Latest / All The Right Movies / Blue Velvet (1986) | Ep. 54 - Part 1

Transcript

Blue Velvet (1986) | Ep. 54 - Part 1 · All The Right Movies

• 0:04
  All the right movies. So what do you know about the
• 0:06
  ear? Didn't my father tell you not to
• 0:09
  talk of that? Yeah, but you brought it up.
• 0:11
  You know anything? I don't know much, but bits and
• 0:14
  pieces I hear things. Yeah.
• 0:17
  My room is right above my father's office so.
• 0:19
  Above your father's office. So I heard a few things about
• 0:22
  the ear. Uh huh.
• 0:23
  And. Well, there are a couple of
• 0:26
  cases I get mixed up on, but one name that keeps coming up is
• 0:30
  this woman's singer. She lives in an apartment
• 0:32
  building that is real close to your house.
• 0:35
  It's also close to the field where you found the year.
• 0:38
  It's a strange world, isn't it? College kid Jeffrey Beaumont
• 0:44
  returns to his hometown to be the bedside of his eel and
• 0:47
  father after finding a 70 year Geoffrey tumbles into a dark
• 0:51
  void of pseudo masochism at the hands of torch songstress
• 0:54
  Dorothy Valens and psychotic Frank Booth.
• 0:58
  Blue Velvet established the late, great David Lynch as a
• 1:00
  uniquely singular voice in Hollywood, tackling themes
• 1:03
  rarely seen in mainstream cinema, helped in no small part
• 1:06
  by revelatory performances from Isabella Rossellini and Dennis
• 1:10
  Hopper. My name is Luke and the 2 candy
• 1:13
  coloured clowns with me are Matt.
• 1:15
  Man, I like Heineken. You like Heineken?
• 1:18
  And Westy. Shut up.
• 1:20
  It's Daddy, you shithead. Where's my bourbon?
• 1:23
  All the right movies are sending the love letter straight from
• 1:26
  our hearts. Hi everyone, welcome to All the
• 1:46
  Right Movies, a podcast on classic and hit films with
• 1:49
  something disturbing lurking beneath the surface.
• 1:51
  That's just mad, yes. It is this week.
• 1:59
  We're in the idealistic town of Lumberton, where there's
• 2:01
  something very weird going on. It's David Lynch's psycho sexual
• 2:05
  nightmare masterpiece Blue Velvet.
• 2:08
  It is. Oh dear.
• 2:09
  Oh dear. A long time coming it is.
• 2:12
  Yeah. Before we dive into the strange
• 2:15
  world of Blue Velvet is just a little bit of information on how
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  Yes, yes. Thank you everyone.
• 3:43
  Thank you so much guys. Right, back to business.
• 3:46
  OK, take a Blue Velvet. Yeah.
• 3:49
  Deep breath. Why?
• 3:51
  Why? OK, well, here it is.
• 3:53
  All right. My choice.
• 3:54
  Yes. And I feel like I need to
• 3:56
  explain myself because, you know, this is a very, very
• 4:00
  disturbing film. If you've just seen it for the
• 4:03
  first time because we're covering it on the show, then
• 4:06
  sorry, I suppose you're. Welcome, OH.
• 4:09
  You're welcome either. One.
• 4:11
  I'd go with that one. But we've had it on the Paul a
• 4:13
  few times and I don't think it's ever come close to winning.
• 4:16
  But with the side passing of David Lynch last month, yeah, I
• 4:19
  felt we had a unique opportunity to talk about the film in
• 4:22
  tribute to the great man himself.
• 4:23
  Definitely. Yeah, it's a disturbing film.
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  It is with a lot of ambiguity about what Lynch is trying to
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  say. And obviously that became his
• 4:31
  trademark. Yes.
• 4:32
  I mean, you may as well be talking in a different language.
• 4:35
  Yeah. And those are the things that
• 4:37
  kind of would often put me off a film, but this one really
• 4:39
  captivated me when I first watched it in my late teens.
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  Much like Jeffrey, I was repulsed and intrigued by the
• 4:45
  darkness of the film and it turned me into a dividend, not
• 4:49
  leading to what at heart Mulholland, Dr. and of course
• 4:51
  Twin Peaks. But this is where the lynching
• 4:54
  nightmare started for me and I never want to wake up from it to
• 4:57
  be honest. Yeah, very nice.
• 4:59
  Yeah. There's so much to say about
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  this film with great performances and spellbinding
• 5:03
  scenes, truly memorable scenes that really imprint themselves,
• 5:07
  burn them onto your brain. Yeah.
• 5:09
  We're headed for a Bombay ride. We are.
• 5:11
  Matt, why do you want to talk about Blue Velvet?
• 5:14
  I don't want. Can we do Mary Poppins again,
• 5:18
  please? That was a one and done, Matt.
• 5:21
  Yeah. Right, fair enough.
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  No, for me, I've always had a list in my head if the directors
• 5:26
  really, really needed to cover on classic and Lynch was pretty
• 5:29
  much at the top of it. There was certainly no one else
• 5:32
  like him. And as he said, this film, it's
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  been up a few times before, so it is a shame that it's taken
• 5:37
  Lynch's passing for it to finally win.
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  But at the same time, that means there's no better time to talk
• 5:42
  about it and to celebrate the man himself.
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  And I'm like you, Luke. This was my gateway to David
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  Lynch. And I think gateway is the exact
• 5:48
  right phrase to use for him. And this, because there's no
• 5:51
  other director creates films where you truly feel you've
• 5:55
  stepped into a different world, where it looks similar and it
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  looks familiar. But this something where the
• 6:01
  normal rules don't apply all the same, nothing is predictable,
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  where very little might make sense.
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  But if it doesn't make sense, that's also OK.
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  And overall, this is a film. One of the things to find really
• 6:12
  interesting about it is you can come away from it particularly
• 6:15
  like the first time, think, Oh my God, the things I've seen in
• 6:17
  this, and actually you haven't. It's not that graphic a film.
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  That's the suggestion of the darkness and the violence which
• 6:25
  filled us through everything, which we'll definitely talk
• 6:28
  about. Yeah, if we must, what about
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  Westy Blue Velvet? Well, unlike you guys, this
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  wasn't my introduction to the Lynch world.
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  That was Lost Highway, which was, yeah, I know, right, which
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  made us kind of kind of go, but is there anything else that I
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  want to check out or do I have to?
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  And I kind of just want, well, I have to.
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  And then this came, I think Wild at Heart was after that.
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  And then this came after that because I've got a VHS like, you
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  know, the triple VHS as you get. I think there was, there was
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  this, there was Wild at Heart and there was Lost Highway.
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  And I watched Lost Highway first, and then I just didn't
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  touch the rest of the Boxer for about four years, I think.
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  Naturally. Touching this at all?
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  Not going near that. But then when I did, I was
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  pleasantly surprised because I was really put off by the front
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  cover, by the artwork. It looked just a little bit too
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  sexy for me. A little bit.
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  Just a little. Bit just a little bit, just a
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  bit sleazy. Blue velvet gas mask on the back
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  with Hopper. And I thought, well, I've just
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  seen Speed and I didn't really, I was terrified of him in that.
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  So I don't know if I want to get into this.
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  And it's just one of them films. The more you watch it, the more
• 7:26
  you appreciate his artistry. I think it was a direct reaction
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  to June and the way he was trying on that film.
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  And we'll get into that. I think it's brilliantly put
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  together in the ways of its abstraction, which we'll talk
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  about as well. Because he does say that he
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  likes a concrete story, which is what this is.
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  But it's littered with with abstraction, with distraction,
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  with taking you away from the narrative and making you think,
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  well, what's that bit about over there?
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  And he makes you look across the street when you should be
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  watching the road. And I think that's that's David
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  Lynch all over. And this is one of them films
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  that really nails at home. It's a difficult watch of times.
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  It's a beautiful watch of times. Oh, yeah.
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  It's heroin. It's everything there.
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  It's a mix of everything. It's very David Lynch.
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  It's a really good place to start.
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  So let's go for it. Let's do it if we must.
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  That was a pep talk, wasn't it? I felt like.
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  Wasn't it? I feel great, yeah.
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  It's about inches. Court Westie.
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  I'm all in black for mourning for Lynch.
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  You see, it's all working, it's all coming together.
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  Blue Velvet was written and directed by David Lynch and
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  produced by Fred Caruso for De Laurentius Entertainment Group
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  and released on the 19th of September 1986.
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  Filmed on location in Wilmington, NC, it stars Kyle
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  McLaughlin as detective slash pervert Jeffrey Beaumont.
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  For me, you know you can find out strange reaction to that
• 8:41
  question. Isabella Rossellini is Dorothy
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  Valance Dennis Hopper as the scariest man in movie history TM
• 8:51
  So Frank Booth and Laura Dern as Sandy Williams.
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  Atrm are headed to Lumberton, the town where people really
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  know how much wood a woodchuck chucks.
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  Yes, they do for that. The beginning.
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  The opening, The Blue Velvet is uncertainly idealistic.
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  Roses and white picket fences, gardening and fireman brick in
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  the 4th wall. Matt, you're starting off our
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  uncomfortable journey. Yes, I am.
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  I mean, this is such a beautiful opening, isn't it?
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  I mean. Isn't it just?
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  This must be the best neighborhood in the world to
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  live in. Just look how friendly that
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  fireman is. He knows you and he's welcome.
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  You're in. That's the bluest sky I've ever
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  seen. the OR the reddest roses I've ever seen.
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  I've never seen a more beautiful white picket fence and perfectly
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  manicured on my entire life. Until you get up close and you
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  see someone has collapsed and is dying on it.
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  And then you really look underneath lawn and you see that
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  squirm and massive insects that live underneath all the
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  superficial beauty. Like everything you're going to
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  experience and see in this film is summed up here.
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  And it's also very David listen that he can drop in funny
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  moments where they shouldn't really exist.
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  Like the dog thinks it's a play time with a horse.
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  Like Jeffrey's dad has dropped things.
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  That's hilarious. What an opening.
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  Lynch said on the opening. It's a real American film, and
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  it starts with that first image of blue skies and picket fences
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  and the roses and the angle looking up.
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  It's something that had to be looking up because it's a
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  childhood sort of image that taps just right into his
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  childhood, his view of this ideal America.
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  Yeah, so because of the tragedy that's folded out here, we have
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  Jeffrey entering the scene, loves to throw stones for some
• 10:29
  reason. Just the bottles.
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  Just that. Let's settle.
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  How was he going to find the ear?
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  I don't know, Pick throwing stones maybe.
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  Yeah. OK, that's that'll do.
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  That'll do. And I couldn't move away from
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  hitting that. But even if I saw the ear, I
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  would still. I've got to.
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  I've got to smash that. I've started, so I'll finish.
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  I have that kind of persistence where that's not going anywhere.
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  But I think it's great. The sound design is great here.
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  The ear doesn't necessarily look real, but I don't think it's
• 10:53
  supposed to. The answer crawling all over it,
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  it's a great sound design. Here, it's a crickets and it's
• 10:58
  got that real kind of sense of the board and all of a sudden
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  where you just think, well, don't pick it up what you're
• 11:04
  doing, you don't put it in a bag, Don't do that.
• 11:06
  This is ridiculous. Pick it up, get the bag and put
• 11:09
  it over your hand and pick it up.
• 11:10
  Don't pick it up with your hand. Use it with a stick, something I
• 11:15
  would tell us. I would have to go and tell
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  somebody to come back with this to make sure I wasn't
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  hallucinating. And then they'd help us pick it
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  up because I would just lose me. I'm thinking that seeing an ear
• 11:22
  in the middle of a field, which is fine, but I think that's good
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  because it foreshadows how he finds out about it.
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  Sandy's overheard something, I've heard something about it.
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  Everything's, you know, PSC, and there's nothing you've actually
• 11:33
  seen with your eyes until he sees it.
• 11:35
  And we're getting into all that now and rebels.
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  But the thing that strikes me is how surrealist the police
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  station is. It's like police squad and he
• 11:43
  goes in. Do you know when he's talking to
• 11:44
  him? And it's kind of like, that's a
• 11:45
  human. You're all right.
• 11:46
  You expect me to kind of just pause as he's pulling the
• 11:48
  coffee? Like the credit?
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  Control. It's just so idyllic and it's so
• 11:53
  kind of over the top cartoonish with its color palette and the
• 11:57
  way it's all blocked in the ways and back in the other room, just
• 12:00
  staring at a map, bizarrely for no reason.
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  And then again, once a little bit further on from the scene, I
• 12:05
  find it quite hilarious, but again, quite abstract, the way
• 12:08
  he's just getting so much information from this coroner.
• 12:11
  He's just standing there. Tell us about it.
• 12:12
  Yeah, my kid. Fuck off.
• 12:14
  Why is Jeffrey even in that room?
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  He's like, oh, we'll go and see the current and then you show us
• 12:18
  exactly where you found it. And he's like, well, I can find
• 12:20
  out this and I can find out this.
• 12:21
  And he's like, oh, that's interesting.
• 12:23
  So like he's studying forensic science or something.
• 12:25
  Is it? He's like, you know, I've come
• 12:26
  back from school and I'm really interested in this.
• 12:28
  I wouldn't want to know. I'll just be like, can I just
• 12:30
  go? Yeah.
• 12:32
  It's just, it's the way that this builds everything up and
• 12:36
  you just think, well, what what is this?
• 12:37
  How playful is this going to be? And it's just the the tip of the
• 12:41
  iceberg before we start sliding down the other side, I think.
• 12:43
  Yes, very much. Yeah.
• 12:45
  We're talking about the IT obviously wasn't real, and it
• 12:47
  was created by makeup artist Jeff Goodwin and was initially
• 12:51
  supposed to be modeled on his own ear, but Lynch said that it
• 12:53
  looked like a child's ear, so he used the ear of producer Fed
• 12:57
  Caruso instead. Fred Caruso immortalized in a
• 13:00
  70. It looks disgusting with that
• 13:01
  mold on it. Yes.
• 13:02
  Horrible, horrible. The worst things we've ever
• 13:04
  seen. Yeah, a human ear.
• 13:07
  Anybody asked him that? I found it a human.
• 13:08
  You know, a dog's ear. I mean, of course it's a human
• 13:10
  ear. How would you know it's a dog's
• 13:13
  ear? Lynch said.
• 13:15
  I don't know why it had to be an ear, except it needed to be an
• 13:18
  opening of a part of the body, a hole into something else.
• 13:22
  He sits on the head and goes right into the mind so it felt
• 13:25
  perfect. Yeah, I mean, subconsciously it
• 13:26
  totally works for the story as well.
• 13:28
  Whether he meant it or not, or whether he's just being, you
• 13:30
  know, cryptic even further after the film, I don't know, but
• 13:33
  that's David. That is, I think that's his.
• 13:35
  That's his middle name, isn't it?
• 13:36
  Yeah, David. Cryptic Lynch.
• 13:40
  Well, after that scene, we delve into this mystery ear and into
• 13:44
  this fever dream of Jeffrey Beaumont and his manifestation
• 13:46
  of evil, Frank Booth, and everything changes.
• 13:50
  Jeffrey goes to Detective Williams house to follow up on
• 13:53
  the ear, but he's told, you know, ask no questions, tell no
• 13:55
  lies. Maybe in time later on when
• 13:57
  everything's all said and done, I'll tell you.
• 13:59
  But that doesn't stop his curiosity, and neither does his
• 14:02
  encounter with Sandy either. And just to talk about Sandy for
• 14:05
  a moment, expertly played by Laura Dern.
• 14:09
  Yeah. Oh, she's amazing.
• 14:10
  She appears in a very surreal manner out of the pitch black
• 14:14
  darkness. She's an innocent.
• 14:16
  Vision of hope. It really takes his time to come
• 14:19
  to the front of that. That's great.
• 14:20
  She just pops about of nowhere and she knows about Jeffrey's
• 14:23
  ear revelation without any hint of an explanation as to why.
• 14:27
  And I think this same thing feels very familiar.
• 14:29
  It feels like that archetypal scene where our hero returns
• 14:33
  back to his hometown and finds the girl that used to live next
• 14:36
  door, who's blossomed into a beautiful woman.
• 14:38
  Yeah, but this isn't Mary from It's a Wonderful Life.
• 14:40
  Definitely not. No, no, no.
• 14:42
  It's not far off though, and it's not tall and visioned.
• 14:45
  It's like it's there, but it's. Not far off.
• 14:47
  Dark. A bit behind it all, yeah.
• 14:49
  And I think Sandy almost acts as a guardian Angel to Jeffrey,
• 14:52
  shown in the light at the end of his dark, disturbing tunnel that
• 14:55
  he wanders down. And I think that's the
• 14:57
  archetypal spoiled town that Lynch is trying to revoke from
• 15:00
  It's a Wonderful Life. It looks the same, feels the
• 15:02
  same. Yeah.
• 15:03
  Well, feels the same probably. That's not true.
• 15:07
  It's got a similar tone, it's in the same key, it's a different
• 15:11
  song. And this starts off the whole
• 15:14
  investigation. It's so tantalizing and
• 15:16
  disturbing the way that the doom laden noir music kicks in as
• 15:19
  that apartment building looms over Jeffrey.
• 15:21
  Yeah. It's almost as if he's created
• 15:24
  this building in his mind and all of the sort of things that
• 15:27
  happened inside it are part of his twisted brain.
• 15:30
  But then we're brought back down to earth with Sandy and
• 15:32
  Jeffrey's little meat. Cue to that, they've got going
• 15:34
  on with him doing the chicken walk.
• 15:36
  Amazing. Have you tried to do that?
• 15:38
  Yeah. Absolutely.
• 15:40
  Not I tried do this morning. I look like RoboCop.
• 15:48
  Sandy says it's kind of interesting and of course what
• 15:50
  she means by that is never, ever do that again because it's an
• 15:53
  embarrassment, mate. Arm around the shoulder as well
• 15:56
  when he's finished. Really.
• 15:57
  Uncomfortable. Yeah.
• 15:58
  Straight in there, yeah. Yeah, knew the kid with the
• 16:01
  biggest tongue in the world. Yeah, what happened?
• 16:03
  You know, moved away, I guess. Yeah, great story.
• 16:06
  Yeah. Pillow Talk.
• 16:08
  Calm down. So we're talking about Sandy.
• 16:12
  Molly Ringwald was top of Lynch's pilot player.
• 16:14
  Sandy reports conflicted. But it was either her or her
• 16:17
  mother who turned it down because she'd build up this
• 16:19
  wholesome big screen persona and didn't want to mess with it,
• 16:22
  bearing in mind three years earlier with space on there.
• 16:24
  So I'm not surprised. Well, that's true enough.
• 16:27
  That's that the rough speaking, the opportunity West.
• 16:32
  Didn't want to spoil that legacy, did you?
• 16:34
  No, exactly. So that would be why.
• 16:35
  But Lynch liked Laura down so much that she didn't even have
• 16:38
  to audition. But Lynch did have a meet up
• 16:40
  with Midlaplan just to see if their chemistry would be
• 16:42
  believable. Yes, which of course it is very.
• 16:46
  So far then, a little light hearted mystery for Jeffrey and
• 16:49
  Sandy. Nothing to worry about it seems.
• 16:51
  Not yet. That'll change with Geoffrey
• 16:56
  settling back into small town life.
• 16:57
  He's captivated by the mystery ear and hatches a crazy plan to
• 17:01
  get into Dorothy Valens apartment to have a Snoop
• 17:04
  around. It's a pretty good plan, I
• 17:05
  think. Yeah, I mean, he's got some
• 17:07
  balls. Yeah.
• 17:08
  Yeah, I have to say that. So I'm going to pick up where
• 17:11
  Geoffrey masquerades as the bug man.
• 17:14
  An insane idea, but it just shows that Jeffrey has got this
• 17:18
  kind of unquenchable desire to get to the bottom of this
• 17:20
  mystery. It's almost as if there's a
• 17:22
  seductive power of Dorothy Valance has drawn him into this
• 17:25
  apartment, and he has to do by any means.
• 17:28
  The apartment block where Dorothy lives is called Deep
• 17:30
  River Apartments. Not too subtle warning sign that
• 17:33
  Jeffrey's getting well over his head.
• 17:35
  Yeah. When he knocks on the door, the
• 17:37
  camera pushes into heighten, the claustrophobia of the situation
• 17:40
  made worse as soon as that door opens and Dorothy is behind it.
• 17:44
  And she's immediately a woman on the edge, half of her faces lit,
• 17:48
  one eye bulging with the anticipated horrors of the other
• 17:52
  side of the door. What's what's behind there?
• 17:54
  She's wearing a red dress, worn and signed straight away.
• 17:57
  The living area is so unsettled, literally red, and the kitchen
• 18:01
  seems like it offers some kind of solace with its light
• 18:04
  colours. Despite the unease, Dorothy has
• 18:07
  a really funny line. When there's a knock at the
• 18:09
  door, she says it's like Grand Central Station, really funny
• 18:13
  like that. But then Lynch subverts our
• 18:15
  expectations here. We're expecting Sandy, and we
• 18:17
  get this weird feller instead. The yellow man.
• 18:19
  Yeah, it's great moment. It is, yeah.
• 18:22
  What's he doing there? He's there for maybe 5 seconds.
• 18:24
  Why does he show up? Very strange.
• 18:27
  I think it's just an exercise in sustained tension and intrigue,
• 18:30
  the start of a journey that Jeffrey.
• 18:32
  Shouldn't take. Yeah, because obviously at this
• 18:34
  point Jeffrey has taken the key. And then we get the scene where
• 18:37
  he breaks into the apartment. And it seems on the surface,
• 18:40
  while this is going to be a very straightforward, suspenseful
• 18:43
  Hitchcockian scene of trying to avoid detection, which it is to
• 18:46
  a degree. But the way it Lynch spins it
• 18:49
  and it becomes this dark pseudo masochistic seduction scene
• 18:53
  which turns to this gawk young man who still feels like a
• 18:55
  teenager to me in this film, doesn't feel like an adult.
• 18:58
  And it turns into this CD volume because as soon as he's in there
• 19:02
  on his own, I'm on edge. I mean, you mentioned the
• 19:04
  apartment, Luke. It's the layout to me because it
• 19:06
  doesn't make sense. You've got the couch and the
• 19:08
  chairs and the TV with the couch and the chairs on turn towards
• 19:11
  the face, the TV like the normally wouldn't anyone else's
• 19:14
  house. Nothing makes sense here.
• 19:16
  It's one of those aspects where it's so subliminal, but it gets
• 19:18
  into your skin and it stays there because we've gone from
• 19:21
  that open and sunny daylight to something truly dark here.
