKER_00]: All he really talked about was that dark hallway of just like, like that is like the

[01:40:52] [SPEAKER_00]: image for him.

[01:40:53] [SPEAKER_00]: That was the image of the movie.

[01:40:55] [SPEAKER_00]: Yeah.

[01:40:55] [SPEAKER_02]: But you also have these kind of like bigger than life, like shadows that feel like there

[01:40:59] [SPEAKER_02]: are a hundred stories tall in the corner of a room.

[01:41:01] [SPEAKER_00]: And everyone's wearing black too.

[01:41:03] [SPEAKER_00]: So often it's just the faces are kind of like floating through darkness.

[01:41:06] [SPEAKER_02]: You get introduced to Michael Massey at the party, another actor in surrounded by

[01:41:11] [SPEAKER_02]: tragedy.

[01:41:12] [SPEAKER_02]: Of course.

[01:41:13] [SPEAKER_05]: Yes.

[01:41:13] [SPEAKER_05]: The crow is only a few years before this movie.

[01:41:16] [SPEAKER_02]: This is the guy who pulled the trigger on Brandon Lee, which was not his fault.

[01:41:19] [SPEAKER_02]: We've talked about him in seven.

[01:41:21] [SPEAKER_05]: Yes.

[01:41:21] [SPEAKER_02]: Which is even, which is another example of a director kind of using the innate sadness

[01:41:27] [SPEAKER_02]: in this guy.

[01:41:28] [SPEAKER_02]: Yeah.

[01:41:28] [SPEAKER_03]: Doesn't this party feel like it really captures 90s.

[01:41:33] [SPEAKER_03]: Cool.

[01:41:33] [SPEAKER_03]: Well, like LA.

[01:41:35] [SPEAKER_03]: Yeah.

[01:41:36] [SPEAKER_05]: Like bowling shirt.

[01:41:37] [SPEAKER_05]: Cool.

[01:41:38] [SPEAKER_05]: Yeah.

[01:41:38] [SPEAKER_05]: Like that whole thing.

[01:41:39] [SPEAKER_03]: His mustache.

[01:41:40] [SPEAKER_03]: His fucking pencil mustache.

[01:41:42] [SPEAKER_03]: Closely trim mustache.

[01:41:44] [SPEAKER_05]: Like I was trying to describe swingers to a friend of mine who is, I guess, too young

[01:41:48] [SPEAKER_05]: to know about swingers.

[01:41:49] [SPEAKER_05]: Not the swingers.

[01:41:50] [SPEAKER_05]: Well, swingers is the same time as Lost Highway.

[01:41:52] [SPEAKER_05]: Yeah.

[01:41:53] [SPEAKER_05]: Where I'm like, yeah, this moment where men wore like bowling shirts and did swing

[01:41:57] [SPEAKER_05]: dancing and shit.

[01:41:58] [SPEAKER_05]: And like it was genuinely cool for like five seconds.

[01:42:01] [SPEAKER_05]: Like it's almost immediately overcooked.

[01:42:04] [SPEAKER_05]: And this is the same kind of vibe.

[01:42:06] [SPEAKER_02]: But his movies are always in conversation.

[01:42:08] [SPEAKER_05]: It's like weird, jazzy kind of thing.

[01:42:10] [SPEAKER_05]: Right.

[01:42:10] [SPEAKER_02]: There's obviously like the deep like Bob's.

[01:42:13] [SPEAKER_02]: I did it again.

[01:42:14] [SPEAKER_02]: There's the Bob's big boy like.

[01:42:16] [SPEAKER_02]: Yeah.

[01:42:17] [SPEAKER_02]: Yeah.

[01:42:17] [SPEAKER_02]: Right.

[01:42:18] [SPEAKER_02]: Right.

[01:42:18] [SPEAKER_05]: You go get a gas station shirt.

[01:42:20] [SPEAKER_05]: Yeah.

[01:42:20] [SPEAKER_05]: Polo shirts.

[01:42:21] [SPEAKER_02]: Which he often the 18 Woody Woodpeckers from the gas station.

[01:42:26] [SPEAKER_02]: He often like turns it into this weird kind of like out of sync with time.

[01:42:32] [SPEAKER_02]: It's sort of no place sort of thing.

[01:42:35] [SPEAKER_02]: This movie and part of it is I think the soundtrack is like, oh, no, these are specifically people

[01:42:41] [SPEAKER_02]: in the 90s caught in a 50s revival cycle.

[01:42:45] [SPEAKER_00]: There's like, I think I can't remember which critic it was who maybe Vincent Camby or something

[01:42:49] [SPEAKER_00]: criticized like the fact that it was so modern.

[01:42:52] [SPEAKER_00]: He's like, if this was just a straight up noir, it would have made more sense.

[01:42:54] [SPEAKER_05]: Why not set it in the 50s?

[01:42:55] [SPEAKER_00]: But I love that.

[01:42:56] [SPEAKER_00]: Right.

[01:42:56] [SPEAKER_00]: I do too.

[01:42:57] [SPEAKER_00]: That's what makes it so great.

[01:42:58] [SPEAKER_00]: It's actually of all of his movies, probably the most contemporary to when it came out.

[01:43:02] [SPEAKER_00]: Yeah.

[01:43:03] [SPEAKER_00]: And it feels like it was made and set in 1997.

[01:43:07] [SPEAKER_05]: Yeah.

[01:43:07] [SPEAKER_05]: I mean, I understand the note in that it's kind of like.

[01:43:10] [SPEAKER_05]: Like a movie about a jazz saxophonist block black dollying someone does feel vintage.

[01:43:16] [SPEAKER_05]: Like, cause he literally cuts her in half.

[01:43:18] [SPEAKER_05]: Wait, is from what we can tell.

[01:43:20] [SPEAKER_02]: And like, you know what else feels vintage?

[01:43:22] [SPEAKER_02]: The Brian Setzer Orchestra.

[01:43:25] [SPEAKER_02]: And they were fucking at their peak at this exact point in time.

[01:43:29] [SPEAKER_02]: Very true.

[01:43:29] [SPEAKER_02]: Like this is where culture was.

[01:43:31] [SPEAKER_02]: Yes.

[01:43:32] [SPEAKER_03]: Cherry popping daddy.

[01:43:33] [SPEAKER_02]: I remember that name.

[01:43:35] [SPEAKER_03]: Oh my God.

[01:43:36] [SPEAKER_00]: Squirrel nut zippers.

[01:43:37] [SPEAKER_00]: Squirrel nut.

[01:43:38] [SPEAKER_00]: What a fucking basement for culture.

[01:43:42] [SPEAKER_00]: This was an era.

[01:43:42] [SPEAKER_00]: I, as someone who was watching this movie in a, and Lynch's subsequent work in a very

[01:44:08] [SPEAKER_00]: film.

[01:44:09] [SPEAKER_00]: David Patrick Kelly is one of the most, you know, memorable characters in Twin Peaks and

[01:44:15] [SPEAKER_00]: Twin Peaks, the return and eats the brie and baguette sandwich.

[01:44:19] [SPEAKER_00]: And he was T-bird in the original crow.

[01:44:23] [SPEAKER_00]: Oh, wow.

[01:44:24] [SPEAKER_00]: I have nothing else to say about this other than that.

[01:44:26] [SPEAKER_00]: I just knew all the actors from the pro head.

[01:44:29] [SPEAKER_03]: Um, are you ever considered zoot suits?

[01:44:31] [SPEAKER_02]: Yeah, obviously.

[01:44:32] [SPEAKER_02]: I think you could pull it off.

[01:44:34] [SPEAKER_02]: It would make me look taller.

[01:44:35] [SPEAKER_02]: It's like the Bart Simpson game.

[01:44:36] [SPEAKER_02]: Yeah.

[01:44:36] [SPEAKER_02]: The lines up.

[01:44:38] [SPEAKER_05]: Yeah.

[01:44:39] [SPEAKER_05]: Um, okay.

[01:44:40] [SPEAKER_05]: So, uh, he goes to this party hosted by Michael Massey and there's this, uh, weird,

[01:44:45] [SPEAKER_05]: uh, Kabuki devil man who walks up and is like, I'm in your house right now.

[01:44:50] [SPEAKER_02]: Yeah.

[01:44:51] [SPEAKER_02]: Hands him a cell phone says, call your home.

[01:44:53] [SPEAKER_02]: He's on the other line.

[01:44:55] [SPEAKER_02]: Pretty quickly puts together.

[01:44:56] [SPEAKER_02]: This is the guy who was making the tapes.

[01:44:57] [SPEAKER_03]: It's so effective and it's such a simple little trick, but it's really scary.

[01:45:02] [SPEAKER_03]: It's deeply scary.

[01:45:03] [SPEAKER_03]: It's the scariest shit that ever fucking happened.

[01:45:05] [SPEAKER_00]: It's about as unnerving as anything.

[01:45:08] [SPEAKER_00]: Like you go to parties in, this has only ever happened to me in LA, but you go to parties

[01:45:12] [SPEAKER_00]: in LA, sometimes they have a magician on site who will do crazy shit like close up magic

[01:45:17] [SPEAKER_00]: or even far away magic.

[01:45:19] [SPEAKER_00]: They'll just do magic.

[01:45:20] [SPEAKER_00]: And it is there to amuse the party guests.

[01:45:22] [SPEAKER_00]: And you're like, how the fuck did that happen?

[01:45:23] [SPEAKER_00]: And it makes the party better.

[01:45:25] [SPEAKER_00]: And this is like the version that went too far.

[01:45:28] [SPEAKER_02]: Yeah.

[01:45:28] [SPEAKER_02]: This is close up.

[01:45:29] [SPEAKER_02]: Yes.

[01:45:30] [SPEAKER_02]: Satanic power.

[01:45:31] [SPEAKER_00]: Yeah.

[01:45:32] [SPEAKER_05]: I remember just like it was yesterday watching this in my bed, two in the morning headphones

[01:45:37] [SPEAKER_05]: on, just not knowing that that's what that was going to be.

[01:45:41] [SPEAKER_05]: I don't think I even knew about the mystery man at all.

[01:45:44] [SPEAKER_05]: I don't think I knew it.

[01:45:45] [SPEAKER_05]: The only thing I think I knew was that Bill Pullman was going to turn into Balthazar.

[01:45:47] [SPEAKER_00]: Oh, what's so crazy is I'm sure there's a trailer for this movie, but I never saw it.

[01:45:51] [SPEAKER_00]: Is it on YouTube?

[01:45:53] [SPEAKER_00]: Great question.

[01:45:53] [SPEAKER_00]: Like I don't, I never, this was pre internet.

[01:45:56] [SPEAKER_00]: So like I would not have seen a trailer online and I certainly.

[01:45:59] [SPEAKER_00]: One guy is going to have a crazy weekend.

[01:46:04] [SPEAKER_05]: Uh, he looks like we've got a car on road.

[01:46:07] [SPEAKER_05]: Oh, Oh, Robert Blake's right there.

[01:46:09] [SPEAKER_05]: Right at the start.

[01:46:09] [SPEAKER_05]: It's leading off with Robert Blake, uh, freaking out Bill Pullman.

[01:46:13] [SPEAKER_05]: Well, how lucky were we to have never seen the trailer when we saw this movie?

[01:46:16] [SPEAKER_05]: Absolutely.

[01:46:17] [SPEAKER_05]: Cause yeah, I did not, um, know that that was going to happen.

[01:46:21] [SPEAKER_05]: Um, and then he, uh, well, then they get another tape of them in their bed, right?

[01:46:27] [SPEAKER_05]: After this, there's three tapes.

[01:46:29] [SPEAKER_00]: There's the one that's just the house.

[01:46:31] [SPEAKER_00]: Then there's the bed.

[01:46:31] [SPEAKER_00]: And then the third one is the, is the murder.

[01:46:34] [SPEAKER_00]: The murder.

[01:46:35] [SPEAKER_00]: Yes.

[01:46:36] [SPEAKER_03]: Uh, the silence of the tapes is really creepy.

[01:46:38] [SPEAKER_00]: There's no sound really at all, except for just like static noises.

[01:46:42] [SPEAKER_00]: This really taps into the unnerving aesthetic qualities of VHS that the ring then sort of

[01:46:49] [SPEAKER_00]: extrapolates from like maybe the ring is like a, the same year.

[01:46:53] [SPEAKER_05]: The original one ring is maybe 96.

[01:46:55] [SPEAKER_05]: Yeah.

[01:46:56] [SPEAKER_05]: Okay.

[01:46:57] [SPEAKER_05]: I feel like we've talked about this so much, but another of the scariest things I ever

[01:47:01] [SPEAKER_05]: fucking saw coming out of that goddamn TV.

[01:47:03] [SPEAKER_05]: Spoiler alert.

[01:47:04] [SPEAKER_02]: But the, the detail that gets lost in tape that creates this fear of like, what am I

[01:47:10] [SPEAKER_02]: not seeing?

[01:47:11] [SPEAKER_02]: What is like being artifacted to a point of abstraction?

