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182: Greetings from Paris, Texas · Movie Meltdown

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  Speaker 1: The following program is a proud member of the Palava
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  Speaker 2: Check out all the shows over at palava.com. That's P-A-L-A-V-A
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  Speaker 2: dot com.
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  Speaker 3: The following feature has been rated R by the Motion
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  Speaker 3: Picture Association of America. It is intended for mature audiences
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  Speaker 3: and parental discretion is advised.
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  Speaker 4: It's showtime, folks.
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  Speaker 3: Enjoy the show.
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  Speaker 1: Our nuclear reactor pumping out one million kilowatts of power.
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  Speaker 5: What's up and welcome to Movie Meltdown.
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  Speaker 3: I am Brian.
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  Speaker 6: I'm Lucy.
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  Speaker 2: And once again we are coming to you live via
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  Speaker 2: digital recording from Harry Dean Stanton Fest. We are once
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  Speaker 2: again sitting in the Kentucky Theater in Lexington, Kentucky. Is
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  Speaker 2: it awesome or what?
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  Speaker 6: It's the awesomest place on the planet.
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  Speaker 2: It's pretty damn cool. I'm still very angry at my
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  Speaker 2: hometown for bulldozing the one of these that we had.
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  Speaker 2: So it was awesome. I spent countless hours there in
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  Speaker 2: my somewhat youth, probably too old to consider it youth,
• 1:48
  Speaker 2: but I'm a late bloomer, if you want to call
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  Speaker 2: it that. And yeah, they bulldozed it and put up
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  Speaker 2: a shoe store.
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  Speaker 6: So I can't even imagine. Why did you not just
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  Speaker 6: handcuff yourself to it? If somebody threatened the Kentucky, I
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  Speaker 6: would do that. I would go down in a hail
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  Speaker 6: of bullets for the Kentucky.
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  Speaker 2: Really? For as beloved as it was, I mean, the
• 2:07
  Speaker 2: Vogue in Louisville was pretty amazing, and everybody on the
• 2:11
  Speaker 2: show was connected to it, too. Like, you'll hear us
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  Speaker 2: talk about it. I mean, Dave spent half of his
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  Speaker 2: life there. So, I mean, yeah, you'll hear us bring
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  Speaker 2: that one up all the time, and I still don't
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  Speaker 2: understand how it got taken out.
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  Speaker 5: Like it did, but.
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  Speaker 7: Whatever.
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  Speaker 2: I don't know what else to do. It's a little
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  Speaker 2: late to deal with that now.
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  Speaker 6: Time machine. Yeah.
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  Speaker 2: If so, I would just move into it because it
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  Speaker 2: was pretty damn awesome. All right. So this time, we've
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  Speaker 2: got a lot to get to, so I think we
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  Speaker 2: should get right to it. First of all, this has
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  Speaker 2: been a year in the making. Last year, when I
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  Speaker 2: didn't know this weird chick named Lucy that was putting
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  Speaker 2: together Heritage Stanton Fest... I came here to this very
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  Speaker 2: theater and interviewed Hunter Carson, who is Harry's co-star. I mean,
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  Speaker 2: it's pretty much the only one that's got that much
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  Speaker 2: screen time. Well, I guess Dean Stockwell's got a good
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  Speaker 2: amount of them, but for the most part, I'd say
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  Speaker 2: he's second billing in the screen time on, on Paris, Texas.
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  Speaker 6: So, and he gets the fun and introducing credit, which is,
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  Speaker 6: I always enjoy and introducing Hunter Carson. Yeah.
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  Speaker 2: Not everybody gets that. It's, It's a big step in
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  Speaker 2: your career when you get to be introducing. That really
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  Speaker 2: brings you out into the world.
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  Speaker 6: Well, I think that, you know, it means that great
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  Speaker 6: things are expected of you.
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  Speaker 2: That's true. I remember in King Kong when they introduced
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  Speaker 2: Jessica Lange, and look where she's gone now. There you go. So, yeah,
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  Speaker 2: we sat down in this building and talked to Hunter.
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  Speaker 2: So we're going to talk to him now and get
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  Speaker 2: his take on his career in general, and how he
• 3:52
  Speaker 2: started as a ridiculously young child to be thrown in
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  Speaker 2: the middle of making a movie like that. And his
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  Speaker 2: thoughts on Paris, Texas as well. And of course me,
• 4:01
  Speaker 2: being the geek that I am, I also had to
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  Speaker 2: ask him about being the pilot for Married with Children.
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  Speaker 2: So yeah, we will now talk to Hunter. All right.
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  Speaker 2: We are here today with Hunter Carson. Just wanted to ask,
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  Speaker 2: usually with actors, I start off with a lot of,
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  Speaker 2: you know, kind of how are you exposed to movies
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  Speaker 2: or how did you get into the industry? I guess
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  Speaker 2: you've got a little more direct access as a child,
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  Speaker 2: just family based.
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  Speaker 8: And yeah.
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  Speaker 6: Yeah.
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  Speaker 9: My family actually, my father started out as a journalist.
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  Speaker 4: Yeah.
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  Speaker 9: He met my mom while doing.
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  Speaker 10: An article and they fell in love and I was
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  Speaker 10: born and And they introduced me to the movie very young.
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  Speaker 10: You can look up old Saturday Night Live flick of me.
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  Speaker 10: My mom did a monologue. My mom's Karen Black.
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  Speaker 6: Yeah.
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  Speaker 9: And my father's Kit Carson.
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  Speaker 10: And my mom did a monologue. Karen Black was on
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  Speaker 10: Saturday Night Live, and she brought me out. I was,
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  Speaker 10: I don't know, 18 months old, a year old. So,
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  Speaker 10: you know, I kind of peaked very young by hosting
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  Speaker 10: Saturday Night Live.
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  Speaker 2: Yeah, it's hard to top that, that young, yeah. How
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  Speaker 2: early on did you realize you actually wanted to get
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  Speaker 2: into that as far as, I guess, at that young,
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  Speaker 2: if you want to call it a career?
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  Speaker 10: You know, I don't think I ever had an idea
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  Speaker 10: that there was a career in acting for me. I
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  Speaker 10: had a lot of for acting without really knowing it.
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  Speaker 10: There was a lot of charades. There was a lot
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  Speaker 10: of acting games. There was a lot of my mother
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  Speaker 10: and father would get together and you be this and
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  Speaker 10: I'll be this and your father will be this. And
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  Speaker 10: so I was prepped at a very young age through improv.
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  Speaker 10: And I didn't even know it. I mean, it was
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  Speaker 10: just like charades is a game, but when you really
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  Speaker 10: think about it, it's actually you're improv-ing something, whether it's
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  Speaker 10: a famous person, a book, a saying, whatever it is,
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  Speaker 10: you know.
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  Speaker 2: Yeah.
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  Speaker 9: So I got that.
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  Speaker 9: Very young training.
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  Speaker 10: And, and when I got on screen, I was very
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  Speaker 10: comfortable because I had also been on a million film
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  Speaker 10: sets ever since I was born. And I was really
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  Speaker 10: comfortable on the movie set. You know, the very first
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  Speaker 10: time in Paris, Texas that I show up, um, when
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  Speaker 10: I walked down the stairs and Harry Dean was standing
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  Speaker 10: there and he said, hi. And I said, hi, that was,
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  Speaker 10: that was the actual first time that I'd ever been shot.
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  Speaker 9: Um, uh, filmed.
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  Speaker 10: Um, And that was my memory of, okay, now I'm
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  Speaker 10: like my mom on the camera. And it was interesting
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  Speaker 10: having the access that you get as a child actor.
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  Speaker 10: I did several films, and I kind of decided that
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  Speaker 10: I would rather work behind the camera. And I think
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  Speaker 10: when I decided to work behind the camera, that's when
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  Speaker 10: I actually made a decision to have a career in film.
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  Speaker 9: The acting as a kid was.
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  Speaker 10: Half of the course, being from a film family. But
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  Speaker 10: I think my career has taken off. I've done a
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  Speaker 10: couple of things, directing, short film, reality television, and last
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  Speaker 10: year I finished a feature film called So Be Real,
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  Speaker 10: and we shot that in Miami. So I think my
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  Speaker 10: career at this point, people have different careers, people switch careers,
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  Speaker 10: And I would say that I've always had the same career,
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  Speaker 10: which is filmmaking. However, I've switched genres from being an actor.
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  Speaker 10: I've been in the audio department. I've been an AD before.
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  Speaker 10: I've worked set construction. I've worked in the art department.
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  Speaker 10: I've done just about everything behind the camera and in
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  Speaker 10: front of the camera.
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  Speaker 9: And I've written some screenplays.
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  Speaker 2: And it just.
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  Speaker 9: It just sort of happens naturally when you're in the
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  Speaker 9: family business.
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  Speaker 10: You look back at that sort of phrase, the family business,
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  Speaker 10: and when you look back at that phrase, you realize.
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  Speaker 9: That it's a very powerful thing.
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  Speaker 10: That you get from your parents. Everybody's family is in
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  Speaker 10: one business or another, and it's a very powerful thing
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  Speaker 10: to be in the family business.
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  Speaker 2: Now that you've changed direction, do you look back and
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  Speaker 2: see yourself kind of being interested in it early on?
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  Speaker 2: Do you remember paying attention to the director and kind
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  Speaker 2: of watching the guys, you know, set up shots or
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  Speaker 2: set up lighting and all that?
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  Speaker 10: Yeah, actually, I do remember paying attention to the director.
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  Speaker 10: As an actor, you kind of have to pay attention
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  Speaker 10: to the director.
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  Speaker 2: Yeah.
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  Speaker 10: You can also decide, I'm not paying attention to that guy.
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  Speaker 9: I'm going to do whatever I want as an actor,
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  Speaker 9: and many actors do that.
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  Speaker 11: Yeah.
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  Speaker 10: But when I was really young, I was always fascinated
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  Speaker 10: with the boom guy. The boom operator on a film,
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  Speaker 10: if nobody knows this, he holds a very long stick, essentially,
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  Speaker 10: with a microphone attached and picks up the sound that's
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  Speaker 10: going on on the set. And I was actually always
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  Speaker 10: really thought that was a great job because, you know,
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  Speaker 10: it was very sort of, introverted and the guys they
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  Speaker 10: always wear headphones and they never said anything except for
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  Speaker 10: the word speed that's all they would ever say and
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  Speaker 10: you know when you're on set you know you got
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  Speaker 10: the you got the the rest of the crews yelling
• 9:41
  Speaker 10: at each other put that there you messed that up
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  Speaker 10: bring it over here what are you doing you know
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  Speaker 10: the director's going I want this shot I want this
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  Speaker 10: to be over here and the sound department they're just
• 9:49
  Speaker 10: they're like ninjas you know they're just really quiet they
• 9:53
  Speaker 10: do their job and they get they get it done
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  Speaker 10: I always thought that was fascinating but to answer your question,
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  Speaker 10: I really did focus a lot on directors, and whenever
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  Speaker 10: I was on a movie set, I did try to
• 10:05
  Speaker 10: sit by the monitor and pay attention to the directors,
• 10:07
  Speaker 10: and of course, working in the production department as an AD,
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  Speaker 10: I worked very closely with directors. Um, so I, I,
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  Speaker 10: I think that that's, that's a good path. And, uh,
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  Speaker 10: you know, I like producing as well. I think that's strong.
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  Speaker 9: Oh, someone's calling. I think, uh, producing is one of
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  Speaker 9: my strong suits as well.
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  Speaker 6: Yeah.
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  Speaker 2: Um, let's see, as far as, um, moving into Paris, Texas, you, uh,
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  Speaker 2: how old were you when you actually came into that
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  Speaker 2: or how was it first exposed to you?
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  Speaker 6: I guess.
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  Speaker 2: Is it, did they give you like a screenplay ahead
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  Speaker 2: of time or is it something that, you know, How
• 10:43
  Speaker 2: did you end up hearing about it initially?
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  Speaker 10: Well, there was a screenplay, but it was constantly being rewritten.
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  Speaker 10: I heard about it from a gentleman named Fred Roos,
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  Speaker 10: who was a casting director. And this is the story
• 10:58
  Speaker 10: that I was told because I was seven. This was
• 11:01
  Speaker 10: six and seven and eight when all this was happening.
• 11:05
  Speaker 10: And the story goes that Fred Roos and Vim Vendors
• 11:10
  Speaker 10: had a conversation that Vim was shooting another movie in L.A.,
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  Speaker 10: and he was going to also travel to Texas to
• 11:19
  Speaker 10: shoot it, and that he was looking for a young
• 11:22
  Speaker 10: person that was not an actor. And Vim and Robbie Mueller,
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  Speaker 10: the director of photography, came over to my mom's house,
• 11:33
  Speaker 10: my folks' house, and he didn't.
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  Speaker 9: Really do anything besides talk to me.
• 11:39
  Speaker 4: And.
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  Speaker 9: I was kind of a persnickety kid, and I ended
• 11:44
  Speaker 9: up convincing.
• 11:45
  Speaker 10: Him to buy a lemon and a lime from the
• 11:48
  Speaker 10: backyard because there were two trees in the backyard.
• 11:51
  Speaker 9: There was a lemon tree and a lime tree.
• 11:53
  Speaker 10: And I climbed the trees, and I got the two
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  Speaker 10: citrus fruits, gave it to Vim, and I think I made.
• 12:00
  Speaker 9: 15 cents, which is not bad. I mean, if you
• 12:04
  Speaker 9: go to an audition and the director gives you money,
• 12:07
  Speaker 9: you're doing pretty good.
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  Speaker 2: That's a good sign right off the bat.
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  Speaker 10: And then after that, at some point, I went in
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  Speaker 10: and met Harry Dean, and we did a sit-down audition
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  Speaker 10: to see what our chemistry was like.
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  Speaker 9: And my father, Kit, he drove me up there.
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  Speaker 10: I don't have any recollection of where it was, but
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  Speaker 10: I remember walking in, sitting down with Harry Dean, and
• 12:31
  Speaker 10: we were going over some sort of a script, And
• 12:34
  Speaker 10: I don't remember why, but I just didn't want to
• 12:39
  Speaker 10: read a script with this guy.
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  Speaker 9: Let me give you a preamble to this.
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  Speaker 2: Okay.
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  Speaker 10: I called Harry Dean last night to tell him how
• 12:52
  Speaker 10: well it was going here in Lexington. And he said,
• 12:56
  Speaker 10: I want you to tell the story of our first
• 13:00
  Speaker 10: meeting when we did the audition together.
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  Speaker 9: So this is the story of the first meeting. We
• 13:07
  Speaker 9: were auditioning.
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  Speaker 10: I was auditioning with Vim and Robbie and Harry Dean.
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  Speaker 10: And I just didn't really want to, I don't know,
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  Speaker 10: I was just a seven-year-old kid. He doesn't want to
• 13:17
  Speaker 10: sit and read lines. So I guess I had just
• 13:21
  Speaker 10: sort of not really knowing what to do.
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  Speaker 9: I asked Harry Dean if he would pour a cup
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  Speaker 9: of water on his head. Like I said, I was
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  Speaker 9: a persnickety kid.
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  Speaker 10: And he agreed on one condition, that he got half
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  Speaker 10: on his head, and then I would dump the other
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  Speaker 10: half on my head, which was acceptable.
• 13:43
  Speaker 9: And he dumped half the glass.
• 13:45
  Speaker 10: Of water on his head, and he gave the glass
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  Speaker 10: to me, and I looked down the hallway to see
• 13:51
  Speaker 10: if my father was there, and then I dumped it
• 13:53
  Speaker 10: on my head very happily, and.
• 13:56
  Speaker 9: we bonded. I mean, that was it. That was the bond.
• 13:58
  Speaker 10: You know, if, if we can dump water on each
• 14:00
  Speaker 10: other's head, we can get each other to dump water
• 14:03
  Speaker 10: on our own heads.
• 14:04
  Speaker 9: It's a good bond. And that was.
• 14:08
  Speaker 10: Sort of the beginning of my relationship with Harry Dean Stanton.
• 14:10
  Speaker 10: And it's been that way for, you know, almost 30
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  Speaker 10: years now.
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  Speaker 6: Yeah.
• 14:14
  Speaker 2: How was he as far as just, I guess, being
• 14:17
  Speaker 2: with him on the set during that shoot. And I
• 14:19
  Speaker 2: guess as time's gone on as well, you know, I
• 14:22
  Speaker 2: actually remember.
• 14:23
  Speaker 10: That very well, but it, being with Harry Dean on
• 14:26
  Speaker 10: the shoot was interesting because he, his.
• 14:30
  Speaker 9: Main process.
• 14:33
  Speaker 10: Was that he wanted to talk about every scene, you know,
• 14:37
  Speaker 10: and he wanted to have a very deep discussion about
• 14:40
  Speaker 10: every scene, which is sort of disconcerting for, uh, you know,
• 14:45
  Speaker 10: a young man, a boy. And so he would get
• 14:49
  Speaker 10: into these discussions with me about, you know, what, what
• 14:54
  Speaker 10: do you mean when you say, hey, Dad, why do
• 14:57
  Speaker 10: you drink that stuff?
• 14:58
  Speaker 9: It stinks. And I said, I don't know. You know,
• 15:01
  Speaker 9: it's written there, and I read it, and then I
• 15:03
  Speaker 9: say it out loud.
• 15:03
  Speaker 10: And he goes, well, you know, he'd get into these
• 15:06
  Speaker 10: really great conversations about acting and how you have to
• 15:10
  Speaker 10: mean every line. I mean, he told me that, you know,
• 15:14
  Speaker 10: we would sit down, and he would say, look, when
• 15:15
  Speaker 10: you say this line, and you say the word Dad,
• 15:18
  Speaker 10: but you say it to me, you know, me being
• 15:20
  Speaker 10: Harry Dean, You have to mean it. You have to
• 15:24
  Speaker 10: mean that I'm your father, Hunter. You can't think of
• 15:28
  Speaker 10: it in any other way. So I think all my
• 15:31
  Speaker 10: acting lessons came from Harry Dean. Not that I'm an actor,
• 15:36
  Speaker 10: but if I were to advise somebody to go study
• 15:40
  Speaker 10: under an actor, I would say go study under Harry
• 15:42
  Speaker 10: Dean because he is truly 100% into acting the whole time.
• 15:47
  Speaker 9: He doesn't dick around. He goes straight to the point.
• 15:50
  Speaker 10: Even with a seven-year-old, he's acting and working with that
• 15:53
  Speaker 10: person as an actor.
• 15:54
  Speaker 9: So it was great.
• 15:55
  Speaker 10: My ongoing relationship with Harry Dean has been fantastic. I
• 15:58
  Speaker 10: did Fairytale Theater with him in the 80s.
• 16:01
  Speaker 9: I did Mr.
• 16:03
  Speaker 10: North with him in, I think it was like either
• 16:06
  Speaker 10: 89 or 90, 88 maybe. So I've worked with him
• 16:11
  Speaker 10: more than anyone else in my acting career. And he
• 16:16
  Speaker 10: continues to inspire me. And every time I see him
• 16:19
  Speaker 10: on screen, he has the same very beautiful impact that
• 16:24
  Speaker 10: he had in Paris, Texas.