• 19:24
  It is again quite funny how Lynch can just drop in a little
• 19:27
  off here because it is quite funny that Jeffrey chooses now
• 19:30
  of all times to break the seal because that Heineken yard
• 19:33
  earlier that's come back to haunt them.
• 19:35
  Like it's the very definition of could you not have gone before
• 19:38
  you left the house? If you need the toilet, don't go
• 19:40
  do it in a stranger's house when you're snooping around.
• 19:43
  Yeah, it's still. Around the bathroom when you're
• 19:45
  finished, Like, yeah, what you're doing.
• 19:47
  Exactly. But that leads to the most
• 19:50
  Hitchcockian moment of the scene, which is when Sunday
• 19:52
  blasts the horn three times to 1.
• 19:54
  Dorothy's come back, but he flushes the toilet just to the
• 19:57
  exact time. So it could say that is
• 19:59
  brilliant and it's the scene shows how remarkable the film is
• 20:02
  shifting tones frequently within the same scene.
• 20:06
  This has started off quite exciting, like it's a detective
• 20:09
  thriller, but then Jeff is traps the tension ramps right up
• 20:12
  because he namely gets caught until the phone rings, which
• 20:15
  distracts Dorothy. Yeah, but now he's spying on 1/2
• 20:18
  naked woman and we are in there with him, so maybe he should be
• 20:21
  caught and then he is and he's got a knife.
• 20:24
  Just thought. And she's making him strip.
• 20:25
  Like where else can the film go at this point?
• 20:27
  Like it truly can't get any darker or weirder than this.
• 20:31
  That moment when Dorothy hears the noise and she kind of coolly
• 20:34
  plays it, but then goes and gets the knife and then creeps up,
• 20:37
  like against the wall so Jeffrey can't see what she's doing.
• 20:40
  That was one of the scenes that really stuck out to me.
• 20:43
  Her performance in that moment. It's unbelievable.
• 20:46
  He says. I just want to, I just want to
• 20:47
  leave. And she's like, no way you're
• 20:49
  staying. I want to see you.
• 20:50
  Yeah. It's horrible.
• 20:53
  He always uses that vantage point as well, doesn't he of the
• 20:55
  apartment, Like when you guys were talking about the layout of
• 20:57
  it, it's always that one camera angle throughout the whole film.
• 21:00
  That's what that's the angle that to make us should use for
• 21:03
  here just. I would.
• 21:06
  Have watched that. Yeah, I've got to see who's
• 21:08
  doing that. Yeah, do right.
• 21:09
  Right. I mean, you guys are talking
• 21:11
  about things getting weird. You were talking about getting
• 21:12
  really weird. We have to.
• 21:16
  Here he comes, the big man. You'll never forget it.
• 21:19
  If if you haven't seen the film, stop this now and go and watch
• 21:22
  it just so we can talk. You can just really appreciate
• 21:24
  what we're talking about here because this is so gripping but
• 21:28
  so uncomfortable. It's so hard to watch.
• 21:31
  The way he just sips the bourbon then downs it and then the way
• 21:35
  he talks to it is just disgusting.
• 21:36
  Don't look at me, Daddy. You like to call me daddy, calls
• 21:41
  on Mommy. Daddy, open your legs wide.
• 21:42
  I want to see it. I mean, you thought that is just
• 21:44
  into this. He is 100% committed to this
• 21:48
  moment in this scene. But it's one of them
• 21:50
  performances that just stays. When that mask first goes on,
• 21:53
  you just say what on earth is going on?
• 21:56
  What is that? What's he doing?
• 21:57
  And then he turns really childlike and just starts kind
• 22:01
  of like breaking down and everything's just installed the
• 22:04
  Blue Velvet references and it's all about that song, It's all
• 22:07
  about his. And then it's just all of a
• 22:09
  sudden ramps up to this madness and then he's gone and it's
• 22:13
  just, what did I just what? What did I just watch?
• 22:16
  And then the second time you watch it, you realise when she's
• 22:18
  on the phone, you think she's talking to her son, but she's
• 22:21
  saying, you know, daddy and Mommy, and it's saying Mommy's
• 22:24
  gay. And she's actually talking to
• 22:25
  Frank. Frank's on his way over and
• 22:27
  again, it's really sinister. So on the second time you watch
• 22:29
  it, it gets even deeper and it kind of just grinds a little bit
• 22:32
  more. I could not just watch that
• 22:34
  happen from a closet, and I don't know if I could.
• 22:37
  I would have to do something. But I just find that's all kind
• 22:40
  of difficult to sip through from all of the subtleties there from
• 22:43
  Lynch and all of the unsubtleties and all the right
• 22:45
  in your face. You just think that was really
• 22:48
  intelligently way to play the that's so original.
• 22:50
  I've never seen anything like it since, and I don't think I ever
• 22:52
  will. This is why I don't like
• 22:53
  watching this film with anyone else and that's kind of I'm like
• 22:57
  that with the Lynch films like Lost Highway in my Holland Dr.
• 23:00
  If it's first time watching this with someone else, they'll turn
• 23:02
  around you and they'll go. You like this you've seen.
• 23:05
  This wrong with you. And you want to watch it again.
• 23:08
  And then people start thinking you're weird.
• 23:09
  But the the genius of Lynch and the genius of Hot Wire is that
• 23:12
  they're not taught by this. They just go, oh, I know what
• 23:14
  you were trying to say. You.
• 23:16
  Yeah, you were. But we know what you're trying
• 23:17
  to say. We, we get that.
• 23:18
  But I think he pulls it off. Somehow this works.
• 23:21
  Somehow it's watchable. Somehow it's painful and really
• 23:24
  electric. And really terrifying and really
• 23:27
  wonderful actually, if you once you look at the acting that's in
• 23:30
  place here, the performance that's in place, it's it's
• 23:34
  wonderfully played out, which feels like you're watching
• 23:36
  something on stage. It feels like a real theatre
• 23:38
  production. Yeah, it does.
• 23:39
  I think that wide angle helps as well.
• 23:41
  It does, yeah. Yeah, they can probably set
• 23:43
  dressed and it feels like a stage.
• 23:45
  It does. Yeah.
• 23:46
  Well, the first scene filmed was this we have seen.
• 23:49
  And Rossellini said that was because Lynch wanted to get it
• 23:52
  off and done with and out the way.
• 23:53
  And understandably, she was very embarrassed when she was new in
• 23:56
  front of Dennis Hopper because this was the first time that
• 23:59
  met. She's having to spread her legs
• 24:00
  open here and she was naked under the rope.
• 24:03
  And she actually apologized off before the discomfort.
• 24:05
  But he just said, I've seen it all before.
• 24:07
  Which part of it is? I think he's seen most things
• 24:11
  before then. Yeah, you can't shock Dennis
• 24:13
  Hopper, I don't think. Not by this point in his life.
• 24:15
  Definitely. Not, as we've been seeing,
• 24:17
  really troubling this scene. Difficult to watch, harder to
• 24:20
  forget. Which is why, when filming
• 24:23
  Isabella, Russellini was slightly confused at Lynch
• 24:26
  laughing as the scene was being filmed.
• 24:29
  The mad bastard he's. Getting away with it.
• 24:31
  That's why it's like I'm actually filming it.
• 24:33
  This was in my head. It's now in real life.
• 24:35
  It's weird. He said that he found the
• 24:37
  strangeness of the scene very humorous, and Rossellini later
• 24:41
  said that now she can't watch the scene without laughing.
• 24:44
  OK. Right.
• 24:45
  Just two people in the world then, yeah.
• 24:47
  I was going to say I'm glad somebody can.
• 24:50
  And during this rape scene, Lynch cut out a moment where
• 24:52
  Frank hits Dorothy at the quest of the MPAA.
• 24:56
  He cuts the Jeffrey in the closet instead and move with
• 24:58
  with. Lynch claims made the scene even
• 25:00
  more disturbing. Yeah, I mean, if that's
• 25:02
  possible, but it's kind of goes back to what you were saying,
• 25:05
  Matt. The less you see, the more you
• 25:06
  make up in your head and the worse it is.
• 25:09
  Yes. Well, a horrific scene.
• 25:11
  And that brings us to our first question from an ATRM Patreon
• 25:15
  supporter. And that is another benefit.
• 25:17
  If you sign up to Patreon, you can get to ask us a question for
• 25:20
  the film that we're covering. This one comes from Dane de
• 25:23
  Josie. How are you doing, Dane?
• 25:24
  Hello. Dane Dane says Frank Booth drug
• 25:27
  induced introduction in the apartment is a memory that has
• 25:29
  been burned into my subconscious since my first viewing of Blue
• 25:32
  Velvet. Yeah, what other shocking or
• 25:35
  unexpected Mormons in film have stuck with you for years?
• 25:38
  Slash decades? Right.
• 25:40
  Where see are there any movie moments that have stuck in your
• 25:43
  head for years slash decades? Yes, many and unfortunately, but
• 25:48
  I mean, they're all for the right reasons and they're all
• 25:50
  from films that I really admire. Thankfully, none that have been
• 25:53
  put in there just for the sake of being put in there.
• 25:56
  I think the Murphy's death in RoboCop was one of the earliest
• 25:59
  ones for me that stands out. And recently born Tomahawk.
• 26:02
  I think that really that sequence, yeah.
• 26:07
  Two endings that really, really hit home would be the mist.
• 26:11
  I think that was just that's never going to leave good punch
• 26:14
  the end and that was a real good punch.
• 26:15
  And the ending of old boy as well.
• 26:16
  The original obviously that was that was that came from
• 26:21
  absolutely nowhere. And one that Florida's as well
• 26:23
  was the the shoe scene in Georgia Rabbit when he just
• 26:26
  looks to the side and the shoes are yeah, that's what was that
• 26:29
  stayed with us for a long time. You know that hits, right?
• 26:31
  Well, brilliant. But ones that don't necessarily
• 26:33
  go back too often, Let's be honest.
• 26:35
  No, don't need to see just like this one.
• 26:37
  Don't need to say this one. This is the thing that I really
• 26:40
  did avoid when I was watching. I must have watched this film
• 26:43
  about four times, but I've kind of like through one eye I've
• 26:46
  watched. This, yeah.
• 26:50
  There were moments in film that were notorious to me before I
• 26:53
  even got a chance to see them, and as such I still get quite
• 26:56
  nervous in the lead up to those scenes when watching the films.
• 26:59
  The crucifix scene from The Exorcist, All right.
• 27:02
  Right. And the first view of
• 27:04
  Leatherface in Texas Chainsaw Massacre when he smashes Kurt's
• 27:07
  head in. Yeah, I watch Pulp Fiction at
• 27:09
  the time it came out. So I would have been, I'd say,
• 27:12
  14. And I don't think I should have
• 27:14
  been subjected to Marcellus Wallace's rape scene at that
• 27:16
  age. No, that's correct.
• 27:17
  I remember that for a long time, Yeah.
• 27:19
  I think sure, we would have all been around about the same age.
• 27:22
  It's that saxophone blaring away that I think are first, yeah.
• 27:27
  It's the other guy's reaction as well.
• 27:28
  When it cuts that like split out there with Willis in the
• 27:30
  background. That guy is just, it's just
• 27:32
  horrible. Yeah.
• 27:35
  And I've mentioned in the past it's the same as what you've
• 27:38
  just said Westie. I got RoboCop on VHS when it
• 27:41
  came out. I think I was 7.
• 27:43
  And the same where Murphy gets tortured and killed by Clarence
• 27:46
  or almost killed. These sickening.
• 27:48
  It really is sickening. If you revisit it now, DMA.
• 27:51
  No, it's, it's stretched quite a bit.
• 27:53
  It's that end of meals death as well.
• 27:55
  I was kind of toying between the two, the acid meals, yeah.
• 27:58
  Don't touch me, man. Get away from me, man.
• 28:01
  Gets hit by the car just destroyed, which is more funny
• 28:04
  now? Let's be honest, we're laughing
• 28:05
  about it, but at the time. It is hilarious, a man
• 28:08
  exploding. But at the time, no, I didn't
• 28:13
  sleep for weeks. And Matt, any scenes that stand
• 28:15
  out for you? Yeah, I've gone for three here.
• 28:18
  The first one, Barbara's death, Night of the Living Dead, just
• 28:23
  the fact that it's her reanimated brother who comes
• 28:25
  back but just obviously doesn't recognize her because he's a
• 28:28
  zombie. And just the way she just gets
• 28:30
  pulled into the the crowd of zombies outside, just the
• 28:35
  thought of what happens to her is just horrific because.
• 28:38
  Miles worse, isn't it? It is miles West because as well
• 28:41
  you think well she's the damn Muslim stress she's going to get
• 28:43
  rescued at the end of the film. I thought another pack of
• 28:45
  zombies to be eaten and couldn't believe it when I saw that for
• 28:49
  the first time. Second one I'm going for is
• 28:52
  Funny Games, the Michael Hanneker film.
• 28:54
  Like the original 1. I mean, I don't mean nice.
• 28:57
  But yeah, well. Fair.
• 28:59
  Enough. Yeah, great.
• 29:01
  If anyone hasn't seen it, it's about.
• 29:02
  Two youths who terrorize this family.
• 29:04
  And the scene that I will never, ever forget is one of the use
• 29:07
  makes the mother do this really twisted version of like hide and
• 29:11
  seek, like hot and cold has got to find something.
• 29:13
  And she's getting closer and closer.
• 29:15
  And he just turns and he winks into the camera.
• 29:18
  He breaks the 4th wall and he makes you complicit in it.
• 29:21
  And I was like, what? The book the 4th Wall, and it's
• 29:25
  horrifically done and I won't spoil what she finds, but it's
• 29:28
  terrifying. It's not pleasant.
• 29:30
  It's. Definitely not pleasant.
• 29:32
  And the last one I want to mention is Wake and Fright, the
• 29:35
  Australian film. Because nice.
• 29:36
  Yeah, brilliant. This is film that comes.
• 29:38
  With a content one, because this comes with a kangaroo hunt scene
• 29:41
  which was 100% genuine. I'll never watch that film again
• 29:45
  because that scene is beyond horrific.
• 29:47
  Yeah, and it's disgusting. You know I.
• 29:49
  Suppose thanks to the. Question, dear Yeah, thanks for
• 29:52
  being I was. Hoping it was going to be a
• 29:53
  welcome. Break away from this scene to be
• 29:55
  honest, let's. See where we can go from here.
• 29:58
  Good grief. And this scene, I mean.
• 30:03
  Surely one of the most disturbing character intros ever
• 30:06
  committed to the big screen, Yeah?
• 30:13
  The director, the first time that we talked about David.
• 30:17
  Lynch on any of our podcasts. An absolute crime.
• 30:21
  But yeah, this is a hell of an introduction.
• 30:22
  Yeah, it is possibly. His greatest?
• 30:24
  Achievement in his own words. It's a film about things that
• 30:27
  are hidden within a small city and within people.
• 30:30
  Matt, your thoughts on his work as director?
• 30:34
  I mean, I don't mind admitting I.
• 30:35
  Think this is like the most difficult one we've had to do to
• 30:38
  kind of crack. What does Lynch do here and how
• 30:41
  does he do it? Totally.
• 30:43
  But then I kind of had the realization that trying to
• 30:45
  explain the how and the why when it comes to Lynch is a pointless
• 30:48
  endeavor because totally everything he's made apart from
• 30:51
  Straight Story and arguably Elephant Man is a puzzle box.
• 30:55
  And there aren't any easy answers here.
• 30:56
  But I think the reason a lot of people come to Blue Velvet first
• 30:59
  is because this isn't the type of Lynch film where it's like
• 31:02
  that stream of consciousness streamed from his head onto the
• 31:05
  screen. Like Lost Highway.
• 31:07
  This is a Lynch film where he loosely sets up the rules of the
• 31:10
  world but then turns everything on its head.
• 31:12
  Like the plot in the sense is quite straightforward.
• 31:14
  It's a kidnapping and there's a critical underworld that's the
• 31:17
  bare bones. But no one has understood dream
• 31:20
  logic better than Lynch. The feeling of things can happen
• 31:22
  that don't feel logical, but at the same time they do feel
• 31:25
  logical. And the thing about dream logic
• 31:27
  is all it takes is a little tweak and it feels like a
• 31:30
  nightmare instead. How many times have we all had a
• 31:33
  dream where it's something very innocuous on the surface, but
• 31:36
  something is just off about it and it doesn't feel quite right
• 31:40
  and you'd like it to stop? That's what David Lynch does.
• 31:43
  Yes, please. I want all this to stop please,
• 31:46
  because I don't. Like it?
• 31:47
  Yeah. When Jeffrey.
• 31:48
  Goes for that walk in the. Neighborhood.
• 31:50
  Why is it scored like a horror film?
• 31:52
  Just that tracking shot of him looking up at the tree branches.
• 31:56
  Yeah, like, say, innocuous, but incredibly creepy and disturbing
• 32:00
  for some reason. So they start to get out.
• 32:02
  Isn't. It it's very get out when they.
• 32:04
  Take Jeffrey for the ride in the car.
• 32:06
  Why does the woman stand on top of it and start dancing?
• 32:08
  Don't know, but that's the point.
• 32:10
  Sometimes life is inexplicable. When is this film actually set?
• 32:14
  Because so much of it Hawks back to the 50s.
• 32:17
  Equally, a lot of it is definitely the 80s.
• 32:20
  I think his use of transitions and fades and surreal glimpses
• 32:24
  of images like Frank Snarly to link scenes together.
• 32:27
  Frank literally blinking in and out of existence at one point.
• 32:30
  It is like coming in and out of consciousness and it's all
• 32:34
  subliminal and it all builds. Like I say, this feeling of
• 32:36
  dream logic, nothing I'm seeing as making sense and I can't
• 32:39
  explain it, but maybe I shouldn't even try to.
• 32:42
  No, you shouldn't, because no matter.
• 32:43
  How much we theorize and hypothesize about what this
• 32:46
  means and what this is about, and the central narrative we'll
• 32:50
  never. Know for sure, because Lynch.
• 32:52
  Just never explains, no. Could be something entirely.
• 32:54
  Different. Completely different.
• 32:56
  Yeah, yeah. I think it's just the.
• 32:59
  Fearlessness of all of this. I think his mind is just
• 33:01
  fearless. And I think he's at a stage in
• 33:03
  his career where he doesn't even need to prove himself to anyone
• 33:07
  else but himself. And I think that's what he's
• 33:09
  he's doing here. He's putting his ideas down as a
• 33:11
  screenplay and then working from that.
• 33:13
  I mean, how much of this abstraction that Matt's talking
• 33:17
  about that we're all talking about, you know, women dancing
• 33:19
  on the car, everyone inside this is it for a start, how how much
• 33:22
  of that is on the on the page is scripted or how much of that is
• 33:26
  just Lynch's mind, the cogs turning?
• 33:28
  It's like he's got a sandbox and he's got enough sand in it to
• 33:31
  build sandcastles, which is the plot.
• 33:33
  But it's not the sandcastles you're expecting them to build.
• 33:35
  It's something completely different.
• 33:37
  And you're saying, how did you make that?
• 33:38
  I was sand? Where did that come from?
• 33:40
  I'm just expecting this and I'm getting this, and it's just a
• 33:43
  really good way of throwing the audience off.
• 33:46
  But at the same time, he's really entertaining himself.
• 33:49
  And by doing that as a film maker, you really entertain the
• 33:51
  audience because they're looking for meaning, they're looking for
• 33:54
  reason. They're looking for What does
• 33:56
  reason mean? And he?
• 33:58
  Taps into that and he'd like Matt said he's just he's the
• 34:01
  king of the dreamscape. He's the king of the question
• 34:04
  and reality. All of lost highways just is
• 34:06
  that a dream or is that reality? All of this, even these bits in
• 34:09
  here like Robins the flowers at the start, firemen waving like,
• 34:13
  yeah, I hope he's not on the way to a job because you should be
• 34:15
  taking things a little bit more seriously.
• 34:17
  There's a house fire down the street and he's like, well,
• 34:20
  hello. Just Frank, as a character
• 34:23
  should. Be enough for any film, but this
• 34:24
  still has more layers than that. And even when Frank's there,
• 34:28
  you're still thinking about something else.
• 34:29
  It should be like Heath Ledger in The Dark Knight where it just
• 34:32
  completely rips the screen off and it's just that one singular
• 34:35
  guy. But the whole the squad is with
• 34:37
  him. I played really well.
• 34:39
  It's really well cast by, you know, Brad Durif's just perfect
• 34:42
  casting and Lynch knows what he's doing.
• 34:44
  Everyone looks right, everyone just has the place.
• 34:47
  And I think that's why his career is so celebrated and
• 34:50
  especially this film, because this is the first film where he
• 34:52
  went. I am in complete control of
• 34:54
  everything and everyone and this is what I'm going to do.
• 34:56
  And it's pure David Lynch. It is pure David Lynch.
• 34:59
  No, I like him. No, he's wolf in.
• 35:02
  An absolute. Maze here.
• 35:03
  It's easy to get lost in stuff full of context and sub context
• 35:07
  there. Toxic masculinity, Male gears.
• 35:10
  The wood industry at the centre of the film is full of phallic
• 35:13
  imagery. Strangely enough.
• 35:15
  Yeah. Yeah, Lynch.
• 35:17
  Seems obsessed with this. Norman Rockwell picketed fenced
• 35:20
  50s idealism of his youth. He must have seen some weird
• 35:23
  shit as a kid to then fill this dream like a deal of Americana
• 35:27
  with this horrendous Freudian nocturnal nightmare.
• 35:30
  Yeah, Freudian. Nocturnal.
• 35:31
  Nightmare. They should put that on the VHS.
• 35:38
  But being a fan? Of linear narratives as I am,
• 35:41
  and the genre itself. I do love the noir plot elements
• 35:44
  to Blue Velvet. Yeah, it's got all the classic
• 35:47
  beats. Sleazy plot cabinet for me.
• 35:49
  Obviously a sinister villain, femme fatale, a morally
• 35:53
  ambiguous hero with the majority of the plot existing at night.
• 35:57
  Perfect. It's Jeffrey's investigation
• 35:59
  that I really love. Following the car, taking
• 36:02
  pictures, building his case up to his neck in Vice.
• 36:04
  I love it. I think it could maybe have
• 36:07
  turned into pastiche, particularly with the music.
• 36:09
  But Lynch always keeps you on your toes.
• 36:11
  And just when you're being taken down this kind of very
• 36:14
  straightforward narrative investigation path, you brought
• 36:17
  right back into this perverse nightmare with scenes of sexual
• 36:20
  violence just to keep you on edge, just to mess with you.
• 36:23
  Yeah. Yeah.
• 36:23
  He never lets you settle in one particular genre, which always
• 36:27
  keeps me on edge. You can't categorize any part of
• 36:31
  this film. No, no, it's a Lynch film.