[01:47:15] [SPEAKER_02]: It's a thing now where like, I I've said this so many times, but when movies have characters

[01:47:20] [SPEAKER_02]: watching video footage of something and the video footage is the same clarity as the movie

[01:47:25] [SPEAKER_02]: you're watching, it never fucking has the same effect.

[01:47:29] [SPEAKER_02]: It's the fucking birthday party scene in signs, which is still, I feel like the most scared

[01:47:33] [SPEAKER_02]: by anything in the theater.

[01:47:35] [SPEAKER_05]: It's scary.

[01:47:35] [SPEAKER_02]: God.

[01:47:36] [SPEAKER_02]: Another great example.

[01:47:38] [SPEAKER_00]: Yeah.

[01:47:38] [SPEAKER_00]: Just the, the jitter when they hit pause, it's unmistakable.

[01:47:42] [SPEAKER_00]: And you cannot quite figure out what you're seeing.

[01:47:44] [SPEAKER_05]: Yeah.

[01:47:44] [SPEAKER_05]: Yeah.

[01:47:45] [SPEAKER_05]: Um, people always forget that it's fucking Hiroyuki Sonata getting murked in Ringu.

[01:47:51] [SPEAKER_05]: Yeah.

[01:47:51] [SPEAKER_05]: King of all kings.

[01:47:53] [SPEAKER_05]: Shogun himself.

[01:47:54] [SPEAKER_05]: He just does not stop.

[01:47:55] [SPEAKER_05]: Um, anyway.

[01:47:57] [SPEAKER_05]: How do I describe that?

[01:47:59] [SPEAKER_05]: Stop making me do the plot of Lost Highway.

[01:48:01] [SPEAKER_05]: Come on guys.

[01:48:02] [SPEAKER_05]: Do the fucking plot for Lost Highway.

[01:48:03] [SPEAKER_00]: So then, um, Pete or Fred Madison gets arrested and he goes to jail.

[01:48:08] [SPEAKER_00]: He gets put on death row.

[01:48:09] [SPEAKER_05]: Yeah.

[01:48:10] [SPEAKER_05]: I guess in between this, he walks down a weird hallway.

[01:48:13] [SPEAKER_00]: That's right before the murder.

[01:48:14] [SPEAKER_00]: Like he walks down the hallway, you know, something's up with that hallway.

[01:48:17] [SPEAKER_00]: He's, he spends an unusual amount of time looking himself in the mirror and then you see unusual.

[01:48:24] [SPEAKER_02]: If I were Bill Pullman, I'd look at myself in the mirror half of every day.

[01:48:27] [SPEAKER_00]: That's true.

[01:48:28] [SPEAKER_00]: Like out of context, I spend more time looking at myself in the mirror than he does in the

[01:48:31] [SPEAKER_00]: scene of that movie.

[01:48:32] [SPEAKER_00]: But yeah.

[01:48:33] [SPEAKER_00]: And I never think of myself as particularly weird or troublesome individual.

[01:48:36] [SPEAKER_00]: No, he's got an incredible pun.

[01:48:38] [SPEAKER_00]: He goes to jail.

[01:48:39] [SPEAKER_00]: He goes, goes, gets put on death row.

[01:48:40] [SPEAKER_00]: Who's the, uh, guard.

[01:48:42] [SPEAKER_00]: There's some.

[01:48:42] [SPEAKER_00]: Henry Rollins.

[01:48:43] [SPEAKER_00]: Yes.

[01:48:44] [SPEAKER_00]: Henry Rollins is the guard.

[01:48:45] [SPEAKER_02]: And Jack, Jack, Jack, Jack, Jack, Jack, Jack, Jack is the other one.

[01:48:47] [SPEAKER_02]: Yeah.

[01:48:48] [SPEAKER_02]: Who's one of those incredible that guys who Lynch uses a fair amount, right?

[01:48:52] [SPEAKER_02]: Well, he's also, he's, he's the landlord in Big Lebowski.

[01:48:55] [SPEAKER_02]: But didn't he come up in something we were watching recently?

[01:48:58] [SPEAKER_05]: He's in men in black too.

[01:49:00] [SPEAKER_05]: Yes.

[01:49:01] [SPEAKER_02]: Could it be that?

[01:49:02] [SPEAKER_02]: Waterworld spy who shagged me.

[01:49:03] [SPEAKER_02]: We've been covering them a lot recently.

[01:49:05] [SPEAKER_02]: Yeah.

[01:49:05] [SPEAKER_05]: He's been around, but, uh, yeah.

[01:49:07] [SPEAKER_05]: So Fred's, um, in jail and having crazy headaches and weird visions of a cabin in the desert.

[01:49:15] [SPEAKER_05]: Right.

[01:49:15] [SPEAKER_05]: Mm-hmm.

[01:49:17] [SPEAKER_05]: Um, anything else?

[01:49:18] [SPEAKER_00]: Well, before he turns into Belfast Argetty.

[01:49:22] [SPEAKER_02]: He's also an I love you to death.

[01:49:24] [SPEAKER_02]: That's what it was.

[01:49:25] [SPEAKER_03]: Of course.

[01:49:26] [SPEAKER_02]: Yes.

[01:49:26] [SPEAKER_02]: He plays a detective.

[01:49:27] [SPEAKER_00]: We've covered him like six times in the last 12 months.

[01:49:30] [SPEAKER_03]: Have you ever seen I love you to death?

[01:49:32] [SPEAKER_00]: No, but having listened to the episode, I now really, really want to.

[01:49:35] [SPEAKER_00]: Gotta check it out.

[01:49:35] [SPEAKER_00]: It's fun.

[01:49:35] [SPEAKER_00]: Don't start to the spinning pizza.

[01:49:37] [SPEAKER_05]: Lynchian image.

[01:49:39] [SPEAKER_00]: Is it?

[01:49:40] [SPEAKER_00]: It's a rotating in the.

[01:49:41] [SPEAKER_00]: Is it?

[01:49:41] [SPEAKER_00]: A little bit.

[01:49:42] [SPEAKER_00]: You'll see.

[01:49:43] [SPEAKER_00]: It's a little weird.

[01:49:43] [SPEAKER_00]: I can't wait.

[01:49:44] [SPEAKER_00]: We got, we got to talk more about what lynching means.

[01:49:47] [SPEAKER_00]: Um, I went and found the script for this movie cause I was just like shooting scripts.

[01:49:50] [SPEAKER_00]: I was curious what, you know, how might, how might've changed.

[01:49:54] [SPEAKER_00]: And this is the ear, the part of the movie that is like, has the most, there's nothing crucial.

[01:49:59] [SPEAKER_00]: Like there's no like scene with Pete Dayton that got cut out from the first half, but there

[01:50:03] [SPEAKER_00]: is more stuff with Michael Massey in this part and, and some other young women that he's,

[01:50:09] [SPEAKER_00]: um, partying with.

[01:50:12] [SPEAKER_00]: And there's more in the prison.

[01:50:13] [SPEAKER_00]: There's another prisoner who gets executed and all of this footage has kind of been compressed

[01:50:17] [SPEAKER_00]: into this brief sequence before he becomes Spalta Sargetty.

[01:50:21] [SPEAKER_00]: But the really interesting part, or maybe it's not that interesting, but you hear both

[01:50:25] [SPEAKER_00]: in the David Foster Wallace piece and other articles, uh, about how the transformation

[01:50:32] [SPEAKER_00]: into Balthazar Getty is a truly horrifying sequence full of prosthetic makeup and fake

[01:50:37] [SPEAKER_00]: heads.

[01:50:38] [SPEAKER_00]: And none of that is in the movie.

[01:50:40] [SPEAKER_00]: There's a sped up shot of him just like.

[01:50:42] [SPEAKER_05]: That's right.

[01:50:42] [SPEAKER_05]: That's it.

[01:50:43] [SPEAKER_05]: Where you sort of get a sense that there's prosthetics in those sped up shots, but you

[01:50:47] [SPEAKER_05]: don't really see anything specific.

[01:50:48] [SPEAKER_05]: And this, this one doesn't have a missing pieces.

[01:50:51] [SPEAKER_00]: Does it?

[01:50:52] [SPEAKER_00]: It doesn't.

[01:50:53] [SPEAKER_00]: Yeah.

[01:50:53] [SPEAKER_00]: And then reading the entire screenplay, there's no other deleted scenes.

[01:50:56] [SPEAKER_00]: There's just like a little bit in here.

[01:50:58] [SPEAKER_00]: It feels like pretty much everything's there, but I was like.

[01:51:00] [SPEAKER_05]: I Googled Lost Highway's prosthetics, but it's just about people who lose prosthetic limbs

[01:51:04] [SPEAKER_05]: on the road.

[01:51:05] [SPEAKER_05]: On the road.

[01:51:05] [SPEAKER_05]: Yep.

[01:51:06] [SPEAKER_00]: Anyway, carry on.

[01:51:07] [SPEAKER_00]: The, the description of the change in the screenplay is interesting.

[01:51:11] [SPEAKER_00]: So I thought I might read that.

[01:51:12] [SPEAKER_00]: Maybe I'll read it in a David Lynchian tome.

[01:51:16] [SPEAKER_00]: So Fred turns, straining upwards as we've seen him do before.

[01:51:20] [SPEAKER_00]: His face and head are hideously deformed.

[01:51:23] [SPEAKER_00]: He pulls his hand down across his face, squeezing it as it goes.

[01:51:27] [SPEAKER_00]: As his hand passes over his face, Fred's features are removed, leaving a blank white mass with

[01:51:34] [SPEAKER_00]: eye sockets.

[01:51:35] [SPEAKER_00]: We move into the eye sockets and beyond.

[01:51:39] [SPEAKER_00]: Fred's blank face begins to contort and take on the appearance feature by feature of Pete

[01:51:46] [SPEAKER_00]: Dayton.

[01:51:48] [SPEAKER_00]: Fred Madison is becoming Pete Dayton.

[01:51:51] [SPEAKER_05]: So he's making it sound like a werewolf transformation.

[01:51:54] [SPEAKER_05]: Completely.

[01:51:55] [SPEAKER_05]: Right.

[01:51:55] [SPEAKER_05]: Yeah.

[01:51:55] [SPEAKER_05]: Like fucking American werewolf.

[01:51:57] [SPEAKER_00]: And if you watch the end of the movie, when the transformation starts happening again

[01:52:01] [SPEAKER_00]: and freeze frame and step through it frame by frame, you can see full on Rob Bottin

[01:52:05] [SPEAKER_00]: style.

[01:52:06] [SPEAKER_00]: Like crazy.

[01:52:07] [SPEAKER_00]: Like his face is inflating and throbbing and pieces are like growing out of his head.

[01:52:12] [SPEAKER_02]: The bump on his head on Balthazar Gettys head for the first chunk of his section of

[01:52:17] [SPEAKER_02]: the movie looks so incredibly artificial.

[01:52:20] [SPEAKER_02]: It's one of the few flaws of the Blu-ray.

[01:52:23] [SPEAKER_02]: Right.

[01:52:23] [SPEAKER_02]: It's too good.

[01:52:24] [SPEAKER_02]: You see the same lines on the prosthetic in a way that like stands out in a movie that

[01:52:29] [SPEAKER_02]: does not have any of that.

[01:52:30] [SPEAKER_02]: But you could see if that was coming straight after 10 minutes of Robert Bottin, like fucking

[01:52:36] [SPEAKER_02]: change-o-face kind of shit, it wouldn't stick out as much.

[01:52:41] [SPEAKER_05]: Uh, he turns into Balthazar Gettys and it's sort of like, now you're a new person, so I

[01:52:46] [SPEAKER_05]: guess you're free to go, but we're going to keep an eye on you.

[01:52:49] [SPEAKER_00]: Just the logic of that sequence is just great.

[01:52:52] [SPEAKER_00]: It's a really funny sequence.

[01:52:53] [SPEAKER_05]: You're not that guy anymore.

[01:52:55] [SPEAKER_05]: You're a different guy.

[01:52:56] [SPEAKER_05]: You're a car mechanic named Pete Dayton.

[01:52:58] [SPEAKER_02]: The moment that's incredible is the guards going like, this is weird.

[01:53:01] [SPEAKER_02]: There's a different guy in the cell.

[01:53:03] [SPEAKER_02]: We can't skip over that.

[01:53:05] [SPEAKER_02]: That it's not just like the movie edits over to a different guy and you don't know.

[01:53:09] [SPEAKER_02]: No.

[01:53:09] [SPEAKER_02]: The guards are like, this guy we were supposed to execute isn't here.

[01:53:13] [SPEAKER_02]: There's another guy.

[01:53:14] [SPEAKER_02]: Right.

[01:53:15] [SPEAKER_02]: A move that obviously Morbius references in its end credits when the vulture time slips

[01:53:20] [SPEAKER_02]: into.

[01:53:21] [SPEAKER_04]: I feel like Spider-Man's buying this.

[01:53:23] [SPEAKER_02]: I hope the food's better in the air.

[01:53:26] [SPEAKER_02]: But that's like the eeriest part of it is that this is like a phenomenon occurring in

[01:53:31] [SPEAKER_02]: the world, not just the language of the movie.

[01:53:33] [SPEAKER_00]: And people are reacting to it as if, as people probably would just like, how the fuck did

[01:53:39] [SPEAKER_00]: this happen?