• 16:27
  Speaker 2: He's so amazing to watch. He's so natural, too. So
• 16:30
  Speaker 2: it's funny that he's sort of passing that on as
• 16:32
  Speaker 2: early as that was to just kind of understand what
• 16:36
  Speaker 2: you're dealing with and mean it right off the bat.
• 16:38
  Speaker 2: That's kind of impressive. And then working with... Ben Vendors,
• 16:43
  Speaker 2: I mean, that's kind of a huge name as far
• 16:45
  Speaker 2: as a director. How was it as, you know, especially
• 16:49
  Speaker 2: being that young, working with him as a director?
• 16:54
  Speaker 9: It was good. It was very good.
• 16:58
  Speaker 2: Do you feel like he treated you any differently because
• 17:01
  Speaker 2: you were as young as you were?
• 17:02
  Speaker 10: I don't think he treated me differently. I think he
• 17:07
  Speaker 10: had to adjust slightly, but you know, it was, he
• 17:14
  Speaker 10: was very, he was very good with actors. He really
• 17:18
  Speaker 10: knows what he wants and he knows how to.
• 17:20
  Speaker 9: Get it, you know? And I, I, I don't know.
• 17:25
  Speaker 10: I don't know if it was, if it was him
• 17:26
  Speaker 10: or I, or a combination of both, but that was,
• 17:29
  Speaker 10: I mean, easily as an actor, that was the best
• 17:31
  Speaker 10: experience I've ever had.
• 17:33
  Speaker 5: Interesting.
• 17:35
  Speaker 2: Uh, one of the other things I just, I, I,
• 17:38
  Speaker 2: I recently met, uh, Amanda Burrs and, uh, just once
• 17:43
  Speaker 2: looking up your stuff and had seen how you play,
• 17:46
  Speaker 2: we're in the original unaired pilot on a married with children.
• 17:50
  Speaker 2: How did you end up getting involved in that? And
• 17:52
  Speaker 2: then was it something that they were just putting actors
• 17:56
  Speaker 2: in there and not planning? I mean, all the adults
• 17:58
  Speaker 2: were kind of preset at that point, I guess, but
• 18:00
  Speaker 2: what was, what, what level of that process was it
• 18:03
  Speaker 2: once the guy that you got to go in there
• 18:05
  Speaker 2: and shoot that?
• 18:05
  Speaker 10: Yeah, they had all, they had all the adults cast.
• 18:08
  Speaker 10: They were, they were casting the kids and, What they
• 18:11
  Speaker 10: wanted was... They had started my character, Bud Bundy, as
• 18:17
  Speaker 10: like a ne'er-do-well sort of jock-ish, knew a lot about sports,
• 18:24
  Speaker 10: kind of a know-it-all, kind of a kid that was
• 18:27
  Speaker 10: interested in military.
• 18:29
  Speaker 9: And they had the other Bundy daughter, Kelly Bundy, as
• 18:31
  Speaker 9: sort of an intellectual....
• 18:41
  Speaker 10: And after the pilot aired, they went a completely different
• 18:43
  Speaker 10: direction on both characters.
• 18:44
  Speaker 4: Definitely.
• 18:45
  Speaker 10: Yeah, so then they recast with Christina and David.
• 18:50
  Speaker 2: Yeah, I mean, even watching, because you can find clips
• 18:53
  Speaker 2: of it now.
• 18:54
  Speaker 9: You definitely can.
• 18:55
  Speaker 6: I've seen them.
• 18:55
  Speaker 2: Yeah, go look for it, because it's awesome. You're not
• 18:58
  Speaker 2: that far off, at least from how he started. I mean,
• 19:01
  Speaker 2: he changes quite a bit in the next couple of seasons, but... Yeah,
• 19:04
  Speaker 2: the Kelly character is way off.
• 19:06
  Speaker 9: Yeah, the kids didn't work.
• 19:09
  Speaker 10: The two characters of the kids didn't work, so they
• 19:12
  Speaker 10: completely rewrote the script and reshot the pilot.
• 19:16
  Speaker 9: But it was interesting.
• 19:19
  Speaker 10: I'm always very interested to see what happens to films
• 19:23
  Speaker 10: and projects and TV that I was involved in as
• 19:29
  Speaker 10: a kid and how they change and grow if you
• 19:31
  Speaker 10: get recast or whatever. There were a couple of projects
• 19:33
  Speaker 10: that I had gotten so incredibly close to doing, and
• 19:37
  Speaker 10: then you'd watch the movie later, and you'd go, wow,
• 19:39
  Speaker 10: that's a.
• 19:39
  Speaker 9: Totally different thing than I was doing.
• 19:41
  Speaker 10: Because even as a kid, you're still reading the lines,
• 19:44
  Speaker 10: and you're still acting the role that the director and the.
• 19:46
  Speaker 2: Writer have thought.
• 19:50
  Speaker 10: Up yeah you know and when it really gets on
• 19:52
  Speaker 10: screen if you if you don't get the role or
• 19:54
  Speaker 10: if you um get recast or something like that you
• 19:57
  Speaker 10: do get the role and you get recast it's it's
• 19:59
  Speaker 10: interesting to see how it changes.
• 20:01
  Speaker 2: Yeah that one definitely went through a lot of changes
• 20:05
  Speaker 2: yeah Seeing how it turned out later, is it something
• 20:08
  Speaker 2: you would have wanted to be involved in? I mean,
• 20:11
  Speaker 2: I guess at the time you would have, but looking
• 20:12
  Speaker 2: back at it now, I mean, I guess it definitely
• 20:15
  Speaker 2: took a very different career path for David Faustino. So
• 20:18
  Speaker 2: is it something you would have wanted to pursue at
• 20:21
  Speaker 2: that point?
• 20:22
  Speaker 6: I don't know.
• 20:23
  Speaker 9: I've never even considered it.
• 20:24
  Speaker 2: Yeah. It's interesting. Because, yeah, it seems like he's found
• 20:27
  Speaker 2: it hard to find any other roles. People don't want
• 20:30
  Speaker 2: to see him as anything else. So it's almost kind
• 20:32
  Speaker 2: of that. Blessing and a curse. It's a great job
• 20:35
  Speaker 2: for 10 or 11 years he had, but now I
• 20:37
  Speaker 2: think it's hard for him to find other roles. No telling.
• 20:42
  Speaker 2: Other than that, I know you were saying you've got stuff.
• 20:46
  Speaker 2: Do you have upcoming projects you want to tell people about?
• 20:49
  Speaker 10: I directed my first feature last year. It's in the
• 20:54
  Speaker 10: process of being edited. It's going to be in film
• 20:57
  Speaker 10: festivals as soon as we can get it. picture locked
• 20:59
  Speaker 10: and audio locked and get everything done. You know, the
• 21:01
  Speaker 10: post-production process can take a while.
• 21:03
  Speaker 7: Definitely.
• 21:04
  Speaker 9: I was very excited about that.
• 21:06
  Speaker 2: And then, uh, anything upcoming other than that or any
• 21:09
  Speaker 2: projects you've recently done for people to look for?
• 21:12
  Speaker 10: I've, I've, I've done, I've done some acting in a,
• 21:16
  Speaker 10: in a, in a short film and that will, will
• 21:19
  Speaker 10: be out. It's called for rent and that will be
• 21:21
  Speaker 10: out of film festivals coming to a film festival near you.
• 21:23
  Speaker 8: All right.
• 21:24
  Speaker 2: All right. Tell people to look for those. That was
• 21:26
  Speaker 2: pretty much it. Thank you for talking to us today. Yeah,
• 21:29
  Speaker 2: unless you've got other things you need to get out there.
• 21:32
  Speaker 9: I don't know.
• 21:33
  Speaker 10: It was a great interview. It was very concise, and
• 21:36
  Speaker 10: I appreciate you taking the time to come out and
• 21:39
  Speaker 10: work with me.
• 21:40
  Speaker 9: You had to drive all the way down here to Lexington.
• 21:42
  Speaker 10: I hope you enjoy the film tonight and let our
• 21:45
  Speaker 10: audience know about the Erdingstein Film Festival.
• 21:48
  Speaker 4: Definitely.
• 21:49
  Speaker 2: We'll get the word out and tell them to look
• 21:51
  Speaker 2: for your upcoming stuff, too. Cool. Sounds good. Thank you.
• 21:56
  Speaker 3: Yeah, yeah.
• 22:05
  Speaker 2: Okay, and thank you to Hunter. He was actually very
• 22:09
  Speaker 2: nice and put up with me as, you know, best
• 22:12
  Speaker 2: as most people do. And had some really good stuff
• 22:16
  Speaker 2: and has been working steadily in all different fields as
• 22:20
  Speaker 2: you find out in movies his whole life pretty much, so.
• 22:24
  Speaker 2: It was pretty interesting. So, yeah, you met Hunter last year.
• 22:29
  Speaker 2: He's a good guy.
• 22:30
  Speaker 6: He is an amazing guy. I mean, he was our
• 22:31
  Speaker 6: house guest for three days, and he's just a champion.
• 22:35
  Speaker 6: He really is. I mean, he kind of jumped into
• 22:37
  Speaker 6: this and was so cool and gracious. And I think
• 22:40
  Speaker 6: I told you the whole origin story about how we
• 22:43
  Speaker 6: found him, right?
• 22:44
  Speaker 2: I don't know if you did.
• 22:45
  Speaker 6: Yeah, it's a crazy thing because we really wanted a
• 22:47
  Speaker 6: guest and we have zero budget. Yeah, I know that feeling. Yeah,
• 22:52
  Speaker 6: negative budget. And I was like, well, we can't, you know,
• 22:55
  Speaker 6: hire somebody. Like, we can't, you know, we're not going
• 22:58
  Speaker 6: to get Sigourney Weaver.
• 22:59
  Speaker 2: Can we hire a hunter impersonator? Yeah.
• 23:02
  Speaker 6: And I was like, I was just trying to brainstorm
• 23:05
  Speaker 6: about maybe who we could find that would just be
• 23:07
  Speaker 6: totally cool and totally laid back and, you know, wouldn't
• 23:10
  Speaker 6: ask a lot of us. And so I was thinking,
• 23:14
  Speaker 6: who better to have here, who with more interesting stories
• 23:18
  Speaker 6: than the kid from Paris, Texas? Because he grew up
• 23:20
  Speaker 6: in that environment and grew up with, I mean, he
• 23:23
  Speaker 6: was in three different films with Harry Dean. And so
• 23:26
  Speaker 6: he's got to have the best stories because he has
• 23:27
  Speaker 6: such a different perspective on the man. Yeah. And he
• 23:30
  Speaker 6: was in, you know, my favorite film of all time.
• 23:33
  Speaker 6: So I was like, well, how do you find somebody? Well,
• 23:36
  Speaker 6: you go on Facebook. That's where people are. So I
• 23:38
  Speaker 6: went on Facebook and entered in Hunter Carson and like
• 23:41
  Speaker 6: 10 million Hunter Carsons popped up. And the one that
• 23:44
  Speaker 6: came to the top said it had two mutual friends.
• 23:46
  Speaker 6: And so I thought, golly, before I clicked on it, like,
• 23:49
  Speaker 6: because it wasn't a picture of his face. It was
• 23:50
  Speaker 6: like a picture of a dog. And I was like,
• 23:52
  Speaker 6: how amazing would it be if I click on this
• 23:54
  Speaker 6: button right now? And this Hunter Carson is the Hunter
• 23:57
  Speaker 6: Carson that I'm trying to find. And I click on it.
• 23:59
  Speaker 6: And sure enough, he was college roommates with my boarding
• 24:03
  Speaker 6: school roommate's husband. And I called her and I was like,
• 24:05
  Speaker 6: talk to me about Hunter Carson. And she's like, Hunter
• 24:07
  Speaker 6: Carson is the coolest guy ever. And I said, do
• 24:09
  Speaker 6: you think he would be willing to come and do
• 24:11
  Speaker 6: our crazy festival? And she said he'd be totally down
• 24:14
  Speaker 6: for it. So, you know, we bought him an airline
• 24:16
  Speaker 6: ticket and he came and he hung out in my
• 24:18
  Speaker 6: parents' guest house. And he was just the coolest dude
• 24:20
  Speaker 6: that ever lived.
• 24:21
  Speaker 2: That's odd that you. somewhat sort of inadvertently knew him
• 24:25
  Speaker 2: through two.
• 24:26
  Speaker 6: People i know well that's the magic of harry dean
• 24:28
  Speaker 6: everything comes together because we're this festival.
• 24:31
  Speaker 2: He's the new game he's skip kevin.
• 24:33
  Speaker 6: Bacon oh yeah no totally.
• 24:35
  Speaker 2: Six degrees of harry dean stanton oh.
• 24:37
  Speaker 6: Yeah he's been in every movie ever that.
• 24:39
  Speaker 2: Would probably work actually he's.
• 24:41
  Speaker 6: He's he's way better longer career 180 imdb credits worked
• 24:45
  Speaker 6: with everybody from alfred hitchcock to david lynch like who
• 24:48
  Speaker 6: has a career like that Nobody. Nobody. Just that?
• 24:52
  Speaker 2: Certainly nobody alive. So good for him.
• 24:55
  Speaker 6: Yeah.
• 24:55
  Speaker 2: So, all right, we're switching it. We're shoving Kevin Bacon down.
• 24:59
  Speaker 6: Yeah, sorry, Kevin.
• 24:59
  Speaker 2: Taking his game.
• 25:00
  Speaker 6: I know that's what you had, but.
• 25:02
  Speaker 2: He's still making movies. He's fine.
• 25:04
  Speaker 6: Yeah, got a hot wife.
• 25:05
  Speaker 2: He's doing okay. She's got a good paycheck still coming in, right?
• 25:09
  Speaker 2: He's got that X-Men money coming in now. Come on,
• 25:12
  Speaker 2: he's fine. That's actually pretty cool. The whole just stumbling
• 25:17
  Speaker 2: upon Hunter.
• 25:18
  Speaker 6: Oh, there were so many stories that I won't bore
• 25:20
  Speaker 6: you with now, but one day I will bore the
• 25:22
  Speaker 6: heck out of all of y'all.
• 25:23
  Speaker 2: Sounds good to me. Although I still say we shoot
• 25:26
  Speaker 2: for Sigourney. I say we keep working on that one.
• 25:29
  Speaker 6: Well, you know, one day.
• 25:30
  Speaker 2: For future festivals. There's going to be plenty of them.
• 25:34
  Speaker 2: I mean, think about totally overkilling if you did the
• 25:38
  Speaker 2: first one and she shows up.
• 25:39
  Speaker 6: Right.
• 25:40
  Speaker 2: You know, Harry Dean Stanton Fest 17 when she's headlining.
• 25:44
  Speaker 2: It's going to be pretty awesome.
• 25:46
  Speaker 6: But actually, she won't be any more fun than Hunter Carson.
• 25:49
  Speaker 2: That's probably true.
• 25:50
  Speaker 8: Yeah.
• 25:51
  Speaker 2: All right. So with that, I say we take a
• 25:53
  Speaker 2: break here. And when we come back, we will actually
• 25:54
  Speaker 2: head straight into this week's Sofa Theater feature, which is,
• 25:58
  Speaker 2: in fact, Paris, Texas.
• 26:01
  Speaker 5: We will be right back.
• 26:16
  Speaker 12: Thank you.
• 26:28
  Speaker 3: We have just seen rushes direct from Hollywood of pictures
• 26:31
  Speaker 3: being released in the coming weeks. And we are proud
• 26:34
  Speaker 3: to announce that this theater will soon bring you the
• 26:36
  Speaker 3: greatest array of pictures ever to reach our screen.
• 26:40
  Speaker 2: You'll see the.
• 26:40
  Speaker 3: Finest stars in exciting performances. We're thrilled to the suspense, comedy, romance,
• 26:48
  Speaker 3: and drama of world-famous stories. Here's a glimpse of a
• 26:52
  Speaker 3: few of them coming to this theater soon.
• 26:56
  Speaker 8: From the director of Taken there's a suicide bomber inside the.
• 27:00
  Speaker 10: Embassy we've got you working with our top operative Charlie Wax.
• 27:05
  Speaker 2: Till death do us part the risk has never been
• 27:08
  Speaker 2: greater what do you think this is about it's about
• 27:10
  Speaker 2: terrorists but our last line of defense is.
• 27:14
  Speaker 4: Also our best.
• 27:16
  Speaker 10: That's how I do things Wax's methods aren't exactly regulation.
• 27:23
  Speaker 2: You got a problem with that nope.
• 27:33
  Speaker 5: What the?
• 27:34
  Speaker 2: Did I say we were done? John Travolta. God, I
• 27:40
  Speaker 2: love this country.
• 27:41
  Speaker 4: Jonathan Rhys-Myers.
• 27:42
  Speaker 2: Don't move!
• 27:44
  Speaker 9: Come on, baby, one shot.
• 27:48
  Speaker 2: From Paris with love.
• 27:52
  Speaker 10: Tell me that wasn't some impressive.
• 27:55
  Speaker 7: Tweaked Audio, your source for high-performance, noise-reducing earbuds. Available in
• 28:03
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• 28:06
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• 28:10
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• 28:13
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• 28:15
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• 28:19
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• 28:22
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• 28:29
  Speaker 2: It's time for Sofa Theater. Travis, hey. Don't you recognize me?
• 28:42
  Speaker 2: It's Walt.
• 28:47
  Speaker 10: It's your brother, Walt.
• 28:52
  Speaker 7: What the hell happened to you anyway?
• 28:54
  Speaker 13: You look like 40 miles of rough road.
• 28:58
  Speaker 3: Come on, let's get in the car.
• 28:59
  Speaker 9: Come on, Trav.
• 29:29
  Speaker 14: Can't take no more, make it end soon You were
• 29:37
  Speaker 14: my woman, why'd you have to be so hard on me?
• 30:03
  Speaker 14: My life's in ruin, the girl I love, she's.
• 30:06
  Speaker 12: Far away A.
• 30:12
  Speaker 11: Distant fire breaks memories of the love that I once knew.
• 30:20
  Speaker 2: Where are you now?
• 30:21
  Speaker 11: Been looking all around and I can't stay Hell, but
• 30:29
  Speaker 11: now I can't stay much more before I fade away.
• 30:59
  Speaker 2: Alright, we are back for this week's segment of Sofa Theater,
• 31:03
  Speaker 2: and we've changed locations. We have a slightly different crew here,
• 31:07
  Speaker 2: so we will throw out the introductions to who is
• 31:11
  Speaker 2: on hand Aside from Lucy and myself, who you've already
• 31:14
  Speaker 2: heard from. But, hey, go ahead and say hello, guys.
• 31:19
  Speaker 3: Hi.
• 31:19
  Speaker 4: Beau here.
• 31:20
  Speaker 2: Hi, I'm Fred.
• 31:21
  Speaker 6: I'm still Lucy.