• 36:35
  And if a certain interaction with.
• 36:36
  George Lucas had gone a different way.
• 36:38
  David Lynch may never have made Blue Velvet.
• 36:41
  At the time, Lucas was in pre production on Return of the Jedi
• 36:44
  and he offered the directing job to a number of directors.
• 36:48
  David Lynch was one of them. He was.
• 36:51
  Never close though. Would have been obviously can.
• 36:54
  You. Imagine what those Ewoks were
• 36:56
  getting up to. Oh my God, the pit.
• 36:59
  I'm trying to think what that would have been a.
• 37:02
  Massive. Mask on it.
• 37:07
  Get my lightsaber, you fuck. Lynch met with Lucas.
• 37:15
  But said that he had next door to no interest in doing Jedi and
• 37:19
  he instead made June. June was a critical than
• 37:23
  commercial flop. It's not the Denis Villeneuve
• 37:26
  adaptation that we've got over the last few years.
• 37:28
  It had Sting in, it was in great nick in that nappy.
• 37:32
  Lovely. Yeah, no excuse.
• 37:34
  Yes. In that nappy.
• 37:36
  His hair is literally. Fields of gold.
• 37:43
  And it was a critical. And commercial flop which led
• 37:46
  Lynch to revisit some old ideas that he had more in line with
• 37:49
  his surreal visions from his debut feature a raise ahead yeah
• 37:53
  yeah so despite. Dune being a huge flop for Lynch
• 37:56
  and Dino De Laurentiis, Laurentiis was still convinced
• 37:59
  by Lynch to back his next project, and also because the
• 38:02
  studio had mauled Dune. Lynch wanted total creative
• 38:05
  control on Blue Velvet. Laurentiis gave it to him, but
• 38:08
  he slashed the budget from $10 million to $6 million, demanded
• 38:12
  a maximum 2 hour time and Lynch had to take a pay cut.
• 38:15
  And Lynch said after June I. Was down so far that anything
• 38:19
  was up. So it was just a euphoria.
• 38:21
  And when you work with that kind of feeling, you can take
• 38:23
  chances, you can experiment. Which is exactly what he's
• 38:25
  doing. Yeah, that's exactly what you've
• 38:27
  been. Saying that creative freedom,
• 38:29
  he's just let his mind run wild. 6,000,000 as well.
• 38:33
  He's probably thinking. Great.
• 38:34
  I can do that. That's not a problem.
• 38:35
  Yeah. Do you know June?
• 38:36
  Was about 20 million. Yeah, that's ridiculous.
• 38:39
  Crazy. Yeah.
• 38:41
  Despite the town in blue. Velvet being called Lumberton.
• 38:44
  It was actually shot in Wilmington, NC, right?
• 38:46
  However, there is a town called Lumberton about 70 miles away.
• 38:50
  Lynch had to contact the mayor of Lumberton to get his blessing
• 38:52
  for the using the town's name. Wilmington was ideal for Lynch
• 38:55
  because it had that idealistic, picture perfect small town that
• 38:59
  he was looking for. Yeah, it looks great.
• 39:01
  Looks like a set. Looks fake.
• 39:03
  I mean it looks. Fake.
• 39:04
  It just looks built. Yeah, so the original cut of the
• 39:07
  film came in at 4 hours. Need to see that and Ledge
• 39:10
  chopped it in half. I should have made like 2 films.
• 39:12
  I would have loved to have seen them.
• 39:14
  Yeah, the deleted scenes were considered lost, but there was a
• 39:16
  good chunk of them available on the Criterion release of Blue
• 39:19
  Velvet and they're also on YouTube so check them out.
• 39:21
  It was stipulated it. Was in his contract two hours?
• 39:25
  Why is he made a four hour film, maximum two hours?
• 39:29
  I've made. Twice the length.
• 39:30
  Is that OK? Dino No, definitely not.
• 39:32
  Definitely. Not This is not good enough.
• 39:34
  He's made it twice. As long on 1/3.
• 39:35
  Of the budget due. Yeah, and included.
• 39:41
  In those Saints is a lot more context about Frank and Don's
• 39:44
  relationship. Don worked as a mole for the
• 39:46
  police, but Frank kidnapped him and the son and also grew
• 39:49
  obsessed with Dorothy as a result.
• 39:50
  And there's also the introduction of Jeffrey's
• 39:52
  childhood sweetheart, a character completely removed
• 39:54
  from the final cut. Yeah, that seems complicated.
• 39:57
  Considering Sandys his childhood sweetheart or what?
• 40:01
  Seems like that's the role she's playing.
• 40:02
  Yeah, yeah. And you've got Dorothy as well.
• 40:05
  Adding a third woman into his life is what a player Jeffrey
• 40:09
  is. A three on the goal.
• 40:10
  Yeah, 3 on the goal player. Lynch has a reputation of being
• 40:16
  a bit. Of an Abraham Lincoln
• 40:17
  assassination obsessive and as such makes allusions to the
• 40:20
  great man in his films. The man who shot Lincoln was
• 40:24
  called John Wilkes Booth. Sharon Frank's surname, Jeffrey.
• 40:28
  Has to cross Lincoln. Street to get to the shady side
• 40:30
  of town. And at the end.
• 40:32
  The way that is shot references the way Lincoln was shot, the
• 40:36
  way that the yellow man's being shot, Ned.
• 40:38
  Right. OK, OK.
• 40:39
  Right, Yes, I. Got that?
• 40:40
  Yeah. And Lynch, obviously.
• 40:42
  He's a very enigmatic man, he said.
• 40:44
  Film or TV is like a magic act and magicians don't tell how
• 40:48
  they did their thing. He dislikes the idea of behind
• 40:51
  the scenes footage or making of films.
• 40:53
  Probably good job that he's not around, that we're doing it and
• 40:56
  I think he. Would get in touch.
• 41:00
  I think he'd be fine with it. We're being creative.
• 41:02
  He's happy with that, he said. People do it for sales.
• 41:04
  Or for money. But the film is the thing and
• 41:07
  should be protected. Fair enough, that's what.
• 41:09
  We were talking about on. The watch list a couple of
• 41:11
  episodes ago when we're talking about is the too much.
• 41:14
  I was seeing too much of Chris Nolan's new film already.
• 41:18
  Everyone before. Comes out.
• 41:19
  Just leave it alone, yeah? Yeah, the watch list, that's.
• 41:22
  Patreon podcast that we create exclusively, so sign up.
• 41:26
  Yep, listen, lots more available.
• 41:28
  Oh yeah, despite not. Being a fan of making off.
• 41:30
  Documentaries and interviews. David Lynch did allow someone on
• 41:33
  set to document his work. That man was Peter Bratz, a
• 41:36
  German student who'd written an essay on The Elephant Man and
• 41:39
  sent it to the producer of that movie, Mel Brooks.
• 41:41
  Bruce forwarded it to Lynch and then responded to Bratz saying I
• 41:44
  am interested, so he ended up inviting.
• 41:46
  Brats to the set To document the making of the film, Lynch
• 41:49
  introduced him to the cast and crew by saying there's a
• 41:52
  speeder. He wrote a poem about the
• 41:53
  Elephant Man and it took a while for that footage to surface,
• 41:56
  only being seen in 2016 when it was titled Blue Velvet Revisited
• 42:01
  and is a collage of still images and Super 8 footage.
• 42:03
  And it's also part of the Criterion package.
• 42:06
  Yeah, I've seen bits of. It it's nothing to really grab a
• 42:09
  hold of, right? OK, Bratz is trying to be.
• 42:11
  Surrealist on purpose because he's making things of David
• 42:13
  Lynch as anybody would. Yeah, yeah.
• 42:17
  Leave it to the. Artists.
• 42:18
  Yeah, I'm going to end on a quote from Isabella Rossellini
• 42:21
  about David Lynch, she said. David is a big artist and you
• 42:25
  don't get tired of Picasso and Michelangelo.
• 42:28
  So we don't get tired of David Lynch.
• 42:30
  He's an artist. Give him a.
• 42:31
  Fucking tuber to get you something out of it.
• 42:38
  The cast An unexpected cast. In Blue Velvet includes A
• 42:44
  sophomore effort, a fashion model, and the revival of a
• 42:47
  seasoned professional and seasoned hellraiser.
• 42:50
  We're starting with the fresh faced Carl McLaughlin as a
• 42:52
  Geoffrey Beaumont. Matt, he's your man.
• 42:56
  He is and I'm trying to make sense of him.
• 42:58
  Because I mean, he's obviously Lynch's go to guy.
• 43:00
  It's clear these who have such a harmonious working relationship.
• 43:04
  And I think it's interesting. Outside of his work with Lynch,
• 43:06
  has McLaughlin ever done anything particularly notable?
• 43:10
  I think it would be fair to say probably not really.
• 43:12
  I don't think that's really stuck outside Lynch.
• 43:15
  No, I don't think so, but. The reason he works so.
• 43:17
  Well, with Lynch is the understanding they have with
• 43:20
  each other. He totally gets what Lynch
• 43:22
  wants, and he totally understands what he wants in his
• 43:25
  films, and he delivers that because on the surface, Jeffrey
• 43:28
  could and should be such a typical handsome teen role.
• 43:31
  This could have been an early Tom Cruise role, for example, at
• 43:34
  that time. Yeah, Yeah, definitely.
• 43:36
  McLaughlin gives you something sort of different instead.
• 43:38
  I mean, some of those line readings are so stilted and
• 43:42
  wooden, but it has to be deliberate.
• 43:43
  That must be what Lynch wants from him.
• 43:45
  Yes. Yeah.
• 43:46
  And Jeffrey is such an oddball character to be the heart of
• 43:49
  this. I mean, we mentioned already,
• 43:50
  but bugging the ear up and taking it to the police, Just
• 43:53
  call them instead. Give them a call.
• 43:56
  Just walk away from it. The instant obsession he has
• 43:59
  with the case is bravado and taking the lead and doing his
• 44:01
  own investigation, but taking Sandy long for the ride like
• 44:05
  it's scooby-doo or something. Like none of this is normal, but
• 44:08
  it works in the context of the film, in that exchange he has
• 44:11
  for Sandy. I don't know if you're a
• 44:12
  detective or pervert. That's for me knowing you to
• 44:15
  find out. Like, who says that to a girl
• 44:17
  they're trying to impress? Yeah.
• 44:19
  She would be like bye. See you, see you later.
• 44:23
  I'd like to be the. Former, but I'm not the latter.
• 44:25
  Yeah, that's exactly. Yeah, you.
• 44:27
  Can't make that very clear. And that turned from a nerdy,
• 44:30
  geeky weirdo to someone who was pulled into some very dark
• 44:33
  sexual undercurrent with Dorothy.
• 44:35
  It is completely convincing, and it has to come from a
• 44:37
  performance. And the performance has to
• 44:39
  embrace all the darkness, all the weirdness, and is weird, as
• 44:43
  some of those line readings are. McLaughlin absolutely does that.
• 44:47
  I think it has to kind. Of play it a little weird and a
• 44:50
  little unremarkably to allow Isabella Rossellini and Dennis
• 44:53
  Hopper to grab the screen, which they do.
• 44:56
  Hello. McLaughlin had already worked
• 44:57
  with Lynch on June and became one of his go to guys.
• 45:01
  He wasn't first in line for the role of Jeffrey Beaumont.
• 45:03
  That was none other than Val Gilman.
• 45:06
  Yeah, who later said he turned. It down because the script he
• 45:08
  read was basically a hardcore porno.
• 45:11
  Brilliant. He said that if he received the
• 45:14
  script. Which ended up being the film.
• 45:16
  He would have taken the part. It's the same year.
• 45:19
  As Top Gun as well isn't it? What a tonal shift.
• 45:23
  Iceman double whammy. Yeah.
• 45:25
  And as we're on the big man. Himself, Kyle.
• 45:27
  We've got a second question from a Patreon supporter.
• 45:30
  This one. It comes from MB King.
• 45:32
  Hello, MB. Great name.
• 45:34
  Hello. MB He.
• 45:35
  Says. David Lynch found his old ego in
• 45:38
  Calm Clockland. What are some of the best
• 45:40
  director, actor, alter ego parents in cinema history?
• 45:44
  Right. Matt, what do you think?
• 45:46
  I think Michael Bean. In The Terminator and Aliens is
• 45:50
  how cool James Cameron would like to think he is.
• 45:53
  How good James Cameron would like I?
• 45:57
  Thought you said Sean Bean. For a second.
• 46:01
  Yeah, Sean Bean and Michael Bay. You know, yeah.
• 46:04
  That's what we need and that's what we need, yeah, I think
• 46:07
  Cameron would love to look as. Cool as Bean does in those two
• 46:09
  films, I think that's why he's got him in there.
• 46:12
  I think Richard Dreyfuss in close Encounters is absolutely
• 46:15
  Spielberg at the time. At the end of the film, when Roy
• 46:18
  Neary obviously leaves his family behind to go off with the
• 46:20
  aliens, that's 100% what Spielberg would have done.
• 46:24
  And I think it's it's probably the person in this film that's
• 46:26
  most like him. And the last one for me, John
• 46:28
  Turtero in Barton Fink manages to look like both the corns at
• 46:32
  the same time, which is quite a featuring.
• 46:35
  Yeah, yeah. Really good.
• 46:37
  I was thinking about the. Pairing of Clint Eastwood and
• 46:40
  Don Siegel, which more? Some very good films in the late
• 46:43
  60s, seventies. I think Eastwood is kind of that
• 46:46
  tough bravado that Don Siegel came from, like that he really
• 46:49
  came from. Yeah, Eastwood worshipped him as
• 46:51
  well. Didn't he talk about him a lot?
• 46:52
  Loved him. I mean, obviously Dirty Harry,
• 46:55
  come on, Iconic. But this gave Margatras as well.
• 46:57
  Yeah, yeah, yeah. But the.
• 46:59
  Parent that I couldn't get. Away from, and I thought about
• 47:01
  immediately, is Werner Herzog and Klaus Kinski.
• 47:05
  Oh yeah, very nice. They had that tumultuous.
• 47:08
  Love, Hate Relationship, which bought the fruit of five films
• 47:11
  in one documentary. By then, Herzog Kinski was
• 47:15
  deranged and, as it turns out, a really despicable person.
• 47:18
  Yeah, but Herzog clearly saw something in his darkness that
• 47:21
  he liked. There's something Blue Velvet
• 47:23
  about their relationship. There is.
• 47:24
  Yeah. And.
• 47:26
  If you haven't. Seen Fitzcarraldo?
• 47:28
  Do yourself a favor. Yeah 2 right.
• 47:31
  What about? UST.
• 47:32
  Just 5. Just a 5, that's all.
• 47:36
  Just about trying. To be, I don't.
• 47:37
  Quite well Michael there yeah ones that were really obvious to
• 47:43
  me was good like Scorsese, De Niro that's that goes way, way
• 47:46
  back. Tarantino and Sam Jackson.
• 47:49
  I think he tries to get some Jackson and there as often as
• 47:51
  possible even if it's just a voice over.
• 47:53
  John Ford and John Wayne kind of stuck with me because I think
• 47:56
  they were just the same person basically.
• 47:59
  And when you exactly how to take Ford and vice versa.
• 48:01
  Hitchcock and James I'm Stuart Lovely resonated with.
• 48:04
  Me, especially Vertigo. I think that really shines, but
• 48:07
  the one most recently, it's totally flipped on its head a
• 48:10
  little bit, but it's unrecognized.
• 48:12
  One that you really look for it, I think is Nolan and Killian
• 48:14
  Murphy. I think their relationship is
• 48:17
  very so like Nolan sees a lot of himself and Killian Murphy put
• 48:21
  the put that role in there and just have them have him play
• 48:24
  that. So I think that for me is one
• 48:25
  that really sticks very good. Yeah, obviously.
• 48:28
  Five. I expected more Westy, but
• 48:30
  you've reined it in. Well done.
• 48:33
  Thank you. Thank you very much.
• 48:35
  I reined it in on a Lynch film. What am I doing?
• 48:37
  I'm doing this all backwards. It should have spiraled.
• 48:40
  Yeah, it should have, yeah. But thank you for the question.
• 48:43
  MB. Let us know what your best
• 48:45
  director and actor, all the Eagle parents are if you go.
• 48:47
  Yeah, we haven't. No, we haven't mentioned.
• 48:49
  Great question. Thank you.
• 48:51
  So Kyle McLaughlin, certainly. Was Lynch's muse Hard to believe
• 48:54
  that this was only his second feature and despite the chicken
• 48:57
  walk, he carries the film very well.
• 48:59
  Considering the larger than life performances around him.
• 49:01
  Yes. And he is the first.
• 49:06
  Larger than life performance that surrounds Kyle McLaughlin.
• 49:09
  It is Isabella Rossellini as Dorothy Valance.
• 49:12
  Normally. Now, I think this is an
• 49:14
  incredibly brave performance from Rossellini for a number of
• 49:17
  reasons. Yeah, firstly and simply, to
• 49:20
  literally and metaphorically strip yourself bare on the big
• 49:23
  screen takes a hell of a lot of guts.
• 49:26
  Yeah, Dorothy's not a heroic character.
• 49:29
  She suffers the indignity that Frank slams down on her.
• 49:32
  But because of that, this is an absolutely heroic performance
• 49:35
  from Rossellini. So because of.
• 49:37
  That it was important to Rossellini that her portrayal of
• 49:39
  Dorothy is that of a woman who has been abused and that the
• 49:42
  nudity wasn't exploitative, she said.
• 49:45
  You know the butcher shop where you see these carcasses of cows
• 49:47
  cut in the middle and open. You have these images of cows
• 49:51
  and flesh, and that's what I wanted to portray.
• 49:53
  Wow. Wow.
• 49:54
  That's. Really.
• 49:55
  In that yeah, I. Mean you can see that on.
• 49:57
  Screen it's it's UN flinching yeah she doesn't have the
• 50:00
  security of. It being like a true story or an
• 50:02
  Oscar turn or this has happened for a reason.
• 50:04
  It's like people might get this, they might not, but you've have
• 50:07
  to do it anyway. Yeah, you have to do it.
• 50:09
  Yeah, and I mean, she wasn't an actress.
• 50:11
  She appeared in a few films, but she was primarily a model and as
• 50:14
  such, just signed a contract with a modelling agency, a
• 50:18
  contract which was soon rescinded once they saw her in
• 50:21
  Blue Velvet. And they asked her to leave,
• 50:23
  Right? Wow.
• 50:24
  And they? Were the only.
• 50:25
  Ones. Aghasted Blue Velvet, The nuns
• 50:27
  who taught Rossellini at school, contacted her and told her that
• 50:30
  they were praying for her every day.
• 50:33
  What are nuns? Do you?
• 50:34
  Watching Blue. Velvet.
• 50:37
  And coming from a background in. Modeling.
• 50:39
  I think it's so brave of her to take this role, to put herself
• 50:42
  out there like this. Can you see anyone else from
• 50:44
  that background putting themselves in this incredibly
• 50:46
  vulnerable position, putting everything that worked for on
• 50:49
  the line? Cindy Crawford.
• 50:51
  Started in fair. Game, for goodness sake, we
• 50:54
  needed Blue Velvet I. Mean Dorothy's a Really.
• 50:58
  Complex character, really disturbing.
• 51:00
  She's desperate, she's living on the edge of reality, and I
• 51:03
  suppose she'd do anything to get her family back together.
• 51:05
  Anything including degrading herself at the behest of Frank
• 51:08
  Booth. But really weird, really
• 51:12
  complex. In doing this, Frank's
• 51:14
  potentially tapped into kind of like a masochistic side of
• 51:16
  Dorothy, one that responds with pleasure at the horrendous,
• 51:20
  sadist sexual deviances of Booth.
• 51:24
  It's. Cruel misogynist.
• 51:25
  Film with characters that don't have a place in mainstream
• 51:27
  cinema, but it's really compelling.
• 51:29
  And that's because of the believability that Russellini
• 51:32
  brings to the role. Yeah, and the scene.
• 51:34
  That I love. Is the scene of the star where
• 51:36
  she finds Jeffrey in a closet? Yeah.
• 51:40
  One that absolutely terrifies me.
• 51:42
  It's one of the most nightmarish things ever to happen because if
• 51:45
  you if somebody's hiding in your closet.
• 51:47
  I mean, it's classic horror trope, isn't it?
• 51:49
  Yeah, it is. Yeah.
• 51:50
  And she tackles it. With an almost deranged
• 51:52
  aggression, the way she's screaming at him with that wide
• 51:55
  eyed anger. What are you doing in my
• 51:57
  apartment, Jeffrey Beaumont? It's incredible stuff, this
• 52:00
  excitement as well there. Wasn't there's a little bit,
• 52:02
  yeah. So for the role of Dorothy
• 52:04
  Lynch. Wanted Debbie Harry for the
• 52:05
  role. She turned it down because of a
• 52:07
  part in Cronenberg's video drone, a film with a similar
• 52:10
  unsettling underbelly as Blue Velvet.
• 52:12
  She didn't want to be typecast. And then it's kind of weirdo
• 52:14
  apart. Don't vote for Cronenberg at
• 52:16
  Lynch then. Yeah.
• 52:17
  Yeah, exactly. Don't.
• 52:20
  Work for David Cronenberg. Whatever you do, just keep me.
• 52:23
  Stay away from the. Davids Ellen Mirren was second
• 52:27
  choice and. She actually played an active
• 52:28
  role in pre production working with Lynch to flesh out the
• 52:31
  character of Dorothy. Right?
• 52:32
  Yeah, the. Cook, the thief, the wife and
• 52:34
  the lover, that type of performance.
• 52:36
  I think for Mirren very similar but she did back out.
• 52:39
  And then after considering others for the part, including
• 52:41
  Sigourney Weaver, Jodie Foster, Sissy Spacek and Angelica
• 52:45
  Houston, he eventually cast Isabella Rossellini after they
• 52:48
  were introduced to each other by my mutual fence at a restaurant.
• 52:51
  He spoke to her about the part, but at this point still had
• 52:54
  Helen Mirren in mind. And he also said to her that
• 52:56
  because of her looks, she could be the daughter of Ingrid
• 52:58
  Bergman, which, of course, she is.
• 53:01
  Yeah, yeah, Yeah, I think he was.
• 53:02
  Surprised you could. Be Ingrid Bergman.
• 53:05
  'S daughter. Well, I actually am, yeah.
• 53:09
  That would explain it a. Remarkably brave.
• 53:11
  Performance from Rossellini Strip bare in more ways than one
• 53:15
  on screen. Incredible stuff.
• 53:16
  Yeah, yeah, fantastic. And finally, we have something.