[01:53:39] [SPEAKER_00]: Right.

[01:53:40] [SPEAKER_00]: What's the paperwork that's going to be involved with the discharge of the prisoner?

[01:53:44] [SPEAKER_04]: Do you have a social security card, sir?

[01:53:45] [SPEAKER_02]: When they release him into the stable and supportive arms of Gary Busey.

[01:53:52] [SPEAKER_04]: 90s Gary Busey.

[01:53:54] [SPEAKER_04]: Very stable.

[01:53:55] [SPEAKER_00]: Yeah.

[01:53:55] [SPEAKER_00]: You'll get that great leather jacket, that great pompadour, ready to order two meatball subs.

[01:54:00] [SPEAKER_00]: His hair is looking good.

[01:54:00] [SPEAKER_05]: His hair, yeah, he's going to get, oh no, I know I want a meatball sub.

[01:54:03] [SPEAKER_00]: But he doesn't really remember anything.

[01:54:06] [SPEAKER_00]: No.

[01:54:06] [SPEAKER_00]: They refer to something that happened the previous night and it keeps coming up.

[01:54:12] [SPEAKER_05]: But is the implication that like this guy was with his parents and he kind of got zapped

[01:54:19] [SPEAKER_05]: into it?

[01:54:20] [SPEAKER_05]: Because they're like, yeah, your parents are here.

[01:54:22] [SPEAKER_05]: Like what is this?

[01:54:24] [SPEAKER_05]: Metaphysically.

[01:54:26] [SPEAKER_00]: Where was Pete Dayton yesterday?

[01:54:28] [SPEAKER_00]: I think, and we're treading dangerously close to analysis.

[01:54:33] [SPEAKER_04]: Which I don't care about, to be clear.

[01:54:35] [SPEAKER_00]: So like if the movie is about.

[01:54:36] [SPEAKER_00]: How does Zootopia feed its people?

[01:54:38] [SPEAKER_02]: Sorry, go on.

[01:54:39] [SPEAKER_02]: Like, like you buy giant popsicles, you melt them down, you make tinier popsicles.

[01:54:43] [SPEAKER_02]: Very good point.

[01:54:43] [SPEAKER_02]: Redwood.

[01:54:44] [SPEAKER_00]: That I, I would argue that Brad Madison is conjuring up all of this.

[01:54:50] [SPEAKER_00]: Including Pete Dayton and the parents and the fact that something happened that explains

[01:54:56] [SPEAKER_00]: this, that they won't tell him that none of this, that there wasn't actually a character

[01:55:01] [SPEAKER_00]: who swapped places.

[01:55:03] [SPEAKER_00]: And the movie, the movie comes close to reality a few times, but never quite breaks through

[01:55:09] [SPEAKER_00]: that surface.

[01:55:10] [SPEAKER_05]: So you think he's feeling a little melancholy about the fact that he maybe killed his wife

[01:55:14] [SPEAKER_05]: and maybe chopped her in half.

[01:55:15] [SPEAKER_00]: He's feeling very melancholy about that.

[01:55:17] [SPEAKER_00]: A little melancholy.

[01:55:18] [SPEAKER_02]: And he's creating basically like a hypothetical for her to go in which a younger version of

[01:55:22] [SPEAKER_02]: him gets a new chance with a similar woman.

[01:55:25] [SPEAKER_00]: Yes.

[01:55:25] [SPEAKER_00]: Yeah.

[01:55:26] [SPEAKER_00]: Who ultimately is the same woman and who, who sends him on the same spiral of the same

[01:55:30] [SPEAKER_00]: mad descent that she did the first time.

[01:55:33] [SPEAKER_00]: But, but a plotier version of it.

[01:55:35] [SPEAKER_00]: A plotier version of it that's very akin to something he may have watched on television.

[01:55:39] [SPEAKER_05]: Yes.

[01:55:39] [SPEAKER_05]: It's like the movie Detour or whatever.

[01:55:40] [SPEAKER_05]: Like one of those like really hard boiled 40s noirs where it's like, yeah, you're a

[01:55:46] [SPEAKER_05]: car mechanic.

[01:55:46] [SPEAKER_05]: You're a simple guy.

[01:55:47] [SPEAKER_05]: You don't mean no harm to nobody.

[01:55:49] [SPEAKER_02]: But he keeps making the wrong decision over and over again.

[01:55:53] [SPEAKER_05]: She's mixed up with this guy who it's like, is he a gangster?

[01:55:57] [SPEAKER_05]: Is he a porn producer?

[01:55:59] [SPEAKER_02]: He's definitely chill and never yells.

[01:56:01] [SPEAKER_02]: Also not to spoil Detour, but it has what I will just refer to as the, the phone cord

[01:56:06] [SPEAKER_02]: death that feels very influential on Lynch where you're watching this thing where you're

[01:56:11] [SPEAKER_02]: like, is this really happening?

[01:56:14] [SPEAKER_02]: And the way the characters are reacting to it in the moment is odd where you can't tell if

[01:56:19] [SPEAKER_02]: they're like, why aren't they doing anything to prevent this?

[01:56:21] [SPEAKER_02]: Are they happy?

[01:56:22] [SPEAKER_02]: Did they design this this way?

[01:56:24] [SPEAKER_00]: And alarming in the context of that movie when it was released too.

[01:56:26] [SPEAKER_00]: Like just to, you can imagine.

[01:56:28] [SPEAKER_05]: I think of Detour just because, right, it's so famously lurid for the moment.

[01:56:31] [SPEAKER_05]: Yeah.

[01:56:31] [SPEAKER_05]: Right.

[01:56:33] [SPEAKER_05]: Michael Massey is back, obviously, is going to have an incredibly, incredibly good death.

[01:56:39] [SPEAKER_05]: Really one of my favorite, like such a nineties LA death too.

[01:56:43] [SPEAKER_05]: Death by glass table.

[01:56:44] [SPEAKER_05]: Yeah.

[01:56:44] [SPEAKER_00]: I had to, I had to copy down the description of that in the screenplay.

[01:56:50] [SPEAKER_00]: Please.

[01:56:51] [SPEAKER_00]: Which is, there is a sound like a hammer going through a bucket of eggs.

[01:56:57] [SPEAKER_04]: You fuck.

[01:56:58] [SPEAKER_04]: You sick fuck.

[01:57:01] [SPEAKER_04]: It's like a hammer.

[01:57:06] [SPEAKER_05]: Oh boy.

[01:57:09] [SPEAKER_05]: So yeah.

[01:57:09] [SPEAKER_05]: So yeah.

[01:57:10] [SPEAKER_05]: Yeah.

[01:57:11] [SPEAKER_05]: Fred Madison has, I would say lost 60 to 70% of his charisma.

[01:57:15] [SPEAKER_05]: You know, he's lost a few years too.

[01:57:17] [SPEAKER_02]: He is.

[01:57:17] [SPEAKER_02]: He's looking younger.

[01:57:18] [SPEAKER_05]: He's looking younger and he is now Pete Dayton.

[01:57:20] [SPEAKER_05]: But the ladies like him.

[01:57:21] [SPEAKER_05]: Yes.

[01:57:22] [SPEAKER_05]: He's a looker.

[01:57:23] [SPEAKER_05]: You're about to say Pete Davidson.

[01:57:25] [SPEAKER_05]: He is now Pete Davidson.

[01:57:27] [SPEAKER_05]: And he's in this swirling tabloid mess.

[01:57:30] [SPEAKER_00]: If this movie were made now, that wouldn't be out of line.

[01:57:32] [SPEAKER_00]: No.

[01:57:32] [SPEAKER_00]: That would be probably what you would do.

[01:57:34] [SPEAKER_05]: Yeah.

[01:57:36] [SPEAKER_05]: It's still Bill Pullman.

[01:57:37] [SPEAKER_05]: David Lynch remake.

[01:57:37] [SPEAKER_05]: Yeah.

[01:57:38] [SPEAKER_05]: It's still Bill Pullman.

[01:57:39] [SPEAKER_05]: It's like, what if you turned into Pete Davidson?

[01:57:41] [SPEAKER_05]: That'd be good.

[01:57:42] [SPEAKER_03]: I got to say, I would never fuck with Mr. Eddie, Robert Loja's character.

[01:57:46] [SPEAKER_05]: Mr. Eddie doesn't seem like a guy you want to even like give an inch with.

[01:57:50] [SPEAKER_03]: I wouldn't fix his car.

[01:57:52] [SPEAKER_03]: No, I would, I would quit my job.

[01:57:53] [SPEAKER_03]: Yeah, exactly.

[01:57:54] [SPEAKER_03]: If he took a liking to me, I would move.

[01:57:56] [SPEAKER_02]: I moved to a different subway car.

[01:57:58] [SPEAKER_02]: If he gets on before we even made an eye contact, he's one of those guys where you're

[01:58:01] [SPEAKER_05]: like too much energy.

[01:58:02] [SPEAKER_05]: Well, if he was on a subway car, he'd be mad because he would think the other subway

[01:58:05] [SPEAKER_05]: cars were tailgating his subway car.

[01:58:07] [SPEAKER_06]: Why are you following me?

[01:58:08] [SPEAKER_06]: You're too close.

[01:58:12] [SPEAKER_05]: Robert Loja plays Mr. Eddie slash Dick Laurent.

[01:58:17] [SPEAKER_05]: A gangster porn magnate with a bit of a short fuse.

[01:58:21] [SPEAKER_05]: A bit?

[01:58:22] [SPEAKER_05]: I don't know how else to describe it.

[01:58:23] [SPEAKER_05]: I'd say he's a bit of a no fuse Norman.

[01:58:25] [SPEAKER_05]: Right.

[01:58:26] [SPEAKER_05]: He's just an exploding bomb.

[01:58:28] [SPEAKER_03]: I love the henchmen during the tailgate scene where they both just like kind of quietly

[01:58:32] [SPEAKER_03]: buckle their seatbelts because they know what's about to happen.

[01:58:35] [SPEAKER_03]: It's so fucking good.

[01:58:37] [SPEAKER_00]: Oh, it's another Tuesday in Griffith Park.

[01:58:39] [SPEAKER_00]: Yeah.

[01:58:40] [SPEAKER_05]: Yeah.

[01:58:41] [SPEAKER_05]: Who is like a lot of like Lynch has this character always this like raging, like terrifying

[01:58:47] [SPEAKER_05]: like male.

[01:58:48] [SPEAKER_05]: He has this guy.

[01:58:49] [SPEAKER_05]: He has the henchmen and then he always has the two detectives.

[01:58:52] [SPEAKER_05]: He always has the two detectives like, well, I don't know, ma'am, who'd like learn like

[01:58:55] [SPEAKER_05]: both giants and kind of like oddly dressed.

[01:58:58] [SPEAKER_00]: It seems to me he might have done it.

[01:59:00] [SPEAKER_05]: Yeah.

[01:59:00] [SPEAKER_05]: Right.

[01:59:01] [SPEAKER_05]: He might have done it.

[01:59:03] [SPEAKER_05]: Um, cause like Mulholland Drive has Robert Forster and the other guy, right?

[01:59:06] [SPEAKER_05]: The guy from, um, from the Sam Raimi movie.

[01:59:09] [SPEAKER_05]: Who I love.

[01:59:09] [SPEAKER_05]: Yeah.

[01:59:10] [SPEAKER_05]: And you're like, right.

[01:59:11] [SPEAKER_05]: If this is a TV show, that's a plot, right?

[01:59:13] [SPEAKER_05]: Is those two guys are like bumbling around.

[01:59:16] [SPEAKER_02]: They get their showcase episodes.

[01:59:17] [SPEAKER_02]: Right.

[01:59:17] [SPEAKER_05]: And you're sort of sad that there's no more Robert Forster and Mulholland Drive.

[01:59:20] [SPEAKER_05]: And thank God he's in Twin Peaks, The Return absolutely shattering the backboard.

[01:59:24] [SPEAKER_05]: Anytime he is on screen for even one second.

[01:59:26] [SPEAKER_05]: Incredible performance.

[01:59:28] [SPEAKER_05]: Um, but uh, right.

[01:59:30] [SPEAKER_05]: Brent Briscoe.

[01:59:31] [SPEAKER_05]: Yeah, that's it.

[01:59:31] [SPEAKER_05]: From Simple Plan.

[01:59:32] [SPEAKER_02]: Love that guy.

[01:59:34] [SPEAKER_05]: We lost him.

[01:59:35] [SPEAKER_05]: Yeah.

[01:59:35] [SPEAKER_05]: Well, go get him.

[01:59:36] [SPEAKER_05]: But yeah.

[01:59:37] [SPEAKER_05]: What else?

[01:59:38] [SPEAKER_05]: Give me more plot things we can discuss about this movie.

[01:59:42] [SPEAKER_00]: He falls in with Alice.

[01:59:46] [SPEAKER_00]: The Gangsters Mall.

[01:59:46] [SPEAKER_00]: Yes.

[01:59:47] [SPEAKER_00]: Alice.

[01:59:47] [SPEAKER_00]: Dating, uh, uh, Gregson Wagner.