• 31:23
  Speaker 2: Still here. So, now we will launch into this week's
• 31:26
  Speaker 2: Sofa Theater feature. This week's Sofa Theater feature is Paris, Texas.
• 31:31
  Speaker 2: The year is 1984. Director, Wim Wenders. And the plot,
• 31:37
  Speaker 2: I'm going to apologize now. This is terrible. And again,
• 31:42
  Speaker 2: not my doing. Just kind of continuing on with our usual,
• 31:45
  Speaker 2: let's just see what IMDb has.
• 31:47
  Speaker 4: Okay, I thought you were going to apologize for the movie.
• 31:50
  Speaker 4: It's like, I apologize, we're talking about Paris, Texas.
• 31:52
  Speaker 6: No, no.
• 31:53
  Speaker 4: It's terrible.
• 31:53
  Speaker 2: Paris, Texas is awesome. This plot synopsis is horrible. And
• 31:58
  Speaker 2: I'm going to go ahead and throw out the spoiler
• 31:59
  Speaker 2: alert now because it ruins things you probably don't need
• 32:02
  Speaker 2: to know about if you haven't heard it. So go
• 32:03
  Speaker 2: watch Paris, Texas before I even read this. Okay, the plot,
• 32:07
  Speaker 2: according to IMDb. A man wanders out of the desert
• 32:11
  Speaker 2: not knowing who he is. His brother finds him and
• 32:14
  Speaker 2: helps him pull his memory back of the life he
• 32:17
  Speaker 2: led before he walked out on his wife and son
• 32:20
  Speaker 2: four years before. As his memory returns, he makes contact
• 32:24
  Speaker 2: with various people from his past.
• 32:27
  Speaker 5: No?
• 32:27
  Speaker 2: And horribly worded?
• 32:29
  Speaker 4: Did that person just watch the trailer and write that synopsis?
• 32:33
  Speaker 8: They're pitching another movie.
• 32:36
  Speaker 2: I think so. Yeah. This is not right at all. So, again,
• 32:41
  Speaker 2: spoiler alert, because they just ruined some things you probably
• 32:44
  Speaker 2: don't need to know about until the end of the movie,
• 32:46
  Speaker 2: but whatever.
• 32:47
  Speaker 6: They just ruined a movie that we don't know what
• 32:48
  Speaker 6: it is.
• 32:49
  Speaker 4: I think that's like, isn't that the synopsis for The
• 32:51
  Speaker 4: Man Who Fell to Earth? Is that what that was?
• 32:54
  Speaker 2: Something like that? No. Yes. And Pee Wee's Big Adventure
• 32:59
  Speaker 2: as well.
• 32:59
  Speaker 8: There are elements of that at work in this movie.
• 33:05
  Speaker 6: There's a man in a desert.
• 33:08
  Speaker 2: Some of those things. Sometimes there is a man. Some
• 33:12
  Speaker 2: of those things are there. I'm not going to pretend
• 33:14
  Speaker 2: like they aren't, but it's oddly worded at the.
• 33:17
  Speaker 4: Least of its problems. So you're saying that Dean Stockwell
• 33:20
  Speaker 4: as David Bowie is what you're getting at. I mean,
• 33:23
  Speaker 4: he did sing very lovely in Blue Velvet, so.
• 33:26
  Speaker 2: And then he talks to Ziggy.
• 33:28
  Speaker 6: There's also a Kentucky connection. Walter Tevis, Lexingtonian.
• 33:34
  Speaker 2: Okay, where would you like to begin? That's not fair.
• 33:37
  Speaker 8: Lexingtonians sound so classy. We're Lua villains.
• 33:41
  Speaker 2: Oh, I like the villain part. That seems very fitting
• 33:44
  Speaker 2: to most people I know around here.
• 33:45
  Speaker 8: We're down here twisting our mustaches. Again, sounds about right.
• 33:52
  Speaker 8: Most of the people I see.
• 33:52
  Speaker 4: Tying up angels in distress and put them on the
• 33:55
  Speaker 4: train tracks.
• 33:57
  Speaker 2: Okay, so where would you like to begin with Paris, Texas?
• 34:02
  Speaker 2: In the desert?
• 34:04
  Speaker 8: Am I, I'm probably the only, did anybody see this
• 34:07
  Speaker 8: like when it first came out?
• 34:09
  Speaker 9: I didn't know.
• 34:10
  Speaker 2: I think I'm probably the only one old enough.
• 34:12
  Speaker 4: I saw it last year at Harry Dean Stanton Fest 1.
• 34:16
  Speaker 2: Yeah, that's what I was going to say. That was actually.
• 34:18
  Speaker 4: The first time I saw it.
• 34:19
  Speaker 2: Was it? I think it was for me too.
• 34:21
  Speaker 6: Oh, you literally just made my day.
• 34:22
  Speaker 2: Yeah, I think it was the first time I saw it.
• 34:23
  Speaker 6: That makes me so happy.
• 34:25
  Speaker 2: On the big screen in the Kentucky Theater. Wow.
• 34:28
  Speaker 8: I'm thrilled by that.
• 34:29
  Speaker 2: With Hunter in, you know, in the room. I was
• 34:31
  Speaker 2: pretty excited.
• 34:31
  Speaker 8: I saw this back in the day.
• 34:34
  Speaker 2: And how was your experience then? You know, I.
• 34:37
  Speaker 8: Remember conversations that happened when I saw this movie.
• 34:41
  Speaker 6: That's a good movie.
• 34:42
  Speaker 8: I remember who I watched it with and a lot
• 34:46
  Speaker 8: of things about it. Some things I remember about it, though,
• 34:49
  Speaker 8: did not correspond.
• 34:52
  Speaker 2: To the viewing. The real world?
• 34:54
  Speaker 3: Yeah.
• 34:55
  Speaker 8: Well, when I saw it again, and it's possible they
• 34:58
  Speaker 8: changed it. It's possibly they fixed a little flaw in
• 35:01
  Speaker 8: the movie that I remember clearly. vividly seen when he
• 35:05
  Speaker 8: drives into, what, Houston? And he parks the car, and
• 35:10
  Speaker 8: he gets out, and there's a window in a building with, like,
• 35:15
  Speaker 8: the Statue of Liberty painted on it.
• 35:17
  Speaker 2: Yeah.
• 35:17
  Speaker 8: And somebody waved from that window.
• 35:20
  Speaker 6: It's still there.
• 35:20
  Speaker 9: It's there.
• 35:21
  Speaker 2: I saw it today. It wasn't on the copy. I
• 35:22
  Speaker 2: rewound it. There was motion, but it was darkened. It's faint,
• 35:28
  Speaker 2: but it was on the one I just watched today.
• 35:30
  Speaker 6: Mm-hmm.
• 35:31
  Speaker 2: Yeah, the one I saw, I backed it up and
• 35:33
  Speaker 2: looked again.
• 35:33
  Speaker 8: It's like, I know, I remember somebody waving from the window.
• 35:36
  Speaker 2: It's like a little kid, it looks like. There's like
• 35:38
  Speaker 2: a person and then like a little kid. And the
• 35:39
  Speaker 2: little kid kind of waves and then runs off.
• 35:41
  Speaker 8: I played it a couple of times because I remember that.
• 35:43
  Speaker 8: And I'm like, am I losing? But I see a
• 35:46
  Speaker 8: little motion in it, but it's darkened.
• 35:49
  Speaker 6: Huh, they must have fixed that. They did not fix
• 35:51
  Speaker 6: my version.
• 35:51
  Speaker 2: Yeah.
• 35:52
  Speaker 8: Well, I had like a two-disc set.
• 35:55
  Speaker 2: Yeah, I know. It was missing when I went to
• 35:57
  Speaker 2: go rent it.
• 35:58
  Speaker 6: Oh, sorry.
• 35:59
  Speaker 2: I almost messaged you. I was like, look, bastard. Give
• 36:03
  Speaker 2: me that disc now. Yeah, I live a block away. Well,
• 36:07
  Speaker 2: I was just waiting because I knew I wasn't going
• 36:09
  Speaker 2: to get around to watching it until this weekend again.
• 36:11
  Speaker 2: So that is there. I'm not crazy. I do remember.
• 36:14
  Speaker 2: I remember that from seeing it. In the one before,
• 36:18
  Speaker 2: the one disc version, it's still there. So you need
• 36:21
  Speaker 2: to track down the old version.
• 36:23
  Speaker 3: Yeah.
• 36:25
  Speaker 2: So aside from the weird waving person... Yeah, just the
• 36:30
  Speaker 2: intro in the desert. I mean, that's... I mean, that's
• 36:33
  Speaker 2: something just.
• 36:34
  Speaker 4: When I was watching it, I remember thinking, you know,
• 36:39
  Speaker 4: when it comes to Vim Vendors, this idea of a
• 36:41
  Speaker 4: character that's just sort of like lost, trying to figure
• 36:45
  Speaker 4: out who he is and reconnect and all that. I mean,
• 36:47
  Speaker 4: that's very much a theme in Wings of Desire, too.
• 36:51
  Speaker 4: And I feel like those two films almost work well
• 36:54
  Speaker 4: as companion pieces. Just because that overall theme is similar.
• 36:58
  Speaker 4: And I think it just works very well for him.
• 37:00
  Speaker 4: And I don't know, I just... Anytime you actually have
• 37:03
  Speaker 4: this character to where they're trying to discover themselves and
• 37:07
  Speaker 4: in the end you don't really know that much more
• 37:10
  Speaker 4: about them per se. I mean, you do, but at
• 37:12
  Speaker 4: the same time, you know, his motivations are still left
• 37:15
  Speaker 4: kind of ambiguous. But I like it to where it's
• 37:18
  Speaker 4: used as a way of basically getting you to know
• 37:21
  Speaker 4: other characters more and their relationships.
• 37:24
  Speaker 2: And it's sort of like you're watching that journey, but
• 37:27
  Speaker 2: when you get to the end of the movie, the
• 37:29
  Speaker 2: journey is not really over. This was just that segment
• 37:31
  Speaker 2: of it. And we're assuming, you know, he's going on
• 37:34
  Speaker 2: to do whatever else he does. But again, it's not
• 37:37
  Speaker 2: like you reach the end of this character. This is
• 37:40
  Speaker 2: just this part in the story. I think that's kind
• 37:44
  Speaker 2: of that same thing of learning about the character, but
• 37:48
  Speaker 2: it doesn't pin it down. You don't get everything about him.
• 37:51
  Speaker 2: You don't really even know where he's going exactly. And
• 37:54
  Speaker 2: then it's not one of those that really wraps everything
• 37:56
  Speaker 2: up and go, well, he's figured it all out and
• 37:58
  Speaker 2: he's got it now.
• 37:59
  Speaker 4: And he actually, he moves everybody else forward a whole
• 38:02
  Speaker 4: lot more than he does himself.
• 38:03
  Speaker 2: Yeah, definitely.
• 38:04
  Speaker 4: In the grand scheme of things. But I mean, I
• 38:07
  Speaker 4: don't know. It's just, it was when I first saw it,
• 38:10
  Speaker 4: I was just like, this is such a poignant little film.
• 38:12
  Speaker 4: I mean, I think one of my favorite moments in it,
• 38:15
  Speaker 4: just because it was just, you know, so heart wrenching
• 38:17
  Speaker 4: is when he first finds, um, you know, the woman
• 38:20
  Speaker 4: that he suspects was his wife. And he goes to
• 38:22
  Speaker 4: the strip club and he's just sitting there on the
• 38:25
  Speaker 4: other pane of glass and he's just looking at her
• 38:27
  Speaker 4: and just can't say anything. I just love that moment.
• 38:32
  Speaker 6: There's so many great moments. Sorry, I just kind of
• 38:35
  Speaker 6: spaced out for a second because I love Wings of Desire.
• 38:38
  Speaker 6: That's one of my top ten favorite films as is
• 38:40
  Speaker 6: this one and I just thought about that moment.
• 38:42
  Speaker 4: I feel like there are a lot of parallels between
• 38:43
  Speaker 4: the two.
• 38:44
  Speaker 6: Right, and not until just now when I was thinking
• 38:46
  Speaker 6: about this, that moment when he's on the bridge and
• 38:48
  Speaker 6: there's the madman that's sort of ranting. He's not a madman, sorry.
• 38:51
  Speaker 6: He's a slime ball or whatever he says. I'm a
• 38:53
  Speaker 6: slime bucket. I'm not crazy.
• 38:55
  Speaker 2: He's a prophet is what he is. He may just
• 38:57
  Speaker 2: be a slime bucket.
• 38:58
  Speaker 6: But he's screaming and it's like he doesn't see Harry
• 39:01
  Speaker 6: Dean there. It's like he's just sort of projecting this
• 39:03
  Speaker 6: into the world. And there's that second where Travis, I'm sorry,
• 39:06
  Speaker 6: Harry Dean slash Travis, where Travis comes up and he
• 39:09
  Speaker 6: just touches him on the back. like it's it's okay
• 39:12
  Speaker 6: and then he passes by him and that's totally a
• 39:14
  Speaker 6: wings of desire moment that's totally an angel moment.
• 39:17
  Speaker 2: Yeah that was kind of my favorite of that segment
• 39:19
  Speaker 2: is he could have again that that's sort of a
• 39:21
  Speaker 2: real world scenario you see a lot of crazy people
• 39:24
  Speaker 2: and you would think yeah your normal reaction would just
• 39:26
  Speaker 2: be like whatever and get the fuck away from him.
• 39:29
  Speaker 2: But not only does he stop and stand there and
• 39:31
  Speaker 2: just kind of stare at him and then, but that
• 39:34
  Speaker 2: little touch that he gives him, even without that, it's
• 39:37
  Speaker 2: like it's very telling of the kind of person Travis is.
• 39:41
  Speaker 2: It's just that little.
• 39:41
  Speaker 6: Yeah, I loved all those little defining moments. This is
• 39:45
  Speaker 6: a gentle soul before we find out what he's capable of.
• 39:49
  Speaker 8: Well, There's something about just the performance that Harry Dean
• 39:56
  Speaker 8: Stanton is just so innately sympathetic. I don't want to
• 40:04
  Speaker 8: make people hate me more than they already do. But
• 40:08
  Speaker 8: I think if it wasn't Harry Dean Stanton, the movie
• 40:13
  Speaker 8: just flat wouldn't work. When I first saw this movie,
• 40:16
  Speaker 8: I had a lot more respect for Sam Shepard as
• 40:19
  Speaker 8: a writer. than I do now, and watching it again
• 40:23
  Speaker 8: this much later, I have issues with the story.
• 40:28
  Speaker 6: Really?
• 40:29
  Speaker 2: Oh, serious issues.
• 40:30
  Speaker 6: Tell me to dig into this, because I had a
• 40:32
  Speaker 6: very different reaction watching it recently than I did previously,
• 40:35
  Speaker 6: and previously I had issues with it, and at this
• 40:37
  Speaker 6: moment in my life.
• 40:37
  Speaker 4: I think it's sort of perfect.
• 40:39
  Speaker 8: Oh, I remember really liking it when I first saw it,
• 40:43
  Speaker 8: but this time watching it, I'm like, he has amnesia?
• 40:48
  Speaker 8: What kind of amnesia is this? It's the kind of
• 40:51
  Speaker 8: amnesia where you remember where your mother first had sex,
• 40:57
  Speaker 8: but you don't know if four years is a long time,
• 41:01
  Speaker 8: and you think maybe one guy makes all the billboards.
• 41:05
  Speaker 8: So this is the kind of amnesia where you know
• 41:09
  Speaker 8: about your parents' sexual history, and you remember why you
• 41:13
  Speaker 8: bought a plot of land, but.
• 41:18
  Speaker 8: You have this childlike wonder about the world in general.
• 41:23
  Speaker 8: You're kind of like Al for the man who fell
• 41:27
  Speaker 8: to earth or Mark from fucking or, I don't know. I'm,
• 41:31
  Speaker 8: I just don't really understand it. He doesn't, He knows
• 41:35
  Speaker 8: who he is. He has the kind of amnesia where
• 41:39
  Speaker 8: he knows who he is and what he did. He
• 41:41
  Speaker 8: just doesn't want to talk about it until the end
• 41:43
  Speaker 8: of the movie.
• 41:44
  Speaker 4: That actually becomes a question. It's more of a facade
• 41:46
  Speaker 4: than anything.
• 41:47
  Speaker 2: I never thought it was actually amnesia.
• 41:49
  Speaker 6: That's why the IMDB synopsis throws me off.
• 41:53
  Speaker 2: It never occurred to me that he was.
• 41:55
  Speaker 6: An actual amnesiac.
• 41:57
  Speaker 2: Still, I don't know.
• 41:59
  Speaker 8: There's something about the structure of the writing that really
• 42:02
  Speaker 8: bothers me now that didn't used to bother me.
• 42:05
  Speaker 2: It has moments where he almost takes it too far
• 42:08
  Speaker 2: on that not knowing thing. But I mean, to me,
• 42:11
  Speaker 2: most of it, it's not so much that he doesn't
• 42:13
  Speaker 2: know who he is as he doesn't want to deal
• 42:15
  Speaker 2: with who he is. You know, it's like one of
• 42:17
  Speaker 2: those he's avoided. So much of what went on and
• 42:21
  Speaker 2: it's now been so long that he's just been wandering
• 42:23
  Speaker 2: out into the world that that sense of who he
• 42:27
  Speaker 2: is is almost gone. And he's just that zombie walking around,
• 42:31
  Speaker 2: you know, and it's only coming back with his brother
• 42:33
  Speaker 2: and then having to deal with the kid and later
• 42:35
  Speaker 2: her that sort of puts it back in perspective.
• 42:38
  Speaker 9: And he's like.
• 42:39
  Speaker 2: He starts to come back and remember who he was in,
• 42:42
  Speaker 2: in like that day to day action. Like it was
• 42:44
  Speaker 2: always there, but it's like, it was, he was so
• 42:46
  Speaker 2: out of practice that he didn't have to be that
• 42:48
  Speaker 2: person anymore. He was nobody for the last four years.
• 42:51
  Speaker 2: So that's what it felt like to me. It was
• 42:53
  Speaker 2: him sort of the more you kind of come in
• 42:55
  Speaker 2: contact with people, specifically people you've dealt with in the past,
• 42:59
  Speaker 2: you get back into that routine of, of being sort
• 43:02
  Speaker 2: of a normal person again.
• 43:03
  Speaker 4: Well, and not only that too, but I mean, you're
• 43:05
  Speaker 4: still going with the idea of the facade. I mean,
• 43:07
  Speaker 4: it's just, Basically, he's putting his toes in the water
• 43:11
  Speaker 4: as to exactly what he can get away with admitting
• 43:14
  Speaker 4: and saying to these people after being gone for so long.
• 43:16
  Speaker 4: Because you don't know. If you're coming back after all
• 43:19
  Speaker 4: this time, are you just going to get a complete earful?