• 53:22
  Quite incredible on our hands here, the ultra psycho
• 53:25
  performance from Dennis Hopper as the criminally deranged
• 53:28
  sexual fiend Frank Booth. And we have the very man to
• 53:33
  tackle that kind of character. Go for a Westie.
• 53:36
  Yeah, just before he arrives. I'll do it.
• 53:41
  So I mean. Most memorable performance?
• 53:45
  Many would say Easy Rider. I would argue that it was
• 53:48
  Apocalypse Now, because I think that's just a really original
• 53:50
  performance, but one that is quite forgettable.
• 53:52
  So for memorable, yeah, it has to be this one just sticks with
• 53:56
  you. It just sticks in your head.
• 53:57
  It's so powerful and it feels like he's just, like I said
• 54:02
  before, he's just absolutely has something to prove here.
• 54:05
  And I think this was the point where he'd done it all.
• 54:08
  He was surprised he was still alive and the roles he was
• 54:11
  getting were just a little bit. People are very wary of him.
• 54:14
  Like don't give it a hop, I thought.
• 54:15
  And I think this is this is like just totally embracing the beast
• 54:20
  going, this is who people think I am.
• 54:21
  This is I'm going to show people who they're scared of.
• 54:23
  I'm going to show people what I can do.
• 54:25
  And he absolutely just lets it go.
• 54:28
  He's despicable in every sense of the word, but very enigmatic,
• 54:32
  very electric. He has this real energy.
• 54:35
  He has this real presence. He just owns the screen, He owns
• 54:38
  the room. When he's on a wide shot, it's
• 54:39
  just feels like he's just pulling the camera wherever he
• 54:41
  moves. It doesn't feel like anyone can
• 54:44
  hold a torch to him. When the rhythm in a dialogue
• 54:47
  sequence. He's got control over every
• 54:49
  single person in that. Really tell somebody to do
• 54:51
  something and do it. You know how Lynch is fearless
• 54:53
  in his ideas of this. Copper is fearless in his
• 54:56
  execution of this. Without doubt.
• 54:58
  Absolutely amazing. I mean that last scene, I just,
• 55:02
  it has me in stitches. I don't know we'll talk about
• 55:04
  it. But when he's like, I can still
• 55:06
  hear your radio, you fuck. And he's just like he's.
• 55:12
  Just like yeah, you. Shit head.
• 55:13
  He's like taking all the mask on.
• 55:14
  It's it feels like he's just rehearsing for a scene and
• 55:17
  doesn't quite know where the camera is and he doesn't care
• 55:20
  when he's screaming Don't look at me.
• 55:22
  You completely believe that you shouldn't be looking at him.
• 55:25
  And he's just in his own private world.
• 55:28
  And it pulls you in to something that you don't want to be pulled
• 55:31
  into. But it's the curiosity that
• 55:33
  Jeffrey has. It's the curiosity that we have.
• 55:35
  Like, what is this guy going to? We've seen what he's capable of
• 55:38
  doing, but what else is he going to do?
• 55:41
  I've got to keep watching because watching it's.
• 55:44
  Yeah, it's watching a car speed across the road, and it's
• 55:47
  swerving left and right. You know, it's a car crash, but
• 55:49
  you can't take your eyes off it. And that's Dennis Hopper on this
• 55:51
  phone. He's incredible.
• 55:53
  He's. He's a force of nature.
• 55:56
  I think he is one of the scariest movie characters ever.
• 55:59
  But yeah, if you watch it as many times as we have for this
• 56:03
  episode, he becomes humorous. It becomes humorous because he's
• 56:07
  so at the top, I don't think. Anybody else could have.
• 56:10
  Done the popper. He was incredible.
• 56:12
  Definitely not. But there were a few people in
• 56:14
  the frame for. The role of Frank Booth,
• 56:15
  including William Defoe, who I think would have been good,
• 56:19
  could say that. Harry Dean Stanton.
• 56:21
  Stephen Berkoff and Robert Loggia.
• 56:26
  Michael Einside claimed that. Frank was written specifically
• 56:29
  with him in mind right? All of those guys name turned it
• 56:32
  down because it was too unsavory, which I'm amazed that
• 56:36
  I inside said that Yeah exactly. But the.
• 56:39
  Unsavory nature of the. Character that didn't put off a
• 56:41
  newly sober Hopper who begged Lynch for the parts in You have
• 56:45
  to let me pay Frank because I am Frank.
• 56:48
  Yeah, yes, he is. Yeah.
• 56:50
  And in the original screenplay, Frank's tank that he carries
• 56:53
  around was filled with helium, but Hopper obviously knew a
• 56:57
  thing or two about drug use and suggested nitrate instead.
• 57:01
  Now that's something used to treat angina normally, but when
• 57:04
  used recreationally, it has a psychoactive effect, which
• 57:07
  obviously Hopper knew about. So they did actually try the
• 57:10
  helium on set, but Hopper said he sounded like Donald Duck and
• 57:13
  Lint switched out the helium because he wanted to avoid any
• 57:16
  unintended hilarity in Frank's voice.
• 57:18
  That would have been ridiculous, Danny.
• 57:19
  What's the fuck? Yeah, Frank the tank.
• 57:25
  Yeah, I would have loved that to be.
• 57:26
  Written on in Sharpie. Just like Frank's tank written
• 57:28
  on the actual tag would be. Yeah, I do find it very.
• 57:33
  Humorous that there are 56 instances of the F word in the
• 57:37
  film. Yes, and.
• 57:39
  Frank says 55. Of them all right.
• 57:47
  Amazing. And the only other one.
• 57:48
  Is because Frank says it, isn't it because it's Ben says well,
• 57:51
  drink your fuck. Yes, that's right.
• 57:54
  Makes him say. It's almost like an echo.
• 57:56
  So he does, he says. All of them to your health.
• 57:59
  No. To your fuck doesn't make sense.
• 58:02
  Yeah, it's wonderful though, isn't it, on?
• 58:06
  Hopper, Carl McLaughlin. Said no one really knew what
• 58:08
  Dennis was going to be like when we met him, Rossellini said.
• 58:11
  Dennis Hopper, Yes. He'd been in rehab for three
• 58:13
  years. David Lynch described him as a
• 58:15
  ticking time bomb. You can feel that.
• 58:18
  Yeah. Oh God, yeah, Definitely.
• 58:19
  Will he get through the shoot? Who knows?
• 58:21
  Who knows? Well, to wrap us up on the.
• 58:24
  Cast and on Frank Booth, we've got our final Patreon question
• 58:27
  from Heath Hobbs. How you doing, Heath?
• 58:30
  Hello, Heath. Hello.
• 58:31
  Heath, Heath. Asks if frank.
• 58:33
  Booth hosted a dinner party. What gift would you bring?
• 58:36
  I wouldn't go. And what?
• 58:38
  Do you think would be on the menu?
• 58:41
  Right. So.
• 58:43
  I mean, there's such a very strange question.
• 58:45
  I loved it. As soon as I saw it, I thought,
• 58:47
  well, I'm choosing that one. It's great.
• 58:48
  Yeah. Yeah, it is great.
• 58:50
  Yeah, yeah. So I'd bring a case.
• 58:52
  Of Pabst Blue Ribbon, his beer of choice, but I'd house it in a
• 58:56
  Heineken box, just to stir the pot a little bit.
• 58:58
  Just to get Heineken. Feel like dancing with the
• 59:02
  death? Do you?
• 59:04
  Where's? My Pabst Blue.
• 59:05
  Ribbon furious with you warm as well.
• 59:11
  Makes me fucking puke. I make sure that.
• 59:15
  I'm as far away from him as possible on that dinner table.
• 59:18
  I don't want him getting the ammonitrate out.
• 59:22
  When you hear that fuck on the menu.
• 59:29
  I think it's something as white picket fenced as the town of
• 59:31
  Lumberton itself. So I think meatloaf.
• 59:34
  And because he's a creation of David Lynch and it'd have to be
• 59:36
  cherry pie for dessert. Lovely.
• 59:39
  What about? UST.
• 59:40
  Me, I've also gone for. Perhaps blue ribbon.
• 59:42
  So there'll be two, two cases, but I'll bring some bourbon and
• 59:46
  some extra ammo nitrate just in case he runs out because that'll
• 59:49
  be funny if we do play charades or something.
• 59:51
  Just want him on that. That'll be really hilarious.
• 59:54
  Have some more nitrate, man. We're going to do like 3 words,
• 59:57
  first word, right? OK, that'll be wonderful.
• 59:59
  And food wise, I think Frank would go for something very
• 1:00:02
  American, but very, very much down the line.
• 1:00:05
  T-bone steak, French fries, nice tomato ketchup smashing.
• 1:00:09
  Spot on. Yeah.
• 1:00:10
  I. Love it.
• 1:00:11
  What about? You, Matt.
• 1:00:12
  We've got a kind of similar thing going on, me and Westie.
• 1:00:14
  What about you? Yeah, I mean, I think Frank.
• 1:00:16
  Just needs to chill a little bit in general really, doesn't he?
• 1:00:19
  Good luck with that. Well, you bring up a fucking.
• 1:00:22
  Lasagna or something? One thing I'm bringing a load
• 1:00:24
  of. Xanax.
• 1:00:25
  Just a lot of tranquilizers. I'm going to listen.
• 1:00:28
  Frank, I think you just need. To chill out a little bit, just
• 1:00:30
  chill out, man, Frank. Maybe one of those, you know
• 1:00:33
  those squeezy stress balls you can get?
• 1:00:35
  I'll give one of those. Just try that, maybe buka Sudoku
• 1:00:39
  puzzles, something to take his mind off everything for a while.
• 1:00:42
  And then As for what he would serve, yes, I think we all know
• 1:00:48
  what Bee was on the menu. I think if he's serving a
• 1:00:51
  starter, he looks like the kind of man who would just demolish a
• 1:00:54
  plate of chicken wings with his bare hands.
• 1:00:56
  Yeah, just loads of BBQ sauce all over the place.
• 1:00:59
  I don't think that's a starter. There's no Imagine them on hot
• 1:01:01
  ones. That'll be.
• 1:01:02
  So funny. Oh, exactly.
• 1:01:03
  Yeah. That's it, you fuck.
• 1:01:08
  It's not urban soup here. Smashing.
• 1:01:11
  Smashing. The table up just eating the
• 1:01:14
  table. It's not even hot, man.
• 1:01:25
  Where's my milk? Shithead.
• 1:01:32
  Good Frank Booth and Hot ones. Oh, good.
• 1:01:35
  Make it up. Yeah, it's.
• 1:01:36
  Made for. Anything it's made for.
• 1:01:39
  Definitely is. Sorry man.
• 1:01:42
  It's. Good, though.
• 1:01:44
  It's actually Frank Good. Main cause to sticking on the
• 1:01:47
  meat theme, it's definitely going to be steak.
• 1:01:49
  It's definitely going to be rare.
• 1:01:50
  And again, he's Aziz now with his hands tearing inward.
• 1:01:52
  And then dessert, I think a flame and Baked Alaska.
• 1:01:55
  He just sticks his face right in it and it's still a light.
• 1:02:01
  It's me when I'd like the lipstick all over his face.
• 1:02:03
  Oh, fantastic. Well.
• 1:02:05
  Thank you very much for the question, Heath.
• 1:02:06
  More of those, please. Love that.
• 1:02:08
  Yes, more like this. That was great.
• 1:02:10
  And that thankfully brings. Us to a close on the madman that
• 1:02:13
  is Frank Booth, who rounds up an incredibly eclectic cast, all
• 1:02:16
  bringing something unique to the blue velvet table.
• 1:02:20
  Very well, that's funny. All the right movies, we'll be
• 1:02:28
  right. Back thank you for supporting us
• 1:02:30
  by listening to the sponsors for this episode.
• 1:02:34
  Thanks for listening to our sponsors.
• 1:02:36
  And now it's back to the show. The middle after Jeffrey's
• 1:02:45
  nightmarish. Walk on the wild side he meets
• 1:02:47
  up with Sandy where he's got a hell of a lot to talk about it's
• 1:02:52
  a strange world, Matt Yeah, this scene rather have the.
• 1:02:54
  Conversation in the car and she talks about her dream.
• 1:02:58
  I mean, this is when Laura Dern really shines me.
• 1:03:01
  She's particularly brilliant here.
• 1:03:03
  And it sums up one of the battles in the film, which is
• 1:03:06
  the battle between innocence and corruption, good and evil.
• 1:03:09
  And obviously, Sandy is everything innocent, everything
• 1:03:12
  good in the world. The fact that they've pulled up
• 1:03:14
  outside of church to talk. So the music from the church
• 1:03:18
  provides the soundtrack for this.
• 1:03:20
  I mean, so much of this is on the nose, but it works so well
• 1:03:23
  at the same time. It does.
• 1:03:25
  And I think this scene, despite the fact Jeffrey is about 2223
• 1:03:28
  in the film, I say there's this weird thing where he feels much
• 1:03:32
  younger. It's like he is still a kid.
• 1:03:33
  And this scene really emphasizes that.
• 1:03:35
  I mean, it's such a naive thing for him to do, to go off
• 1:03:38
  investigating on his own, and now he's seen something of the
• 1:03:41
  adult world that he really wishes he hadn't.
• 1:03:43
  But that's the thing. Once you've seen the reality of
• 1:03:46
  the darkness that comes with grown up, you can't go back.
• 1:03:49
  You know, as he says, why are the people like Frank?
• 1:03:51
  Why is there so much trouble in the world?
• 1:03:54
  Again, that sounds like something a kid would ask, not a
• 1:03:56
  22 year old man. It's really childlike, isn't it?
• 1:03:59
  It's really childlike. And the horrible thing is
• 1:04:01
  there's no answer to those questions.
• 1:04:03
  But then again, this is David Lynch, And provide no answers is
• 1:04:06
  exactly what he does and where this film derives a lot of its
• 1:04:10
  power from. So all Sandy can do is tell him
• 1:04:13
  about a dream. It's the only thing she can
• 1:04:14
  think that might comfort him in this situation because it's what
• 1:04:17
  she's holding on to because she is still this innocent in this
• 1:04:20
  world. She said outside the apartment,
• 1:04:21
  she hasn't seen what Jeffrey has.
• 1:04:23
  And this dream is such a dream of an innocent young girl, a
• 1:04:27
  vision of Robbins bringing love against the dark, which we'll
• 1:04:30
  talk about at the end of film. When it comes in the real there,
• 1:04:33
  it should shouldn't work this saying, this dialogue shouldn't
• 1:04:35
  work. It should be so cheesy.
• 1:04:37
  It should be so on the nose. When the music sauce up at the
• 1:04:39
  end, the description should be so OTT.
• 1:04:42
  But it works because Dern delivers it with such sincerity.
• 1:04:46
  You know there was trouble until the Robins come.
• 1:04:49
  And somehow it, I mean, the whole film is a balanced act.
• 1:04:52
  Let's just balance and taunts and performances and dialogue
• 1:04:56
  and attitudes. And the same works when reality
• 1:04:59
  dreams. And reality light.
• 1:05:00
  The Dark This same works when it really, really shouldn't.
• 1:05:04
  It's classic. Like David Lynch dreamscape with
• 1:05:08
  that lumen music over the top of it.
• 1:05:10
  Yeah, yeah. So going on from that.
• 1:05:13
  Scene. I mean, he's.
• 1:05:13
  Not known for subtlety. His David Lynch, let's be
• 1:05:15
  honest, comes down like a sledgehammer with most things.
• 1:05:18
  But this is great. When Jeffrey goes back to
• 1:05:20
  Dorothy's, the curiosity's got a hold of him again.
• 1:05:23
  It's again, we spoke about being childlike and innocent, and now
• 1:05:26
  he's childlike and curious and he's going to get himself into
• 1:05:29
  trouble. There's no repercussions for
• 1:05:30
  him. He doesn't know what the
• 1:05:32
  consequences mean yet, almost. And it's him kind of finding
• 1:05:35
  that out. Her reaction, you know, just so
• 1:05:37
  happy to see him. I looked in the closet for you
• 1:05:39
  know what you mental crazy just. Sitting staring at the closet.
• 1:05:44
  All night until he turns up at the door.
• 1:05:46
  It's absolutely crazy. And then we get to go to Slow
• 1:05:50
  Club and it's wonderful in there.
• 1:05:53
  This is, to me, this is where the whole film shifts and starts
• 1:05:57
  sliding downhill into the darkness, into the shadow, into
• 1:06:00
  the grime, into the grit of it. It's miles apart from when I
• 1:06:03
  spoke about the police station at the start, to be an old
• 1:06:05
  police squad and cartoon mission, brightly lit and that
• 1:06:09
  it's both blocked and very solid.
• 1:06:11
  This feels very loose and it feels like we're in some kind of
• 1:06:14
  nightmare, like a lucid dream, like we're slipping deeper into
• 1:06:17
  it, into the subconscious of David Lynch.
• 1:06:18
  And you got Frank Days drenched in the blue light, and you've
• 1:06:21
  got Jeffrey just sitting in the red light and the car and
• 1:06:25
  everything's just so obviously smacking in the face.
• 1:06:28
  Just these two different worlds that actually work together,
• 1:06:31
  blue and red. It's all just this emergency
• 1:06:33
  kind of light. We got close-ups of sirens later
• 1:06:36
  on. So it's all there as part of
• 1:06:37
  like a big warning for him. Great shot when all the guys
• 1:06:41
  come out of the slow club and it kind of just tracks them over
• 1:06:43
  the car park. I think that was fantastic.
• 1:06:44
  It really reminds me of Reservoir Dogs.
• 1:06:46
  Just a little wide shot, though. It's just like the alternative
• 1:06:49
  angle of that thing. Tarantino watches my I'm just
• 1:06:51
  going to move the camera to the front, but it's it's it's a
• 1:06:54
  similar kind of vibe to that. And when they actually get to
• 1:06:56
  the building, I love the silhouettes that are painted on
• 1:06:59
  there from the towers and the smoke and machinery and it's all
• 1:07:02
  just moving as if it's like a monster and it's just a
• 1:07:05
  mechanical monster and there's something going on inside of it.
• 1:07:08
  It's like a hive industry of nasty, shadowy industry that's
• 1:07:11
  awful, really creepy. And this is where we start
• 1:07:14
  getting a lot more shadows. This wasn't many shadows and
• 1:07:18
  open to this point. And everything starts getting
• 1:07:20
  drenched in. The contrast goes up and the
• 1:07:22
  blacks are really black. And you start having this
• 1:07:24
  mystery as he gets deeper into it.
• 1:07:26
  And I think the visuals here are really important, and I think
• 1:07:29
  that's what Lynch does as well. There's not as much dialogue in
• 1:07:31
  these sequences in the middle of the film, and I think it works
• 1:07:34
  really well with the ominous shift of colour.
• 1:07:36
  Torn, it shifts with his curiosity, but also this
• 1:07:39
  darkness of this machine that he's getting involved in.
• 1:07:41
  I think it's really well put forward.
• 1:07:43
  And to me, it's just a really exciting part of the film where
• 1:07:46
  you just, you need to find out more as Jeffrey needs to find
• 1:07:48
  out more. Yeah, it's absolutely.
• 1:07:50
  Incredible, great visuals. That's wonderful, yeah.
• 1:07:53
  And I'm picking up the action where.
• 1:07:54
  Sandy and Jeffrey have their debrief at Arlene's Diner.
• 1:07:59
  What I like about this is the detective story element of the
• 1:08:02
  film. Like I mentioned the noir
• 1:08:03
  elements, it plunges you deeper into the mystery where we don't
• 1:08:07
  know what the hell is going on, but we know that it isn't safe,
• 1:08:11
  Jeffrey says. You see that clock on the wall 5
• 1:08:13
  minutes from now, you're not going to believe what I've told
• 1:08:15
  you. Brilliant line.
• 1:08:16
  That's a brilliant. Line.
• 1:08:18
  That's so theatrical, it is. And I love the visuals as
• 1:08:22
  Jeffrey. Is telling this story.
• 1:08:24
  There are visuals of him outside Frank's building that are a
• 1:08:27
  cross cut with this scene. I don't know how he's made that
• 1:08:31
  shoebox camera contraption thing.
• 1:08:33
  That's wonderful, isn't? It I think the pulley.
• 1:08:36
  System. Brings much more attention to
• 1:08:38
  him than if he just used a normal camera.
• 1:08:40
  Just a normal camera, yeah. I've yet to.
• 1:08:42
  Try that out. I'll let you know how it goes,
• 1:08:44
  but it is very. Cinematic.
• 1:08:46
  Yeah, and it just throws up so many questions.
• 1:08:48
  Who is this well dressed man? Who is the yellow man?
• 1:08:51
  Where is Frank disappeared to? What's going on in that
• 1:08:54
  building, that hive of industry, like you said, that nastiness?
• 1:08:57
  Yeah, and the beauty. Of all of these.
• 1:08:59
  Questions Is that really none of it matters.
• 1:09:02
  The investigation is kind of the Mcguffin.
• 1:09:05
  It is overtaken by all the other sort of details in the plot
• 1:09:07
  later. Yeah, it's all abstractions
• 1:09:09
  like. He always points to it doesn't
• 1:09:11
  matter what Frank's doing. We know what kind of a person he
• 1:09:13
  is exactly. Doesn't matter the type of
• 1:09:15
  person he is, he's not what? He's doing.
• 1:09:17
  Yeah, exactly. Yeah.
• 1:09:19
  But it's so engaging. I think everybody loves a good
• 1:09:21
  detective story, but this one is done in a very lynching way,
• 1:09:24
  mixing the traditional with the esoteric.
• 1:09:27
  Yeah, so it lynched as Chinatown.
• 1:09:29
  Isn't it yes in? This scene, Jeffrey says I'm in
• 1:09:33
  the middle of a mystery that couldn't be more literal as
• 1:09:36
  we're just past the hour mark of a film that runs for two hours,
• 1:09:40
  which is clearly Lynch winking at the camera.
• 1:09:42
  Classic Lynch. Yeah.
• 1:09:44
  So. The mystery is beginning to.
• 1:09:45
  Unravel. We still don't know what the
• 1:09:47
  hell is going on, Really. Now will we find out?
• 1:09:50
  Does it matter? Jeffrey can't keep himself away.
• 1:09:55
  From danger and is straight back to the northeast apartment where
• 1:09:58
  he takes a deeper plunge Into Darkness and he starts a
• 1:10:02
  horrific series of events Yep, as soon.
• 1:10:06
  As this scene. Opens in Dorothy's apartment.
• 1:10:08
  I always let out this. I hope did it the last time I
• 1:10:10
  watched this. Groan of despair.