[01:59:50] [SPEAKER_00]: Hanging out with Giovanni Ribisi.

[01:59:52] [SPEAKER_05]: Yeah.

[01:59:52] [SPEAKER_05]: Yeah.

[01:59:53] [SPEAKER_05]: Who, uh, bad kind of guy to hang out with.

[01:59:55] [SPEAKER_02]: He's popping up a lot for us recently.

[01:59:57] [SPEAKER_02]: He's been popping up a lot for us.

[01:59:58] [SPEAKER_02]: And it is funny because I feel like in certain episodes we are so wildly critical of Giovanni

[02:00:03] [SPEAKER_02]: Ribisi.

[02:00:04] [SPEAKER_02]: And other times we're like, Giovanni Ribisi!

[02:00:07] [SPEAKER_02]: And he is like, you know, you, you said, uh, uh, Franco.

[02:00:11] [SPEAKER_02]: James Franco's a feast or famine actor, right?

[02:00:14] [SPEAKER_02]: Where it's like, sometimes he's engaged and he's giving you everything.

[02:00:17] [SPEAKER_02]: And sometimes you're like, what the fuck are you doing?

[02:00:19] [SPEAKER_02]: Ribisi, it's truly a problem where I'm like, anytime Ribisi's bad in a movie, I blame

[02:00:23] [SPEAKER_02]: the people who hired him.

[02:00:25] [SPEAKER_02]: Where you know what he was going to give you.

[02:00:27] [SPEAKER_02]: Right.

[02:00:27] [SPEAKER_02]: Right.

[02:00:28] [SPEAKER_02]: Right.

[02:00:28] [SPEAKER_02]: You just, you have to know.

[02:00:30] [SPEAKER_02]: It's like, it's, it's another, he's a volatile chemicals guy.

[02:00:32] [SPEAKER_02]: And this, it's like the exact right amount when he enters.

[02:00:37] [SPEAKER_02]: He's briefly in the film.

[02:00:38] [SPEAKER_05]: Yeah.

[02:00:39] [SPEAKER_05]: Natasha Gregson, Wagner.

[02:00:40] [SPEAKER_05]: Great.

[02:00:41] [SPEAKER_05]: Love her.

[02:00:42] [SPEAKER_05]: So pretty.

[02:00:44] [SPEAKER_05]: Obviously, herself, like you said, swirled with crazy Hollywood history.

[02:00:49] [SPEAKER_05]: Yeah.

[02:00:49] [SPEAKER_05]: Her parents and her stepfather, Robert Wagner and all that.

[02:00:53] [SPEAKER_05]: Um, but nothing's really going on with him except that he falls in love with Mr.

[02:00:57] [SPEAKER_05]: Eddie's mistress.

[02:01:00] [SPEAKER_05]: Sure.

[02:01:00] [SPEAKER_05]: Alice.

[02:01:00] [SPEAKER_05]: Right.

[02:01:01] [SPEAKER_05]: Who is blonde Patricia Arquette.

[02:01:04] [SPEAKER_00]: Who instantly seduces him and then embroils him in a plot straight out of a film noir from

[02:01:10] [SPEAKER_00]: the fifties.

[02:01:11] [SPEAKER_05]: Right.

[02:01:11] [SPEAKER_05]: But you're, you're going to rob my friend.

[02:01:12] [SPEAKER_05]: We're going to bust out of town.

[02:01:14] [SPEAKER_05]: But then this is like when she's also like, but also Mr. Eddie is Dick Laurent and he makes

[02:01:20] [SPEAKER_05]: crazy porn.

[02:01:21] [SPEAKER_05]: And like, that's something I'm revealing to you now, I guess.

[02:01:25] [SPEAKER_00]: I, I hate trying to describe which then it's like the stuff that Fred Madison has been

[02:01:29] [SPEAKER_00]: suspecting is starting to bubble up into the reality of this version of him.

[02:01:34] [SPEAKER_00]: He tried to, he was like, all right, I'm creating this alternate version of myself who has got

[02:01:39] [SPEAKER_00]: a stable family life and a good group of friends.

[02:01:42] [SPEAKER_00]: We go out and have fun.

[02:01:44] [SPEAKER_00]: And I got a, I got a really nice girlfriend and we got a good thing going on and I'm, I

[02:01:48] [SPEAKER_00]: make her happy.

[02:01:49] [SPEAKER_00]: And then here comes Alice to kind of bring the reality slowly and then rapidly.

[02:01:57] [SPEAKER_00]: The happiness of Hollywood.

[02:01:59] [SPEAKER_05]: Right.

[02:01:59] [SPEAKER_05]: And like the undercurrent of everything underbelly.

[02:02:02] [SPEAKER_02]: Sure.

[02:02:02] [SPEAKER_02]: Cat had such a fascinating persona at this time.

[02:02:06] [SPEAKER_02]: She's someone who like, uh, escalated to being an above the title star really quickly,

[02:02:13] [SPEAKER_02]: even if it was in small movies.

[02:02:15] [SPEAKER_02]: 100%.

[02:02:15] [SPEAKER_02]: Nightmare on Elm Street three is her first film.

[02:02:17] [SPEAKER_02]: He's good in it too.

[02:02:18] [SPEAKER_02]: Yeah.

[02:02:19] [SPEAKER_02]: And they want her back for four and she, her career's taken off too much that she walks

[02:02:23] [SPEAKER_02]: away.

[02:02:24] [SPEAKER_02]: And then she occupies this space where it's like all these characters where it's like,

[02:02:28] [SPEAKER_02]: is she an innocent and a horrible world?

[02:02:31] [SPEAKER_02]: Yeah.

[02:02:32] [SPEAKER_05]: She's sort of in the Juliette Lewis zone, but she's more like voluptuous and like kind of

[02:02:37] [SPEAKER_05]: a throwback look.

[02:02:38] [SPEAKER_05]: But this weird feeling of her being like this sort of like cursed Nath.

[02:02:43] [SPEAKER_05]: Yeah.

[02:02:43] [SPEAKER_05]: You know?

[02:02:44] [SPEAKER_02]: Yeah.

[02:02:44] [SPEAKER_05]: Yeah.

[02:02:44] [SPEAKER_05]: And then you have movies.

[02:02:45] [SPEAKER_05]: She's also just like in R rated movies.

[02:02:47] [SPEAKER_05]: Right.

[02:02:47] [SPEAKER_05]: She's like such an R rated movie actress.

[02:02:49] [SPEAKER_05]: Yeah.

[02:02:49] [SPEAKER_05]: They're all like dark dramas and stuff like fucking goodbye lover and like the high low

[02:02:55] [SPEAKER_05]: country.

[02:02:56] [SPEAKER_05]: Stigmata.

[02:02:56] [SPEAKER_05]: It's like a stigmata where it's like, I can't see those movies in theaters.

[02:03:00] [SPEAKER_05]: I'm too young.

[02:03:00] [SPEAKER_05]: I know who she is, but I can't see her movie.

[02:03:02] [SPEAKER_02]: But then you have things like Ed Wood and flirting with disaster that both use her in a

[02:03:06] [SPEAKER_02]: similar way where it's like, this is the one sane kind normal person in this absurd

[02:03:11] [SPEAKER_02]: world.

[02:03:12] [SPEAKER_05]: She's awesome in flirting with disaster.

[02:03:14] [SPEAKER_05]: And in Ed Wood.

[02:03:15] [SPEAKER_05]: She's like such a beacon of lovely performance.

[02:03:18] [SPEAKER_02]: Her nineties run is incredible.

[02:03:20] [SPEAKER_02]: And then like after this, she does bring out the dead.

[02:03:23] [SPEAKER_02]: Yeah.

[02:03:23] [SPEAKER_02]: Which she's good in, but that's a really, really depressing part.

[02:03:27] [SPEAKER_02]: Like, and her playing against her husband that she's actually been estranged from for

[02:03:30] [SPEAKER_02]: seven years.

[02:03:31] [SPEAKER_02]: Right.

[02:03:32] [SPEAKER_02]: And then that ends her like nineties where she's got such a specific thing.

[02:03:36] [SPEAKER_02]: And then it's like an odd period where you realize that retrospect, oh, she was doing boyhood this whole time.

[02:03:43] [SPEAKER_02]: Yeah, that's true.

[02:03:44] [SPEAKER_02]: Where the jobs in the two thousands are odd and all over the place.

[02:03:47] [SPEAKER_02]: Then she's obviously on medium for many years and whatever.

[02:03:50] [SPEAKER_02]: And then she gives this performance in boyhood and you're like, oh, this is kind of incredible.

[02:03:54] [SPEAKER_02]: Have we been taking Patricia Arquette for granted?

[02:03:57] [SPEAKER_02]: She was doing this the whole time.

[02:03:59] [SPEAKER_02]: And then now she's just become like the queen of prestige TV.

[02:04:03] [SPEAKER_02]: She does a lot of prestige TV.

[02:04:04] [SPEAKER_05]: She directed a movie, I think, recently.

[02:04:06] [SPEAKER_05]: That I think was at TIFF last night?

[02:04:07] [SPEAKER_05]: It was at TIFF.

[02:04:08] [SPEAKER_05]: I saw her outside her restaurant and I was like, well, I don't know what I would say to Patricia Arquette.

[02:04:13] [SPEAKER_05]: So I did not approach her.

[02:04:14] [SPEAKER_05]: But she has barely made movies since boyhood.

[02:04:16] [SPEAKER_02]: Yeah.

[02:04:16] [SPEAKER_02]: Which is now 10 years ago.

[02:04:17] [SPEAKER_02]: She did do Escape to Dannemora though.

[02:04:19] [SPEAKER_02]: She did Escape to Dannemora.

[02:04:20] [SPEAKER_02]: She did.

[02:04:21] [SPEAKER_02]: Don't tell anybody.

[02:04:23] [SPEAKER_02]: She did the fucking Gypsy Blanchard one.

[02:04:26] [SPEAKER_02]: Yep.

[02:04:26] [SPEAKER_02]: She's on Severance.

[02:04:28] [SPEAKER_02]: Yeah.

[02:04:28] [SPEAKER_02]: She did another Apple Plus show that got canceled that I only found out existed.

[02:04:33] [SPEAKER_02]: When they announced it was canceled.

[02:04:35] [SPEAKER_05]: I'm like, I just have my Apple TV on or whatever.

[02:04:37] [SPEAKER_05]: And it starts playing the trailer for Dark Matter, which is like one Jennifer Connelly, one million Joel Edgertons.

[02:04:42] [SPEAKER_05]: Yeah.

[02:04:42] [SPEAKER_04]: And I'm just like, this must have cost a fucking hundred million dollars.

[02:04:45] [SPEAKER_02]: Like no one will ever know what this is.

[02:04:47] [SPEAKER_02]: High Desert, which premiered in May 2023 and was canceled in July 2023 and starred Patricia Arquette, Brad Garrett, Bernadette Peters, Rupert Friend, Matt Dillon.

[02:04:58] [SPEAKER_02]: It was directed by Jay Roach.

[02:05:01] [SPEAKER_02]: She was doing this the same time she was doing Severance.

[02:05:05] [SPEAKER_05]: Patricia Arquette.

[02:05:05] [SPEAKER_05]: You're right.

[02:05:06] [SPEAKER_05]: She's very good in this film.

[02:05:07] [SPEAKER_05]: Yes.

[02:05:07] [SPEAKER_05]: You know, she's playing an archetype.

[02:05:10] [SPEAKER_05]: She's playing two archetypes, sort of two sides of one archetype of the dark, unknowable right mole.

[02:05:17] [SPEAKER_02]: I think that's what made her boyhood performance feel so revelatory is like it's soft in the 90s.

[02:05:23] [SPEAKER_02]: She was incredibly good at being asked to play an aura.

[02:05:26] [SPEAKER_02]: She was like an incredible energy actor.

[02:05:28] [SPEAKER_05]: What do you think she's a human being?

[02:05:29] [SPEAKER_05]: Yeah.

[02:05:30] [SPEAKER_05]: Right.

[02:05:30] [SPEAKER_05]: And she just has the moment where she's like, this fucking sucks.

[02:05:33] [SPEAKER_05]: You're just old now.

[02:05:34] [SPEAKER_05]: What do I do?

[02:05:35] [SPEAKER_05]: Yeah.

[02:05:36] [SPEAKER_05]: It's an incredible scene.

[02:05:37] [SPEAKER_05]: Why she won an Oscar.

[02:05:38] [SPEAKER_05]: Um, what do you think of her in this movie, David Lowery?

[02:05:41] [SPEAKER_00]: I think she's fantastic.

[02:05:42] [SPEAKER_00]: It's also a complex thing to watch now because what she's being asked to do in this movie is really challenging.

[02:05:49] [SPEAKER_00]: And it's a really uncomfortable.

[02:05:51] [SPEAKER_00]: And I have to admit, like watching this movie as a 16 year old is very different from watching it in my 40s and being like, I don't know if I could direct a scene like like it's so fraught with so many things.

[02:06:05] [SPEAKER_02]: I mean, I was watching this movie with a woman I had a crush on in college who I was like, are we dating or not?