• 43:22
  Speaker 4: Is somebody going to chew you out? Are they going
• 43:24
  Speaker 4: to welcome you with open arms? So it's like he's
• 43:26
  Speaker 4: feeling out the situation as he goes, which is why
• 43:28
  Speaker 4: I feel like as the film goes on, he's slowly
• 43:30
  Speaker 4: dropping the act as he's getting more comfortable with those surroundings,
• 43:33
  Speaker 4: sort of going along with that.
• 43:35
  Speaker 2: In that vein, I have to give credit to Dean
• 43:38
  Speaker 2: Stockwell's character. He is a very patient man. Yeah. Because
• 43:42
  Speaker 2: you know you would have wanted to strangle him about
• 43:44
  Speaker 2: 15 minutes in, and it's days later, and he still
• 43:47
  Speaker 2: won't talk about anything or at all. And he's just,
• 43:50
  Speaker 2: come on, man.
• 43:52
  Speaker 4: Take your time.
• 43:52
  Speaker 2: Yeah. He's so, you know, you have to love Dean
• 43:55
  Speaker 2: Stockwell in this movie, too.
• 43:57
  Speaker 6: I love those beats. And I love it when they're
• 44:00
  Speaker 6: on the top of, they're up at the top of
• 44:01
  Speaker 6: the billboard and he sort of starts to lose it
• 44:04
  Speaker 6: and he just has to rein himself in really fast.
• 44:07
  Speaker 8: I don't like that was a really amateurly written scene.
• 44:10
  Speaker 8: It smacks of the kind of like bickering that somebody
• 44:16
  Speaker 8: immediately does when they're thinking, Oh, the scene needs conflict.
• 44:21
  Speaker 8: And it, it wasn't credible to me. It's either he's
• 44:25
  Speaker 8: mad and he wants to, wants an answer and he's
• 44:30
  Speaker 8: going to pursue that credibly. Or he's just putting it off.
• 44:34
  Speaker 8: The deck is so stacked in this story. The kid,
• 44:39
  Speaker 8: I think, is the most believably written character. I think
• 44:43
  Speaker 8: the actors make the other characters believable with their choices,
• 44:48
  Speaker 8: and they fill it out. But if you look at
• 44:50
  Speaker 8: it on paper, it's a little mysterious. To me, where
• 44:55
  Speaker 8: Shepard's reputation as a writer.
• 44:59
  Speaker 2: is based really only this time did i find out
• 45:03
  Speaker 2: how much other stuff was kind of going on with
• 45:05
  Speaker 2: the writing that it was not a normal process that
• 45:10
  Speaker 2: this got made yeah specifically from the screenwriting well it.
• 45:13
  Speaker 8: Was adapted from shepherds by somebody else well.
• 45:17
  Speaker 2: The the way they were saying is like it started
• 45:20
  Speaker 2: off that that um the vendors wanted to work with,
• 45:23
  Speaker 2: with Shepard and they'd plan on working together years before.
• 45:26
  Speaker 2: And then it fell through. So then they came together
• 45:28
  Speaker 2: with this and they were like, Oh, we're going to
• 45:29
  Speaker 2: write this movie together. And they kind of did. But
• 45:33
  Speaker 2: the idea was that they were going to write the
• 45:35
  Speaker 2: first half. So all the way up through like when
• 45:39
  Speaker 2: he gets to LA and most of the way, even
• 45:42
  Speaker 2: most of the way into LA before he decides he's
• 45:45
  Speaker 2: probably going to have to leave LA up until that
• 45:47
  Speaker 2: point was written and was written by Shepard and with
• 45:50
  Speaker 2: them vendors and they had everything sort of mapped out
• 45:52
  Speaker 2: where they were going with that. And the idea was,
• 45:55
  Speaker 2: and again, I guess he was getting sort of artistic
• 45:57
  Speaker 2: is then once we're into it, we're going to go
• 45:59
  Speaker 2: with it and kind of finish it as we go.
• 46:02
  Speaker 2: And Sam will be there with me and we'll just
• 46:03
  Speaker 2: kind of write the scenes and continue as we go.
• 46:07
  Speaker 2: And then Sam Shepard got another job.
• 46:09
  Speaker 8: Yeah.
• 46:10
  Speaker 2: So he wasn't there anymore. And so he's midway into
• 46:13
  Speaker 2: his movie and he's like, okay, now what do I
• 46:16
  Speaker 2: do with this? So I don't think I knew up
• 46:19
  Speaker 2: until this time how that middle area was just sort
• 46:23
  Speaker 2: of left up in the air. And Vim was sort
• 46:25
  Speaker 2: of grasping his straws like, okay, I'm coming up with
• 46:29
  Speaker 2: this scene. And then he starts working with Hunter's dad,
• 46:33
  Speaker 2: who's also a director, and working with him on where
• 46:36
  Speaker 2: do you think the story could go. So I don't
• 46:38
  Speaker 2: know how much actual dialogue he wrote. It was more of,
• 46:41
  Speaker 2: how do we structure the rest of this story now?
• 46:43
  Speaker 2: So I think those two are piecing together the, okay,
• 46:47
  Speaker 2: this is where it's going to go. And this is
• 46:48
  Speaker 2: how he's going to wrap things up. And then at
• 46:51
  Speaker 2: the end, Sam comes back in and finishes. So those
• 46:53
  Speaker 2: amazing two scenes at the end, the one big one
• 46:56
  Speaker 2: are all Sam Shepard again, those, those phenomenal little, back
• 47:00
  Speaker 2: and forth between those two characters is back to Sam
• 47:03
  Speaker 2: Shepard so it's got that gap in the middle.
• 47:05
  Speaker 8: Sam Shepard I mean that's just his signature yeah and
• 47:08
  Speaker 8: those are amazing but that gap in the middle was
• 47:10
  Speaker 8: him going okay now how do.
• 47:12
  Speaker 2: I get from here to there you know he's just
• 47:13
  Speaker 2: sort of filling so that may be in that billboard
• 47:16
  Speaker 2: scene is is in that area.
• 47:17
  Speaker 8: So I feel you know some of the dialogue is
• 47:20
  Speaker 8: like very primitive writing there are a lot of films
• 47:23
  Speaker 8: if you look back on it I don't really think
• 47:26
  Speaker 8: there were films like that before it.
• 47:29
  Speaker 6: Yeah.
• 47:30
  Speaker 8: So, I mean, I, I would give it credit. I
• 47:32
  Speaker 8: think it's a very innovative film, but, um, I think
• 47:38
  Speaker 8: over time you have to question some of the credibility
• 47:42
  Speaker 8: of it. I think the, the story of the Odyssey
• 47:45
  Speaker 8: with the kid that he's just getting to know again and,
• 47:50
  Speaker 8: and going to find the mom, that's like a lot
• 47:53
  Speaker 8: of movies that, that came after it.
• 47:56
  Speaker 10: Yeah.
• 47:56
  Speaker 8: But it's, I can't think of, of movies, American movies
• 48:00
  Speaker 8: before it that you would compare it to.
• 48:03
  Speaker 2: And I remember.
• 48:03
  Speaker 8: Everybody being excited about it, you know, so, uh, they
• 48:06
  Speaker 8: were excited by, uh, the Rykuter soundtrack and, and, uh,
• 48:12
  Speaker 8: I was familiar with Sam Shepard back then. I think
• 48:14
  Speaker 8: True West is probably my favorite Shepard play. Uh, he
• 48:20
  Speaker 8: always has the brothers, kind of the two, brother kind
• 48:24
  Speaker 8: of thing. That's something he's, it's just part of his repertoire.
• 48:28
  Speaker 8: And I feel like he is completely credible writing the kid,
• 48:33
  Speaker 8: the kid's dialogue. I don't think there's a wrong note,
• 48:36
  Speaker 8: but some of the, the, the bickering stuff, it's just like, well,
• 48:41
  Speaker 8: he's not really seriously mad if he's not going to
• 48:44
  Speaker 8: pursue it.
• 48:45
  Speaker 2: I don't know. That always seemed kind of true just
• 48:48
  Speaker 2: to the, the way that Dean Stockwell played it. Like
• 48:50
  Speaker 2: he does seem like when he's always like, backing off
• 48:54
  Speaker 2: and being like no no like no matter how angry
• 48:56
  Speaker 2: he gets he stops himself and it's one of those
• 48:59
  Speaker 2: you don't meet those people very often but he he
• 49:01
  Speaker 2: makes it like it's so it's such a through line
• 49:04
  Speaker 2: that every step of the way like they get kicked
• 49:06
  Speaker 2: off of a plane because of him and he's like
• 49:08
  Speaker 2: are you gonna leave me no i'm not gonna leave
• 49:10
  Speaker 2: like he's just always the forgiving brother and that seems
• 49:13
  Speaker 2: like it always follows you know through the whole.
• 49:16
  Speaker 15: The whole movie it's consistent at least yeah i mean
• 49:18
  Speaker 15: it seems like he's sort of in the caretaker role
• 49:20
  Speaker 15: and i sort of like that reveal because he very
• 49:23
  Speaker 15: much seems like the older brother and then you find
• 49:24
  Speaker 15: out that he's the younger brother.
• 49:26
  Speaker 6: Yeah um and i i like that relationship a lot
• 49:28
  Speaker 6: and like he says at the top of the billboard
• 49:30
  Speaker 6: it's like i've been treating you like a spoiled child
• 49:32
  Speaker 6: and and that seems like that's what the relationship is
• 49:34
  Speaker 6: he's trying to to be the grounded figure in his
• 49:38
  Speaker 6: life and occasionally he slips and then he brings himself
• 49:41
  Speaker 6: right back into line so I mean I think he
• 49:44
  Speaker 6: was just trying not to push him the whole time
• 49:45
  Speaker 6: was my.
• 49:46
  Speaker 4: Feeling which is kind of what I like about it
• 49:47
  Speaker 4: because there it seems like there's almost something that's unspoken
• 49:51
  Speaker 4: as to what happened in the past almost as if
• 49:54
  Speaker 4: I mean there was just a huge wrong that was
• 49:56
  Speaker 4: committed on Walter's part that you know it's just it's
• 50:00
  Speaker 4: never explored and maybe it's just he's come to terms
• 50:03
  Speaker 4: if his brother ever came back you know he would
• 50:06
  Speaker 4: just try to make amends. And that might be why
• 50:08
  Speaker 4: he's just being, you know, overly patient with him. I mean,
• 50:12
  Speaker 4: there's a lot of stuff that it can be inferred
• 50:15
  Speaker 4: within here. And in some cases that would drive me crazy, but, uh,
• 50:19
  Speaker 4: I don't know. It's just such an interesting character study.
• 50:21
  Speaker 4: It doesn't bother me here.
• 50:24
  Speaker 2: Well, I don't know.
• 50:26
  Speaker 8: For me, I, I just see the writer putting off
• 50:28
  Speaker 8: telling his story till the end.
• 50:30
  Speaker 2: I mean, there's definitely that.
• 50:33
  Speaker 6: Yeah.
• 50:34
  Speaker 8: Um, And then when you get to the story, it's
• 50:36
  Speaker 8: kind of like, do you remember the movie Heat? Do
• 50:40
  Speaker 8: you remember the movie Heat at all? Do you remember
• 50:42
  Speaker 8: Pacino has his ex-wife and they get into this argument?
• 50:47
  Speaker 8: And at some point she says to him, and this
• 50:49
  Speaker 8: is in the context of a marital spat. She says,
• 50:54
  Speaker 8: you sift the detritus. I'm willing to bet. That that
• 51:00
  Speaker 8: phrase has never, just the word detritus, has never occurred
• 51:04
  Speaker 8: in the context of a marital spat in the history
• 51:07
  Speaker 8: of the fucking world.
• 51:08
  Speaker 2: Until that movie.
• 51:10
  Speaker 8: That's the writer going in there, and you're hearing the
• 51:14
  Speaker 8: writer's voice. And when you get to the point in
• 51:17
  Speaker 8: the story at the end of this movie where she's
• 51:22
  Speaker 8: still not recognizing his voice, still not quite putting together
• 51:27
  Speaker 8: that she's hearing the story of her own life being
• 51:31
  Speaker 8: told to her through a mirror. Still not quite on that.
• 51:35
  Speaker 8: When you get to the point where he's telling her
• 51:37
  Speaker 8: what her dreams were, and she was running down riverbeds, that's,
• 51:45
  Speaker 8: I don't know, I'm voicing a little bit of an
• 51:48
  Speaker 8: objection to the writer saying, stacking what they want to
• 51:53
  Speaker 8: reveal to us until it serves. And I just feel
• 51:57
  Speaker 8: really conscious of it.
• 51:58
  Speaker 2: The movie, you know, it's slow. That's my only issue
• 52:03
  Speaker 2: with it. It's very slow.
• 52:07
  Speaker 4: But I even find Wings of Desire slow at points, too.
• 52:10
  Speaker 4: And I like the film a lot, but it's just,
• 52:12
  Speaker 4: I've always found, you know, Vin Vendor's just his pacing,
• 52:15
  Speaker 4: it's just, that's the way his films are, and I've
• 52:17
  Speaker 4: just gotten to the point where it's like, I accept
• 52:19
  Speaker 4: it's going to be kind of slow. And upon repeat viewings,
• 52:24
  Speaker 4: it doesn't bother me as much, but always on the first.
• 52:26
  Speaker 2: Viewing, it just.
• 52:27
  Speaker 8: I had the opposite experience. I probably, it bothered me less,
• 52:31
  Speaker 8: but it has the photography that sustains.
• 52:34
  Speaker 4: You through that.
• 52:35
  Speaker 8: The photography in it is just, and it's almost like
• 52:38
  Speaker 8: still photography in places.
• 52:40
  Speaker 2: At times.
• 52:41
  Speaker 8: There's a little bit of motion, but they come up
• 52:44
  Speaker 8: with this fantastic expressive still, and then people move in
• 52:50
  Speaker 8: it just a bit. And then there's even one point
• 52:53
  Speaker 8: where they just, they have the still photo and you
• 52:56
  Speaker 8: could just stare at it for another 10 minutes, but
• 52:58
  Speaker 8: then the car comes by. Well, no, we want to
• 53:01
  Speaker 8: drive into that.
• 53:03
  Speaker 3: Yeah.
• 53:04
  Speaker 2: There, there, there are great things in it, but I'm,
• 53:07
  Speaker 2: I'm very aware of.
• 53:10
  Speaker 3: The writing.
• 53:11
  Speaker 2: Yeah. Um, Yeah, I think the pacing definitely comes into play.
• 53:16
  Speaker 2: To me, it's one of those that I– because of that,
• 53:20
  Speaker 2: because of the pacing and some of the writing, I
• 53:23
  Speaker 2: think it is one of those that I can't recommend
• 53:26
  Speaker 2: it to everyone. It's one of those you've got to
• 53:28
  Speaker 2: be the kind of person who gets this type of movie.
• 53:31
  Speaker 2: So the regular moviegoers out there, I'm just like, no,
• 53:35
  Speaker 2: you wouldn't. The opposite of the– this movie is for you.
• 53:38
  Speaker 2: This is kind of the opposite where I'd be like, no.
• 53:41
  Speaker 2: you probably don't want to watch this movie.
• 53:43
  Speaker 4: Well, the thing that sold me on the idea of
• 53:45
  Speaker 4: even seeing it in the first place where I want
• 53:47
  Speaker 4: to drive down to Lexington to see it and I
• 53:50
  Speaker 4: would sell it with everyone else is it's a Harry
• 53:52
  Speaker 4: Dean Stanton vehicle. I like any film to where you
• 53:55
  Speaker 4: have an established character actor to where you give them
• 53:58
  Speaker 4: a vehicle to shine. I like Richard Jenkins in The
• 54:03
  Speaker 4: Visitor or just recently with Gary Oldman in Tinker Tailor
• 54:07
  Speaker 4: Soldier Spy. Regardless of what the storyline of the plot is,
• 54:10
  Speaker 4: the very fact that it's got a, um, character actor
• 54:13
  Speaker 4: in a prominent role that always grabbed my attention and just,
• 54:17
  Speaker 4: you know, I was kind of actually look at it
• 54:19
  Speaker 4: with remorse that they don't receive any kind of, um,
• 54:21
  Speaker 4: you know, recognition, you know, going to, like I was
• 54:25
  Speaker 4: talking a couple weeks ago about Felicia's journey. I mean,
• 54:27
  Speaker 4: that's one where I really felt Bob Hoskins deserved some
• 54:30
  Speaker 4: sort of recognition for it. It was just kind of
• 54:33
  Speaker 4: overlooked or, um, going to Blood Simple, M. Emmett Walsh,
• 54:39
  Speaker 4: or Dan Hedaya in that. I mean, just fantastic roles
• 54:42
  Speaker 4: by them. And you even mentioned, you know, Harry Dean
• 54:45
  Speaker 4: Stanton having to be in this, and I think it's
• 54:46
  Speaker 4: one of his best performances, but I got to thinking,
• 54:49
  Speaker 4: the only person that could maybe fill that role, and
• 54:51
  Speaker 4: it's one of my favorite little things that Roger Ebert's
• 54:55
  Speaker 4: come up with, he has his Stanton-Walsh rule. I don't
• 54:59
  Speaker 4: know if you've ever heard that before. He says, if
• 55:02
  Speaker 4: a movie has either Harry Dean Stanton or M. Emmett
• 55:05
  Speaker 4: Walsh in it, It is watchable. And he claims that
• 55:08
  Speaker 4: that rule has never been violated.
• 55:10
  Speaker 6: He said he went back on it one time, though.
• 55:12
  Speaker 2: I think it was.
• 55:13
  Speaker 10: No, I think.
• 55:13
  Speaker 6: It was a little dream, I believe.
• 55:14
  Speaker 4: I was thinking he went back on it for Wild
• 55:16
  Speaker 4: Wild West because M.M. Walsh was in that one. I
• 55:19
  Speaker 4: think he went back on it.
• 55:21
  Speaker 2: We all make questionable choices.
• 55:22
  Speaker 4: But anytime you have a character... It's a little bit
• 55:26
  Speaker 4: when character actors, they have that moment to shine. I
• 55:29
  Speaker 4: feel like this is it not only for Harry Dean Stanton,
• 55:31
  Speaker 4: but Dean Stockwell as well. Yeah. Both of them.
• 55:34
  Speaker 2: I think all the performances are good.
• 55:36
  Speaker 8: I think Harry Dean Stanton does a much finer job
• 55:40
  Speaker 8: for me than, than Stockwell does.
• 55:43
  Speaker 4: I don't, Stockwell, I don't think he's given as much
• 55:45
  Speaker 4: to do.
• 55:46
  Speaker 3: Yeah.