• 1:10:12
  Like Oh no, because there's just about to be some misery in
• 1:10:15
  there. Yeah.
• 1:10:16
  Oh God. This is where Jeffrey.
• 1:10:18
  And Dorothy have sex for the first time.
• 1:10:21
  They do the wild thing. Dorothy couldn't be any more
• 1:10:24
  clear that this is a place where bad things happen.
• 1:10:26
  She asks if he's a bad boy. Do you want bad things?
• 1:10:29
  She's wearing a red dress, Alarm bells going off everywhere.
• 1:10:33
  But this doesn't stop Jeffrey, who resists the first.
• 1:10:35
  He doesn't want to hit Dorothy, obviously.
• 1:10:38
  His urge is a just a little too great to suppress.
• 1:10:41
  The candlelight blows out heavy-handed from Lynch in the
• 1:10:44
  visuals, and Jeffrey has crossed over into the dark recesses of
• 1:10:48
  his psyche. He's now pursuing all the sexual
• 1:10:51
  desires he's been trying to keep it Be dear me Yeah.
• 1:10:55
  Lot to unpick, yeah? The lot to.
• 1:10:57
  Unpick. Does Dorothy crave the sexual
• 1:11:00
  violence because it's a link to her family?
• 1:11:02
  Has Frank tapped into her depraved sexual desires?
• 1:11:05
  Is this the only way that she's able to survive her life
• 1:11:08
  day-to-day? A lot of questions, no answers.
• 1:11:12
  And there's something animalistic at the end of this
• 1:11:14
  scene. Lynch moves to a slow mower, and
• 1:11:16
  the sound design is that of kind of like a lion's roar, almost,
• 1:11:20
  with an unearthly shriek. And now there's no Turner back.
• 1:11:24
  Dorothy confirms that when she says to you, you have your
• 1:11:27
  disease in me now, which is not a pleasant term to hear.
• 1:11:31
  It's not great pillow talk. It isn't.
• 1:11:33
  Sexy. That's not sexy.
• 1:11:36
  In the aftermath, when Dorothy. Is protesting that she's not
• 1:11:39
  crazy like when they're in the living room.
• 1:11:41
  She then follows that up with I still have you inside me,
• 1:11:45
  Jeffrey. Get out of this situation.
• 1:11:46
  Get out of it. Yeah, that's enough.
• 1:11:48
  We're nowhere on a knife edge from.
• 1:11:49
  Scene to scene in this film and when he leaves and Frank turns
• 1:11:53
  up terrifying, wonderful. Yeah, there's.
• 1:11:56
  Something magnetic. About Frank, do you want to go
• 1:11:58
  for a ride? No, thanks.
• 1:12:00
  No thanks. What does that mean?
• 1:12:01
  I don't want to go. Go where?
• 1:12:03
  For a ride. A ride?
• 1:12:06
  Hell, that's a good idea. Yeah.
• 1:12:08
  Yeah. Brilliant.
• 1:12:10
  What does that mean? Yeah.
• 1:12:13
  You go for a joyride. With very little joy in it.
• 1:12:17
  There's no joy. During the scenes where Kyle and
• 1:12:19
  Isabella. Are naked, they questioned
• 1:12:20
  Lynch. Do I have to go that far?
• 1:12:22
  And his reply was yes, yes. Further, if possible.
• 1:12:29
  Slowly no. Wesley mentioned police squad.
• 1:12:33
  Earlier and the next scene starts with a joke that could
• 1:12:36
  almost come from that when Frank goes this is it and then it cuts
• 1:12:40
  the place which is called This is it.
• 1:12:44
  It is that could be from. The.
• 1:12:46
  Naked Gun, it's great, but then. That's the.
• 1:12:49
  Only bit of light relief you get from this scene because one of
• 1:12:52
  the overall feelings I have with Blue Velvet and why it's so
• 1:12:55
  disturbing when it's not actually that graphic is it
• 1:12:57
  nails that feeling of someone being in a situation or
• 1:13:01
  replaced. This shouldn't be, but they
• 1:13:03
  can't escape from it. It's that helplessness, isn't
• 1:13:06
  it? It's the helplessness.
• 1:13:07
  Don't want to be there? You don't want to be there, you
• 1:13:09
  don't be in. Dorothy's apartment, but this
• 1:13:11
  entire section with Ben, and I mean, it's so weird because
• 1:13:16
  actually very little happens in it, but all the same, my skin
• 1:13:19
  crawls out the whole thing because it's the implicit threat
• 1:13:23
  under the surface of what darkness is going to happen in
• 1:13:27
  this scene. And you look at Ben and I've
• 1:13:29
  already said, you know, the film.
• 1:13:30
  I can't decide when it's set. I mean, what era has been fallen
• 1:13:33
  out of without loungewear and cigarette holder?
• 1:13:36
  Like he certainly doesn't belong in the AD certainly doesn't seem
• 1:13:38
  like he comes from the 50s even. No, no.
• 1:13:41
  And it's just. Question.
• 1:13:42
  After question like who is he exactly?
• 1:13:44
  What's the deal with all the overweight ladies hanging around
• 1:13:47
  with them? Who's the guy?
• 1:13:48
  Eating the big bowl of. I think it's pasta.
• 1:13:51
  These are the people keeping. Hold of.
• 1:13:53
  Dorothy's son. Why?
• 1:13:54
  And it's a scene that just exemplifies to me the dream
• 1:13:57
  logic I've been talking about, because nothing makes sense
• 1:13:59
  about this. But at the same time, it's got
• 1:14:02
  its root in some kind of reality.
• 1:14:04
  You know the fact that the set design is so symmetrical, but
• 1:14:07
  it's slightly off at the same time because of the lighting
• 1:14:10
  that comes in the lamps and the. Implicit threat that runs.
• 1:14:15
  Throughout this, the tors that they make the way that
• 1:14:17
  everything bends says to Frank has done with such lightness is
• 1:14:20
  if he knows how explosive Frank can be, but he also knows how to
• 1:14:23
  keep him under control by amusing him, taught him like
• 1:14:25
  he's a child. We'll have a beer with Frank the
• 1:14:28
  glasses. And because Dorothy and Jeffrey
• 1:14:31
  is so out of place and they're outnumbered, the whole scene
• 1:14:34
  just has this queasy feeling, and it just sits in my stomach
• 1:14:37
  throughout. And it's just summed up in that
• 1:14:40
  incredible moment where Ben uses that lamp light to mind to end
• 1:14:43
  dreams. Yeah.
• 1:14:45
  Why is this? Scene SO.
• 1:14:46
  Disturbing. Why is it even in there?
• 1:14:49
  Why is it in it? Why does that?
• 1:14:50
  That's why. Well, I know, but yeah, exactly,
• 1:14:53
  we don't. Have the answers, and we
• 1:14:54
  probably shouldn't mean. Why does the song have that
• 1:14:56
  impact on Frank? Did they do this on a regular
• 1:14:58
  basis or whenever it comes around?
• 1:14:59
  Because they've got a routine. Going, isn't it?
• 1:15:01
  Yeah, but this is what we've. Seen under the grass at the
• 1:15:04
  start of the film. Yeah.
• 1:15:05
  Oh yeah, of course. Oh.
• 1:15:06
  Yeah, definitely this. You know the.
• 1:15:07
  Surface are being pulled back now.
• 1:15:08
  I mean, Fred Derife just dancing with a snake in the background.
• 1:15:11
  Where do you get that from? You know, it's it's so.
• 1:15:13
  It's just so. Weird.
• 1:15:15
  Classic nightmare logic. It is.
• 1:15:17
  It's absolute nightmare. Logic I'm in this scene.
• 1:15:19
  It upsets me and it deserves me on a level where I've never been
• 1:15:23
  able to quite work out why. This is the scene in the film
• 1:15:26
  that most feels like a nightmare to me.
• 1:15:28
  Like it's brilliant, but I just want to wake up and I just
• 1:15:31
  wanted around one of the most peculiar scenes I've.
• 1:15:34
  I've ever seen. I was just captivated when I
• 1:15:36
  first saw it, yeah, but I didn't understand why.
• 1:15:38
  I still probably still don't, but there's something like
• 1:15:41
  primally seductive about the whole thing.
• 1:15:44
  I don't, I don't know why I'm attracted to this exactly.
• 1:15:46
  I don't know either. But yeah, it's true.
• 1:15:48
  Weird. Lynch didn't go directly.
• 1:15:51
  To Roy Orbison for permission to use In Dreams.
• 1:15:54
  Instead, he obtained license for the song by other means.
• 1:15:56
  She went to the record company. So you can imagine Orbison
• 1:15:59
  surprise when he sat down in a Malibu movie theatre to watch
• 1:16:03
  this new David Lynch Blue Velvet film.
• 1:16:05
  Yeah, let's watch it. And on comes one of the most
• 1:16:08
  revered songs in his back catalog, he said.
• 1:16:11
  I was mortified because they were talking about the candy
• 1:16:14
  colored clown in relation to a dope deal.
• 1:16:16
  I thought, what in the world? What?
• 1:16:20
  A gentleman he is. Yeah, the Big O.
• 1:16:22
  The big love him. Orbison later said that he
• 1:16:25
  watched the. Film again and appreciated what
• 1:16:27
  the song gave to the film and vice versa.
• 1:16:29
  The use of the song in the film is attributed to a resurgence in
• 1:16:31
  Orbison's popularity, leading to a successful greatest hits
• 1:16:34
  package and him joining supergroup at the Travelling
• 1:16:37
  Wilburys. Strangely, this made his.
• 1:16:39
  Popularity saw, which is unbelievable considering this
• 1:16:43
  Roy Orbison. It's just a new demographic.
• 1:16:46
  For the David Lynch mob. Well, this scene is what?
• 1:16:54
  Lynch called the eye of the duck scene, IE the most important
• 1:16:58
  part of the film. Lynch said the key to the whole
• 1:17:00
  duck is the eye and where it is placed.
• 1:17:02
  It's like a little jewel. If it's there, it's absolutely
• 1:17:05
  beautiful. What do you mean, David?
• 1:17:07
  I don't know what you mean the fact.
• 1:17:08
  That the club is called. This is it, I guess, is the
• 1:17:10
  cherry on that kind of obvious cake.
• 1:17:13
  This is the eye of the duck. Yeah, the light that.
• 1:17:16
  Stockwell uses as. A mic was not planned.
• 1:17:18
  During rehearsals, he picked up this construction work light and
• 1:17:21
  used it as a stand in mic. Lynch loved it so much that he
• 1:17:25
  kept the light and stopped, well, mime and the song when he
• 1:17:27
  originally was meant to sing it. Right, right, well.
• 1:17:30
  It's much better that way. It really.
• 1:17:31
  Does it's much? More sinister that way.
• 1:17:34
  It is so sinister. And I don't know why.
• 1:17:37
  No, on the way out. Of.
• 1:17:39
  This is it, yeah. It's one of the me favorite
• 1:17:41
  transitions in cinema history. I think I'll fuck anything that
• 1:17:45
  moves, man Bang. He just disappears from the
• 1:17:48
  frame. It's incredibly creepy and
• 1:17:52
  really powerful and just put straight into the car and you're
• 1:17:56
  like what what is going on? Like the the furious nature of
• 1:18:00
  that disappearance of that cut is so lynching.
• 1:18:02
  And then we're going to the car and then we'll see you know, the
• 1:18:05
  road and I'm thinking this is lost highway.
• 1:18:07
  This is must be where he gets the idea of lost highway from
• 1:18:09
  this this iconography of just this travelling to nothing to
• 1:18:12
  darkness. That's where Jeffrey is.
• 1:18:14
  He's in this hell in that this chariot, the hell with these
• 1:18:18
  horrible people. And nobody respects his privacy.
• 1:18:20
  No one respects his place. And he's just being exploited as
• 1:18:23
  a human being. The pullover and nothing.
• 1:18:26
  And then Frank just you hear the gas and then oh, God, there's
• 1:18:29
  just that incredible shot of the like, you know, yeah, you've got
• 1:18:33
  Dorothy in the front, you've got Frank in the front, you've got
• 1:18:34
  the other guy behind that shot. And it just turns around.
• 1:18:37
  You've just that Freeman of that is just so imposing on the
• 1:18:39
  viewer because you feel like you're in the back seat with
• 1:18:41
  them and it's like, and then there's the lever alone and he
• 1:18:44
  starts on and it's just that's really weird.
• 1:18:46
  But watch the guy behind Isabella Rossellini just doesn't
• 1:18:48
  know what to do even he's like, am I in the scene?
• 1:18:52
  I'm on the shot? What?
• 1:18:54
  Am I doing? He looks terrified.
• 1:18:56
  There's no ad Lib and whatsoever here because Hopper is just
• 1:18:58
  gone. Yes, he's just doing his thing.
• 1:19:01
  He snaps at this point. This is what he didn't do the
• 1:19:03
  first time he saw Frank act against Dorothy because he has
• 1:19:06
  more feelings for an hour. He has more understanding of who
• 1:19:08
  this is and he's going to stand up to this evil and he just gets
• 1:19:11
  punished for it. I love that fist just coming in.
• 1:19:13
  Brilliant shot where he punches and that's just wonderfully.
• 1:19:16
  Don't put Frank the way he snaps.
• 1:19:18
  You get him out the car, get him out the car, fuck, get him out
• 1:19:21
  the car. And it's just like curious about
• 1:19:23
  what's happened to him. He's like he's been touched,
• 1:19:25
  he's been violated and then he chooses to violate Geoffrey and
• 1:19:29
  just you're going to invade Myspace, I'm going to invade
• 1:19:31
  yours. And he's just all pretty pretty
• 1:19:33
  and he's just moved their lipstick on and then kissing
• 1:19:35
  him. And it's just a complete
• 1:19:36
  invasion of that privacy. And that emotion is disgusting.
• 1:19:40
  So you've got people in these crew, especially that woman
• 1:19:42
  who's gets on top of the car and starts to dance because she's
• 1:19:45
  really, she's just reassuring Frank that everyone's in on
• 1:19:48
  this. It's a good idea to feel this
• 1:19:49
  way. We are into the song.
• 1:19:51
  We are into the emotion. Dorothy isn't.
• 1:19:53
  She sat in the car to school. Leave him alone.
• 1:19:55
  What on earth is going on with Brad Durf?
• 1:19:57
  Again, amazed and casting when he's just stood with that knife
• 1:20:01
  against his throat. He is just completely committed
• 1:20:03
  to that, to that part of that role.
• 1:20:05
  You would think he is in that group.
• 1:20:07
  And it's just the way he's quoting the lyrics and his
• 1:20:11
  speech about a love letter is a bullet from a gun.
• 1:20:14
  And it goes into your heart and you got a love letter for me and
• 1:20:16
  you are done for. And that is it.
• 1:20:18
  And he's using love as a weapon. He's using emotion as a weapon.
• 1:20:21
  He's using happiness as a weapon.
• 1:20:23
  And this person just couldn't get any more despicable.
• 1:20:26
  And he does, and you're along for the ride 100%.
• 1:20:29
  And then he just starts going through and starts beating up
• 1:20:31
  Jeffrey and starts breaking them down.
• 1:20:33
  It's the worst possible behaviour towards another human
• 1:20:36
  being, how you can belittle them emotionally and then belittle
• 1:20:40
  them physically. And that's what he does all the
• 1:20:42
  way through this film to everybody, and especially a
• 1:20:44
  Jeffrey here. It's really tough to watch, but
• 1:20:46
  it completely reinforces Frank's character and makes you fucking
• 1:20:49
  terrified of him. That's one of the most
• 1:20:51
  terrifying. Scenes in any film, This,
• 1:20:54
  they've just this stretch. Dorothy and Jeffrey's psycho
• 1:20:57
  sex, this is it. And then this scene, the
• 1:21:01
  lipstick, the woman dancing on the hub of the car, it's like
• 1:21:03
  Texas Chainsaw Massacre. Yeah, it's the weirdest fucking
• 1:21:09
  scene. I think it's brilliant.
• 1:21:14
  It is so some of the. Most disturbing scenes of the
• 1:21:16
  decade of any decade in a stretch, which is strangely
• 1:21:20
  compelling. Yeah.
• 1:21:21
  Very compelling, yeah. The crew The crew on Blue Velvet
• 1:21:30
  brings. Some names to the podcast that
• 1:21:32
  we've never talked about in the past, and we're starting off
• 1:21:34
  with the singular vision that David Lynch brought Blue Velvet
• 1:21:37
  with his unique screenplay. Yeah.
• 1:21:41
  As it's written and directed. By David Lynch I think the lines
• 1:21:44
  are blurred between directing and writing, and sometimes it
• 1:21:47
  just feels like a sensation or an atmosphere that he's created
• 1:21:51
  with Blue Velvet. But the aspect of the right and
• 1:21:54
  that sticks out to me most is duality.
• 1:21:56
  It's a huge part of the narrative and of the characters
• 1:21:59
  as well, and I think that Lynch presents a kind of hyper reality
• 1:22:02
  at the start and the end of the films, complete with clunky
• 1:22:05
  dialogue and double entendre laced radio jingles.
• 1:22:09
  And then he flips. That right on its head.
• 1:22:10
  For the middle section, I think the genre bending nature of the
• 1:22:13
  film also fits into this duality.
• 1:22:15
  Is it a mystery? Is it a tongue in cheek drama?
• 1:22:18
  A coming of age film? A horror film?
• 1:22:20
  None of those, all of those. I like that Jeffrey has almost a
• 1:22:24
  dual personality, the kind of all shooks small town boy during
• 1:22:29
  the day and the disturbed sexual curious voyeur that prowl
• 1:22:33
  tonight, something that is reinforced by the two women in
• 1:22:36
  his life. Sandy during the day, Dorothy at
• 1:22:38
  night. He's at once repulsed by what he
• 1:22:40
  sees from Dorothy's closet, but also finds strangely illumorant
• 1:22:43
  and erotically charged. Just like we do, of course.
• 1:22:50
  He pretends to be somebody he's not.
• 1:22:51
  When he masquerades as the bug man, this is the bridge between
• 1:22:54
  his two personalities between the day and the night time.
• 1:22:56
  Darkness and light bugs in the film are representative of the
• 1:22:59
  darkness inheritance society in the fabric of everyone, even
• 1:23:03
  people as white picket fenced as Jeffrey and Sandy.
• 1:23:06
  And it goes into the dream that Sandy had that you mentioned
• 1:23:09
  earlier, Matt. And we can see this duality in
• 1:23:12
  the character Dorothy, who's forced into these horrific
• 1:23:15
  sexual situations with Frank but seems to get some sensual
• 1:23:17
  satisfaction from it. And she sees Jeffrey as someone
• 1:23:20
  who can help her get a son back, but also begs for him to display
• 1:23:23
  the same sordid behavior as Frank.
• 1:23:25
  It's so complex and compelling the way that these characters
• 1:23:29
  are written. And I do think it's interesting
• 1:23:31
  that Frank's Dorman is the night time.
• 1:23:32
  This is where he thrives. And generally the only time we
• 1:23:36
  see him during the day is when he's dressed as the well dressed
• 1:23:39
  man. Disguise.
• 1:23:40
  Yeah. Yeah, he's in disguise.
• 1:23:42
  Yeah. He also can't make his mind up
• 1:23:44
  whether he wants to be baby or daddy.
• 1:23:47
  No, the town. Of.
• 1:23:48
  Lumberton We discussed this. It's got this kind of Howdy
• 1:23:51
  Doody friendly exterior that he wants to portray, but there's
• 1:23:54
  something very evil looking just below the surface.
• 1:23:56
  I think Lynch makes the duality in the film a metaphor for the
• 1:23:59
  complexities of human emotions and impulses.
• 1:24:02
  And also towns and cities dotted all over the world.
• 1:24:05
  And, you know, I'm just scratching the surface here.
• 1:24:07
  It's outstandingly oblique writing from Lynch.
• 1:24:10
  It's something else, something that nobody would ever do.
• 1:24:13
  No, Wesley, what are your thoughts on the writing?
• 1:24:15
  It just has like you've said. Just this incredible sense of
• 1:24:17
  originality. And I think the dialogue as well
• 1:24:20
  reflects that because it's just so clunky and it's just so
• 1:24:23
  matter of fact at the start. And then you get these beautiful
• 1:24:25
  monologues, you know, from Sandy talking about a dream, how that
• 1:24:28
  evokes so many visions in your head.
• 1:24:29
  And then Frank's monologue that we've just spoke about, you
• 1:24:32
  know, love letters and how that's really important.
• 1:24:34
  But it's just the plotting of this as well.
• 1:24:36
  I think he plots it really well and it's really, really steadily
• 1:24:40
  done because there's always something happens that you don't
• 1:24:42
  quite expect. And I think he's got the plot
• 1:24:44
  down and that is licked and he knows exactly what he's doing
• 1:24:47
  with that. Like you said, he loves a
• 1:24:48
  concrete plot, which is what this is.
• 1:24:50
  It's very simple. It's a very small plot, but
• 1:24:53
  around that's what he builds on top of it.
• 1:24:55
  The foundations are there. And I think just reflect on what
• 1:24:58
  you've just said actually looked like.
• 1:24:59
  If someone else had directed this, what would that have
• 1:25:02
  looked like? Or if Lynch had directed
• 1:25:05
  something that was written by somebody else?
• 1:25:07
  But how much of it would he have laid on top of what's already
• 1:25:10
  there? You know what I mean?
• 1:25:11
  How how abstract would he have made Chinatown?
• 1:25:14
  How strange would he have made that?
• 1:25:16
  And what Lynch doesn't do is explain himself and never have
• 1:25:19
  and never will. And I think a lot of that's in
• 1:25:21
  the writing. And that's why, you know, Val
• 1:25:23
  Kilmer was put off by it. God knows what that draft was
• 1:25:26
  like. I think that's just him thinking
• 1:25:28
  down that line. And then he would actually
• 1:25:30
  wouldn't cross pollinate it and go down this line.
• 1:25:32
  And what about that? But I think a lot of this is
• 1:25:34
  down to Lynch kneeling down. A solid idea to get funding to
• 1:25:39
  then have fun with it on top of that to deal with the actors,
• 1:25:43
  actresses who are involved in every character that's in it.
• 1:25:45
  And then just say, why don't we try this to have Frank's
• 1:25:48
  character originally have helium to change that when Hopper
• 1:25:52
  suggested to change it shows me an incredible shift in that
• 1:25:55
  character that would have just been hilarious.