[02:06:11] [SPEAKER_02]: And she's pointing at the screen being like, I'm going to be her for Halloween, which is a very different way to process.

[02:06:17] [SPEAKER_05]: Yeah.

[02:06:17] [SPEAKER_00]: Yeah.

[02:06:18] [SPEAKER_00]: And it's you can wig.

[02:06:20] [SPEAKER_05]: It's easy.

[02:06:21] [SPEAKER_00]: Yeah.

[02:06:21] [SPEAKER_00]: It's a great costume.

[02:06:22] [SPEAKER_00]: Yeah.

[02:06:22] [SPEAKER_00]: And Patricia Arquette's talked about how scary this movie was.

[02:06:27] [SPEAKER_00]: Yes.

[02:06:27] [SPEAKER_00]: And David Lynch, to his credit, is always he'll put actors in these really difficult situations, but acknowledge that it is difficult.

[02:06:34] [SPEAKER_00]: Like he's like, I'm asking you to do something really dark and uncomfortable.

[02:06:37] [SPEAKER_02]: She will always say that she felt protected by protect her specifically.

[02:06:41] [SPEAKER_02]: Yes.

[02:06:41] [SPEAKER_02]: But this is the kind of thing she did not feel comfortable doing.

[02:06:43] [SPEAKER_02]: It didn't really do in other movies, even though other movies were always kind of taking her right up towards that.

[02:06:49] [SPEAKER_02]: Yeah.

[02:06:50] [SPEAKER_00]: And and I think actors will do that for David Lynch.

[02:06:53] [SPEAKER_00]: Laura Dern certainly has.

[02:06:54] [SPEAKER_00]: Isabel Rossellini famously.

[02:06:56] [SPEAKER_00]: And that's why Roger Ebert hated that movie was because of that scene with her.

[02:07:00] [SPEAKER_00]: And it is.

[02:07:01] [SPEAKER_00]: It's like a really hard.

[02:07:02] [SPEAKER_00]: That movie.

[02:07:02] [SPEAKER_00]: It's like this one that those scenes are really hard to watch that one more than this one, perhaps because it does.

[02:07:08] [SPEAKER_00]: This one has the.

[02:07:09] [SPEAKER_00]: You know, the soundtrack, which sort of like makes it seem a little edgier and more stylized.

[02:07:16] [SPEAKER_00]: It's all in slow motion.

[02:07:16] [SPEAKER_00]: But the blue velvet scene is very similar and very hard to watch now.

[02:07:21] [SPEAKER_02]: Right.

[02:07:22] [SPEAKER_02]: And Lynch.

[02:07:22] [SPEAKER_02]: I mean, we'll we'll have talked about.

[02:07:24] [SPEAKER_02]: But Ebert's contention at the time was just like, this makes me so uncomfortable.

[02:07:27] [SPEAKER_02]: I can't process how someone wasn't actually experiencing a real trauma.

[02:07:32] [SPEAKER_02]: What is captured on screen feels too powerful to not have some human cost in it.

[02:07:38] [SPEAKER_02]: But it does feel like I mean, they obviously ended up getting married after that.

[02:07:44] [SPEAKER_02]: You know, and Patricia Arquette speaks very highly of this.

[02:07:46] [SPEAKER_02]: And as someone who has been very outspoken about bad experiences she's had in her career, she's someone who like uses her platform to talk about and try to like set a better model for new generations of actors and all of that.

[02:07:59] [SPEAKER_02]: And also someone who's had like an incredibly bizarre history of romantic relationships.

[02:08:05] [SPEAKER_02]: Sure.

[02:08:05] [SPEAKER_00]: Yeah, she's had some.

[02:08:06] [SPEAKER_00]: Yeah.

[02:08:07] [SPEAKER_00]: But she's wonderful in this movie and really like iconic.

[02:08:09] [SPEAKER_00]: I'd say this is an iconic performance.

[02:08:11] [SPEAKER_05]: The look is iconic that yes, the whole affect the energy or whatever you were saying, like, yes, iconic.

[02:08:18] [SPEAKER_05]: And not in the way that everything is iconic now.

[02:08:21] [SPEAKER_05]: Like I had an iconic breakfast burrito or whatever, like, you know, more classically iconic.

[02:08:26] [SPEAKER_05]: But also slave.

[02:08:27] [SPEAKER_05]: Yeah, but also it's a triple sleigh.

[02:08:29] [SPEAKER_05]: Yeah.

[02:08:29] [SPEAKER_05]: Right.

[02:08:30] [SPEAKER_05]: Go off.

[02:08:31] [SPEAKER_05]: Times infinity.

[02:08:32] [SPEAKER_05]: So she's like, we're going to rob Michael Massey.

[02:08:36] [SPEAKER_05]: They kill him by mistake.

[02:08:40] [SPEAKER_05]: Balthazar, you know, Pete clocks him with a candlestick.

[02:08:43] [SPEAKER_05]: Getty is cheating on.

[02:08:46] [SPEAKER_03]: Well, I think it's just a statue.

[02:08:47] [SPEAKER_02]: Okay, but it's like a it's like a little thing.

[02:08:49] [SPEAKER_02]: Yeah.

[02:08:51] [SPEAKER_02]: Getty is cheating on Gregson Wagner.

[02:08:53] [SPEAKER_02]: Yes.

[02:08:54] [SPEAKER_02]: We has picked up on a cult out on him.

[02:08:56] [SPEAKER_02]: Yes.

[02:08:57] [SPEAKER_02]: And he's sort of like falling into the absolute trance of this woman who sets up the like, this is the way for us to run away, make money, start a new life.

[02:09:05] [SPEAKER_02]: This is a guy that Robert Loggia yells at me to go sleep with.

[02:09:10] [SPEAKER_02]: Sometimes he's got this set up.

[02:09:12] [SPEAKER_02]: You see Getty getting fired up in jealousy of just even finding out this guy exists and that she has slept with him.

[02:09:20] [SPEAKER_02]: And she's having sex on camera or whatever.

[02:09:22] [SPEAKER_02]: And she's having sex on camera or whatever, like all just considering the dark like potential of what's going on.

[02:09:27] [SPEAKER_02]: And in a movie that is already weaponized, like watching weird videotapes of yourself or people you know and love to have him enter the house.

[02:09:35] [SPEAKER_02]: And it's just being projected on the wall.

[02:09:37] [SPEAKER_00]: And earlier, reflecting back to Bill Holman's classic line, which is like her line about him, which he like or maybe he does say it.

[02:09:44] [SPEAKER_00]: He likes to remember things his own way, not the way they actually happened.

[02:09:46] [SPEAKER_00]: And he's just being forced to look at the way things actually happened.

[02:09:50] [SPEAKER_00]: Yes.

[02:09:50] [SPEAKER_00]: And is Manson in that video or does he come in later?

[02:09:53] [SPEAKER_05]: He's later.

[02:09:54] [SPEAKER_00]: It is a weird.

[02:09:55] [SPEAKER_00]: It's later on.

[02:09:56] [SPEAKER_00]: Yeah, there's like another sequence at the hotel.

[02:09:58] [SPEAKER_00]: Where they cut him.

[02:09:59] [SPEAKER_00]: Yeah.

[02:10:00] [SPEAKER_05]: And so Michael Massey dies.

[02:10:02] [SPEAKER_05]: He gets, he gets tabled.

[02:10:06] [SPEAKER_05]: Um, and doesn't Pete sees that picture of like the two Arquettes together, right?

[02:10:11] [SPEAKER_05]: Yeah.

[02:10:11] [SPEAKER_05]: And it's like, which one is you?

[02:10:12] [SPEAKER_05]: Right.

[02:10:13] [SPEAKER_05]: Yeah.

[02:10:13] [SPEAKER_05]: And she points to her.

[02:10:14] [SPEAKER_05]: Are you both of these people?

[02:10:15] [SPEAKER_05]: Yeah.

[02:10:16] [SPEAKER_05]: Um, and then we're kind of in empty cabin times, right?

[02:10:21] [SPEAKER_00]: Like, well, they have sex on the beach.

[02:10:23] [SPEAKER_00]: Illuminated.

[02:10:24] [SPEAKER_00]: Outside of the cabin.

[02:10:25] [SPEAKER_00]: Yeah.

[02:10:25] [SPEAKER_00]: They go to the cabin where the, the, like, I love that the movie gets specifics.

[02:10:28] [SPEAKER_00]: Like I know a fence.

[02:10:29] [SPEAKER_00]: He can get us fake.

[02:10:30] [SPEAKER_00]: I think they get very specific.

[02:10:31] [SPEAKER_00]: And then they drive to this abandoned shack.

[02:10:33] [SPEAKER_05]: Yeah.

[02:10:34] [SPEAKER_05]: This shack in the middle of like the salt flats practically.

[02:10:37] [SPEAKER_02]: But it's like, they can't even wait to get to the, to the cabin.

[02:10:41] [SPEAKER_05]: They have sex outside.

[02:10:42] [SPEAKER_02]: Illuminated by the headlights of the car.

[02:10:44] [SPEAKER_02]: Yes.

[02:10:45] [SPEAKER_02]: Get into the cabin and Bill Pullman's there.

[02:10:46] [SPEAKER_02]: And she will, she's like, you'll never have me.

[02:10:48] [SPEAKER_02]: She's like, she abandons him.

[02:10:49] [SPEAKER_02]: Right.

[02:10:49] [SPEAKER_02]: Right.

[02:10:49] [SPEAKER_05]: She goes in by herself.

[02:10:50] [SPEAKER_05]: Yes.

[02:10:51] [SPEAKER_05]: And, uh, Bill Pullman's there.

[02:10:53] [SPEAKER_05]: And, um, you know.

[02:10:55] [SPEAKER_05]: So is the mystery man.

[02:10:56] [SPEAKER_05]: The mystery man is there holding a camera.

[02:10:58] [SPEAKER_02]: Yeah.

[02:10:59] [SPEAKER_02]: And having a great time creating a thousand meme formats.

[02:11:03] [SPEAKER_00]: And then Mr. Eddie shows up and they slit his throat.

[02:11:06] [SPEAKER_00]: That's really the, he has to go find Mr. Eddie.

[02:11:09] [SPEAKER_00]: And that's the part of the movie where you're like, if anything in the movie is quote unquote

[02:11:14] [SPEAKER_00]: realistic, it is the sequence of a guy who feels cuckolded and goes and finds his wife,

[02:11:20] [SPEAKER_00]: lover and murders him.

[02:11:22] [SPEAKER_00]: And then goes home.

[02:11:24] [SPEAKER_00]: And the point at which he pressed the buzzer and says, Dick Lurant is dead is really like, he goes home and then murders his wife.

[02:11:30] [SPEAKER_00]: And, and that is the re probably the reality of the movie in a nutshell.

[02:11:36] [SPEAKER_05]: And instead we're back, we back on the road with him transforming.

[02:11:39] [SPEAKER_05]: Transforming again.

[02:11:40] [SPEAKER_05]: And this score is going crazy and the fucking, you know, road is rushing at us.

[02:11:45] [SPEAKER_05]: And this is like the music that.

[02:11:47] [SPEAKER_00]: And Rod Reznor is like to wrote for the movie, which I think is the first time he quote unquote scored anything.

[02:11:54] [SPEAKER_00]: Must have been.

[02:11:55] [SPEAKER_00]: And what an incredible trajectory.

[02:11:57] [SPEAKER_00]: Yeah.

[02:11:57] [SPEAKER_00]: To go from this to soul winning.

[02:12:01] [SPEAKER_00]: Yeah.

[02:12:01] [SPEAKER_00]: Ninja Turtles.

[02:12:02] [SPEAKER_05]: Ninja Turtles.

[02:12:03] [SPEAKER_05]: Challengers.

[02:12:04] [SPEAKER_05]: Challengers score is so good.

[02:12:06] [SPEAKER_05]: But I listened to his soul score a lot.

[02:12:09] [SPEAKER_05]: I do too.

[02:12:09] [SPEAKER_05]: It's good writing music.

[02:12:10] [SPEAKER_05]: It's good, like ambient background music.

[02:12:13] [SPEAKER_05]: But it is funny to imagine Trent Reznor like sitting there in his tight t-shirt while Pete Docter is like, so the souls are these little bobs.

[02:12:20] [SPEAKER_00]: I don't, you've, you've interviewed him.

[02:12:23] [SPEAKER_05]: I did interview him.

[02:12:24] [SPEAKER_05]: I don't get starstruck.

[02:12:25] [SPEAKER_05]: I was very terrified to interview him.

[02:12:27] [SPEAKER_00]: And I saw him at a Challengers screening a couple of weeks ago.

[02:12:29] [SPEAKER_00]: And I was just like, I don't know what to do.

[02:12:32] [SPEAKER_00]: Like I just stood there and stared at him because he was such an icon to me in my youth.

[02:12:35] [SPEAKER_00]: And to just be like all of a sudden face to face with him for the first time.

[02:12:38] [SPEAKER_02]: It's so funny to have a guy like that.

[02:12:39] [SPEAKER_02]: He also still looks like Trent Reznor.

[02:12:41] [SPEAKER_02]: He does.

[02:12:41] [SPEAKER_02]: I was gonna say, he's always looked iconic.