• 55:46
  Speaker 2: His, yeah, his character's already kind of set and he doesn't,
• 55:50
  Speaker 2: you know, like I said, it stays that way throughout
• 55:53
  Speaker 2: the movie where Harry Dean Stanton is just given so
• 55:55
  Speaker 2: much room to expand that by the end of the movie,
• 55:58
  Speaker 2: he's kind of a different, you know, especially, I mean, that,
• 56:01
  Speaker 2: midway in when he's there with the kid and he's
• 56:03
  Speaker 2: like driving along and he's kind of a normal guy
• 56:05
  Speaker 2: again and it's like you've watched in the last hour
• 56:08
  Speaker 2: him go through this complete metamorphosis really from this catatonic
• 56:12
  Speaker 2: wordless character to this guy who's kind of like a
• 56:15
  Speaker 2: normal father again and he's really likable at this point
• 56:18
  Speaker 2: and from the weird guy at the beginning you don't
• 56:20
  Speaker 2: know that you would ever get to that point that
• 56:22
  Speaker 2: he's just a likable normal guy and he doesn't 100%
• 56:26
  Speaker 2: you get to the end and he's still got issues
• 56:28
  Speaker 2: he's still working through stuff but He definitely does a
• 56:32
  Speaker 2: pretty big jump from, you know, what he was to
• 56:35
  Speaker 2: what he becomes midway into this movie.
• 56:39
  Speaker 4: Not the only other, you know, since we're kind of
• 56:41
  Speaker 4: on the topic of Harry Dean Stanton, but the only
• 56:43
  Speaker 4: other movie where I can think he has like a
• 56:45
  Speaker 4: powerful dramatic role that really makes me take note. is
• 56:49
  Speaker 4: Wise Blood. It was like one of John Huston's last films.
• 56:53
  Speaker 4: And that's actually a really good vehicle for not only him,
• 56:55
  Speaker 4: but Brad Dourif as well.
• 56:56
  Speaker 6: Brad Dourif is amazing.
• 56:58
  Speaker 4: It's like a very wet-behind-the-ears Brad Dourif at that stage, too.
• 57:01
  Speaker 4: But there, I mean, Stanton's character is a little bit
• 57:05
  Speaker 4: more unscrupulous and a little bit more unlikable. But still,
• 57:09
  Speaker 4: I mean, it's just such a captivating character. I don't
• 57:13
  Speaker 4: know if you're familiar with it. They're basically... Dourif shows
• 57:16
  Speaker 4: up in town, he picks up a hat to where
• 57:18
  Speaker 4: people think he looks like a preacher, and he starts
• 57:20
  Speaker 4: taking advantage of that to try to get money out
• 57:23
  Speaker 4: of people, and it turns out he's like on Stanton's turf,
• 57:26
  Speaker 4: where he's already kind of got that ploy. And it's
• 57:28
  Speaker 4: just this sort of a battle of wits to where
• 57:30
  Speaker 4: it's like, are they going to join forces? Are they
• 57:32
  Speaker 4: going to oppose? And it's one I need to go
• 57:34
  Speaker 4: back and revisit, but I remember watching it. I was like,
• 57:35
  Speaker 4: this is actually a clever little film when I saw
• 57:37
  Speaker 4: it at the time.
• 57:38
  Speaker 8: I would compare Harry Dean to Stanton. especially in this,
• 57:45
  Speaker 8: a little bit to Peter Sellers. There's a kind of
• 57:48
  Speaker 8: an innate sympathy you just feel for him.
• 57:54
  Speaker 4: Very much like Chansey the gardener.
• 57:56
  Speaker 8: Because, you know, through most of the movie, you have
• 57:59
  Speaker 8: no idea, you know, what the arc of his character is.
• 58:05
  Speaker 8: But you feel connected to him anyway, in spite of that.
• 58:09
  Speaker 2: I think that's the most impressive thing is that early
• 58:12
  Speaker 2: on you still already are invested in. That's the thing.
• 58:15
  Speaker 8: That's like a virtuoso acting thing because the script really
• 58:19
  Speaker 8: isn't giving you what you need. All you have are
• 58:23
  Speaker 8: these anonymous, like somebody you would see on the street,
• 58:26
  Speaker 8: doing things. And many of those things are pretty annoying.
• 58:31
  Speaker 8: And yet, despite that, you feel connected for reasons you
• 58:35
  Speaker 8: can't really explain to the character and you care... And
• 58:40
  Speaker 8: you care about them. And the story, I don't think,
• 58:42
  Speaker 8: without that acting performance, wouldn't work.
• 58:47
  Speaker 2: Yeah, I mean, trying to throw somebody else in there,
• 58:50
  Speaker 2: I think it would suffer immensely. It would be very
• 58:54
  Speaker 2: hard to find anybody who could care. Because he does
• 58:57
  Speaker 2: carry that, definitely that first half of the movie, which
• 59:00
  Speaker 2: is weird because it's wordless through 26 minutes or something.
• 59:04
  Speaker 2: But he still somehow drives it along. And if it
• 59:08
  Speaker 2: were somebody else, not... Harry Dean, I don't know that
• 59:12
  Speaker 2: you would still be invested that far in.
• 59:13
  Speaker 8: Yeah, it's in the physicality and just the look in
• 59:16
  Speaker 8: his eyes, and it's like the acting is at the
• 59:21
  Speaker 8: core of the story because you don't have a lot
• 59:25
  Speaker 8: else to go on.
• 59:26
  Speaker 4: And it's one of my favorite things about films to
• 59:28
  Speaker 4: where the character's not speaking, but just by looking at them,
• 59:31
  Speaker 4: I mean, you can hear the cogs turning in their head.
• 59:35
  Speaker 4: It's not somebody sitting around waiting for the next bit
• 59:37
  Speaker 4: of dialogue to come up. I mean, you can just
• 59:39
  Speaker 4: sit there and just watch them furtive on the screen
• 59:41
  Speaker 4: and just try to figure out what exactly is going on.
• 59:45
  Speaker 4: I mean, he's very much just... It's not brooding for
• 59:48
  Speaker 4: the sake of brooding. I mean, there is something there.
• 59:51
  Speaker 4: And I think that's what intrigues you, even seeing it.
• 59:54
  Speaker 4: It's like, okay... what is going to come of this.
• 59:57
  Speaker 4: I mean, it very much is an effective hook from
• 1:00:00
  Speaker 4: the beginning in that sense.
• 1:00:02
  Speaker 6: Yeah, and speaking to that, I love the scene where
• 1:00:03
  Speaker 6: he's doing the dishes, and you can sort of see
• 1:00:05
  Speaker 6: everything that's going through his head, and he gets very happy,
• 1:00:08
  Speaker 6: and he's sort of thinking about the things that have
• 1:00:09
  Speaker 6: happened that day, and then he becomes a little more sullen,
• 1:00:11
  Speaker 6: and then there's this whole arc to just him doing
• 1:00:14
  Speaker 6: the dishes and what's going through his head.
• 1:00:16
  Speaker 2: It's almost like him slipping back to who he used
• 1:00:18
  Speaker 2: to be. There's that moment of him being happy and
• 1:00:21
  Speaker 2: kind of a normal guy for a minute, and then, yeah,
• 1:00:23
  Speaker 2: he's right back to... kind of where he was before
• 1:00:26
  Speaker 2: that but yeah you again that's why i don't think
• 1:00:29
  Speaker 2: there's ever anything wrong with him more than he's sort
• 1:00:31
  Speaker 2: of lost unto himself he's he's lost inside his own
• 1:00:35
  Speaker 2: head really no.
• 1:00:36
  Speaker 8: But there are those little affectations like he he doesn't
• 1:00:40
  Speaker 8: know if four years is a long time he he
• 1:00:43
  Speaker 8: seems to have forgotten a lot of like just basic
• 1:00:46
  Speaker 8: general knowledge of the world somehow and that's that's kind
• 1:00:50
  Speaker 8: of a sam shepherd like in buried child people look
• 1:00:53
  Speaker 8: out the window and Everything's different, you know. It's kind
• 1:00:57
  Speaker 8: of like, I don't know, an absurdist tick that he has,
• 1:01:02
  Speaker 8: which seemed really cool when I was in college a
• 1:01:07
  Speaker 8: long time ago.
• 1:01:08
  Speaker 2: You know?
• 1:01:08
  Speaker 6: I'm sorry, I don't want to interrupt.
• 1:01:11
  Speaker 5: No, I'm done.
• 1:01:11
  Speaker 6: Well, my interpretation was always this, and I think that
• 1:01:14
  Speaker 6: this is what has allowed me to be okay with
• 1:01:18
  Speaker 6: those moments. I've always felt that he was this essentially
• 1:01:22
  Speaker 6: good person who, who became involved in this relationship where
• 1:01:26
  Speaker 6: he just lost all reason and completely lost himself and
• 1:01:30
  Speaker 6: it became this really ugly thing and it got uglier
• 1:01:32
  Speaker 6: and he found a darker and darker and darker part
• 1:01:34
  Speaker 6: of himself. And I think that after what happened in
• 1:01:38
  Speaker 6: the trailer, he didn't want to be that person anymore
• 1:01:42
  Speaker 6: and in order to deny that aspect of himself, he
• 1:01:45
  Speaker 6: sort of just had to deny everything and forget about everything.
• 1:01:48
  Speaker 6: And I feel like he's always so afraid of accessing
• 1:01:51
  Speaker 6: that part of himself that he does sort of want
• 1:01:53
  Speaker 6: to see himself when he returns to civilization as this innocent.
• 1:01:57
  Speaker 6: Like he wants to reclaim that innocence. And I think
• 1:01:59
  Speaker 6: that it becomes sort of this hyper innocence in those
• 1:02:01
  Speaker 6: moments where that is who he is because that's who
• 1:02:05
  Speaker 6: he wants to be, whereas he has the capability of
• 1:02:08
  Speaker 6: becoming this very dark person. And as he gets closer
• 1:02:11
  Speaker 6: and closer and revisits her, and sees that darkness in himself.
• 1:02:14
  Speaker 6: I mean, that moment, oh my gosh, the moment where
• 1:02:16
  Speaker 6: he first goes to see her and he starts asking
• 1:02:18
  Speaker 6: about the things that she does with her job, and
• 1:02:20
  Speaker 6: he starts becoming so angry, and you haven't seen that
• 1:02:22
  Speaker 6: anger before, and it's chilling. I mean, I thought that
• 1:02:25
  Speaker 6: was just.
• 1:02:27
  Speaker 2: It is that different side that you have never, in
• 1:02:30
  Speaker 2: the course of this movie, seen before. So it is
• 1:02:32
  Speaker 2: weird that it was there, and obviously was part of
• 1:02:35
  Speaker 2: that big story beforehand.
• 1:02:37
  Speaker 4: I don't think it's unrealistic, too, to assume that, you know,
• 1:02:40
  Speaker 4: if he spent like four years in just and an introspection, too,
• 1:02:44
  Speaker 4: that he would start to lose some perspective on at
• 1:02:47
  Speaker 4: least basic interactions with individuals. I mean, because you don't
• 1:02:50
  Speaker 4: really know how much he has sequestered himself from humanity
• 1:02:53
  Speaker 4: during that time. But, you know, for the better part,
• 1:02:56
  Speaker 4: I almost feel like that's been his sort of mode
• 1:03:00
  Speaker 4: of operation. It's just the way when he comes back,
• 1:03:02
  Speaker 4: it's just keeping to himself and disassociating himself not only
• 1:03:05
  Speaker 4: with his past self, but the world in general.
• 1:03:08
  Speaker 6: So.
• 1:03:10
  Speaker 8: And you don't feel that it's a little coy.
• 1:03:12
  Speaker 4: It is a little bit coy. I mean, I'm not
• 1:03:15
  Speaker 4: going to deny that.
• 1:03:16
  Speaker 2: It's a bit coy. It's kind of convenient, you know?
• 1:03:18
  Speaker 2: It's like, I need it to be this way to
• 1:03:21
  Speaker 2: get us to this next part.
• 1:03:22
  Speaker 4: But at the same time, I mean, how many other
• 1:03:23
  Speaker 4: movies have conveniences in them?
• 1:03:25
  Speaker 2: Well, you know, they all do, in a way.
• 1:03:28
  Speaker 8: It's just a matter of whether they... They bother you
• 1:03:32
  Speaker 8: or not.
• 1:03:33
  Speaker 4: But see, and I think that goes back to what
• 1:03:34
  Speaker 4: you were saying earlier. You know, you look at this
• 1:03:36
  Speaker 4: on paper and it's kind of like, eh, but it's
• 1:03:39
  Speaker 4: up to the actors to flesh it out. And there's
• 1:03:40
  Speaker 4: so many movies like that where it's on paper, the
• 1:03:43
  Speaker 4: film doesn't sound like it would quite work. But then
• 1:03:46
  Speaker 4: you put the right people in and it works great.
• 1:03:50
  Speaker 4: Other times not.
• 1:03:51
  Speaker 8: You know, I mean, that's... Yeah, I mean, my issue
• 1:03:54
  Speaker 8: is with Sam Shepard as a writer. I've just gotten
• 1:03:58
  Speaker 8: to a point where.
• 1:04:00
  Speaker 2: We just need to get Sam to sit down with
• 1:04:01
  Speaker 2: us and you guys can go at it.
• 1:04:04
  Speaker 8: Not with him as an actor or anything. I just,
• 1:04:08
  Speaker 8: the writing, there's something about it that kind of seems
• 1:04:13
  Speaker 8: and there's like a lot of the 80s in that movie.
• 1:04:19
  Speaker 2: There is.
• 1:04:19
  Speaker 6: So now we're going to blame it for being made
• 1:04:21
  Speaker 6: in 1984? No.
• 1:04:23
  Speaker 8: No, I mean, but it's funny how there is a
• 1:04:27
  Speaker 8: certain zeitgeist that that is apparent when you look at
• 1:04:32
  Speaker 8: it much later. Um, just the, the tendency to want
• 1:04:37
  Speaker 8: to impress you with a kind of emotional intensity that
• 1:04:41
  Speaker 8: was just everywhere in the air at that time. And
• 1:04:45
  Speaker 8: I remember getting to the end of this and we
• 1:04:47
  Speaker 8: watched this with another couple and the guy was, uh,
• 1:04:51
  Speaker 8: an actor and they were a couple and we watched
• 1:04:53
  Speaker 8: it together and we got to the end and, and
• 1:04:56
  Speaker 8: the guy said, so she, burn down the trailer and
• 1:05:01
  Speaker 8: his girlfriend said well she chained him to the oven
• 1:05:05
  Speaker 8: and i said fair is fair and he said no
• 1:05:09
  Speaker 8: i just didn't hear is that what she said she did.
• 1:05:12
  Speaker 13: So they were like getting in an argument about whether
• 1:05:15
  Speaker 13: the ugliness when this relationship goes bad i don't know
• 1:05:20
  Speaker 13: somehow they they they sort.
• 1:05:22
  Speaker 8: Of uh but that that was the the commentary that
• 1:05:27
  Speaker 8: came out of it um I don't know.
• 1:05:31
  Speaker 2: I'm not trying to trash this movie. I feel like now... Well,
• 1:05:36
  Speaker 2: I like having a different perspective. Because again, I think
• 1:05:39
  Speaker 2: it just brings up other stuff to get into. Yeah.
• 1:05:46
  Speaker 8: The kid at the point when they're at the bank.
• 1:05:50
  Speaker 8: For some reason, that's my favorite part of the movie.
• 1:05:53
  Speaker 2: When they go to Houston.
• 1:05:56
  Speaker 8: Dad?
• 1:05:57
  Speaker 4: Yeah?
• 1:05:58
  Speaker 2: Where'd you go all that time?
• 1:06:03
  Speaker 9: Mexico.
• 1:06:05
  Speaker 2: How come?
• 1:06:06
  Speaker 4: I didn't know where else to go.
• 1:06:12
  Speaker 2: Where'd Mom go?
• 1:06:16
  Speaker 5: I don't know.
• 1:06:18
  Speaker 4: But right now she's somewhere in Houston.
• 1:06:19
  Speaker 5: That's where the Space Center is.
• 1:06:26
  Speaker 4: That's what I want to talk to you about. I
• 1:06:29
  Speaker 4: gotta go away now.
• 1:06:31
  Speaker 3: Why?
• 1:06:33
  Speaker 4: Because I'm going to find her.
• 1:06:34
  Speaker 2: What about me? You just found me.
• 1:06:36
  Speaker 11: Can I come with?
• 1:06:43
  Speaker 4: What about Walton Ann?
• 1:06:43
  Speaker 6: You mean we'd never.
• 1:06:45
  Speaker 2: Come back here?
• 1:06:47
  Speaker 4: Well, sure, but.
• 1:06:49
  Speaker 6: I don't know when.
• 1:06:50
  Speaker 2: I want to come with. I want to find her too.
• 1:07:07
  Speaker 2: When do we go?
• 1:07:14
  Speaker 4: Right now.
• 1:07:16
  Speaker 6: Then come on, let's go.
• 1:07:17
  Speaker 2: First we've got to stop and get supplies for the trip.
• 1:07:20
  Speaker 5: Okay.
• 1:07:21
  Speaker 8: And that's when you really begin to feel their bond,
• 1:07:24
  Speaker 8: and you haven't, you know, and they've had, what have
• 1:07:27
  Speaker 8: they talked about? Like how the earth formed and stuff
• 1:07:30
  Speaker 8: like that. That's just Hunter being a nerdy science kid.
• 1:07:34
  Speaker 12: Yeah.
• 1:07:34
  Speaker 2: Cause he talks about that. He's like, most of that
• 1:07:36
  Speaker 2: was just him talking. Like you just ran the audio
• 1:07:39
  Speaker 2: and he starts rambling. It's completely believable. Yeah. Everything about
• 1:07:44
  Speaker 2: it is authentic. Cause it was just him as a kid.
• 1:07:47
  Speaker 6: Yeah.
• 1:07:47
  Speaker 2: Most of that was unscripted. It was just Hunter. Tell
• 1:07:50
  Speaker 2: us about space.
• 1:07:51
  Speaker 8: Yeah.
• 1:07:51
  Speaker 5: Okay.
• 1:07:54
  Speaker 2: Oh, I don't know. I think that that's another weird,
• 1:07:58
  Speaker 2: way that it's structured it's almost like it's in three
• 1:08:01
  Speaker 2: chapters two of which are road movies it's almost like
• 1:08:04
  Speaker 2: its own little road movie in the beginning with him
• 1:08:07
  Speaker 2: and the brother and then with him and the kid
• 1:08:09
  Speaker 2: yeah and then there's that middle section that's all of
• 1:08:12
  Speaker 2: them at the house and it's very different because it's
• 1:08:15
  Speaker 2: it's just that different setting and you start to see
• 1:08:17
  Speaker 2: him going through this change but he's almost like a
• 1:08:20
  Speaker 2: different character in each one of them like he's he's
• 1:08:22
  Speaker 2: in this different place each part of the movie that
• 1:08:26
  Speaker 2: they get to each each you know chapter that you
• 1:08:28
  Speaker 2: go through you see him sort of changing into a different.
• 1:08:31
  Speaker 4: Person which i think makes sense because i mean each
• 1:08:33
  Speaker 4: chapter is associated with a different person because the first
• 1:08:36
  Speaker 4: one it is you know walter the second time it's
• 1:08:38
  Speaker 4: hunter and the third time you know it's his wife
• 1:08:41
  Speaker 4: and um I mean, naturally, he's going to have different
• 1:08:44
  Speaker 4: reactions because he's been thinking for four years, what am
• 1:08:46
  Speaker 4: I going to do when I see these people again? Eventually,
• 1:08:49
  Speaker 4: when he calls his brother, obviously, he's come to that decision.