• 1:25:58
  It would have made no sense. High pitched sound like Donald
• 1:26:00
  the tried to do it. So how much of this was fleshed
• 1:26:03
  out on the page and how much of it was fleshed out as they were
• 1:26:05
  shooting? And I think it's down to David
• 1:26:07
  Lynch to say that this is written and directed by David
• 1:26:10
  Lynch as a package. It's kind of half written, half
• 1:26:13
  directed, smashed together. The writing is the direction,
• 1:26:16
  and the direction is the right because it's David Lynch, very
• 1:26:19
  similar, I. Think this is one of those cases
• 1:26:21
  where I can't really divide the direction and the right for the
• 1:26:25
  most part I. Think.
• 1:26:26
  The writing is part of the reason why the film fills you
• 1:26:29
  with so much anxiety, because it constantly sets up expectations
• 1:26:33
  of where film would normally go. Except it doesn't, and when it
• 1:26:37
  doesn't, it doesn't bother explaining why it hasn't done
• 1:26:40
  that either. So you know, why is Sandy sad so
• 1:26:43
  blouse about letting Jeffrey tag along on this police case?
• 1:26:46
  A murder case? Don't know, but it doesn't
• 1:26:48
  matter. Why is Jeffrey not more freaked
• 1:26:50
  out by the discovery of a 70? Don't know, Doesn't matter.
• 1:26:54
  It's a film of total contrast in the writing, not lying about
• 1:26:57
  Jeffrey. Is he a detective or pervert?
• 1:27:00
  He's both. It flips, contrasts all the
• 1:27:04
  time. It goes from lush romantic
• 1:27:06
  scenes of teenage love to dark sexual depravity.
• 1:27:10
  And it's just different sides of the same coin.
• 1:27:12
  Like, I always forget part of the ending of this film ends
• 1:27:15
  with a shootout between the police and Frank's gang.
• 1:27:17
  Yeah, but Lynch could not care less about that.
• 1:27:21
  No, because that's how any. And this was saying what would
• 1:27:23
  someone else do with this script?
• 1:27:25
  Anyone else would Ended with a big shootout.
• 1:27:28
  And it's so deliberately throw away by Lynch.
• 1:27:30
  He's going. There you go.
• 1:27:32
  That's the one bit you were expecting.
• 1:27:33
  And I've just had a really uneventful and it's it's the
• 1:27:35
  most boring part of the film. Yeah.
• 1:27:37
  See, you obviously can't separate.
• 1:27:39
  The right and. Direct and the pretty much one
• 1:27:40
  in the same. I think Blue Velvet just it
• 1:27:43
  filled us the way he views the world through this 50 style
• 1:27:45
  Americana, but it's still in the 80s.
• 1:27:48
  At the same time, in every aspect of the film, you just go,
• 1:27:51
  well, yeah, that's David Lynch and it's what he does.
• 1:27:53
  And the writing is no different. It's all about light and dark
• 1:27:56
  coexistent and it may not make sense.
• 1:27:59
  You just have to accept that unfortunately.
• 1:28:01
  Yeah, going to get no answers. No, Lynch's blue.
• 1:28:04
  Velvet screenplay had. Been passed around Hollywood and
• 1:28:07
  rejected by pretty much every major studio due to its
• 1:28:10
  disturbing nature and after he finished.
• 1:28:14
  The Elephant Man Lynch met up with producer Richard Roth, and
• 1:28:17
  he gave Roth an unfilmed script of his, which was called Ronnie
• 1:28:20
  Rocket. Roth read it, asked if he had
• 1:28:23
  anything else bubbling away, and then said, well, I told him I'd
• 1:28:25
  always wanted to sneak into a girl's room to watch it of the
• 1:28:29
  night, and that maybe at one point or another I would see
• 1:28:31
  something that would be the clue for a murder mystery.
• 1:28:34
  I've always wanted to sneak into a.
• 1:28:35
  Girl's room. I'm still there.
• 1:28:36
  Yeah, but do you have a? Script though, so I'm going to
• 1:28:39
  call the. Police if this goes.
• 1:28:41
  Any further? Yeah, write that down.
• 1:28:43
  Yeah. But oddly enough.
• 1:28:46
  Roth loved it and encouraged him to write a treatment.
• 1:28:48
  David Lynch went home and that's when he had the idea for the ear
• 1:28:51
  that came into his mind right then, he said.
• 1:28:54
  That he had three ideas. Which formed the basis of Blue
• 1:28:57
  Velvet, the Bobby Vinton song. He said the mood that came with
• 1:29:00
  that song. A mood a time and things that
• 1:29:02
  were of that time. He thought about being in a
• 1:29:04
  girl's closet at night, like Matt just said.
• 1:29:06
  And the third idea was the ear in the field.
• 1:29:08
  Because it would be like finding a ticket to another world.
• 1:29:10
  You know, it would change your life.
• 1:29:12
  I don't know if it would, David. It shouldn't.
• 1:29:16
  Change your life, David. Yeah, despite.
• 1:29:19
  Having a disturbed. Cinematic mind.
• 1:29:21
  If you've seen Lynch in interviews, he seems quite the
• 1:29:23
  wholesome chap. Yes, wonderful, Jimmy.
• 1:29:25
  Sealed for Mars. That's what I am.
• 1:29:27
  Well, books called him. Wasn't it brilliant?
• 1:29:31
  Jimmy sealed for Mars. Yep, that's me.
• 1:29:33
  Perfect. You'd.
• 1:29:35
  Expect him to emerge from the. Shadows, but he seems like a
• 1:29:37
  well adjusted mind. What a quiff as well.
• 1:29:40
  Great hair. Yeah.
• 1:29:40
  Wonderful. Yeah, on.
• 1:29:42
  Set despite having. Written the screenplay.
• 1:29:44
  He never uttered any foul language, something that Dennis
• 1:29:47
  Hopper found very amusing with Lynch would point at the script
• 1:29:50
  and say that word. He's even made direction.
• 1:29:57
  Like, difficult. You know what's?
• 1:30:00
  Interesting though, you know, like.
• 1:30:01
  Obviously when he died, all the tributes that came out, the
• 1:30:04
  amount of actresses he worked with who had nothing but praise
• 1:30:07
  from, considering how many like dark films about sex he's made,
• 1:30:11
  you would think is he a bit dodgy in real life?
• 1:30:14
  But it just seemed like an absolute gentleman, like the
• 1:30:16
  kind of soul you could ever meet.
• 1:30:18
  It's almost like an alter ego. Has written made his films,
• 1:30:22
  yeah. So this is semi.
• 1:30:23
  Autobiographical for Lynch, Jeffrey dresses like he did.
• 1:30:26
  His father worked in the Department of Agriculture, and
• 1:30:28
  as such he was always in the woods, he said.
• 1:30:31
  Lumber and lumberjacks. That's America to me, like the
• 1:30:33
  picket fences and the roses at the opening shot.
• 1:30:35
  It's all burned in that image and it makes me feel so happy.
• 1:30:39
  That's quite. Strange makes.
• 1:30:41
  Him feel so happy and I'll meet this nightmare underneath it,
• 1:30:44
  yeah. So a strange and disturbingly.
• 1:30:48
  Unique vision from Lynch and his screenplay.
• 1:30:50
  Everything we'd come to expect from the Quafford genius.
• 1:30:54
  Yeah, definitely. And next we have the unsettling.
• 1:30:58
  Sound of the Music and Blue Velvet There are some huge
• 1:31:01
  fifties 60s hits that punctuate the narrative at the beginning
• 1:31:04
  of an enduring cinematic partnership between David Lynch
• 1:31:07
  and Angelo Badlamenti. Matt.
• 1:31:10
  What do you think of? The music in the film, it's such
• 1:31:14
  an. Eclectic mixture.
• 1:31:15
  You've got the 50 standards. You go from the opening titles,
• 1:31:20
  which is this very Bernard Hermanesque for boarding score,
• 1:31:24
  very much riffing on vertical, I think in particular from his
• 1:31:28
  back catalog. And then you've got this the
• 1:31:30
  like slinky jazz in there that is very Twin Peaks.
• 1:31:34
  If you ever watch Twin Peaks, that was that kind of
• 1:31:36
  soundtrack. But again.
• 1:31:38
  It's one of the elements. Of the film where it's all about
• 1:31:40
  the contrast, because then you've also got that ethereal,
• 1:31:43
  almost angelic chorus that comes in the mysteries of love, you
• 1:31:47
  know, which is always associated with Sandy and the end.
• 1:31:50
  And that is so like blissed out. But it's also really, really
• 1:31:53
  honest. Like that kind of music.
• 1:31:55
  It could sound like a parody. It could sound like a parody of
• 1:31:58
  a John Williams type Scott. But it never does.
• 1:32:00
  And I think that's because Lynch has never parodied anything in
• 1:32:04
  his life in any of his films. Anything in his films he
• 1:32:06
  believes in. So he believes in the darkness
• 1:32:09
  and the CD underbelly of life, but he also truly believes in
• 1:32:12
  the heel and power of love. And he believes that those two
• 1:32:15
  things can coexist, and therefore they can coexist in
• 1:32:18
  the soundtrack as well. And that's what that represents
• 1:32:21
  to me, the contrast and the balance at the same time.
• 1:32:23
  So it's a mixed year that, like so much of David Lynch,
• 1:32:26
  particularly in this film, it shouldn't work.
• 1:32:28
  But the variety of music just works perfectly.
• 1:32:31
  Yeah. Classic Lynch again.
• 1:32:33
  Everything classic Lynch. Everything's classic Lynch.
• 1:32:35
  Westy Your. Thoughts on the music in the
• 1:32:37
  film? Yeah.
• 1:32:38
  I mean, it's very, very. Playful, I think, yes, Battle
• 1:32:42
  and he's. Having a great.
• 1:32:43
  Time here, he can just turn his hand to anything and it works.
• 1:32:47
  It's really sets the tone as it goes through the film.
• 1:32:50
  But not as sledgehammery. I think you need someone, Lynch
• 1:32:53
  needs someone like this, who has got a little bit of subtly, who
• 1:32:56
  is kind of stepping back a little bit and making you think,
• 1:32:59
  does this fit in this part of the film?
• 1:33:02
  Does that jazz make any sense right now?
• 1:33:04
  Does this real foreboding sense of dread really resonate with
• 1:33:09
  finding an ear in a field? Does this make sense now?
• 1:33:12
  I think that's what he does really well as he reads Lynch
• 1:33:14
  and gives you the opposite of what should really go with it.
• 1:33:18
  Like he's putting potatoes with pasta almost.
• 1:33:20
  He's kind of like going, well, you can't eat that at the same
• 1:33:23
  time, but it might not work. But it's not.
• 1:33:25
  You decide that. And it is like a Batman, Robin
• 1:33:28
  kind of thing for me with these two, Yeah.
• 1:33:31
  Lynch is kind of batting the ball.
• 1:33:32
  Over and going, this is the scene, right?
• 1:33:34
  Give us something that I'm not expecting and he gives him
• 1:33:37
  something that he's not expecting.
• 1:33:38
  And Lynch goes, we're using that.
• 1:33:39
  I mean, there's like double bass in there.
• 1:33:41
  Sounds like a jazz. Kind.
• 1:33:43
  Of. Comedian.
• 1:33:45
  Like just to fill the gaps of just thoughts.
• 1:33:47
  You don't have to think about it.
• 1:33:48
  There's no painful silences. It's just there just to chug
• 1:33:50
  along with the pace. And that's the thing I thought
• 1:33:53
  about the screenplay, with the plotting of it.
• 1:33:55
  I think with the score, it really helps with the plotting
• 1:33:58
  of the film, with the piercing of the film.
• 1:34:00
  Yeah, it helps it move, and it helps it move at exactly the
• 1:34:03
  right pace. Nobody's got a theme here, you
• 1:34:06
  know, it's not the imperial March when Frank turns up.
• 1:34:09
  There's no there's no big theme. Imagine that'd be great.
• 1:34:12
  That Just call me daddy. Yeah.
• 1:34:18
  Oh, I couldn't imagine it. That's.
• 1:34:19
  Even more terrifying? Then that's what I mean, it just
• 1:34:23
  mixes. Together perfectly.
• 1:34:24
  I think this collaboration here really, really works.
• 1:34:27
  And I think Battle and he's taking a backseat going yeah,
• 1:34:30
  I'm quite happy to make this as crazy as you want to make it.
• 1:34:33
  Let's do it. Yeah, he really started.
• 1:34:35
  Something here with Lynch, and I think is a major element of the
• 1:34:38
  term Lynchian. You get bad lament his work with
• 1:34:41
  David Lynch, dreamlike, floating, hazy music.
• 1:34:44
  It creates a kind of hyper realistic tone.
• 1:34:47
  We can never trust that we're in the real world when that music
• 1:34:49
  kicks in, especially when matched with the visuals.
• 1:34:52
  It's particularly noticeable during the like the romantic
• 1:34:54
  scenes between Jeffrey and Sandy, that dreamland quality.
• 1:34:58
  Linds must have thought like all of his Christmases would come up
• 1:35:00
  once when Angelo came on board. But this is only one element of
• 1:35:04
  his work. You've also got, like you've
• 1:35:06
  been talking about, overtly new arm music.
• 1:35:08
  It's the music of the 40s, where all the hip cats occupy the
• 1:35:11
  shadows. It's lounging jazz with lazy
• 1:35:15
  sacks, it sounds like. Who framed?
• 1:35:18
  Roger Rabbit. Dozen places, yeah.
• 1:35:22
  And it's. All done very.
• 1:35:23
  Tongue in cheek, given some much needed levity to the film.
• 1:35:27
  And then add to that the dramatic score he brings to the
• 1:35:29
  nightmare scenes. It's almost like he's made three
• 1:35:31
  different scores for three different films here.
• 1:35:34
  Yeah. Three or four, Yeah.
• 1:35:35
  And the 50s songs. Are a revelation.
• 1:35:38
  Songs that were from a bag on era of teenagers in love and
• 1:35:41
  milkshakes now took on a brand new lease of life.
• 1:35:43
  The film reveals a darkness in Blue velvet and in dreams that
• 1:35:46
  I'm sure were caught everyone by surprise.
• 1:35:49
  Oh absolutely. Those songs absolutely haunt me
• 1:35:53
  now, particularly in dreams. Yeah.
• 1:35:56
  Yeah, Isabella. Rossellini, actually.
• 1:35:57
  Sung her version of Blue Velvet, and because that's her voice,
• 1:36:01
  she had a vocal coach on set, but they couldn't quite nail it.
• 1:36:05
  So producer Fred Caruso drafted in his old buddy Angelo
• 1:36:08
  Badlamenti. He flew into town and worked
• 1:36:11
  with Rossellini on her voice. Arrangement of the song.
• 1:36:14
  Yeah, the arrangement is totally.
• 1:36:15
  Different. I love that slow build of like
• 1:36:18
  the first couple of lines and you just have to wait for it to
• 1:36:20
  kick in. Fantastic, She sounds almost
• 1:36:23
  like. Nico, the way that, like the
• 1:36:25
  internation, it's almost dull and it's not quite right.
• 1:36:28
  Yeah. It's not quite.
• 1:36:29
  It's not. Quite in time, it's not quite.
• 1:36:31
  Right. Yeah, something about it.
• 1:36:32
  Yeah, it's lovely. Lynch wasn't, actually.
• 1:36:34
  Blown away by this notion at first because Bad Lamenti was an
• 1:36:37
  outsider, but he loved the arrangement of the song that he
• 1:36:40
  did and the got along famously. So Lynch asked him to score the
• 1:36:42
  whole film. Yeah, and this was the start.
• 1:36:44
  As we've said, the start of a beautiful friendship with Battle
• 1:36:47
  Men in Lynch, working together on all Lynch projects apart from
• 1:36:50
  Inland Empire. He would refer to his
• 1:36:52
  partnership with Lynch as my second best marriage.
• 1:36:56
  Wow, nice. When Sandy.
• 1:36:57
  And Jeffrey are walking down the streets.
• 1:36:59
  Lynch played composer Dmitry Shostakovich music booming out
• 1:37:04
  the speakers as a walking down the street at night.
• 1:37:07
  He said that he listened non-stop to #15 and a major when
• 1:37:11
  writing the screenplay. And one of the atmosphere
• 1:37:13
  created by that song to pervade the set, right?
• 1:37:17
  Lynch also told Badlimenti. To make the music for the film,
• 1:37:19
  like Shostakovich, be very Russian, but make it the most
• 1:37:23
  beautiful thing, but make it dark and a little bit scary.
• 1:37:27
  Where do you go with that? Thanks, Dave.
• 1:37:30
  Hurry up, but take your. Time.
• 1:37:31
  Keep it. Loud.
• 1:37:32
  Keep it quiet. And bad lamenti.
• 1:37:36
  Appears in the film as the pianist in the Slow Club.
• 1:37:40
  All right, OK. In the middle of film and Lynch
• 1:37:42
  and McLaughlin. Were driving from New York to
• 1:37:44
  Wilmington and Crying by Roy Orbison came on the radio.
• 1:37:48
  Amazing. Lynch loved it and said he
• 1:37:50
  needed to include that song in Blue Velvet.
• 1:37:52
  He bought a copy of Orbison's greatest hits, but became
• 1:37:54
  enamoured with another song instead.
• 1:37:56
  That we've been talking about in dreams.
• 1:37:58
  Yeah, crying's already. Been used on it.
• 1:38:00
  Crying. It only fills in.
• 1:38:09
  Horses yet again. Yeah, there it is, every.
• 1:38:12
  Episode now and Lynch was inspired by the.
• 1:38:17
  Bobby Vinton version of Blue Velvet, he said.
• 1:38:20
  It wasn't the kind of music that I really liked, but there was
• 1:38:22
  something mysterious about it. It made me think about things,
• 1:38:26
  and the first things I thought about were lawns.
• 1:38:28
  Lawns in the neighborhood, right?
• 1:38:31
  I'm amazing there's £6 million made the film that's completely
• 1:38:34
  yours on Put Music and I don't really like sound.
• 1:38:38
  Why? Because.
• 1:38:38
  It makes me think of lawns. It made me think of gardens,
• 1:38:42
  yeah. Anything to do with the
• 1:38:44
  narrative? No, no gardens.
• 1:38:45
  And that just gardens, and that's great.
• 1:38:48
  Love it, but despite the gardens and.
• 1:38:55
  That that lament these imprint on Blue Velvet is undeniable.
• 1:38:59
  Yes, definitely. Finally, it's a collaborator.
• 1:39:04
  Of Lynch's since he started making films in DDP
• 1:39:07
  extraordinaire it is Frederick Elms Westie Yeah your thoughts
• 1:39:13
  on Fred Elms here I mean the way that this.
• 1:39:15
  Whole film shifts over its full runtime of two hours from this
• 1:39:20
  glossy, beautiful Sheen to then it seems to go from day to
• 1:39:24
  night, but then back today again, it seems like a stick, a
• 1:39:28
  complete tonal shift in the open, and it's just like a
• 1:39:31
  sunrise. And it's just got all of this
• 1:39:33
  great tonnage to it. The color palettes, absolutely
• 1:39:35
  amazing. There's a lot of contrast in
• 1:39:37
  there. And to me, it feels like Lynch
• 1:39:40
  needs somebody he can rely on. And we know that Fred Helms did
• 1:39:44
  a race ahead, so he's gone back to his roots.
• 1:39:46
  It's not overshadowed. It could be if someone was a
• 1:39:50
  little bit more heavy-handed. I think Lynch is heavy-handed
• 1:39:52
  enough and I don't I still don't think there's any subtlety of
• 1:39:55
  the cinematography, but it's definitely not over the top.
• 1:39:58
  And I think of anyone shown restraint on the set.
• 1:40:01
  I mean, we've already talked about the score.
• 1:40:02
  We talked about Angelo just running with Lynch and just I've
• 1:40:05
  just met him. Here we go.
• 1:40:06
  But I think Fred Holmes knew him a little bit longer and said,
• 1:40:08
  I'll tell you what, we're just going to draw this back
• 1:40:10
  slightly. And you can tell that with
• 1:40:12
  camera movement, with blocking, some of it's very considered,
• 1:40:15
  some of it's very intentional. Like we said about that shot,
• 1:40:17
  that always. Breaks me in the apartment, the
• 1:40:19
  whole Frank Booth scene, I think there's about 3-3 shots, three
• 1:40:23
  different cuts and it's all held on that wide and it's how
• 1:40:27
  important that why it is and how important the practicals are.
• 1:40:29
  But it never looks lit. It never looks over the top,
• 1:40:32
  looks very much part of the scene.
• 1:40:35
  It looks almost dark around the. Edges.
• 1:40:37
  Yeah, it's got a vignette. It's.
• 1:40:38
  Got that real. Just draws you into the center
• 1:40:40
  of the frame all the time. I don't think there's a lot of
• 1:40:43
  thirds in this film where you kind of go right.
• 1:40:45
  Well, that needs to be off to the side there.
• 1:40:46
  Even that great shot we're talking about with Frank in the
• 1:40:49
  car, when he turns around, you still got Frank on one side,
• 1:40:51
  you've got Dorothy on the other. It's all very symmetrical.
• 1:40:53
  It's all very framed. Everything has a place on the
• 1:40:56
  screen. And I think Frederick Helms just
• 1:40:58
  really knows where that place is.
• 1:41:00
  And you need somebody who understands Lynch.
• 1:41:02
  I think the police vision onto the screen as well as he does
• 1:41:04
  here. He needs somebody who he can
• 1:41:06
  trust, and he can trust Frederick Helms.
• 1:41:08
  Without doubt we've. Talked about a color and
• 1:41:10
  lighting plays a huge part. Blues and Reds.
• 1:41:13
  Whenever Jeffrey is contemplating the dark side of
• 1:41:15
  his wants and desires, he's usually under the spell of a red
• 1:41:18
  light. Dorothy wears a blue velvet
• 1:41:21
  rope. The blue represents an innocence
• 1:41:23
  which she uses to cover up the sin of her body.
• 1:41:25
  And equally, Frank uses swatches of that blue velvet, presumably
• 1:41:29
  to justify his actions. And they're all captured so
• 1:41:32
  stark and beautifully by Elms. It's very similar to what you
• 1:41:35
  were saying. Westie creates this very
• 1:41:37
  uncomfortable space in a lot of the sets.
• 1:41:39
  He sits on a wide shot for long periods of time, making it very
• 1:41:43
  uneasy. There's only about three shots
• 1:41:45
  in Dorothy's apartment. It's set up like anything can
• 1:41:48
  happen because this space just isn't filled, so something's
• 1:41:51
  going to come in at some point. Yeah, it's classic horror trope
• 1:41:54
  as well. It is.
• 1:41:55
  Yes, it is. Obviously failing.
• 1:41:56
  More specifically in Dorothy's apartment when Jeffrey first
• 1:41:59
  knocks on the door and he's hiding in the closet when he
• 1:42:01
  goes back in at the end and sees this strange formation of dead
• 1:42:04
  bodies. I've never been more unsettled
• 1:42:06
  by an apartment in movies. Ever see him?