[02:12:44] [SPEAKER_02]: But his look has transformed a couple of times.

[02:12:47] [SPEAKER_05]: Yeah.

[02:12:48] [SPEAKER_05]: But he's still got the hair and the sort of whatever, like the physicality.

[02:12:52] [SPEAKER_05]: But I interviewed him with Atticus Ross and Atticus Ross is this guy who's like, oh, David, how you doing mate?

[02:12:56] [SPEAKER_05]: You know, and you're like, okay, so this is the, this is the easy guy.

[02:12:59] [SPEAKER_05]: Yeah.

[02:13:00] [SPEAKER_05]: He likes the blobs.

[02:13:01] [SPEAKER_05]: He probably really dug the blobs.

[02:13:04] [SPEAKER_05]: Whereas Trent was like quiet and thoughtful and his answers were pretty short and like, you know, kind of like straight.

[02:13:12] [SPEAKER_00]: When I saw him, he was in the lobby of the cinema looking for a way out.

[02:13:15] [SPEAKER_00]: So people like me would not go up and talk to him.

[02:13:18] [SPEAKER_05]: Yeah.

[02:13:18] [SPEAKER_05]: Right.

[02:13:19] [SPEAKER_05]: He'd probably fucking walk through a wall somehow.

[02:13:22] [SPEAKER_05]: Anyway.

[02:13:23] [SPEAKER_05]: Yeah.

[02:13:23] [SPEAKER_05]: I lost highway.

[02:13:23] [SPEAKER_05]: So the movie is just about how OJ is innocent.

[02:13:25] [SPEAKER_05]: And yeah, three and a half stars.

[02:13:27] [SPEAKER_05]: What do you guys think?

[02:13:28] [SPEAKER_05]: Yeah.

[02:13:29] [SPEAKER_00]: No, I took the words right out of my mouth.

[02:13:31] [SPEAKER_00]: Two thumbs down has never been, never sounded so good before.

[02:13:34] [SPEAKER_05]: And Lynch said two good reasons to see the movie, right?

[02:13:37] [SPEAKER_05]: That was his rejoinder to Cisco and Hubert.

[02:13:40] [SPEAKER_05]: Yep.

[02:13:40] [SPEAKER_05]: I feel like this is the moment where people really fucking hate because Godzilla's the next year.

[02:13:45] [SPEAKER_05]: Uh, where Emmerich is like, fuck you Ebert.

[02:13:48] [SPEAKER_05]: I put you in the movie.

[02:13:49] [SPEAKER_05]: Yeah, mayor, you know, like and all that where people were really living or dying by two thumbs up or down.

[02:13:55] [SPEAKER_00]: It started a little earlier with my favorite movie, Willow with the Ebersisk dragon.

[02:13:59] [SPEAKER_00]: Sure.

[02:13:59] [SPEAKER_00]: And, and General Kale as well.

[02:14:01] [SPEAKER_02]: General Kale.

[02:14:01] [SPEAKER_00]: Yes.

[02:14:02] [SPEAKER_00]: Definitely.

[02:14:03] [SPEAKER_00]: Right.

[02:14:03] [SPEAKER_02]: Which is also funny that like, uh, not funny, but like Cisco dies a year after this.

[02:14:09] [SPEAKER_02]: Yeah.

[02:14:09] [SPEAKER_02]: He dies in 1990.

[02:14:11] [SPEAKER_02]: He dies at the end of 98.

[02:14:12] [SPEAKER_02]: Yeah.

[02:14:12] [SPEAKER_02]: And, and I feel like when, uh, Cisco is gone, everyone's attitude to Ebert changes.

[02:14:18] [SPEAKER_02]: Hundred percent.

[02:14:19] [SPEAKER_02]: Yeah, of course.

[02:14:20] [SPEAKER_02]: There was something about them existing as a duo.

[02:14:23] [SPEAKER_02]: And even though Ebert continued to have like someone by his side, they didn't feel like-

[02:14:27] [SPEAKER_02]: But Ebert no longer had an antagonistic relationship with his co-host.

[02:14:30] [SPEAKER_00]: Right.

[02:14:30] [SPEAKER_00]: And he became a national treasure.

[02:14:32] [SPEAKER_05]: Yeah.

[02:14:32] [SPEAKER_05]: And he became, right.

[02:14:33] [SPEAKER_05]: The show is no longer this debate.

[02:14:35] [SPEAKER_05]: It was more of like a warm show about movies or whatever.

[02:14:38] [SPEAKER_05]: And like, right.

[02:14:38] [SPEAKER_05]: And then Ebert, when I'm a teenager, I'm like that guy, there's a, he has a review for everything

[02:14:43] [SPEAKER_05]: and I can read them and they usually will crystallize something about the movie that's helpful to me.

[02:14:49] [SPEAKER_01]: But also in the 2000s-

[02:14:50] [SPEAKER_05]: It's not like the most beautiful criticism in the world sometimes, but like he'll write about, I always say this, La Ventura.

[02:14:55] [SPEAKER_05]: I read his review of La Ventura and was like, this guy is helping me understand something I watched when I'm 14 years old that I'm not really ready to totally process.

[02:15:01] [SPEAKER_02]: But also in the 2000s, he starts doing the great movies column and a lot of that is him revisiting things and being like, I was wrong about this.

[02:15:09] [SPEAKER_02]: Right.

[02:15:09] [SPEAKER_02]: Or even people-

[02:15:10] [SPEAKER_02]: Now some would call him a coward.

[02:15:11] [SPEAKER_02]: Some.

[02:15:12] [SPEAKER_02]: No.

[02:15:13] [SPEAKER_02]: Even the people he stayed on his fence with, he's like, comes around to basically saying like, I have to acknowledge there is value in what David Lynch is doing.

[02:15:21] [SPEAKER_02]: Right.

[02:15:21] [SPEAKER_02]: Because he had such, we will talk about it.

[02:15:24] [SPEAKER_02]: I cannot empirically say these movies are all garbage.

[02:15:26] [SPEAKER_00]: And he never gave a good review because he didn't review Eraserhead.

[02:15:31] [SPEAKER_00]: So then Elephant Man, he didn't like.

[02:15:33] [SPEAKER_00]: He was one of the few people who did not like Elephant Man.

[02:15:34] [SPEAKER_00]: That's the one, like, when he didn't like that.

[02:15:37] [SPEAKER_00]: Where you're like, come on, buddy.

[02:15:38] [SPEAKER_00]: Yeah.

[02:15:38] [SPEAKER_00]: And then, so it just wasn't his cup of tea.

[02:15:40] [SPEAKER_00]: And then he's old, but he's always acknowledged-

[02:15:41] [SPEAKER_05]: Blue Velvet, he like despised him was like, this made me unhappy.

[02:15:44] [SPEAKER_05]: That's the one probably we'll talk about at the moment.

[02:15:46] [SPEAKER_00]: Yeah.

[02:15:46] [SPEAKER_00]: And he's acknowledged, he always acknowledges that David Lynch is incredibly talented.

[02:15:50] [SPEAKER_00]: And he's like, why are you wasting your talents on trash like this?

[02:15:54] [SPEAKER_02]: It feels societally harmful and irresponsible for you to be doing that.

[02:15:58] [SPEAKER_00]: So he acknowledges the craft, but just hates the movies until you get to Mulholland Drive,

[02:16:02] [SPEAKER_00]: which is where I feel like we should talk just a little bit about why this movie-

[02:16:08] [SPEAKER_05]: He did also love The Straight Story, I will point out.

[02:16:10] [SPEAKER_05]: Oh, that's right.

[02:16:10] [SPEAKER_05]: He did.

[02:16:11] [SPEAKER_05]: Yes.

[02:16:11] [SPEAKER_05]: Yes.

[02:16:12] [SPEAKER_00]: But Mulholland Drive, go ahead.

[02:16:13] [SPEAKER_00]: I think, so like watching these and trying to interpret my own, you know, response to

[02:16:20] [SPEAKER_00]: Mulholland Drive circa October 2001 where I thought it was a pale imitation of-

[02:16:25] [SPEAKER_05]: Obviously they're sister movies.

[02:16:26] [SPEAKER_02]: If you love Lost Highway, you might not be able to vibe right away with Mulholland Drive.

[02:16:30] [SPEAKER_02]: Right.

[02:16:30] [SPEAKER_02]: And the people who are disappointed with Lost Highway, I think, approach Mulholland Drive of

[02:16:34] [SPEAKER_02]: like, okay, well this is what he was trying to do.

[02:16:36] [SPEAKER_02]: Same themes.

[02:16:36] [SPEAKER_02]: Yes.

[02:16:36] [SPEAKER_02]: Right.

[02:16:36] [SPEAKER_05]: Yeah, yeah, yeah.

[02:16:37] [SPEAKER_00]: So there's like, he's always dealt with doubles that you've had like, you know, the Maddie

[02:16:42] [SPEAKER_00]: and Laura Palmer, you've got Leland and Bob, you've always had these people that like,

[02:16:45] [SPEAKER_00]: so he's like, he's been working towards crystallizing this idea of duality, of our interior duality

[02:16:51] [SPEAKER_00]: becoming externalized.

[02:16:55] [SPEAKER_00]: And I think Mulholland Drive is probably not as succinct as Lost Highway.

[02:17:03] [SPEAKER_00]: No, of course not.

[02:17:03] [SPEAKER_00]: It's not as succinct as Lost Highway, but because of that lack of succinctness, because

[02:17:07] [SPEAKER_00]: it's not as in the entirety, it is actually more indicative of what David Lynch is after

[02:17:12] [SPEAKER_00]: this entire, what he's been after his entire career, which is that these things, we can't

[02:17:19] [SPEAKER_00]: preordain them.

[02:17:20] [SPEAKER_00]: There's no, we can't, we can't prescribe intention to things because they come from a

[02:17:25] [SPEAKER_00]: place beyond.

[02:17:26] [SPEAKER_00]: The things that he is trying to access through transcendental meditation, through dreams,

[02:17:31] [SPEAKER_00]: you can't plan those.

[02:17:33] [SPEAKER_00]: And Lost Highway does feel to, for one, for better or worse, it does feel very plotted

[02:17:38] [SPEAKER_00]: out.

[02:17:38] [SPEAKER_00]: And it feels, it feels intentional more so than Inland or than Mulholland Drive because Mulholland

[02:17:43] [SPEAKER_00]: Drive was meant to be a TV pilot.

[02:17:44] [SPEAKER_00]: And then he's like, actually, it's a movie and everything that I meant to be one thing,

[02:17:49] [SPEAKER_00]: such as Robert Forster and Briscoe are now going to mean something completely different

[02:17:53] [SPEAKER_00]: that I could never have thought of before.

[02:17:54] [SPEAKER_00]: So he was forced into this sort of like bending these ideas into a new shape that allowed them

[02:18:03] [SPEAKER_00]: to realize what the type of movie he's been trying to make his entire career.

[02:18:07] [SPEAKER_05]: And he has to transform his characters.

[02:18:09] [SPEAKER_05]: Mulholland Drive, he does the Lost Highway thing again.

[02:18:11] [SPEAKER_05]: They don't turn into different actors, but they transform or wake up or what have

[02:18:16] [SPEAKER_05]: you.

[02:18:16] [SPEAKER_05]: Obviously, Mulholland Drive is very simple and I'll explain in our episode.

[02:18:19] [SPEAKER_05]: Yeah.

[02:18:19] [SPEAKER_05]: You've solved it.

[02:18:21] [SPEAKER_05]: It is probably the most explained Lynch movie in a way, but that's only because

[02:18:24] [SPEAKER_05]: people are so obsessed with it.

[02:18:25] [SPEAKER_00]: People are so obsessed with it.

[02:18:26] [SPEAKER_00]: And again, like Lost Highway, I think you could boil it down.

[02:18:29] [SPEAKER_00]: You can.

[02:18:29] [SPEAKER_04]: It literally begins with the head hitting the pillow.

[02:18:31] [SPEAKER_04]: Yes.

[02:18:31] [SPEAKER_00]: He's giving you clues.

[02:18:32] [SPEAKER_00]: It's not that, it's not that outrageous.

[02:18:35] [SPEAKER_00]: But it is.

[02:18:37] [SPEAKER_00]: On a very formally intrinsic level, the fact that the movie is made out of random pieces

[02:18:44] [SPEAKER_00]: of film that are being spliced together to create new forms gives it a sense of the

[02:18:50] [SPEAKER_00]: potential of cinema that his other movies don't have.

[02:18:53] [SPEAKER_00]: Like this is a movie about movies.

[02:18:55] [SPEAKER_00]: This is a movie about movies as dreams, but also movies, movie about Hollywood.

[02:19:00] [SPEAKER_00]: It is a very, in spite of the entire Justin Theroux subplot, I think it is a very unjaundiced

[02:19:05] [SPEAKER_00]: perspective of Hollywood.

[02:19:07] [SPEAKER_00]: Whereas Lost Highway is like, LA sucks.

[02:19:10] [SPEAKER_00]: Right.

[02:19:10] [SPEAKER_00]: This place is a seedy cesspool.