• 1:08:51
  Speaker 4: It's just he's going through the motions of, okay, how
• 1:08:55
  Speaker 4: am I going to approach this individual? And for me,
• 1:08:58
  Speaker 4: I think, you know again you're talking about your favorite
• 1:09:00
  Speaker 4: scene being in the bank for me it is like
• 1:09:02
  Speaker 4: what Lucy was saying earlier the scene to where he
• 1:09:05
  Speaker 4: first goes to that club and he's just talking to
• 1:09:08
  Speaker 4: her about what she does but he's never able to
• 1:09:10
  Speaker 4: like come out and admit who he is or anything
• 1:09:12
  Speaker 4: like that and it's just.
• 1:09:14
  Speaker 8: Yeah I find that really hard that she just doesn't
• 1:09:18
  Speaker 8: clue in On the first one or the second one?
• 1:09:21
  Speaker 8: Because the first one I can understand. He barely speaks
• 1:09:25
  Speaker 8: the first time.
• 1:09:26
  Speaker 2: On the second one. The second one. As it goes along,
• 1:09:29
  Speaker 2: I start to feel tense about it. I got that
• 1:09:32
  Speaker 2: same thing. I think it's almost that same thing that
• 1:09:34
  Speaker 2: he was doing. It's not so much that she doesn't
• 1:09:36
  Speaker 2: recognize all this. It's that she doesn't want to.
• 1:09:38
  Speaker 4: Because that's the first one. She has like a look.
• 1:09:40
  Speaker 2: On her face. Yeah, like she kind of knows.
• 1:09:42
  Speaker 6: Yeah.
• 1:09:43
  Speaker 2: And she doesn't want to deal with it almost. And
• 1:09:45
  Speaker 2: I think that's what it was midway into that second
• 1:09:47
  Speaker 2: one too. It's like, I think she knows midway into
• 1:09:50
  Speaker 2: that there was this couple story and she just like,
• 1:09:54
  Speaker 2: it's four years of, I don't know how to deal
• 1:09:56
  Speaker 2: with this. So all of a sudden she's faced with
• 1:09:58
  Speaker 2: it and it's just like, what do you do? I mean,
• 1:10:00
  Speaker 2: it takes her almost to the end of this story
• 1:10:02
  Speaker 2: of figuring out, okay, now what do I say to
• 1:10:05
  Speaker 2: this person that these horrible things took place and all
• 1:10:08
  Speaker 2: these years of, you know, time between us, what do
• 1:10:10
  Speaker 2: I do with that? You know, I, I, That's more
• 1:10:13
  Speaker 2: the way I took it, is her.
• 1:10:14
  Speaker 7: Especially in that environment, too.
• 1:10:15
  Speaker 2: Trying to process, yeah, in this weird situation.
• 1:10:17
  Speaker 4: Because already she is, you know, more helpless than he because,
• 1:10:21
  Speaker 4: you know, he's got the advantage. He can see her.
• 1:10:23
  Speaker 4: She can't see him. You know, he's in the know.
• 1:10:26
  Speaker 4: She's not and all that. So, I mean, I could
• 1:10:29
  Speaker 4: see it where she, too, might suspect something, but is
• 1:10:31
  Speaker 4: just trying to.
• 1:10:32
  Speaker 8: Well, how do you feel, then, about the ending where
• 1:10:35
  Speaker 8: he decides that the kid should be with her and
• 1:10:41
  Speaker 8: he's leaving... isn't that a little mysterious because he's like
• 1:10:45
  Speaker 8: had a little time and formed this bond with the
• 1:10:47
  Speaker 8: kid that we've seen and we felt.
• 1:10:50
  Speaker 2: And then.
• 1:10:52
  Speaker 8: He gets together with the mother and they haven't really
• 1:10:56
  Speaker 8: done that, but they just like grab each other and,
• 1:11:00
  Speaker 8: and it doesn't have the difficulty that he had in
• 1:11:02
  Speaker 8: connecting with the son.
• 1:11:04
  Speaker 2: Um, I almost disagree with that, like, in the real world. But, like,
• 1:11:09
  Speaker 2: from the story standpoint, I understand what they're doing.
• 1:11:13
  Speaker 6: I thought it was so beautiful because it's the supreme
• 1:11:15
  Speaker 6: act of selflessness that he's never been capable of.
• 1:11:18
  Speaker 2: I mean, it's just the most beautiful act.
• 1:11:20
  Speaker 8: But is it just because she's, like, the mother that
• 1:11:25
  Speaker 8: she and the son automatically connect without having to build
• 1:11:28
  Speaker 8: a relationship?
• 1:11:29
  Speaker 2: Well, not even that. I'm like, I don't know that.
• 1:11:32
  Speaker 2: he needs to be with the mother any more than
• 1:11:33
  Speaker 2: he needs to be with him. Because I feel like
• 1:11:35
  Speaker 2: you do at this point have this bond with him
• 1:11:37
  Speaker 2: that I'm almost leaning this way. You might be better
• 1:11:40
  Speaker 2: off with him once that he's come around and become
• 1:11:43
  Speaker 2: a good person again. But has he?
• 1:11:45
  Speaker 6: I mean, that's the problem. Because once he starts being
• 1:11:47
  Speaker 6: around her, he feels that age.
• 1:11:48
  Speaker 2: Well, I don't think he needs to be around her.
• 1:11:50
  Speaker 2: But I think when he's around, again, they're not a
• 1:11:52
  Speaker 2: good family unit. Yeah. But I think he and Hunter
• 1:11:55
  Speaker 2: are good together, you know?
• 1:11:56
  Speaker 4: I agree that's that selflessness thing because he could just
• 1:11:59
  Speaker 4: pretty much go with Hunter and then that's the movie.
• 1:12:01
  Speaker 6: Yeah.
• 1:12:02
  Speaker 4: It's like he's rebonded with him and he just keeps
• 1:12:04
  Speaker 4: him to himself, but it's going to the effort to chance,
• 1:12:09
  Speaker 4: you know, regressing again and to find her and then
• 1:12:12
  Speaker 4: just say, here, and then just quietly step back out as,
• 1:12:16
  Speaker 4: you know, it's like he's done what he can to
• 1:12:18
  Speaker 4: try to right his wrong.
• 1:12:20
  Speaker 6: Right.
• 1:12:21
  Speaker 4: So that way it's like he believes, you know, okay,
• 1:12:23
  Speaker 4: The son needs at least one of the parents, but
• 1:12:26
  Speaker 4: he's not the better one to be.
• 1:12:28
  Speaker 2: So he says. Are you sure about that? I don't see...
• 1:12:31
  Speaker 2: How does he know that? I mean, how does he
• 1:12:32
  Speaker 2: know that? Just dropping off with a girl that works
• 1:12:34
  Speaker 2: at a... Peep joke.
• 1:12:35
  Speaker 4: Well, I'm not saying that that's necessarily the case. I'm
• 1:12:38
  Speaker 4: just saying that's what he believes. Because he says.
• 1:12:40
  Speaker 6: That I'm the one that separated you all. I'm the
• 1:12:42
  Speaker 6: one that did this, and I'm the one that needs
• 1:12:44
  Speaker 6: to fix it. And I think he knows that he
• 1:12:46
  Speaker 6: as a person isn't ready to be back, really. When
• 1:12:51
  Speaker 6: it starts rising up, he realizes that he's not capable
• 1:12:53
  Speaker 6: of being.
• 1:12:54
  Speaker 2: but I don't know that she is either. So again,
• 1:12:57
  Speaker 2: in the real world, I kind of disagree with a
• 1:12:59
  Speaker 2: lot of that, but from the story arc, I understand
• 1:13:01
  Speaker 2: and I think it is kind of an interesting way
• 1:13:04
  Speaker 2: in him being very self-sacrificing.
• 1:13:06
  Speaker 4: In the embrace, I don't think it's necessarily that all
• 1:13:08
  Speaker 4: is forgiven or anything like that. I think it's just
• 1:13:11
  Speaker 4: It's her way of saying, I'm going to make a
• 1:13:13
  Speaker 4: legitimate try at this, is what that is more.
• 1:13:16
  Speaker 6: And he's definitely been prepped this whole trip. I mean,
• 1:13:18
  Speaker 6: the whole trip's been about finding her, so obviously he's
• 1:13:20
  Speaker 6: going to be willing to connect to her instantly.
• 1:13:23
  Speaker 4: Because maybe that's almost just.
• 1:13:25
  Speaker 2: I mean, I can't really.
• 1:13:26
  Speaker 8: I have no basis to say that it's wrong, but
• 1:13:29
  Speaker 8: I just... I question, like, automatically accepting it as a
• 1:13:36
  Speaker 8: happy ending. I mean, it's... It's what happens in the
• 1:13:39
  Speaker 8: course of the movie, but we really don't know that
• 1:13:42
  Speaker 8: much about her, and we can't pretend we do.
• 1:13:45
  Speaker 2: I wouldn't say happy, but bittersweet. Yeah, I didn't feel
• 1:13:46
  Speaker 2: like it was really happening. I felt like it was
• 1:13:49
  Speaker 2: that self-sacrificing, but to me, he's been our hero the
• 1:13:52
  Speaker 2: whole movie, and he's back to being alone. So to me,
• 1:13:55
  Speaker 2: I felt more of the sadness in him. Because he's
• 1:13:59
  Speaker 2: still really dealing with a lot of issues with her.
• 1:14:02
  Speaker 2: He's just opened that wound and now he's left to
• 1:14:04
  Speaker 2: be alone again.
• 1:14:05
  Speaker 6: But he's also made a tremendous personal step.
• 1:14:08
  Speaker 2: I mean, he's way better off than he was from
• 1:14:10
  Speaker 2: the beginning of the movie. But I think it's still that,
• 1:14:12
  Speaker 2: like I said at the beginning, it's that journey. It's
• 1:14:14
  Speaker 2: like he's not done. He's still got a lot of
• 1:14:16
  Speaker 2: stuff to go through and to finish this process. I mean,
• 1:14:20
  Speaker 2: he said that before. He's not done yet. dealing with this.
• 1:14:24
  Speaker 6: Yeah.
• 1:14:24
  Speaker 2: The whole situation with her was so damaging that it's taken,
• 1:14:28
  Speaker 2: you know, four years and he's still not at that
• 1:14:31
  Speaker 2: point where he's okay with it.
• 1:14:32
  Speaker 4: And I don't even know if I would call him
• 1:14:33
  Speaker 4: a hero per se. Protagonist is I guess the best,
• 1:14:37
  Speaker 4: but even there, he's like an unreliable protagonist because you
• 1:14:41
  Speaker 4: still don't know everything. And not only that, but I mean,
• 1:14:44
  Speaker 4: all you really know of the past is what he
• 1:14:47
  Speaker 4: admits to her and just How truthful that is. I mean,
• 1:14:51
  Speaker 4: already you've seen that he has like a skewed view
• 1:14:54
  Speaker 4: on reality. So exactly how accurate is that? I mean,
• 1:14:58
  Speaker 4: we as the viewer don't know that.
• 1:14:59
  Speaker 6: And even when he's having that second conversation, the tell-all conversation,
• 1:15:03
  Speaker 6: he lies to her when she says, were you here before?
• 1:15:05
  Speaker 6: And he's like, nope, wasn't here.
• 1:15:06
  Speaker 2: Yeah. And I think that's right. I think he would
• 1:15:11
  Speaker 2: do that. I think.
• 1:15:14
  Speaker 8: That rings true. It doesn't ring true to me when
• 1:15:17
  Speaker 8: she says, every man has your voice. That's like, well,
• 1:15:22
  Speaker 8: now you're just trying to explain.
• 1:15:24
  Speaker 2: I would have cut that line.
• 1:15:26
  Speaker 6: You are so angry at Sam Shepard.
• 1:15:29
  Speaker 2: Well, no, I'm not.
• 1:15:30
  Speaker 8: I do feel... No, there's something about his style that
• 1:15:35
  Speaker 8: I used to really like that I don't anymore.
• 1:15:37
  Speaker 4: Actually, no, you're angry at yourself.
• 1:15:39
  Speaker 2: Maybe.
• 1:15:39
  Speaker 8: I don't know, but I do think this, and I'm
• 1:15:42
  Speaker 8: not saying that the ending is wrong or anything. I'm
• 1:15:45
  Speaker 8: just saying that There's a lot to it that can
• 1:15:48
  Speaker 8: be examined, and that's good. But I will say this.
• 1:15:53
  Speaker 8: When I got to the end of it, I thought,
• 1:15:54
  Speaker 8: the person who wrote this story did not have kids.
• 1:15:59
  Speaker 8: And then I got online and I looked it up.
• 1:16:03
  Speaker 8: And his first kid was born in 1985, the year
• 1:16:06
  Speaker 8: this movie came out. I just felt like the person
• 1:16:11
  Speaker 8: who wrote this story doesn't have kids.
• 1:16:15
  Speaker 2: Well, I mean, that's a major issue as a person
• 1:16:18
  Speaker 2: watching this. It's like, that's almost why I question whether
• 1:16:21
  Speaker 2: either of them should be with Hunter. It's like, Hunter
• 1:16:23
  Speaker 2: had the best situation available, really. Those two were the
• 1:16:28
  Speaker 2: best parents you could get. So it's a shame that
• 1:16:32
  Speaker 2: he got taken out of that, truthfully. He needs to
• 1:16:34
  Speaker 2: get to know his parents, but I don't know that
• 1:16:37
  Speaker 2: he needs to be with either of them.
• 1:16:39
  Speaker 8: Yeah, you make an excellent point. I didn't even see
• 1:16:42
  Speaker 8: that coming, but yeah.
• 1:16:43
  Speaker 2: I mean, it's true, because they're the ones worried about him.
• 1:16:45
  Speaker 2: They're the ones that have been taking care of him
• 1:16:48
  Speaker 2: with no questions asked for four years. What a terrible
• 1:16:51
  Speaker 2: event this was for them. Yeah. Oh, that's horrible. Oh,
• 1:16:55
  Speaker 2: my God.
• 1:16:56
  Speaker 6: And maybe he won't be. Maybe she just hops on
• 1:16:58
  Speaker 6: a plane with him and they go back to L.A.
• 1:17:00
  Speaker 2: And again, that's maybe the best thing for them, possibly.
• 1:17:05
  Speaker 6: I've heard. I saw it in that Jersey Scott movie.
• 1:17:08
  Speaker 2: Oh. Cool.
• 1:17:11
  Speaker 8: Wow, yeah, because, you know, Dean Stockwell and his wife.
• 1:17:15
  Speaker 2: They seemed like really good parents, didn't they? They were.
• 1:17:19
  Speaker 2: I mean, that was the best. For people who didn't
• 1:17:22
  Speaker 2: even have children, like, they immediately fell into that role
• 1:17:25
  Speaker 2: of being good parents. Yeah. Seemed like they took such
• 1:17:29
  Speaker 2: a good job of him, you know, doing such a
• 1:17:31
  Speaker 2: good job of taking care of him. She's a little mysterious,
• 1:17:34
  Speaker 2: isn't she?
• 1:17:34
  Speaker 6: She was a little manipulative, I thought.
• 1:17:36
  Speaker 8: Yeah.
• 1:17:37
  Speaker 2: Yeah, but what mother is it, really? Isn't that how
• 1:17:40
  Speaker 2: mothers operate?
• 1:17:42
  Speaker 6: I was a little afraid of her.
• 1:17:43
  Speaker 2: But I don't know. Once again, I was kind of
• 1:17:46
  Speaker 2: siding with her. It's like if this weird guy wanders
• 1:17:49
  Speaker 2: in out of the desert, won't talk to you for days,
• 1:17:51
  Speaker 2: doesn't remember who you are half the time, like didn't
• 1:17:54
  Speaker 2: even remember her, and now you're going to let this
• 1:17:57
  Speaker 2: child that you've taken care of for four years just
• 1:17:59
  Speaker 2: go off with him, which is kind of the way that,
• 1:18:02
  Speaker 2: I mean, I would be ready to fight with him
• 1:18:04
  Speaker 2: for that. I mean, if this was my child.
• 1:18:06
  Speaker 4: Especially the way he's been acting since he's been back.
• 1:18:09
  Speaker 8: But that demonstrates a level of parental selfishness.
• 1:18:13
  Speaker 2: That is true.
• 1:18:15
  Speaker 6: Yeah.
• 1:18:15
  Speaker 2: That's somebody who's meant to be a parent. It might
• 1:18:18
  Speaker 2: not be the best thing, but... What are you going
• 1:18:21
  Speaker 2: to do?
• 1:18:22
  Speaker 6: You're helpless. But she does it in such an underhanded
• 1:18:24
  Speaker 6: way when she starts feeling like her position as his
• 1:18:27
  Speaker 6: parent is being threatened.
• 1:18:28
  Speaker 2: Oh, yeah. Oh, yeah. She's like, by the way, I.
• 1:18:31
  Speaker 6: Know where Nastassja Kinski is, and you just want to
• 1:18:34
  Speaker 6: run off and go find her and start destroying each
• 1:18:36
  Speaker 6: other again. We'll be here with Hunter when you get back.
• 1:18:39
  Speaker 2: Yeah, I would do that. See, that's what I'm saying.
• 1:18:43
  Speaker 2: I would do that and more. Protecting your own. Yes,
• 1:18:46
  Speaker 2: that's a good parental instinct.
• 1:18:48
  Speaker 6: As a viewer without children, maybe I don't come equipped.
• 1:18:52
  Speaker 6: Sam Shepard and I, neither of us are equipped to interact.
• 1:18:54
  Speaker 8: What is that Chekhov story? In the gully, it has
• 1:19:01
  Speaker 8: this like, velociraptor of a mother and she's always looking
• 1:19:06
  Speaker 8: after her brood and it's so ugly but it's um
• 1:19:11
  Speaker 8: but it's you know it's maternal she's just looking after
• 1:19:14
  Speaker 8: her kids she's just being but oh it's so nasty.
• 1:19:17
  Speaker 2: You kind of have to have a little of that
• 1:19:21
  Speaker 2: yeah be a good parent really i mean you have
• 1:19:24
  Speaker 2: to be able to put Your children above yourself and
• 1:19:29
  Speaker 2: at the same time above other people. Above other children.
• 1:19:31
  Speaker 2: Above other children, above other people. I think you do
• 1:19:35
  Speaker 2: kind of have to have that to be a good parent.
• 1:19:36
  Speaker 8: And as a couple, I mean, what committed couple hasn't
• 1:19:41
  Speaker 8: tried to set each other on fire or something?
• 1:19:44
  Speaker 5: I mean, come on.
• 1:19:45
  Speaker 2: That's what you have to deal with. That's just Tuesday
• 1:19:49
  Speaker 2: night for your guy.
• 1:19:50
  Speaker 8: That's just part of the deal. You have to work
• 1:19:53
  Speaker 8: through that.