• 1:42:09
  Yeah, every time. We go back to Dorothy's.
• 1:42:11
  I get this horrendous sense of on these, like I said, and
• 1:42:14
  that's because nothing good ever happens there.
• 1:42:16
  Lynch creates this sensation, but Elms has captured it
• 1:42:19
  perfectly. You can see it in This Is It
• 1:42:22
  scene as well. The original plan was to set up
• 1:42:25
  the block and then have close up shots, but during rehearsals
• 1:42:27
  this only complicated the scene. So Elms put it as a wide shot
• 1:42:31
  with all the characters in the frame.
• 1:42:32
  He said that he'd give the scene an intentional awkwardness,
• 1:42:35
  which put everybody on edge. Yeah, seeing everybody.
• 1:42:38
  Just you just don't know who's going to do what exactly.
• 1:42:41
  Yeah. It's the use of.
• 1:42:42
  Lightning, I think for me to go from that open and that I talked
• 1:42:45
  about to the darkness of the club to the darkness of the
• 1:42:48
  streets when Jeffrey and Sandy are just walking and that street
• 1:42:52
  just stretches on behind them into Infinity and think over
• 1:42:55
  there. But short of it's very brief,
• 1:42:58
  that chart where just pushes in on the trees and the streets are
• 1:43:01
  blank. That point of view shot from
• 1:43:03
  there. Like there by the POV shot jump.
• 1:43:06
  Out from behind that. Tree, it's a real Halloween.
• 1:43:09
  It's really Halloween. It's really.
• 1:43:10
  Unsettling. And it's just that one bit.
• 1:43:12
  I mean, everything is so carefully thought through, like
• 1:43:15
  Ben's place. It's lit to suggest all these
• 1:43:17
  dark corners where anything could be thriving.
• 1:43:20
  But again, it's like the music. It's about contrast scenes, like
• 1:43:23
  the first time Jeffrey C Sandy and she steps out of darkness.
• 1:43:27
  It's like a 50s melodrama or something like that.
• 1:43:32
  But then you. Can't last that to any scene.
• 1:43:34
  But Frank and they tried like a horror film instead.
• 1:43:36
  Like it's incredibly disturbing. Everything in this film is
• 1:43:39
  decided to put you on edge, to throw you off a little bit.
• 1:43:42
  You see, you don't know what's coming next to the sound design,
• 1:43:44
  the production design, same the cinematography.
• 1:43:46
  The whole film is about things being brought into the light
• 1:43:49
  that shouldn't be brought into the light.
• 1:43:51
  And that's really what cinematography is doing here.
• 1:43:54
  And Elms himself said it's a dark film because when he gets
• 1:43:57
  down under the surface and in over his head, he's in the mock
• 1:44:00
  and Maya of this of the world, but he doesn't want to be in.
• 1:44:02
  But he's still intrigued and caught up in it.
• 1:44:04
  So I tried to create a style that would fit that mood.
• 1:44:07
  Yeah, yeah. And he did that by.
• 1:44:09
  Me at the beginning and the end of the film.
• 1:44:10
  Overtly cheerful and colorful to give a stark contrast to the
• 1:44:14
  middle of the scene. The bulk of the film.
• 1:44:16
  The scene in the car wasn't. Actually shot in the moving car.
• 1:44:19
  Fred Elm said that because the car appeared to be moving faster
• 1:44:22
  than was safe for a movie, the best way to give an impression
• 1:44:24
  of speed was to have lights moved past the stationary car by
• 1:44:27
  crew members very quickly and silently.
• 1:44:30
  It was just running past the car.
• 1:44:31
  It was all choreographed very carefully to create the illusion
• 1:44:33
  of a moving car. Totally works for me.
• 1:44:36
  Yeah, they were just rocking it. And just moving those lights
• 1:44:39
  past it, it looks incredible. Looks great.
• 1:44:42
  Yeah, you don't. Question it at all?
• 1:44:44
  So a one in a million screenplay by David Lynch, who used trusted
• 1:44:47
  confidants old and new in his crew on Blue Velvet?
• 1:44:50
  Yep. The end Jeffrey has plunged to
• 1:44:59
  depths. He could never have expected.
• 1:45:00
  And now he has to. Chloe's way back and he starts
• 1:45:03
  by confessing his investigation to Sandy's dad.
• 1:45:07
  Westie, it's over to you. I'm going to go to the scene.
• 1:45:09
  Where he goes back to the police station.
• 1:45:11
  Yeah. And we'll see.
• 1:45:12
  The yellow man. Love it.
• 1:45:14
  I mean, this guy's not so Lizzy. Just change your jacket.
• 1:45:17
  Same jacket every day. Just.
• 1:45:18
  The same jacket all the time. And he's supposed.
• 1:45:21
  To be doing, you know, pretty shady things.
• 1:45:24
  And I think if he wasn't wearing that jacket, I think it'd be
• 1:45:26
  hard for the audience to recognize him because Gordon
• 1:45:28
  just looks very, very plain. Very, very, very plain guy.
• 1:45:32
  And this is a very, very stark contrast now to the police
• 1:45:35
  station that I mentioned earlier on.
• 1:45:37
  This is a completely different place.
• 1:45:39
  Not even. It's just like a different room.
• 1:45:40
  It's a completely different building all together.
• 1:45:43
  I think this is all just really intentional and I think it was
• 1:45:46
  really excellent when we get that alternative angle from when
• 1:45:50
  Jeffrey's remembering what Frank said about Gordon.
• 1:45:53
  Love it and you get that into the alternative and it's just
• 1:45:56
  like from the side when he's kind of remembering it and it's
• 1:45:59
  just you then feel it's probably the most in line part of the
• 1:46:03
  narrative in the whole film though.
• 1:46:05
  That makes perfect sense. That's how we saw Frank talk
• 1:46:07
  about Gordon. Oh my God, this actually works
• 1:46:10
  and I love it for that whole just the way it spins
• 1:46:13
  everything. It feels like I'm watching a
• 1:46:15
  different film than one I was watching an hour 1/2 ago.
• 1:46:18
  It's completely different. Everyone.
• 1:46:19
  The acting is miles better. The reaction shots are miles
• 1:46:22
  better. The cutaways are just really,
• 1:46:23
  really fast and everything starts to make a little bit more
• 1:46:26
  sense. Really, really great scene.
• 1:46:29
  Well, just a little bit. I mean, he's wearing a yellow
• 1:46:34
  jacket. I recognize the guy.
• 1:46:35
  There's a flashback. Frank said something.
• 1:46:37
  He's got the same name. Perfect.
• 1:46:39
  This is all we need here. We'll go.
• 1:46:40
  Let's end the film here, please. Yeah, I mean Wesley.
• 1:46:45
  'S talking about the film making sense now and being normal.
• 1:46:47
  Well, not really, just slightly. Well, slightly by little
• 1:46:50
  standards. Stop putting words in me though.
• 1:46:53
  Yeah, violin standards, because. Then think you move into what is
• 1:46:56
  maybe the most normal scene of the film, which is Geoffrey and
• 1:46:59
  Sandy going to this party. Yes, because you know, it's what
• 1:47:02
  the people do of their age and it's completely normal.
• 1:47:05
  But then again, when is this set?
• 1:47:06
  Because that's some 50s rockabilly playing during this,
• 1:47:10
  and there's seventy 80s kids there.
• 1:47:12
  But then it just moves into, like, the most lushly romantic
• 1:47:15
  scene you could imagine of Geoffrey and Sandy confessing
• 1:47:18
  their love to each other. Well, I'm incredible.
• 1:47:21
  Soundtrack Mysteries of Love. It's called Players Over.
• 1:47:24
  Yeah. Like if you watch the scene in
• 1:47:26
  isolation, you'd think I'm just watching one of the great
• 1:47:29
  romantic worlds of all time. That's what the scene is.
• 1:47:31
  Yeah. Imagine just seeing the scene
• 1:47:33
  and then. Going do you want to watch Blue
• 1:47:34
  Velvet? This is the scene from You go.
• 1:47:35
  Oh yeah, yeah, I'd love to watch that.
• 1:47:37
  This would. Be lovely, Valentine's.
• 1:47:38
  Day maybe? Yeah.
• 1:47:40
  Exactly. Then even following this you.
• 1:47:46
  Get them pursued in the car by Mike, who is Sandy's
• 1:47:49
  ex-boyfriend. You think, oh, it's going to be
• 1:47:51
  like tragically romantic. It's two people who need to be
• 1:47:54
  together in the face of adversity.
• 1:47:55
  It's very Romeo and Juliet, but it ends up being another scene.
• 1:47:59
  That's testament to how Lynch can just shift gears and tones
• 1:48:03
  throughout this song. Because when they get into that
• 1:48:04
  confrontation outside the house, the way that Dorothy just
• 1:48:08
  appears in the background, yeah, it's really naked, obviously, in
• 1:48:12
  some disaster. It's one of the creepiest things
• 1:48:14
  I've ever seen because it just drove you out of that teenage
• 1:48:17
  romance. So glad you've just been in.
• 1:48:19
  Like it's one of the things. I can just.
• 1:48:22
  Vividly remember first time around just being so sad, the
• 1:48:25
  way she just emerges out of the darkness.
• 1:48:27
  Yeah. And almost no one knows apart
• 1:48:30
  from Mike. So yeah, so much of the effect
• 1:48:32
  of Blue Velvet is the way all these contrasts and taunts and
• 1:48:36
  subplots can flow into one another and be part of the
• 1:48:38
  whole, no matter how different they are to each other.
• 1:48:41
  I like. Mike, who's going to?
• 1:48:43
  Kick Jeffrey's ass then starts. To take.
• 1:48:46
  Face out with Dorothy, but then realizes how serious the
• 1:48:49
  situation is. Is that your mom?
• 1:48:51
  Yeah. Yeah, Awful, horrible.
• 1:48:54
  So this scene we're. Talking about the scene.
• 1:48:55
  Where Dorothy is naked on the lawn near the end was inspired
• 1:48:58
  by real events, if you can believe that.
• 1:49:00
  When Lynch was a kid, he was on his way home with his brother
• 1:49:02
  when he saw a naked woman in the street.
• 1:49:05
  He said it wasn't totally it and it was disturbing.
• 1:49:07
  And he started to cry. You recognize the violent
• 1:49:09
  undertones of this and one of the representing that feeling in
• 1:49:12
  Blue Velvet. And he really does.
• 1:49:14
  Yeah, he does. It's not sexy.
• 1:49:16
  This scene not as far. It's the farthest thing from.
• 1:49:19
  Sexy. I think I've ever seen him,
• 1:49:20
  Yeah. And.
• 1:49:21
  Film of this scene. Caused quite a stir among the
• 1:49:24
  citizens of Wilmington. They all came out with their
• 1:49:26
  picnic blankets to watch the scene being shot, despite Lynch
• 1:49:29
  and Rossellini asking them not to.
• 1:49:31
  But after the scene, the local police forbade Lynch from
• 1:49:35
  shooting any more scenes outside because of the stirrer created.
• 1:49:39
  Of course, that set should have been locked off.
• 1:49:43
  Absolutely ridiculous. What do you think?
• 1:49:46
  Well, I'm picking. Up where they take.
• 1:49:47
  Dorothy back to Sandy's parents place.
• 1:49:50
  Right now this is a mixture of the two worlds colliding to
• 1:49:53
  devastating effect. A bruised, battered and naked
• 1:49:56
  Dorothy has snook behind the white picketed fence of suburbia
• 1:50:00
  and Sandy's mother does not like what she sees.
• 1:50:03
  Maybe he doesn't. Jeffrey, Maybe Dorothy.
• 1:50:05
  'S secret lover. But Sandy, she doesn't need to
• 1:50:08
  hear that, not really. And she certainly doesn't.
• 1:50:11
  Want to hear? That he put his disease in the
• 1:50:13
  Dorothy. I'd love Jeffrey to say, listen,
• 1:50:17
  I wish you'd stop saying that because it really doesn't
• 1:50:19
  reflect well on me. I don't have any diseases.
• 1:50:22
  What the fuck are you? Talking about I.
• 1:50:24
  Don't know who you are? She says it.
• 1:50:28
  Twice. He put a disease in me.
• 1:50:30
  Shut up, man. And I think this is where he.
• 1:50:39
  Jeffrey has to make a decision about what path he wants to walk
• 1:50:41
  down. He ultimately chooses Sandy and
• 1:50:43
  brings the light back to the world.
• 1:50:45
  And I think another mention should go to Isabella
• 1:50:47
  Rossellini. Here she leaves it all on shore,
• 1:50:49
  no airs, and graces. Her tortured soul is there for
• 1:50:52
  all to see in the most vulnerable way possible, and
• 1:50:55
  you're crying out for somebody to give her a bloody blanket or
• 1:50:59
  something like that. Just cover her up because she's
• 1:51:02
  got no clothes on for too long. That court takes too long to
• 1:51:05
  come into the living room. It does.
• 1:51:07
  Yeah. Yeah.
• 1:51:08
  So a chilling turn of. Events, disturbing imagery,
• 1:51:11
  challenging audience expectations and tolerance.
• 1:51:13
  All in a day's work for David Lynch.
• 1:51:19
  The final stretch of the film sees.
• 1:51:21
  Jeffrey, confront Frank before everything returns back to Erie.
• 1:51:24
  Normality. Westie, you're kicking us off.
• 1:51:27
  Yeah, it's starting to climb back.
• 1:51:28
  Isn't it starting to climb back to a little bit of happiness?
• 1:51:31
  I think some in some ways, you know, it's it's the middle of
• 1:51:34
  the night, but there's still that gloss there, especially
• 1:51:36
  where it's when Sandy's room when he's just on the phone to
• 1:51:38
  Jeffrey and it feels a bit like grease here to me.
• 1:51:42
  You know, the hope to see devoted.
• 1:51:43
  See, you might say, Sandy, it's alright.
• 1:51:44
  I love you. And she's on the phone and say
• 1:51:46
  everything in our room looks like that kind of 1950s kind of
• 1:51:49
  rhetoric. Great.
• 1:51:51
  Mirror shot I love. That I love the way it kind of
• 1:51:53
  comes out from that. Dern's absolutely wonderful
• 1:51:55
  here. She's absolutely one because she
• 1:51:58
  sells it. She's very forgiven as a
• 1:51:59
  character. Very forgiven.
• 1:52:01
  Straight away, that's fine. I love you.
• 1:52:03
  Yeah. Yeah, it's fine.
• 1:52:04
  Yeah. I'm sorry.
• 1:52:05
  I overreacted slightly. No, you didn't.
• 1:52:07
  You overreacted massively. That's what I think.
• 1:52:10
  I don't think you should even take the phone call, let's be
• 1:52:12
  honest. I think she should stipulate.
• 1:52:14
  That he gets rid of the disease firstly before they do any
• 1:52:17
  questions. What?
• 1:52:18
  It is maybe. Is it, you know, is it
• 1:52:21
  metaphorical? Is it, is it physical?
• 1:52:23
  What is the, what's the problem here?
• 1:52:24
  There's a lot, there's a lot of questions.
• 1:52:26
  It's a big ugly cry, isn't it? It's a big ugly cry.
• 1:52:30
  Then she's she's getting into the character and doing it
• 1:52:32
  really well. And when she delivers that line,
• 1:52:34
  where's my dream? That is absolutely fantastic.
• 1:52:38
  Just like, where's the happiness?
• 1:52:40
  Where's the light? When's the sun going to come up?
• 1:52:42
  Why is it so dark? What can I do to help?
• 1:52:45
  That's the last cut from her. And then we move into the most
• 1:52:47
  shadowed part of the whole film. It is now or never.
• 1:52:51
  It is make or break. Jeffrey is there at Dorothy's,
• 1:52:54
  and that corridor is pitch black.
• 1:52:57
  There's this exit sign behind him.
• 1:52:59
  There's Dorothy's door there. There's a couple of slivers of
• 1:53:01
  light, but he can kind of come in and come from.
• 1:53:04
  And when he opens that door, it's just terrible.
• 1:53:08
  Would you go in that room? No.
• 1:53:10
  He. Turned the corner and there's
• 1:53:11
  there's. The yellow man standing with a
• 1:53:13
  hole in his head, but he's still alive.
• 1:53:15
  Some guy sat down with a velvet thing stuffed down his mouth and
• 1:53:19
  a police radio in his pocket and a smash television and a light
• 1:53:23
  weird. And there's that jump.
• 1:53:24
  Scare when the. Radio goes off and he hits the
• 1:53:27
  lamp and you're like, this guy's still alive.
• 1:53:30
  What on earth is going on? Do you use this guy Is that
• 1:53:33
  husband? What's he?
• 1:53:34
  Why is he like standing up? How is he standing?
• 1:53:37
  Up why? Is he hitting a light?
• 1:53:38
  What on earth is going on? Has he been lobotomized?
• 1:53:41
  It makes no sense whatsoever. But you still buy it.
• 1:53:44
  And when Frank turns up and you just see him and like I said,
• 1:53:46
  it's hilarious, his delivery when he comes in here and he
• 1:53:49
  starts shouting and screaming and he's just like, hey,
• 1:53:52
  neighbor mustache, shit head. Shit.
• 1:53:57
  For brains, shit for. Brains and completely just.
• 1:53:59
  Belittling them. I can hear you radio.
• 1:54:02
  Fuck that image. Of Frank coming up the.
• 1:54:04
  Stairs in the well dressed man outfit.
• 1:54:06
  Terrifying when he looks up the stairwell of Jeffrey and makes
• 1:54:09
  my blood run cold. Nice.
• 1:54:11
  Yeah, I really. Like when Jeffrey realized.
• 1:54:13
  That Frank's got a radio and he can hear his conversation with
• 1:54:15
  Detective Williams. But he's smart and he gives a
• 1:54:18
  little decoy. I'll be in the back bedroom,
• 1:54:21
  back in the closet, waiting for Frank to arrive.
• 1:54:22
  Yet again, Frank. Frank.
• 1:54:25
  He made Frank screams when he's going into the room.
• 1:54:28
  Pretty pretty. You can just hear randomly.
• 1:54:33
  Plugging away at the bed and. Then you take some three or four
• 1:54:40
  shots. To realize he's not there, it's
• 1:54:42
  amazing. It's great.
• 1:54:44
  And. Yeah, I think it's a little
• 1:54:45
  conventional where Frank gets blown away on a surface level at
• 1:54:48
  least. But for me, it's really
• 1:54:50
  symbolic. The last time Jeffrey was in
• 1:54:52
  that closet, the door was opened to all of this darkness and
• 1:54:55
  sexual deviance. Yeah.
• 1:54:57
  Now he's suppressing that by coming out of the closet and
• 1:54:59
  taking Frank out of the equation, leading him back on
• 1:55:02
  the path to lightness and love in the world with Sandy.
• 1:55:05
  Yeah. Incredibly simple.
• 1:55:07
  And then we get to the end. We'll come.
• 1:55:08
  Out of the ear and back into some kind of normality.
• 1:55:12
  Yeah, I think Jeffrey is enjoying the sun.
• 1:55:15
  Yeah. His dad is fit and healthy.
• 1:55:17
  He's there. Ridiculous.
• 1:55:18
  Sandy just completely forgiven the affair with Dorothy.
• 1:55:21
  And you have the Fakers Burden Cinema since Mary Poppins eating
• 1:55:25
  a bug and it's. All to set.
• 1:55:28
  To that glorious, heavenly music again.
• 1:55:30
  So what does it all mean? I think it's too much of A
• 1:55:33
  cliche to say. Is it a dream?
• 1:55:35
  Maybe it's all in Jeffrey's head.
• 1:55:37
  It's more the fact that the Robins have brought the light,
• 1:55:39
  just like Sandy said. The wood Robin has eaten the
• 1:55:42
  book. Light has destroyed the dark.
• 1:55:44
  Frank is dead. Dorothy is free.
• 1:55:46
  But having said that, that Robin is very deliberately not real.
• 1:55:50
  So what's that saying is, you know, can light truly destroy
• 1:55:53
  dark? Maybe that's an illusion.
• 1:55:55
  Maybe it's only a partial victory or one that won't last.
• 1:55:57
  We see you repeat of the imagery we saw at the start.
• 1:56:00
  Or is this thing just cyclical and nothing's truly over and
• 1:56:04
  nothing truly ends? We see that sort of Dorothy with
• 1:56:07
  the sun, and she's obviously delighted to be free.
• 1:56:09
  But as the song plays at the end in the lyric, but I still
• 1:56:12
  remember Blue Velvet comes on, there's just that bit of doubt
• 1:56:16
  in her expression. So maybe it isn't a happy ending
• 1:56:18
  we think it is. Maybe nothing's been
• 1:56:21
  accomplished. Maybe it is a dream, or maybe
• 1:56:24
  it's just the last thing that Sandy says.
• 1:56:26
  It's a strange world, isn't it? Yes, it is.
• 1:56:28
  Yes. Yes, it is.
• 1:56:30
  Yeah. It's a strange world, isn't it?
• 1:56:36
  I'm going to leave it at that. It's a strange world.
• 1:56:39
  Yeah, I think I. Just Jeffrey this.
• 1:56:40
  That's idealistic side of Jeffrey is one out.
• 1:56:43
  He's surrounded himself with the symbols of this ideal.
• 1:56:46
  It doesn't mean that the darkness is in, the world is
• 1:56:48
  gone. It's just that Jeffrey has
• 1:56:49
  chosen to ignore that side of his personality.
• 1:56:52
  Yeah, that's why it shows the dead.
• 1:56:54
  Flows at the end, doesn't it? Yes, So the.
• 1:56:56
  Light has returned to. Earth and the idealistic
• 1:56:58
  American Dream is still alive, but there's still something
• 1:57:01
  lurking underneath. Yeah.
• 1:57:06
  Reception and awards Blue Velvet premiered at the.
• 1:57:11
  Montreal World Film Festival in August 86, where Dennis Hopper
• 1:57:15
  won Best Actor, and at the Toronto Festival of Festivals on
• 1:57:19
  September 12th before making its big nationwide release in the US
• 1:57:23
  on opening weekend. There was a mixed reaction to
• 1:57:25
  the film, as you could guess. Would have thought so, yeah.
• 1:57:29
  Really. Wasn't just straight down the
• 1:57:31
  line. People.
• 1:57:35
  Walked out and demanded. A refund?
• 1:57:37
  There were reports of lines of cinema goes queuing around the
• 1:57:40
  block in LA and New York. In Chicago, a man passed out and
• 1:57:43
  had to have his pacemaker checked before going back into
• 1:57:46
  the theatre to catch the end. Was that just?