[02:19:12] [SPEAKER_00]: Yeah.

[02:19:12] [SPEAKER_00]: This is like hell.

[02:19:13] [SPEAKER_00]: This is a movie that comes here.

[02:19:14] [SPEAKER_00]: Right.

[02:19:14] [SPEAKER_00]: Whereas, whereas Mulholland Drive in spite of how dark it gets manages to maintain this old

[02:19:19] [SPEAKER_00]: Hollywood glamour, this old sense of allure, this sense of like place where dreams can

[02:19:24] [SPEAKER_00]: come true, even if those dreams become nightmares.

[02:19:26] [SPEAKER_00]: And I also think that one of the reasons it's beloved is because for the first time in his

[02:19:32] [SPEAKER_00]: entire career, he loves the women that lead the film.

[02:19:35] [SPEAKER_05]: Yes.

[02:19:36] [SPEAKER_05]: Right.

[02:19:37] [SPEAKER_05]: Right.

[02:19:37] [SPEAKER_05]: They, it's true.

[02:19:38] [SPEAKER_05]: Right.

[02:19:38] [SPEAKER_05]: They, they're in a different place in the story.

[02:19:41] [SPEAKER_05]: And even beyond that, he has women truly leading the film.

[02:19:45] [SPEAKER_02]: Yeah.

[02:19:45] [SPEAKER_00]: They're leading the film.

[02:19:46] [SPEAKER_00]: They are not duplicitous.

[02:19:48] [SPEAKER_00]: They are not compromised.

[02:19:50] [SPEAKER_00]: They could be maybe become a little compromised at one point, but like they are people who he

[02:19:55] [SPEAKER_00]: has great degrees of empathy for.

[02:19:57] [SPEAKER_00]: And that is clear from frame one.

[02:19:59] [SPEAKER_00]: And no matter how dark Betty or Diane Selwyn's journey gets, you never lose that empathy,

[02:20:05] [SPEAKER_00]: nor do you fault her.

[02:20:07] [SPEAKER_00]: Maybe you can fault her for, you know, ordering a hit on her lover, but you never really feel

[02:20:11] [SPEAKER_00]: like she's an evil person.

[02:20:13] [SPEAKER_05]: Yeah.

[02:20:13] [SPEAKER_05]: I'm joking.

[02:20:14] [SPEAKER_05]: She didn't have a couple.

[02:20:15] [SPEAKER_05]: Uh, but you know, I don't like that lady though.

[02:20:17] [SPEAKER_05]: They had little old.

[02:20:19] [SPEAKER_05]: In the end, she's scary.

[02:20:21] [SPEAKER_05]: That's very, very scary lady.

[02:20:23] [SPEAKER_05]: We should play the box office game sponsored by Regal Cinemas.

[02:20:30] [SPEAKER_02]: I guess for Lost Highway.

[02:20:32] [SPEAKER_02]: Is there anything else?

[02:20:33] [SPEAKER_02]: This movie was a colossal flop.

[02:20:35] [SPEAKER_02]: What do you mean?

[02:20:36] [SPEAKER_02]: This film is so crushed.

[02:20:37] [SPEAKER_02]: This was a steamroller.

[02:20:39] [SPEAKER_02]: Made half a black hat.

[02:20:40] [SPEAKER_05]: The February box office made $3.8 million.

[02:20:43] [SPEAKER_05]: That's about half a black hat.

[02:20:44] [SPEAKER_01]: I think black hat was seven.

[02:20:45] [SPEAKER_01]: Yeah.

[02:20:46] [SPEAKER_00]: Well, this day and age, that would be a glowing success.

[02:20:49] [SPEAKER_00]: Yeah.

[02:20:49] [SPEAKER_02]: This day and age, 824 is like, thank you.

[02:20:52] [SPEAKER_02]: Can you believe neon will Lost Highway?

[02:20:55] [SPEAKER_05]: It's a four mil.

[02:20:57] [SPEAKER_05]: Yeah.

[02:20:57] [SPEAKER_05]: Before selling it to Paramount Plus or whatever.

[02:21:00] [SPEAKER_00]: I remember being a concessionist at the movie theater and recommending this movie to people

[02:21:04] [SPEAKER_00]: because I was so excited about it.

[02:21:05] [SPEAKER_00]: And they were like-

[02:21:06] [SPEAKER_05]: So I'm taking some credit for that $3.8 million.

[02:21:07] [SPEAKER_05]: Yeah, you're, I mean, you must've gotten a few angry people in the door there.

[02:21:11] [SPEAKER_02]: Did Lost Highway have a cinema score?

[02:21:13] [SPEAKER_02]: When I play the game of like, how do I make myself feel more depressed?

[02:21:17] [SPEAKER_05]: Yes.

[02:21:19] [SPEAKER_02]: Uh, which you know, usually I wake up-

[02:21:20] [SPEAKER_02]: I love it when you play that game.

[02:21:22] [SPEAKER_02]: With a perfect disposition.

[02:21:22] [SPEAKER_02]: Uh-huh.

[02:21:22] [SPEAKER_02]: A great view on the world.

[02:21:24] [SPEAKER_02]: Uh, and I, I've said this in other episodes, but I feel slightly more optimistic about the

[02:21:28] [SPEAKER_02]: state of the film world now than I have in a very, very long time.

[02:21:33] [SPEAKER_02]: But it is funny to look at certain like, uh, prestige or just sort of more serious minded

[02:21:40] [SPEAKER_02]: for grown up movies that like five years ago I perceived as underperforming.

[02:21:45] [SPEAKER_02]: And then you're like, Vice made $50 million domestic.

[02:21:50] [SPEAKER_02]: And it was kind of seen as a bomb.

[02:21:52] [SPEAKER_05]: I guess, was it?

[02:21:54] [SPEAKER_05]: I guess it was expensive.

[02:21:55] [SPEAKER_02]: Yeah.

[02:21:55] [SPEAKER_05]: That's funny.

[02:21:56] [SPEAKER_05]: And it got like a hyper wide release at Christmas.

[02:21:59] [SPEAKER_05]: Yeah, it was a big Christmas movie.

[02:22:00] [SPEAKER_05]: Yeah.

[02:22:00] [SPEAKER_05]: All right.

[02:22:01] [SPEAKER_05]: Lost Highway made $3 million.

[02:22:02] [SPEAKER_05]: We've actually done this box office before, but I have no memory of us doing it because,

[02:22:06] [SPEAKER_05]: uh, it's the Rosewood box office.

[02:22:09] [SPEAKER_05]: Oh, wild.

[02:22:09] [SPEAKER_05]: Rosewood is opening number eight, uh, this week.

[02:22:13] [SPEAKER_05]: Uh, Lost Highway is opening unlimited, uh, 12 screens down number 31.

[02:22:17] [SPEAKER_05]: But I bet you don't remember the damn Rosewood box office.

[02:22:20] [SPEAKER_05]: Those episodes are lost to my mind.

[02:22:22] [SPEAKER_02]: Same.

[02:22:23] [SPEAKER_02]: I just want to call out Vice 47.8 domestic 28.2.

[02:22:27] [SPEAKER_02]: Yeah.

[02:22:28] [SPEAKER_02]: See, it didn't do that.

[02:22:29] [SPEAKER_02]: 76 worldwide against a $60 million budget.

[02:22:31] [SPEAKER_02]: Yeah.

[02:22:32] [SPEAKER_05]: I know these days that would be a sensation.

[02:22:34] [SPEAKER_05]: Yes.

[02:22:34] [SPEAKER_05]: Number one at the box office, Griffin, is a re-released film.

[02:22:39] [SPEAKER_05]: Uh, wait, give me the date again.

[02:22:41] [SPEAKER_05]: February 21st, 1997.

[02:22:43] [SPEAKER_05]: It is Empire Strikes Back.

[02:22:45] [SPEAKER_05]: Star Wars, The Empire Strikes Back.

[02:22:48] [SPEAKER_05]: Episode five, that one.

[02:22:49] [SPEAKER_05]: Yeah.

[02:22:50] [SPEAKER_02]: The fifth one.

[02:22:50] [SPEAKER_02]: It's new, quote unquote, this week.

[02:22:52] [SPEAKER_02]: This is its first week in re-release.

[02:22:55] [SPEAKER_05]: Now what's number two at the box office, Griffin?

[02:22:57] [SPEAKER_05]: Star Wars.

[02:22:58] [SPEAKER_05]: That's right.

[02:23:00] [SPEAKER_05]: Episode four, they call it.

[02:23:01] [SPEAKER_05]: I assume you saw those films on their re-release.

[02:23:04] [SPEAKER_00]: That was the first time I ever saw them not on Pan and Scan VHS.

[02:23:08] [SPEAKER_00]: Same.

[02:23:08] [SPEAKER_02]: It was the first time I saw them, period.

[02:23:10] [SPEAKER_00]: Yeah.

[02:23:10] [SPEAKER_00]: Oh, really?

[02:23:10] [SPEAKER_00]: Yeah.

[02:23:11] [SPEAKER_02]: I had seen them on VHS, but certainly in their boulder.

[02:23:14] [SPEAKER_02]: It's funny that we've been doing the show long enough that that got no really from you,

[02:23:17] [SPEAKER_02]: because that's definitely something we covered at some point.

[02:23:19] [SPEAKER_02]: I'm sure we have.

[02:23:20] [SPEAKER_02]: But also buried within the bit, maybe it was fucking masked and layers of who fucking knows.

[02:23:25] [SPEAKER_00]: And here we are with the special edition of Phantom Menace, having just opened and-

[02:23:29] [SPEAKER_00]: Just clearing up.

[02:23:30] [SPEAKER_00]: ...and made three times what Lost Highway made.

[02:23:32] [SPEAKER_05]: I know.

[02:23:34] [SPEAKER_05]: Now it's like also this thing of like Amazing Spider-Man 2 is in the top 10, just because

[02:23:38] [SPEAKER_05]: they're doing like Spider Mondays around the, whatever.

[02:23:41] [SPEAKER_02]: Do you know what's also interesting?

[02:23:42] [SPEAKER_02]: What?

[02:23:42] [SPEAKER_02]: You look at, there have now been three wide releases of Phantom Menace.

[02:23:47] [SPEAKER_02]: Original release, it opened to like 70, 60 something.

[02:23:52] [SPEAKER_02]: The 3D re-release in 2012, it opened to like 24 and this time it opened to eight.

[02:23:58] [SPEAKER_02]: Every like 10 to 15 years, they re-release it and it does a third of what it did the last

[02:24:02] [SPEAKER_02]: time.

[02:24:03] [SPEAKER_02]: Okay.

[02:24:03] [SPEAKER_04]: All right.

[02:24:03] [SPEAKER_02]: And they'll keep trying.

[02:24:05] [SPEAKER_02]: It's done with K for itself though.

[02:24:07] [SPEAKER_02]: Yeah, it's fine.

[02:24:08] [SPEAKER_02]: Did you guys see it?

[02:24:09] [SPEAKER_02]: I've been very busy.

[02:24:10] [SPEAKER_02]: I need to go see it.

[02:24:10] [SPEAKER_02]: I'd like to go see it.

[02:24:12] [SPEAKER_02]: I saw it last time when they did the 3D.

[02:24:13] [SPEAKER_02]: I saw the 3D.

[02:24:14] [SPEAKER_02]: I did that.

[02:24:15] [SPEAKER_02]: It was bad.

[02:24:16] [SPEAKER_02]: Yeah, it was pretty.

[02:24:16] [SPEAKER_02]: And I love 3D.

[02:24:17] [SPEAKER_02]: It was one of the worst conversions.

[02:24:18] [SPEAKER_02]: And I think maybe it was Dennis Murren himself.

[02:24:21] [SPEAKER_02]: Someone took over like, I will oversee the conversions of episodes two and three to fix

[02:24:26] [SPEAKER_02]: this problem.

[02:24:27] [SPEAKER_02]: And by all accounts, the Attack of the Clone conversion and the Revenge of the Sith conversion

[02:24:31] [SPEAKER_02]: are incredible.

[02:24:32] [SPEAKER_00]: And we'll never be seen.

[02:24:33] [SPEAKER_02]: One of them was screened, Attack of the Clones was screened at Star Wars Celebration

[02:24:37] [SPEAKER_02]: one year and then they sold to Disney and Disney was like, we're not fucking putting

[02:24:40] [SPEAKER_02]: these back in theaters.

[02:24:42] [SPEAKER_02]: And Revenge of the Sith was never seen.

[02:24:44] [SPEAKER_02]: Yeah, maybe we'll see him one day.

[02:24:46] [SPEAKER_05]: Number three is a political thriller from a great auteur.

[02:24:52] [SPEAKER_05]: Not one of his better movies in my opinion.

[02:24:54] [SPEAKER_05]: Is it Mad City?

[02:24:55] [SPEAKER_05]: No.

[02:24:55] [SPEAKER_05]: That was a good guess though.

[02:24:57] [SPEAKER_05]: Totally great guess.

[02:24:58] [SPEAKER_05]: Not a caustic avarice.

[02:24:59] [SPEAKER_05]: No.