• 1:19:58
  Speaker 2: Well, that's something I think this does really well. And again,
• 1:20:01
  Speaker 2: this time really noticing that by the time you get
• 1:20:05
  Speaker 2: to that last scene, that for something that's not on
• 1:20:09
  Speaker 2: the screen about that most of the time, that by
• 1:20:11
  Speaker 2: the time you get to that end 20, 30 minutes,
• 1:20:15
  Speaker 2: this is one of the best portrayals of just a
• 1:20:18
  Speaker 2: broken relationship. That watching these two sit there not looking
• 1:20:23
  Speaker 2: at each other. I like that they both specifically do
• 1:20:26
  Speaker 2: not want to even look in the same direction while
• 1:20:29
  Speaker 2: they tell this tale and kind of come clean about
• 1:20:32
  Speaker 2: what they've been feeling and have been going through. But yeah,
• 1:20:35
  Speaker 2: there's just this... And then you start to understand why
• 1:20:39
  Speaker 2: Harry Dean Stanton's character is so messed up and why
• 1:20:43
  Speaker 2: he's wandering the desert. Because it kind of does that
• 1:20:46
  Speaker 2: to you. I mean, it has the potential. If anything does,
• 1:20:49
  Speaker 2: it's just relationships to completely annihilate who you are and
• 1:20:54
  Speaker 2: as much as you want to carry on and be normal...
• 1:20:57
  Speaker 2: there's just something left there that, that won't let you.
• 1:21:00
  Speaker 2: And I think it, that kind of comes into focus
• 1:21:02
  Speaker 2: more when you hit that last scene and you're like, Oh,
• 1:21:06
  Speaker 2: well now it doesn't seem so far fetched because look
• 1:21:08
  Speaker 2: at how connected they are. But at the same time,
• 1:21:11
  Speaker 2: they don't know how to work together. You know, it just, they, they, they,
• 1:21:15
  Speaker 2: it is that couple. They, they, they have that spark
• 1:21:18
  Speaker 2: and they, they, you know, it really worked well. And
• 1:21:21
  Speaker 2: then they start to just totally destroy each other in
• 1:21:24
  Speaker 2: the process. Yeah.
• 1:21:25
  Speaker 4: And that's something, I mean, you know, this, Much bashing
• 1:21:28
  Speaker 4: has been going on about the screenwriting. That's something I
• 1:21:32
  Speaker 4: actually thought was, and I'm not knocking, but something I
• 1:21:35
  Speaker 4: thought was actually just clever was the way they set
• 1:21:38
  Speaker 4: up that way in which he reunited with her, you know,
• 1:21:41
  Speaker 4: separated by that pane of glass. I mean, it was
• 1:21:43
  Speaker 4: very much like, you know. a priest and someone in
• 1:21:45
  Speaker 4: a confessional is very much the way it felt. And
• 1:21:49
  Speaker 4: the very fact that even these two have, you know,
• 1:21:52
  Speaker 4: it's like he's grown to the point to where, yes,
• 1:21:55
  Speaker 4: he wants to go ahead and try to make amends
• 1:21:56
  Speaker 4: with her, but he still doesn't have the courage to
• 1:21:58
  Speaker 4: truly do it to her face. He still has to
• 1:22:02
  Speaker 4: do it while he's hidden, and she still has to
• 1:22:04
  Speaker 4: do it while he's hidden from her. And, you know,
• 1:22:07
  Speaker 4: I just think that's just an interesting commentary to make
• 1:22:11
  Speaker 4: on both of those characters. It's like, yeah, they're trying
• 1:22:13
  Speaker 4: to you know, get this relationship to where at least,
• 1:22:17
  Speaker 4: you know, they're at peace with one another, but they
• 1:22:19
  Speaker 4: still aren't on a level to where they're willing to
• 1:22:22
  Speaker 4: see each other face to face at that juncture.
• 1:22:24
  Speaker 2: Again, it was so intense what they had that they
• 1:22:28
  Speaker 2: still like, it can't, if they were face to face,
• 1:22:31
  Speaker 2: God knows what would happen. Like it, it really is
• 1:22:33
  Speaker 2: like they almost need that barrier between them.
• 1:22:36
  Speaker 4: And I don't even think it's something to where they
• 1:22:37
  Speaker 4: would necessarily even begin fighting per se. I just think
• 1:22:41
  Speaker 4: basically if they were sitting at the same table, they
• 1:22:42
  Speaker 4: would just, neither one of them would want to speak.
• 1:22:45
  Speaker 2: Or, I mean, it's one of those I could see, like,
• 1:22:47
  Speaker 2: there's moments when they seem like they would, like, you
• 1:22:50
  Speaker 2: can't see them almost being together again. And I think
• 1:22:53
  Speaker 2: that would be the big danger was if they're sitting
• 1:22:56
  Speaker 2: at a table together, they're going to be making out
• 1:22:58
  Speaker 2: in a minute, you know, and they're going to be
• 1:22:59
  Speaker 2: right back into it. And that's usually what happens when
• 1:23:02
  Speaker 2: you're in that, you get the backslide and then everything
• 1:23:05
  Speaker 2: goes to hell again. So I think it's one of those, like,
• 1:23:07
  Speaker 2: we don't even need to be around each other because
• 1:23:10
  Speaker 2: there's so much potential for more damage. again that's what
• 1:23:14
  Speaker 2: I think is so well done about that relationship of
• 1:23:17
  Speaker 2: two people who are never really even in the same
• 1:23:19
  Speaker 2: room but yet you get that much from their performances
• 1:23:22
  Speaker 2: and I can't even.
• 1:23:22
  Speaker 4: See them getting back into a backslide where they would
• 1:23:24
  Speaker 4: fall in love with each other again I just don't
• 1:23:26
  Speaker 4: see that.
• 1:23:27
  Speaker 2: But there's a weird connect like even when you listen
• 1:23:29
  Speaker 2: to the way Watching her listen to him tell that
• 1:23:33
  Speaker 2: story and then vice versa, there's this weird thing that clicks.
• 1:23:36
  Speaker 4: Well, I've got friends to where they stay in relationships
• 1:23:38
  Speaker 4: and I've always, you know, it's like they'll be on
• 1:23:40
  Speaker 4: again and off again and on again and off again.
• 1:23:42
  Speaker 4: And people are like, I don't get it. Why do
• 1:23:43
  Speaker 4: they keep getting together? I'm like, because they make each
• 1:23:45
  Speaker 4: other miserable.
• 1:23:46
  Speaker 2: That's why they work.
• 1:23:46
  Speaker 4: And there are some couples to where they work because
• 1:23:50
  Speaker 4: they make each other miserable. And some people just function
• 1:23:53
  Speaker 4: that way. And I feel like that's almost the way
• 1:23:54
  Speaker 4: it is with these characters.
• 1:23:56
  Speaker 6: It's just.
• 1:23:57
  Speaker 4: And if anything, that would be the main reason why
• 1:23:59
  Speaker 4: he leaves at the end is... If he's with her,
• 1:24:01
  Speaker 4: they will both be miserable. And so, again, that's self-sacrifice.
• 1:24:05
  Speaker 4: And drag the kid into it now. Even have any
• 1:24:08
  Speaker 4: kind of remote chance of reconnecting with this kid, he
• 1:24:12
  Speaker 4: can't be there.
• 1:24:13
  Speaker 10: Yeah.
• 1:24:13
  Speaker 4: He just can't.
• 1:24:18
  Speaker 6: Is this your first visit here? Yes. Well, this whole
• 1:24:26
  Speaker 6: thing must seem kind of strange to you, huh?
• 1:24:29
  Speaker 10: You realize that I can't see you, even though you.
• 1:24:31
  Speaker 3: Can see me. Well, that takes a little getting used to.
• 1:24:39
  Speaker 14: If there's anything you want to talk about, I'll just listen,
• 1:24:45
  Speaker 14: all right?
• 1:24:48
  Speaker 8: I'm a real good listener. The thing that's really great
• 1:24:53
  Speaker 8: about that scene is just the way it tries to
• 1:24:57
  Speaker 8: poetically envision the psychology of it. And a lot of
• 1:25:03
  Speaker 8: films don't really do that. They don't even make the attempt.
• 1:25:07
  Speaker 8: And so it's not only like the interest of having
• 1:25:10
  Speaker 8: the mirrored glass and the one-sided anonymous conversation, but also
• 1:25:16
  Speaker 8: just how beautiful it is that the exposed insulation. That's
• 1:25:22
  Speaker 8: what I was going to get into.
• 1:25:23
  Speaker 2: The way that that shot is kind of brilliant.
• 1:25:25
  Speaker 6: Yeah.
• 1:25:27
  Speaker 8: Yeah, that's the stuff that really makes it, I think,
• 1:25:31
  Speaker 8: innovative as an American film, is that that's what it's
• 1:25:35
  Speaker 8: looking for. There are things I find primitive about the dialogue,
• 1:25:39
  Speaker 8: but I think it is innovative. And there are other
• 1:25:43
  Speaker 8: movies like like Rain Man, I thought was a pretty
• 1:25:46
  Speaker 8: good movie when I saw it.
• 1:25:48
  Speaker 2: I actually thought of that in the first third of
• 1:25:50
  Speaker 2: this movie. Don't you? Especially him getting kicked off the plane.
• 1:25:53
  Speaker 8: Well, by the time you get to that, but even
• 1:25:55
  Speaker 8: before that, just the way his brother is like, you know,
• 1:25:59
  Speaker 8: trying to deal with him, and it's not, and he
• 1:26:02
  Speaker 8: can't really understand his head, just like, you know, he's
• 1:26:06
  Speaker 8: not autistic, but he's something. There is something that really
• 1:26:11
  Speaker 8: resonates with that, and just, uh, I don't know. It's
• 1:26:16
  Speaker 8: interesting how much influence that movie, I think, probably exerts
• 1:26:21
  Speaker 8: over other films that came after it. I can't really
• 1:26:24
  Speaker 8: think of anything before it that was that kind of
• 1:26:28
  Speaker 8: a psychological odyssey.
• 1:26:30
  Speaker 3: Yeah.
• 1:26:32
  Speaker 2: I do, especially that. That's one of the shots I
• 1:26:35
  Speaker 2: liked so much because separate from what was going on
• 1:26:38
  Speaker 2: with the relationship, I just like the way that it
• 1:26:40
  Speaker 2: presents that little world. Like you get this From this side,
• 1:26:45
  Speaker 2: it's this ideal little, oh, look, it's the wonderful drapes
• 1:26:49
  Speaker 2: and window and everything's so perfect. And from her side,
• 1:26:51
  Speaker 2: it's just harsh. It's just insulation and wood and grimy.
• 1:26:56
  Speaker 2: And it's just, yeah, I think that's a very realistic,
• 1:27:01
  Speaker 2: you know, real world kind of take on, you know,
• 1:27:03
  Speaker 2: from her side, it's horrible. From his side, it's an
• 1:27:05
  Speaker 2: ideal situation. Like that was kind of brilliant, the way
• 1:27:09
  Speaker 2: that was put together. But again, visuals on it. All
• 1:27:14
  Speaker 2: of it. And I think that's one of those things
• 1:27:16
  Speaker 2: I think you can really tell that he's not an
• 1:27:20
  Speaker 2: American director because he's so fascinated with that Americana. Like,
• 1:27:25
  Speaker 2: the shots of the signs. He loved, like, the words. Just, like,
• 1:27:29
  Speaker 2: the huge, like, words on the side of that restaurant.
• 1:27:32
  Speaker 2: He was, like, fascinated by that.
• 1:27:33
  Speaker 4: I was going to say, the only American director that
• 1:27:36
  Speaker 4: really sticks out in my mind that is really big
• 1:27:39
  Speaker 4: on capturing Americana and the little things like that is
• 1:27:41
  Speaker 4: Alexander Payne. Because, I mean, you watch... I think it's
• 1:27:45
  Speaker 4: most prominent with About Schmidt, but in all of his films.
• 1:27:47
  Speaker 4: I mean, he just will set the tone of a scene.
• 1:27:51
  Speaker 4: I think the one thing that stuck out in my
• 1:27:52
  Speaker 4: mind the most is About Schmidt when he goes to
• 1:27:54
  Speaker 4: that steakhouse. Rather than just cutting right there, it's like
• 1:27:56
  Speaker 4: he's showing the outside of the restaurant. He has all
• 1:27:59
  Speaker 4: these close-ups of just the pictures hanging in there. And
• 1:28:02
  Speaker 4: just those little moments like that. And Vendors did the
• 1:28:05
  Speaker 4: same thing with this film. To me, it sets the
• 1:28:09
  Speaker 4: tone so much. It captures that small-town feel as to...
• 1:28:13
  Speaker 4: What is even important? Going back to that whole scene
• 1:28:17
  Speaker 4: with the Statue of Liberty painted on the window. Why
• 1:28:20
  Speaker 4: was that even there? Somebody obviously felt that was important
• 1:28:24
  Speaker 4: at some point in time. It says so much without
• 1:28:28
  Speaker 4: saying anything at all about the place in which the
• 1:28:30
  Speaker 4: scene sets.
• 1:28:31
  Speaker 2: And the fact that he's drawn to that and needs
• 1:28:33
  Speaker 2: to put that in there at that moment or it
• 1:28:36
  Speaker 2: throughout the movie it's just so many of those visuals.
• 1:28:39
  Speaker 6: Are like that david lynch i think is another americana
• 1:28:41
  Speaker 6: junkie and it's interesting that he uses harry dean stanton
• 1:28:44
  Speaker 6: as much as he does yeah there's one of his
• 1:28:46
  Speaker 6: favorite actors because i do think he has that sort of.
• 1:28:48
  Speaker 8: He's very yeah i thought about connection because because the
• 1:28:52
  Speaker 8: actors uh stockwell.
• 1:28:54
  Speaker 2: Dean stockwell and harry dean stanton yeah.
• 1:28:57
  Speaker 4: That's why I think Lynch has sort of lost me
• 1:28:58
  Speaker 4: on The Last Couple because he's become more focused on
• 1:29:01
  Speaker 4: the grittiness of L.A., both with Mulholland and Inland Empire.
• 1:29:04
  Speaker 4: I'm like, that's been done for so many movies.
• 1:29:09
  Speaker 8: Oh, and this movie featured one of my favorite things
• 1:29:13
  Speaker 8: in the American landscape, the box of bagged ice.
• 1:29:19
  Speaker 2: I saw that and I thought of you. I hope
• 1:29:21
  Speaker 2: you're happy. I saw it there and went, well, Fred
• 1:29:23
  Speaker 2: will be happy. Look at that. Yes, I was happy.
• 1:29:27
  Speaker 8: Yeah, that's one of the things that has never changed
• 1:29:29
  Speaker 8: in my life is the bagged ice with the block
• 1:29:32
  Speaker 8: letters ice.
• 1:29:33
  Speaker 2: With snow on top of it.
• 1:29:35
  Speaker 8: And it was 99 cents a bag, which I believe
• 1:29:38
  Speaker 8: now it's maybe a dollar and a quarter. But did
• 1:29:41
  Speaker 8: you see what gas was?
• 1:29:43
  Speaker 2: A little different, you say?
• 1:29:45
  Speaker 8: A little bit different. Yeah, the gas was, I think
• 1:29:48
  Speaker 8: at the one spot it was $ 1. 07 a gallon. And
• 1:29:52
  Speaker 8: then later it was like maybe $ 1.
• 1:29:53
  Speaker 2: 19 or something. I don't know. On that ridiculous Americana,
• 1:29:57
  Speaker 2: I do love, and I kind of forgot the dinosaurs
• 1:30:01
  Speaker 2: are in the back of that shot there.
• 1:30:02
  Speaker 4: Oh, yeah.
• 1:30:03
  Speaker 2: And I'm like, this is like that year, the next
• 1:30:05
  Speaker 2: year they're in Pee Wee. It's like we were just
• 1:30:07
  Speaker 2: obsessed with those dinosaurs there.
• 1:30:10
  Speaker 6: That's one of those weird moments where he says he's
• 1:30:11
  Speaker 6: in San Bernardino, but they're really in Cabazon, and the
• 1:30:14
  Speaker 6: sun's already set in Los Angeles. Or no, it hasn't
• 1:30:16
  Speaker 6: set in Los Angeles, but it's already set.
• 1:30:18
  Speaker 2: In the desert. They sort of cheat on a few
• 1:30:20
  Speaker 2: of those little Americana moments.
• 1:30:22
  Speaker 10: Yeah.
• 1:30:23
  Speaker 2: But, yeah, you can see, I mean, just him with
• 1:30:26
  Speaker 2: neon signs and the cheesy old motel rooms and those
• 1:30:30
  Speaker 2: weird bars that they wander into. A hardware store. Yeah,
• 1:30:34
  Speaker 2: that's another one. It was just all those words on
• 1:30:36
  Speaker 2: the side of that building, and he was just like, oh,
• 1:30:38
  Speaker 2: that's fascinating.
• 1:30:39
  Speaker 4: But I think that's also just very characteristic. You know,
• 1:30:41
  Speaker 4: it's something that I think a lot of road trip
• 1:30:43
  Speaker 4: movies miss out on is they always, you know, seem
• 1:30:45
  Speaker 4: to get lost in, you know, the antics of the
• 1:30:49
  Speaker 4: character relationships or something like that. And I think back
• 1:30:51
  Speaker 4: to road trips I've taken either by myself or with
• 1:30:53
  Speaker 4: other people. And you do remember like when you were
• 1:30:57
  Speaker 4: in the middle of nowhere and you needed gas and
• 1:30:59
  Speaker 4: you stopped off at this mom and pop, you know,
• 1:31:01
  Speaker 4: gas station. It's like, what souvenirs did they have on
• 1:31:04
  Speaker 4: the shelves? You know, it's just those images, you know,
• 1:31:08
  Speaker 4: so you don't think back to the whole trip. in
• 1:31:11
  Speaker 4: a nutshell, it's like, there are like these little flashes
• 1:31:13
  Speaker 4: of imagery that come to mind. And that's something that
• 1:31:16
  Speaker 4: I think that captured very well of that sort of
• 1:31:18
  Speaker 4: road trip feel. It's just those little novel moments in
• 1:31:21
  Speaker 4: which you see something in some small town, like, huh.
• 1:31:24
  Speaker 2: That's what sticks with you. Cause you know, if you're
• 1:31:27
  Speaker 2: with that person, you're like, remember that one time when
• 1:31:29
  Speaker 2: you'll go back to those little moments and that's, that's
• 1:31:32
  Speaker 2: what sticks with you. But yeah, you can see again,
• 1:31:34
  Speaker 2: somebody who's immersed in that their entire life, you don't
• 1:31:38
  Speaker 2: notice it as much, I guess, because he just, was
• 1:31:40
  Speaker 2: so fascinated with, and you can see it on the
• 1:31:42
  Speaker 2: screen every, every time he focuses on one of those things,
• 1:31:45
  Speaker 2: it's just like, he thinks that's the coolest thing ever.