• 1:57:49
  The start of the film, just. Doing his lawn hadn't.
• 1:57:52
  Even watched it deal around this Entertainment Group.
• 1:57:57
  'S marketing team didn't know what to make of Blue Velvet when
• 1:57:59
  it came to promoting the film, of course.
• 1:58:05
  Yeah, it wasn't. Until it started to get positive
• 1:58:07
  reviews that they began to promote it.
• 1:58:09
  Yes, yes, and those. Positive reviews came from big
• 1:58:11
  movie critics. Janet Maslin, writing in The New
• 1:58:14
  York Times, said that Blue Velvet was an instant cult
• 1:58:17
  classic and said that it confirms Mr. Lynch's stature as
• 1:58:20
  an innovator, A superb technician and someone best not
• 1:58:23
  encountered in a dark alley. Wow, OK.
• 1:58:28
  I mean from. This film you can kind of get.
• 1:58:30
  That yeah, Peter Travers. And Rolling Stone called it an
• 1:58:33
  American masterpiece and later declared it the best film of the
• 1:58:36
  80s. And what of Roger Ebert?
• 1:58:39
  What do you think he's got it out of four fellas.
• 1:58:41
  I either Absolutely. Loved it or absolutely hated it,
• 1:58:45
  I'm going to say loved it. I'm going to agree.
• 1:58:47
  I think bit of a. Curveball that he loved it for
• 1:58:49
  four actually, he. Gave it a one out of four.
• 1:58:56
  He's got no patience. We should.
• 1:59:00
  Have guessed that well. What he said was I was absorbed.
• 1:59:02
  And convinced by the relationship between Rossellini
• 1:59:05
  and McLaughlin. And annoyed because the director
• 1:59:07
  kept placing himself between me and the material.
• 1:59:09
  After 5 or 10 minutes, I didn't need the director prancing on
• 1:59:12
  with a top hat and cane whistling that it was all in
• 1:59:15
  fun. In a way, Lynch's behavior is
• 1:59:18
  more sadistic than the Hopper character.
• 1:59:19
  What's worse, slapping somebody around or standing back and
• 1:59:23
  finding the whole thing funny, which we know he did.
• 1:59:26
  Yeah, we. Do I think he wanted a more
• 1:59:28
  straightforward? Narrative, yeah, but that's when
• 1:59:31
  this. Came out, this was 86, right?
• 1:59:33
  So he hasn't got yeah, we've got, we've got hindsight on,
• 1:59:36
  yeah, on Lynch. It was ahead of it, yeah.
• 1:59:38
  Exactly we've. We can look back on it now with
• 1:59:41
  rules tinted glasses, I think and just go right yeah or I can
• 1:59:43
  see where this is coming from because we had the chance to
• 1:59:46
  understand them yes, since it's. Released, the films come under
• 1:59:49
  considerable criticism for the troubling nature of the
• 1:59:51
  narrative themes of sadism and masochism in the dynamic between
• 1:59:54
  Dorothy and Frank. About the criticism, Lynch has
• 1:59:57
  said. Well, I can understand that for
• 1:59:59
  sure, but without that relationship, there wouldn't
• 2:00:01
  have been a film. That's fair enough.
• 2:00:03
  True. Yeah, true, Yeah.
• 2:00:05
  That is true. And now I'm going.
• 2:00:07
  To hand over to Matt the stat for some numbers generated by
• 2:00:11
  Blue Velvet. Stat abandoned.
• 2:00:12
  Go for it. Stat abandoned.
• 2:00:14
  That's me. In the end, on a budget of $6
• 2:00:18
  million like we've talked about, Blue Velvet returned a very
• 2:00:21
  conservative $8.5 million. Critical reviews As for said
• 2:00:25
  they were divided at the time, but they've since given way to
• 2:00:27
  overwhelming prayers and it now has 91% on Rotten Tomatoes and
• 2:00:31
  it's got off 7.7 out of 10 on IMDb.
• 2:00:36
  Hugely revered now. Isn't it?
• 2:00:37
  Yes, it is definitely. At the Golden Globes.
• 2:00:41
  Lynch was nominated for his screenplay and Hopper for his
• 2:00:43
  support and performance. Lynch was also nominated for
• 2:00:46
  Best Director at the Oscars. Strange he lost out to Can you
• 2:00:51
  think the 87 Oscars for films from 86 Is it?
• 2:00:56
  Platoon, you have platoon solver Stone.
• 2:00:58
  Well done, Matt. There you go.
• 2:00:59
  Matt, the stats that Obando strikes again.
• 2:01:02
  The Butcher never ceases to amaze.
• 2:01:04
  Me that. It was more successful.
• 2:01:08
  On the lower rung of award ceremonies, Rossellini won an
• 2:01:11
  Independent Spirit Award, Lynch, Hopper, Helms and the film
• 2:01:14
  itself won the National Society of Film Critics awards, and it
• 2:01:18
  won best film at the Citrus Festival.
• 2:01:20
  Nice. I think representative of the
• 2:01:22
  disturbing nature of the film. Yeah.
• 2:01:25
  Yeah, that's the. Audience for it isn't.
• 2:01:27
  It a challenging film. One where conservative box
• 2:01:30
  office numbers and divisive critical response is pretty much
• 2:01:32
  on brand for David Lynch. Yeah, sequels and influence,
• 2:01:43
  obviously. No sequels to Blue?
• 2:01:44
  Velvet No sequels for David Lynch at all, except maybe on
• 2:01:47
  the small screen. Yeah, but the film's reputation
• 2:01:50
  is significantly increased in the years since, and it's now
• 2:01:53
  considered one of the greatest movies ever.
• 2:01:55
  It's received a number of accolades, is seen as an
• 2:01:58
  ultimate cult film, and has appeared on many publication
• 2:02:00
  Best of lists. It was even chosen by the AFI as
• 2:02:04
  the 8th greatest mystery flick of all time, which is quite
• 2:02:08
  strange to me. I think there are better pure
• 2:02:10
  mystery flicks out there, but to call Blue Velvet a mystery film
• 2:02:13
  is, I think, just to miss the point.
• 2:02:16
  Yeah, just a. Little bit. 5% of it, yeah.
• 2:02:19
  Yeah. And nevertheless, and more.
• 2:02:22
  Importantly, where have we seen Blue Velvet influencing?
• 2:02:25
  What is its legacy in the time since?
• 2:02:29
  I think you need look no further than Tarantino.
• 2:02:31
  I mentioned Pulp Fiction earlier, but the ES licensing
• 2:02:33
  from Reservoir Dogs. Julie.
• 2:02:36
  The humor and irreverent approach to human life I think
• 2:02:39
  in the likes of Heather's is influenced by Blue Velvet, the
• 2:02:44
  white picketed fenced American dream of Edward Scissorhands.
• 2:02:47
  With that dark underbelly at the end of it.
• 2:02:50
  Definitely. Yeah, it was obviously
• 2:02:51
  responsible for. One of the many resurgences that
• 2:02:54
  Dennis Hopper had in his career, and I think they cemented his
• 2:02:56
  reputation and longevity as an actor.
• 2:02:59
  Yeah, I think ultimately without Blue Velvet, or even if it
• 2:03:02
  hadn't been a success, if it's still there but not successful,
• 2:03:05
  you definitely don't get Twin Peaks a few years later.
• 2:03:08
  No. Which is widely regarded as the
• 2:03:10
  watershed moment in prestige TV. So it paved the whiff the likes
• 2:03:14
  of The X-Files, Sopranos, and then we're off and running The
• 2:03:17
  Wire, Madman, Breaking Bad, Succession, The White Lotus.
• 2:03:20
  Things would just look very different.
• 2:03:22
  Yeah, a huge impact on pop culture.
• 2:03:25
  It's the orgy it. Is twin.
• 2:03:27
  Peaks, isn't it? Yeah.
• 2:03:28
  What about you, Matt? Yeah.
• 2:03:29
  Very similar to so much. A popular culture comes back to
• 2:03:32
  this, from TV to cinema. I had the exact same thing
• 2:03:34
  written down. If you don't have to be
• 2:03:36
  relevant, you don't have Twin Peaks, you don't have The
• 2:03:38
  X-Files, you don't have Stranger Things.
• 2:03:40
  There you go. So much brilliant like springs
• 2:03:42
  from this and just the amount of film makers whose minds must
• 2:03:46
  have been blown apart by this is incalculable.
• 2:03:51
  Like the amount of film makers who would have seen this and
• 2:03:53
  have that realization. It doesn't have to make sense.
• 2:03:56
  They don't have the rules. We can do that.
• 2:03:58
  And those film makers, I mean the range from the likes of
• 2:04:00
  Large Voluntary to Robert Eggers, the films he makes a
• 2:04:03
  day, Donnie Darko, Richard Kelly's film was a huge
• 2:04:07
  influence to this one. So that's its influence, me just
• 2:04:11
  Lynch in general, but certainly this film in particular just
• 2:04:14
  belies to trio that people still follow into the day.
• 2:04:16
  Yeah, very much. I think so.
• 2:04:19
  I mean, there's some. Films that people might not
• 2:04:21
  think link back to this one, but they do in my mind.
• 2:04:24
  So I don't know if that's a good thing or a bad thing, but I want
• 2:04:26
  to say them anyway. I think without this, I don't
• 2:04:29
  think you'd have American Beauty.
• 2:04:31
  I think Sam Mendes got a lot in this film.
• 2:04:33
  I can say that right the. Iconography of it just.
• 2:04:35
  The vibe of it. Just everything just doesn't
• 2:04:39
  really. Make sense, But it is very
• 2:04:40
  American and has got that kind of sensibility to it.
• 2:04:43
  I'm going to say LA Confidential right has that kind of that
• 2:04:47
  murder mystery, the femme fatale, the noir elements of it.
• 2:04:50
  And that twist to it and. It is quite lynching and there's
• 2:04:53
  some moments in that that is just very bright and then it's
• 2:04:55
  very shadowed and then it's very contrasting and it just has the
• 2:04:58
  same kind of feel. And I think Memento because
• 2:05:02
  Nolan went into that going well, yeah, of course it's backwards.
• 2:05:05
  I'm going to make it backwards because Lynch made Blue Velvet
• 2:05:08
  forwards and that still doesn't make sense.
• 2:05:10
  So it has that very simplistic vibe.
• 2:05:12
  It has that use of of colour in the fact that it doesn't use
• 2:05:15
  colour at all. It goes from black and white to
• 2:05:17
  colour and I think that's a very lynching thing to do, to go from
• 2:05:20
  a race ahead straight to Blue Velvet.
• 2:05:22
  I think if you miss out the other two films, if you miss out
• 2:05:24
  The Elephant Man of Miss out June, you can go from a race
• 2:05:27
  ahead to Blue Velvet and kind of cut them together and it has got
• 2:05:31
  the same sensibility. And that reminds me of Memento
• 2:05:33
  some somehow. I don't know why.
• 2:05:35
  So that's what I get from it. It's just this sense of freedom
• 2:05:38
  that he gave film makers, the fearlessness, the passion that
• 2:05:41
  he goes into making the film that he really wants to make.
• 2:05:44
  And actually, you know, it made its money back.
• 2:05:46
  It made 8 million sure what it may have made a profit.
• 2:05:49
  I don't care if it's conservative or what, it's still
• 2:05:51
  a success in my eyes and that's absolutely fine.
• 2:05:53
  And to influence some of the biggest film makers that are
• 2:05:56
  still, they're still going today.
• 2:05:57
  I think it's just an incredible legacy.
• 2:06:00
  Yeah, it is. Yeah.
• 2:06:01
  I. Mean it's almost endless
• 2:06:02
  examples of the influence that Blue Velvet had from the late
• 2:06:06
  80s, nineties onwards, and without it I think the pop
• 2:06:09
  cultural landscape would look very different and very boring.
• 2:06:15
  All the right movies ranking we're emerging out of.
• 2:06:20
  Geoffrey Beaumont's ear and into the sun drenched dream of Middle
• 2:06:23
  America. Before we go inside, it's time
• 2:06:26
  for our now world famous ATRM ranking.
• 2:06:30
  Westie, could you summarise and give us your score out of 10
• 2:06:32
  please? I can give you my score.
• 2:06:34
  Out of 10, whether I can summarise blue, though there's
• 2:06:36
  another. That's another.
• 2:06:38
  Cut the fish. We shall see.
• 2:06:41
  I think it's a very brave film. I think it's a very ambitious
• 2:06:45
  film and I think it's one that works on both of those levels.
• 2:06:48
  The bravery shines through and the ambition definitely shines
• 2:06:50
  through. I think without this, we
• 2:06:52
  wouldn't have the David Lynch that would know and love today.
• 2:06:54
  I think he needed to come back to his roots and make something
• 2:06:56
  that he really wanted to make. I'll bang on about that with
• 2:06:59
  every film that we're talking about.
• 2:07:00
  If it has, you know, brave direction, issue a direction and
• 2:07:04
  the same with the right and same with the characterization.
• 2:07:06
  There's things in this film that I haven't seen and will not see
• 2:07:09
  again. It's incredibly original, it's
• 2:07:11
  incredibly powerful, but it's not one that I'll go back to
• 2:07:14
  again and again because I think there's just too much to it that
• 2:07:17
  warps your mind a little bit. And there's a little bit to it
• 2:07:19
  that is a bit hard to watch in places that Lynch found humorous
• 2:07:23
  at the time. And I don't understand how that
• 2:07:27
  could be possible. So I maybe not tapping into it
• 2:07:30
  for the from the right angle, but at the same time it's a film
• 2:07:33
  that I really respect and I really enjoy and I will
• 2:07:36
  recommend it to pretty much anyone, but I won't sit with
• 2:07:39
  them on the watches you don't want.
• 2:07:42
  To be cool for that reason. Yeah, for.
• 2:07:44
  That reason, it's definitely up there.
• 2:07:46
  Not my favorite Lynch film, We'll get into that later on,
• 2:07:49
  but it's a definite hive one for me.
• 2:07:50
  So it's going to be a nine out of 10/9 out of 10.
• 2:07:53
  Yeah, massive. Brilliant.
• 2:07:54
  Yeah. Yeah.
• 2:07:55
  I'm full of admiration for this film.
• 2:07:57
  It's got so much guts and originality.
• 2:07:59
  David Lynch really was a unique filmmaker of which we're
• 2:08:02
  unlikely to see ever again. This.
• 2:08:05
  Film could be watched on a number of.
• 2:08:06
  Levels a great noir mystery, a tale of disturbed Americana, a
• 2:08:10
  horror flick, a coming of age story, an edible nightmare.
• 2:08:14
  And that's the beauty of the film.
• 2:08:15
  You can come back to retirement again and get something
• 2:08:17
  different. Yeah.
• 2:08:18
  But the setting, the performances by Rossellini and
• 2:08:21
  Hopper, the disturbing narrative, there's nothing like
• 2:08:24
  it in mainstream cinema. And it never fails to captivate
• 2:08:26
  me. Just like pure guts.
• 2:08:29
  It's a 10 for me all the way. Nice.
• 2:08:32
  OK. Adore the film?
• 2:08:34
  What about you, Matt? With this one I think.
• 2:08:36
  We've really, like stripped it back as far as we can to see
• 2:08:39
  what's under the hood and try to make sense of it, and there is
• 2:08:43
  preciously left to be said about it.
• 2:08:44
  I really wish I could have been old enough to see this back in
• 2:08:47
  the day, completely unaware of what it was, unaware of its
• 2:08:50
  reputation. Because even if you had seen
• 2:08:52
  what Lynch had done before this, even even areas ahead, this must
• 2:08:56
  have felt like something from an old universe.
• 2:08:58
  Because ultimately, that's what it is.
• 2:09:00
  It's a reflection of our world, but spun on its head, with all
• 2:09:03
  the dark and dirty little secrets behind the supposedly
• 2:09:06
  perfect facade of life tumbling out.
• 2:09:08
  And what really struck me coming back to it for this, though, is
• 2:09:11
  that for all the darkness, all the horror, all the sexual
• 2:09:13
  violence, it's an incredibly entertaining film.
• 2:09:16
  At the same time, it is for something that justifiably could
• 2:09:19
  be called art house. It works.
• 2:09:22
  As a thriller. Incredibly well.
• 2:09:25
  It's never been an all time favorite of mine because it's
• 2:09:27
  not something I can watch on a regular basis.
• 2:09:30
  I need to take a bit of a deep breath before watch it, but
• 2:09:33
  having said that, I think this is just one of those cases where
• 2:09:35
  that doesn't really factor into my score forward because it's a
• 2:09:39
  singular film from a singular film maker.
• 2:09:42
  I still think it's his best film, so it can't be anything
• 2:09:45
  other than a 10 for me. Wow, Very good.
• 2:09:48
  Yeah. Big.
• 2:09:48
  Scores all around. I love that our 4th and final
• 2:09:52
  score for Blue Velvet comes from our followers on X.
• 2:09:55
  Now, you can imagine with a film like this, there was a a mixed
• 2:09:58
  response. Yeah.
• 2:10:01
  Here. Are some comments that I've
• 2:10:02
  picked out. 1st from an Aegis of Infinite Face Palms at Roy Cook.
• 2:10:08
  They said My absolute number one film of all time.
• 2:10:10
  I've bought it on physical media so many times it's embarrassing.
• 2:10:13
  Every time I watch it I find something new.
• 2:10:16
  Not surprising. Brilliant this.
• 2:10:18
  Charmless Man at Jimmy Bob said. I'll say it.
• 2:10:22
  Magnificent movie that introduced Lynchianism into the
• 2:10:25
  public consciousness, but it didn't really stick the landing.
• 2:10:28
  I've seen it multiple times, but I still have to look up the wiki
• 2:10:31
  article to remind myself how it ends.
• 2:10:34
  Really. That may be a lack of
• 2:10:37
  concentration to be honest. More than anything, yeah.
• 2:10:41
  And on the negative. Side of things clocking out at
• 2:10:44
  free timex watch said one. I had no idea what anything was
• 2:10:49
  supposed to mean. It was weird and the scene where
• 2:10:51
  the guy goes insane on the girl weird me out the most.
• 2:10:54
  Maybe I need to read about it or something.
• 2:10:57
  Well, listen, this podcast clocking out, that's what you
• 2:10:59
  should do. There you go, I'll show.
• 2:11:01
  You, that's your mind changed, and I think Lynch would have.
• 2:11:04
  Loved his response as well. Yeah, yeah.
• 2:11:08
  Now this was the most balanced. Score I think we've ever, ever,
• 2:11:12
  ever had on Twitter slash X. As you know, our poll for the
• 2:11:16
  film is a choice between 1098 and 7X.
• 2:11:19
  Doesn't allow any more than four choices on the poll, and at the
• 2:11:22
  halfway point with hundreds of votes cast, there were a few
• 2:11:26
  comments drawn attention to the fact that there was an exact
• 2:11:29
  four way split. 10987 all had 25% of the votes.
• 2:11:34
  Wow, really? You can't get any.
• 2:11:36
  More lynchy in than that. Can you?
• 2:11:38
  There's the balance. For you love it so based on.
• 2:11:41
  All of that information, fellas. How do you think Blue Velvet
• 2:11:43
  scored out of 10 on X? Oh, God knows.
• 2:11:45
  Now I have no idea. I'd go higher.
• 2:11:49
  Up though, I'd say 8. I mean before all that.
• 2:11:52
  I'd have said 10 because people love it, but obviously they
• 2:11:55
  don't. I'll stick to me guns.
• 2:11:56
  I'll I'll go 10, then 10, no. No, no, that's a cannon.
• 2:12:01
  That's not the case. It is.
• 2:12:03
  It got an 8. Well done, Westie.
• 2:12:05
  Very nice, very divisive film. Clearly.
• 2:12:08
  I don't think that surprised me in the slightest, to be honest.
• 2:12:11
  Because. Fair enough.
• 2:12:12
  Yeah. Yeah, it's a tough one.
• 2:12:13
  Tough sale. So overall, including X and our
• 2:12:18
  three scores, Blue Velvet got a score of 37 out of 40, right?
• 2:12:22
  Yeah. Very impressive score.
• 2:12:25
  Join us again in all the right movies.
• 2:12:27
  And in two weeks, John, Westie and Matt will be going behind
• 2:12:29
  the scenes on QTS Tinseltown set, modern classic Once Upon a
• 2:12:33
  Time in Hollywood. Shoes and socks off for that
• 2:12:35
  one, fellas. Yeah, yeah, get me flame
• 2:12:37
  throughout. Yeah.
• 2:12:41
  Those hippies are going to regret it.
• 2:12:42
  And they just. Looking forward to that one,
• 2:12:45
  yeah. Loads of laughs.
• 2:12:46
  And if you haven't had enough of.
• 2:12:47
  Psychosexual, Phantasmagorical, Lynchy and Nightmares.
• 2:12:51
  Sign up to us on Patreon, where we'll be talking about two more
• 2:12:54
  films from the great man. The straight story.
• 2:13:00
  And Mulholland Dr. That'll be a double feature at the end of
• 2:13:04
  March. My apologies.
• 2:13:06
  That's worth. Signing up on Parent just for
• 2:13:09
  that episode. I have to.
• 2:13:10
  That's going to be. It's going to be something
• 2:13:12
  interesting, something. Yeah, interesting.
• 2:13:14
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• 2:13:17
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• 2:13:21
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• 2:13:23
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• 2:13:26
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• 2:13:29
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• 2:13:32
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• 2:13:45
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• 2:13:49
  In between all of our podcasts. We are active on social media
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• 2:14:00
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  Our threads are also on Threads and they're on Blue Sky where we
• 2:14:21
  are at all the right movies.com on TikTok, we are at all the
• 2:14:24
  right movies. We also have a Facebook group
• 2:14:26
  where there is some great movie chats by great people.
• 2:14:29
  Yeah, sure is. Yes.
• 2:14:30
  And we are on YouTube as. Well watch our videos if you
• 2:14:33
  can. A follow and a like would be
• 2:14:35
  much appreciated. youtube.com/all the right
• 2:14:38
  movies. Yes, thank you guys.
• 2:14:40
  And our website, alltherightmovies.com, that, oh,
• 2:14:45
  is a wrap everyone. It's a wrap.
• 2:14:47
  We're off to grab ourselves. A couple of Heinekens come back
• 2:14:50
  in two weeks for Once Upon a Time in Hollywood.
• 2:14:52
  Until then, you stay alive, baby.
• 2:14:56
  Hide again. Heineken Little.
• 2:14:58
  Ribbon. Thanks everyone.
• 2:15:02
  Thanks guys. Hey neighbor, you shit for
• 2:15:27
  brains man. You forgot to have a police
• 2:15:29
  radio.