[02:25:00] [SPEAKER_05]: When I call him a great auteur, I guess it's like this is sort of a-

[02:25:03] [SPEAKER_05]: Is it Devil's Own?

[02:25:05] [SPEAKER_05]: No.

[02:25:06] [SPEAKER_05]: But also a good guess?

[02:25:07] [SPEAKER_05]: Also a good guess.

[02:25:08] [SPEAKER_05]: See, there were a lot of grown up movies back then.

[02:25:10] [SPEAKER_05]: Grown up movies.

[02:25:11] [SPEAKER_05]: No, this is a director actor.

[02:25:12] [SPEAKER_05]: He's the star of this film and he also directed it.

[02:25:15] [SPEAKER_05]: Huh.

[02:25:15] [SPEAKER_05]: Is it a Clint?

[02:25:16] [SPEAKER_05]: Clint Eastwood film.

[02:25:17] [SPEAKER_02]: Is it Bloodwork?

[02:25:18] [SPEAKER_02]: No.

[02:25:19] [SPEAKER_05]: Is it Absolute Power?

[02:25:20] [SPEAKER_05]: Absolute Power.

[02:25:21] [SPEAKER_02]: I got fucked on this exact thing at the box office game recently where I was like,

[02:25:25] [SPEAKER_02]: which winter Clint programmer was this?

[02:25:29] [SPEAKER_05]: It's a little later.

[02:25:30] [SPEAKER_05]: He's like old in Bloodwork.

[02:25:34] [SPEAKER_05]: Great movie.

[02:25:34] [SPEAKER_05]: Bloodwork is so good.

[02:25:36] [SPEAKER_05]: Absolute Power is okay.

[02:25:37] [SPEAKER_05]: It's the one with Gene Hackman as the president.

[02:25:39] [SPEAKER_05]: Have you seen Absolute Power?

[02:25:40] [SPEAKER_00]: I have not.

[02:25:40] [SPEAKER_00]: I saw-

[02:25:41] [SPEAKER_00]: This would be a momentous couple of weeks in my life because I was working-

[02:25:45] [SPEAKER_00]: I was employed for the very first time at a movie theater.

[02:25:47] [SPEAKER_00]: Yeah.

[02:25:48] [SPEAKER_00]: And I feel like I, you know, I definitely saw Rosewood.

[02:25:52] [SPEAKER_00]: I would have obviously seen the Star Wars films regardless of having worked at a movie theater.

[02:25:57] [SPEAKER_00]: But I'm curious what else is populating.

[02:26:00] [SPEAKER_00]: I feel like I remember January pretty well.

[02:26:01] [SPEAKER_00]: I remember December, but I don't remember where we are right now.

[02:26:04] [SPEAKER_02]: All right.

[02:26:05] [SPEAKER_02]: Well, David, also just to correct you quickly.

[02:26:07] [SPEAKER_02]: Welcome to Mooseport is the one where Gene Hackman's the president.

[02:26:11] [SPEAKER_02]: That's what the name of the movie is.

[02:26:12] [SPEAKER_05]: Going out on top.

[02:26:13] [SPEAKER_05]: Thank you.

[02:26:13] [SPEAKER_05]: Number four is a disaster film.

[02:26:17] [SPEAKER_05]: Volcano?

[02:26:17] [SPEAKER_05]: Dante's Peak.

[02:26:18] [SPEAKER_05]: Not Volcano.

[02:26:19] [SPEAKER_05]: Yes, Dante's Peak.

[02:26:20] [SPEAKER_05]: Well done, Lowry.

[02:26:21] [SPEAKER_05]: Uh, the better of the two.

[02:26:23] [SPEAKER_05]: Dante's Peak, in my opinion.

[02:26:25] [SPEAKER_05]: Uh, Dante's Peak.

[02:26:26] [SPEAKER_05]: Volcano Blow Up.

[02:26:27] [SPEAKER_05]: Ben Lake.

[02:26:28] [SPEAKER_00]: Oh, Grandma dying in Acid Lake.

[02:26:30] [SPEAKER_00]: It was so brutal.

[02:26:32] [SPEAKER_00]: Fucked up.

[02:26:33] [SPEAKER_00]: Yeah.

[02:26:33] [SPEAKER_00]: I did not like that scene.

[02:26:34] [SPEAKER_05]: Uh, number five is a-

[02:26:37] [SPEAKER_05]: A-

[02:26:38] [SPEAKER_05]: A comedy sequel nobody asked for.

[02:26:41] [SPEAKER_05]: Huh.

[02:26:41] [SPEAKER_05]: Ben was probably there.

[02:26:43] [SPEAKER_05]: Probably.

[02:26:44] [SPEAKER_05]: I don't know.

[02:26:45] [SPEAKER_05]: Ben's considering.

[02:26:46] [SPEAKER_05]: It's a comedy sequel no one asked for.

[02:26:48] [SPEAKER_05]: How long has it been out?

[02:26:49] [SPEAKER_05]: It's been out for two weeks.

[02:26:50] [SPEAKER_05]: It's going to top out at $36 million.

[02:26:53] [SPEAKER_05]: Was it close to the release of the first or was this-

[02:26:55] [SPEAKER_02]: Did they wait too long?

[02:26:55] [SPEAKER_02]: This is the fourth in the series.

[02:26:58] [SPEAKER_02]: Oh, it is, ahem, Major League Colon Back to the Miners?

[02:27:02] [SPEAKER_05]: No.

[02:27:02] [SPEAKER_05]: Fuck!

[02:27:02] [SPEAKER_05]: That is a totally good guess.

[02:27:05] [SPEAKER_05]: But maybe someone asked for that one.

[02:27:07] [SPEAKER_05]: I don't know if anyone really-

[02:27:08] [SPEAKER_03]: Ben, that's why I thought the clue was you saying Ben asked for it.

[02:27:10] [SPEAKER_03]: They do go back to the Miners.

[02:27:11] [SPEAKER_03]: Those movies get me.

[02:27:13] [SPEAKER_03]: I, like, cry to both Major League One and Two.

[02:27:16] [SPEAKER_03]: But not back to the Miners.

[02:27:17] [SPEAKER_03]: Not back to the Miners.

[02:27:19] [SPEAKER_03]: No.

[02:27:19] [SPEAKER_02]: That one's also-

[02:27:20] [SPEAKER_02]: That's three, not four.

[02:27:21] [SPEAKER_02]: Yeah.

[02:27:22] [SPEAKER_02]: Yeah.

[02:27:23] [SPEAKER_02]: Two is so good.

[02:27:25] [SPEAKER_02]: It is!

[02:27:25] [SPEAKER_02]: What is this?

[02:27:26] [SPEAKER_02]: What is this?

[02:27:27] [SPEAKER_02]: It's a fourth.

[02:27:29] [SPEAKER_02]: No one asked for it.

[02:27:31] [SPEAKER_02]: It's not doing well.

[02:27:32] [SPEAKER_02]: No.

[02:27:32] [SPEAKER_02]: It's the last one?

[02:27:33] [SPEAKER_02]: Very much.

[02:27:34] [SPEAKER_05]: It's the last theatrical.

[02:27:36] [SPEAKER_05]: I think they've done some TV versions.

[02:27:37] [SPEAKER_05]: Huh.

[02:27:38] [SPEAKER_02]: They've done some TV versions.

[02:27:40] [SPEAKER_05]: Wait, what the fuck is this?

[02:27:41] [SPEAKER_05]: What the fuck is this?

[02:27:42] [SPEAKER_05]: I think they remade it eventually.

[02:27:44] [SPEAKER_05]: That doesn't really count, but you know-

[02:27:46] [SPEAKER_05]: Did the same-

[02:27:46] [SPEAKER_05]: They remade the original.

[02:27:47] [SPEAKER_02]: Is it a Beethoven?

[02:27:48] [SPEAKER_05]: No.

[02:27:48] [SPEAKER_02]: No, fuck.

[02:27:49] [SPEAKER_02]: Is it like star driven?

[02:27:51] [SPEAKER_02]: Yeah.

[02:27:52] [SPEAKER_02]: And the same person-

[02:27:53] [SPEAKER_02]: Same star, but he is-

[02:27:54] [SPEAKER_02]: Family comedy?

[02:27:54] [SPEAKER_05]: Cooked!

[02:27:55] [SPEAKER_05]: Yes.

[02:27:56] [SPEAKER_02]: Family comedy-

[02:27:57] [SPEAKER_02]: Oh, oh, oh, oh.

[02:27:59] [SPEAKER_02]: Ben, were you there opening weekend to see Vegas Vacation?

[02:28:05] [SPEAKER_02]: Vegas Vacation.

[02:28:06] [SPEAKER_03]: The movie that National Lampoon took their name off of.

[02:28:10] [SPEAKER_03]: No, because my dad wouldn't take me.

[02:28:12] [SPEAKER_03]: Wow.

[02:28:13] [SPEAKER_03]: What a jerk.

[02:28:13] [SPEAKER_03]: He thinks that Chevy Chase is an asshole.

[02:28:15] [SPEAKER_03]: Well, he is an asshole.

[02:28:17] [SPEAKER_05]: Your dad wasn't wrong.

[02:28:18] [SPEAKER_05]: No, he was.

[02:28:19] [SPEAKER_05]: Dad was ahead of the curve.

[02:28:20] [SPEAKER_05]: I have not seen Vegas Vacation.

[02:28:22] [SPEAKER_02]: I haven't either.

[02:28:23] [SPEAKER_02]: No.

[02:28:24] [SPEAKER_02]: No one ever did.

[02:28:25] [SPEAKER_02]: But that is the one.

[02:28:25] [SPEAKER_02]: It is just called Vegas Vacation.

[02:28:27] [SPEAKER_02]: National Lampoon was like, we'll sit this one out.

[02:28:30] [SPEAKER_02]: You've also got-

[02:28:31] [SPEAKER_05]: We'd rather wait for Van Wilder to swing around.

[02:28:34] [SPEAKER_05]: Just to fill in the rest of the top ten for you, David.

[02:28:37] [SPEAKER_05]: You've got Fools Rush In.

[02:28:40] [SPEAKER_05]: That's the Loner Matthew Perry marries Salma Hayek?

[02:28:43] [SPEAKER_05]: Yes.

[02:28:43] [SPEAKER_05]: A fatal mistake.

[02:28:44] [SPEAKER_02]: Because he knocked her up?

[02:28:45] [SPEAKER_02]: Is that why?

[02:28:46] [SPEAKER_02]: Yes.

[02:28:47] [SPEAKER_02]: Yes, he knocked her up.

[02:28:48] [SPEAKER_02]: I think that it ends up being-

[02:28:51] [SPEAKER_02]: That's at least some plot point in the film.

[02:28:53] [SPEAKER_02]: Yeah.

[02:28:53] [SPEAKER_01]: He knocked her up.

[02:28:54] [SPEAKER_02]: He has a daughter at the end.

[02:28:56] [SPEAKER_02]: The Grand Canyon is apparently part of it.

[02:28:57] [SPEAKER_02]: It's a Twilight Zone-esque premise of what if you had to marry Salma Hayek?

[02:29:03] [SPEAKER_05]: Number seven at the box office is the Disney remake of That Darn Cat with Christina Ricci

[02:29:09] [SPEAKER_05]: and Dougie Doug.

[02:29:11] [SPEAKER_02]: A movie which-

[02:29:11] [SPEAKER_02]: My mother recently invoked the original That Darn Cat to me as one of her favorite movies

[02:29:16] [SPEAKER_02]: of all time.

[02:29:18] [SPEAKER_02]: And I was like, what?

[02:29:19] [SPEAKER_02]: What?

[02:29:19] [SPEAKER_02]: And she was like, you know that.

[02:29:21] [SPEAKER_04]: And she was like, shut up.

[02:29:22] [SPEAKER_02]: You never talked about this once.

[02:29:25] [SPEAKER_02]: But I do remember one time walking by the marquee when the Dougie Doug Christina Ricci That Darn

[02:29:29] [SPEAKER_02]: Cat was playing and she turned to me and just went, I keep remaking all the classics.

[02:29:33] [SPEAKER_02]: And that is the only time I ever remember her acknowledging That Darn Cat.

[02:29:40] [SPEAKER_05]: Number eight is Rosewood.

[02:29:43] [SPEAKER_05]: New this week.

[02:29:43] [SPEAKER_05]: Number nine is Hanging Out.

[02:29:45] [SPEAKER_05]: Three months into its run, Jerry Maguire.

[02:29:47] [SPEAKER_05]: One of the great works of American storytelling.

[02:29:50] [SPEAKER_05]: Number 10 is some movie about an English patient.

[02:29:54] [SPEAKER_05]: What's it called?

[02:29:55] [SPEAKER_05]: The English Patient.

[02:29:55] [SPEAKER_05]: It's only made 51 million on its way to 78.

[02:29:58] [SPEAKER_05]: It's been out for four months.

[02:30:00] [SPEAKER_05]: It's just going to chug along.

[02:30:01] [SPEAKER_05]: Those are some legs.

[02:30:02] [SPEAKER_05]: Yeah.

[02:30:02] [SPEAKER_05]: Huge legs.

[02:30:03] [SPEAKER_05]: Number 11 is fucking Shine.