• 1:31:48
  Speaker 2: And it's cause they obviously didn't have that, you know,
• 1:31:51
  Speaker 2: in his part. I mean, he even talks about that, that,
• 1:31:53
  Speaker 2: that drive through bank. It was like, we, we could
• 1:31:57
  Speaker 2: never have that in Germany. You know, it's like, we
• 1:32:00
  Speaker 2: just know it just doesn't happen. Yeah. Just that weird
• 1:32:04
  Speaker 2: American stuff that we come up with that like other
• 1:32:07
  Speaker 2: countries are just like, you guys are weird.
• 1:32:09
  Speaker 8: I kind of like it so much of their stuff
• 1:32:12
  Speaker 8: is developed and was developed in stone a long time
• 1:32:15
  Speaker 8: ago yeah even with the rebuilding a lot of it
• 1:32:18
  Speaker 8: is still like these stone structures that are towering over
• 1:32:23
  Speaker 8: you all the time and around here you look around
• 1:32:26
  Speaker 8: the landscape it's like this popeye ramshackle shantytown it's not
• 1:32:32
  Speaker 8: imposing in the same way until you get into the city,
• 1:32:36
  Speaker 8: the monolith structures.
• 1:32:38
  Speaker 2: The old-time stuff.
• 1:32:39
  Speaker 4: Well, sort of the grass is greener thing, because mentioning
• 1:32:41
  Speaker 4: that now, something that I'm thinking of, like I look
• 1:32:45
  Speaker 4: at a culture from an American point of view, Lost
• 1:32:47
  Speaker 4: in Translation very much has that field, where there are
• 1:32:49
  Speaker 4: a lot of little moments to where either Scarlett Johansson
• 1:32:54
  Speaker 4: or Murray are just kind of wandering the streets of Tokyo,
• 1:32:56
  Speaker 4: and they're just wandering through these streets and looking at
• 1:32:58
  Speaker 4: these odd little things, like when they end up in
• 1:33:00
  Speaker 4: the arcade. Or just changing the channels and watching the television,
• 1:33:05
  Speaker 4: just like little novel moments in which odd things just
• 1:33:08
  Speaker 4: sort of pop out. I feel like you very much
• 1:33:11
  Speaker 4: have that here. It almost takes someone from a different
• 1:33:15
  Speaker 4: culture to notice the stuff that we just sort of
• 1:33:16
  Speaker 4: take for granted. So in that sense, I mean, you know.
• 1:33:21
  Speaker 2: Well, and there's two.
• 1:33:22
  Speaker 8: There's that phenomenon when you're on a road trip, you
• 1:33:24
  Speaker 8: sort of become a stranger to your own country because
• 1:33:28
  Speaker 8: there's that thing where when you're traveling, You meet people
• 1:33:33
  Speaker 8: and have conversations with them that you would never have
• 1:33:37
  Speaker 8: in your hometown just going around town. It's like some
• 1:33:42
  Speaker 8: sort of, I don't know, maybe you give off some
• 1:33:44
  Speaker 8: sort of chemical that you're traveling, and then people open
• 1:33:49
  Speaker 8: up to you.
• 1:33:50
  Speaker 2: And it's just crazy.
• 1:33:51
  Speaker 8: You meet all the nicest people you'll ever meet when
• 1:33:54
  Speaker 8: you're in some town where you've never been. I don't know.
• 1:33:59
  Speaker 4: I remember it.
• 1:34:01
  Speaker 8: Traveling out west the first time my wife and I
• 1:34:03
  Speaker 8: went out there, our car broke down at a stoplight
• 1:34:09
  Speaker 8: in Texas, and the couple in the car in front
• 1:34:12
  Speaker 8: of us took us home that night. And we spent
• 1:34:15
  Speaker 8: the night with them. And I bought a guitar from them.
• 1:34:19
  Speaker 2: They weren't even behind us. See, there's that story. They
• 1:34:21
  Speaker 2: were in front of us. Remember that time we were
• 1:34:23
  Speaker 2: in Texas and our car broke down?
• 1:34:25
  Speaker 4: And I think it's almost like, If you end up especially,
• 1:34:30
  Speaker 4: not so much in somewhere like Chicago or a big city,
• 1:34:32
  Speaker 4: but in small towns, it's like, I don't want to
• 1:34:36
  Speaker 4: say it's fate, but it's like you're there for a reason.
• 1:34:39
  Speaker 4: It's almost as if something brought you there that was important.
• 1:34:43
  Speaker 4: You can't help but recognize that if you're somebody from
• 1:34:45
  Speaker 4: that town. It's like, oh, you came from Chicago and
• 1:34:48
  Speaker 4: you ended up in hole-in-the-wall Arizona. Well, and they're just
• 1:34:52
  Speaker 4: curious about what brought you here. What's so important here
• 1:34:55
  Speaker 4: that drew you here?
• 1:34:56
  Speaker 2: Nobody says that in Chicago. Oh, what brought you to Chicago? Well,
• 1:35:00
  Speaker 2: a lot of things probably. But yeah, when you're in
• 1:35:02
  Speaker 2: whole and all Arizona, you're like, really here? How the
• 1:35:05
  Speaker 2: hell did you get here? I do that with our town.
• 1:35:08
  Speaker 5: Like, you moved here?
• 1:35:09
  Speaker 2: Really?
• 1:35:09
  Speaker 4: So I.
• 1:35:11
  Speaker 2: Think, yeah, it is a very one-sided thing when you're
• 1:35:14
  Speaker 2: out there in that environment in the other part of
• 1:35:17
  Speaker 2: the world. I did want to get into the, the
• 1:35:21
  Speaker 2: relationship with Hunter. And I mean, we've kind of touched
• 1:35:25
  Speaker 2: on the way that Harry Dean is, but is it
• 1:35:28
  Speaker 2: just me or is he not the most grownup of
• 1:35:31
  Speaker 2: damn near anybody in this movie? He's, and definitely once
• 1:35:35
  Speaker 2: you get into the relationship with, with Travis, is he
• 1:35:38
  Speaker 2: not the grownup in the relationship? I mean, he's always
• 1:35:41
  Speaker 2: the one that once they start talking, especially as you
• 1:35:44
  Speaker 2: get further on into the story, like that last third
• 1:35:47
  Speaker 2: of the movie, when they're together, like, He's always the
• 1:35:50
  Speaker 2: one sort of rationalizing things. He's the one sort of
• 1:35:54
  Speaker 2: spelling things out. I think the most specific one is
• 1:35:56
  Speaker 2: when they end up where he's been drinking. They end
• 1:35:58
  Speaker 2: up in that laundromat. And he's laying down on the
• 1:36:01
  Speaker 2: couch like he's at a therapist's office. And he's sitting
• 1:36:05
  Speaker 2: in the leather chair, sitting up listening to him. he's
• 1:36:08
  Speaker 2: kind of like, yeah, okay, what else? He's telling him
• 1:36:11
  Speaker 2: about his mother. It's like it's the most... It's so
• 1:36:14
  Speaker 2: like therapy session in a laundromat. I don't know. I
• 1:36:19
  Speaker 2: thought that was really interesting. But you see it throughout
• 1:36:21
  Speaker 2: the whole rest of that part of the movie. He's
• 1:36:23
  Speaker 2: still kind of a kid in the middle, but by
• 1:36:25
  Speaker 2: the time you get further on and he's like, Travis
• 1:36:28
  Speaker 2: doesn't know which way to go on the road. He's
• 1:36:29
  Speaker 2: like stuck there. And he's just like, well, what do
• 1:36:32
  Speaker 2: I do now? And the kid, without even looking up,
• 1:36:34
  Speaker 2: tells left. He's always kind of like calling the shots
• 1:36:39
  Speaker 2: you know he like he's the one that's adult enough
• 1:36:41
  Speaker 2: to understand what's going on where travis hasn't gotten to
• 1:36:44
  Speaker 2: that point yet like he's like you said he almost
• 1:36:46
  Speaker 2: like started over when he came back so now he's
• 1:36:49
  Speaker 2: still sort of like the kid and hunter is the
• 1:36:52
  Speaker 2: most well adjusted of anybody in this movie and seems
• 1:36:54
  Speaker 2: like he's the one explaining things to travis and sort
• 1:36:58
  Speaker 2: of guiding him down the road literally sometimes as they
• 1:37:01
  Speaker 2: go on.
• 1:37:02
  Speaker 8: Yeah and he's he's really believable doing it too um
• 1:37:07
  Speaker 8: It's a good child performance.
• 1:37:10
  Speaker 4: It is.
• 1:37:11
  Speaker 2: And again, maybe just because he wasn't really an actor.
• 1:37:14
  Speaker 2: I mean, he'd been around it his whole seven years,
• 1:37:18
  Speaker 2: but he hadn't been doing it to the book. Because
• 1:37:21
  Speaker 2: that's the thing, looking at him and that little kid
• 1:37:23
  Speaker 2: next to him, I didn't really buy that kid. That
• 1:37:26
  Speaker 2: kid seemed like he was trying so hard to act.
• 1:37:30
  Speaker 8: I don't know how people get those kinds of performances
• 1:37:32
  Speaker 8: out of kids.
• 1:37:33
  Speaker 2: I wish I did know. Because, yeah, he comes off
• 1:37:36
  Speaker 2: so natural. And I think that's because that's what it was.
• 1:37:39
  Speaker 8: He wasn't acting. He just said, hey, here's your line.
• 1:37:42
  Speaker 8: Say this to this guy. And he seemed like he
• 1:37:46
  Speaker 8: went into it. He seemed genuinely uncomfortable when he was uncomfortable.
• 1:37:50
  Speaker 2: He didn't want to walk.
• 1:37:51
  Speaker 8: Nobody walks.
• 1:37:52
  Speaker 2: Yeah. All of that was just dead on.
• 1:37:55
  Speaker 8: I don't know how you do that.
• 1:37:56
  Speaker 2: How do people do that?
• 1:37:57
  Speaker 8: You get people in film who aren't actors and they
• 1:38:00
  Speaker 8: can act.
• 1:38:01
  Speaker 6: I think it just works with kids. I mean, there's
• 1:38:03
  Speaker 6: so many cases of kids that are brilliant and stuff,
• 1:38:05
  Speaker 6: and then they get older and they're terrible. It's just
• 1:38:08
  Speaker 6: because when they were a child, it was just all
• 1:38:11
  Speaker 6: childlike innocence, and they didn't really know they needed to
• 1:38:14
  Speaker 6: be acting so they were able to do it well.
• 1:38:16
  Speaker 4: And I think it's just everybody acts to a certain
• 1:38:18
  Speaker 4: degree in their daily lives. And that's what I've always
• 1:38:22
  Speaker 4: found so impressive about people like you know, these character actors.
• 1:38:25
  Speaker 4: I mean, you look up, you know, I can't remember
• 1:38:28
  Speaker 4: Harry Dean Stanton's past, but, I mean, there's so many
• 1:38:30
  Speaker 4: other character actors where you look at them and it's
• 1:38:32
  Speaker 4: like they didn't start acting until they were, you know,
• 1:38:34
  Speaker 4: 40 or 50 or they had a certain life beforehand
• 1:38:37
  Speaker 4: to where basically you're bringing real-life experience to the table
• 1:38:42
  Speaker 4: because they are an actual real person. That's, to me,
• 1:38:45
  Speaker 4: what always makes character actors stick out so much more than,
• 1:38:47
  Speaker 4: you know, you know, the Brad Pitzer, you know, the
• 1:38:51
  Speaker 4: matinee idols or whatever. It's like, you know, there's a
• 1:38:53
  Speaker 4: certain fakeness to them, and they really have to try
• 1:38:56
  Speaker 4: to be believable. Whereas with, you know, character actors, it's
• 1:38:59
  Speaker 4: just like they've taken somebody just up off the street
• 1:39:03
  Speaker 4: and put them in front of the camera. You know,
• 1:39:04
  Speaker 4: they look weathered. They look beaten. And it's because they are.
• 1:39:07
  Speaker 4: And it's just somehow, just like in this, you know,
• 1:39:11
  Speaker 4: you're watching somebody to where they had some story where
• 1:39:13
  Speaker 4: it led them to that point. It's the same with
• 1:39:15
  Speaker 4: these different character actors to where, what is your backstory
• 1:39:17
  Speaker 4: that somehow landed you into acting? You know, it's like,
• 1:39:20
  Speaker 4: you know, you look at Danny Trejo, he was in
• 1:39:22
  Speaker 4: prison before he got into acting. That's why he looks
• 1:39:25
  Speaker 4: like he was at next con, um, you know, early army.
• 1:39:29
  Speaker 4: I mean, he was a staff Sergeant in the army
• 1:39:33
  Speaker 4: before he started doing all those bit parts, like in
• 1:39:35
  Speaker 4: full metal jackets.
• 1:39:36
  Speaker 8: So it's just, Yeah, I think Bob Hoskins was in
• 1:39:40
  Speaker 8: a bar and went up to.
• 1:39:44
  Speaker 2: Audition. Somebody said, you ought to go out and he
• 1:39:47
  Speaker 2: did because.
• 1:39:47
  Speaker 8: I guess he was drunk enough. I think Wilford Brimley
• 1:39:53
  Speaker 8: let a movie crew use his ranch on the condition
• 1:39:58
  Speaker 8: he could.
• 1:39:58
  Speaker 4: Be in the movie.
• 1:40:00
  Speaker 14: Nice.
• 1:40:00
  Speaker 2: And that's how he got into film.
• 1:40:02
  Speaker 4: Excellent.
• 1:40:03
  Speaker 8: Yeah, and That reminds me, he's in a movie called
• 1:40:06
  Speaker 8: The Stone Boy, which has one of the best kid
• 1:40:09
  Speaker 8: performances I've ever seen. I remember I saw that movie
• 1:40:13
  Speaker 8: about the same time I saw Paris, Texas, and nobody
• 1:40:16
  Speaker 8: else has ever seen it in North America.
• 1:40:19
  Speaker 4: That's where the kid is.
• 1:40:22
  Speaker 2: But everybody's in it.
• 1:40:24
  Speaker 4: They're trying to figure out if he killed his brother,
• 1:40:28
  Speaker 4: and whether it was on purpose or not. Glenn Close?
• 1:40:30
  Speaker 8: Glenn Close is in it, and our old friend Bob
• 1:40:35
  Speaker 8: LeVall is in it. I've never seen it, but I've
• 1:40:38
  Speaker 8: read about it, and it's one where I've wanted to
• 1:40:40
  Speaker 8: see it. It's really worth seeing if you haven't.
• 1:40:43
  Speaker 2: So I've heard of it.
• 1:40:44
  Speaker 4: I just haven't seen it, so at least I'm halfway
• 1:40:46
  Speaker 4: there to being number two after you.
• 1:40:49
  Speaker 2: You can mark that up.
• 1:40:50
  Speaker 8: I've even seen actors who were in it laugh about
• 1:40:53
  Speaker 8: it in interviews.
• 1:40:55
  Speaker 2: They're like, oh, yeah, nobody ever saw that movie. And
• 1:40:58
  Speaker 2: you're like, I did that.
• 1:40:59
  Speaker 8: Glenn Close was in it, and everybody's in it somewhere.
• 1:41:03
  Speaker 8: If you look around the crowd, you see every actor.
• 1:41:07
  Speaker 8: But it starts out, and it looks almost like sort
• 1:41:10
  Speaker 8: of a sad little Disney picture, but it's really good.
• 1:41:14
  Speaker 8: It's unexpectedly good, and the kid.
• 1:41:18
  Speaker 2: In it is just unbelievable. I don't know.
• 1:41:22
  Speaker 8: I don't know how kids do it. I don't know
• 1:41:24
  Speaker 8: how grown-ups do it. It's mysterious how people, you know,
• 1:41:32
  Speaker 8: didn't Fellini use just some random people and get them
• 1:41:36
  Speaker 8: to be in the movie?
• 1:41:38
  Speaker 4: I even like Soderbergh's bubble, where he got just all
• 1:41:41
  Speaker 4: non-actors for that. Yeah. I mean, it's just there's, I
• 1:41:45
  Speaker 4: don't know, they just bring a certain realism to it
• 1:41:47
  Speaker 4: because it's real people. It's not somebody who's used to
• 1:41:50
  Speaker 4: portraying someone fake time after time. It's just, I don't know,
• 1:41:53
  Speaker 4: I feel like almost if you get some if you
• 1:41:56
  Speaker 4: get someone off the street and you choose right, I
• 1:41:59
  Speaker 4: think you can kind of cheat there too. Like you
• 1:42:01
  Speaker 4: can poke around and try to find someone who has
• 1:42:03
  Speaker 4: a similar past to your character to where it's almost
• 1:42:06
  Speaker 4: you're cheating and you're right in the sense that you're
• 1:42:08
  Speaker 4: tailoring something towards the person. I mean, that's done with
• 1:42:10
  Speaker 4: acting too. So I don't know. I mean, I always
• 1:42:13
  Speaker 4: appreciate anytime you'll find out that, um, some director used
• 1:42:18
  Speaker 4: a non actor and it's just like, they're really good.
• 1:42:21
  Speaker 6: Think a lot of it just has to do with
• 1:42:22
  Speaker 6: lack of self-consciousness and that's something you find in children
• 1:42:25
  Speaker 6: that you can't generally find in adults.
• 1:42:27
  Speaker 4: I think you find it too more in i think
• 1:42:31
  Speaker 4: in children and in like seniors because at that point
• 1:42:35
  Speaker 4: it's like the hell with.
• 1:42:36
  Speaker 2: It i've lived a lot why not yeah.
• 1:42:39
  Speaker 4: But i don't mean that in a derisive manner and
• 1:42:41
  Speaker 4: then there's.
• 1:42:42
  Speaker 8: That thing apart from not being self-conscious you have to
• 1:42:45
  Speaker 8: fit what you're doing to the story in a way
• 1:42:48
  Speaker 8: that's I think there are really good actors who just
• 1:42:52
  Speaker 8: can't believably do certain things. No matter how good they are,
• 1:42:57
  Speaker 8: they just don't. Melissa Leo is a good actress, but
• 1:43:04
  Speaker 8: there are times when she's just trying to have a
• 1:43:08
  Speaker 8: laugh with everybody and join in the crowd, and it's like, no,
• 1:43:11
  Speaker 8: that doesn't look right.
• 1:43:13
  Speaker 4: She only looks right when it looks like she fell
• 1:43:14
  Speaker 4: out of a trailer park.
• 1:43:16
  Speaker 2: Or when she's trying to knock heads.
• 1:43:18
  Speaker 8: She looks right in isolation, but when she tries to
• 1:43:21
  Speaker 8: just be one of the guys and hang out and laugh,
• 1:43:24
  Speaker 8: it's like, no, that's not coming off right. And it's
• 1:43:29
  Speaker 8: not really that, maybe I should start collecting these, like
• 1:43:33
  Speaker 8: what actors cannot do.
• 1:43:36
  Speaker 2: I don't know. We've noted quite a few as we've
• 1:43:39
  Speaker 2: gone on, actually.
• 1:43:40
  Speaker 6: Yeah.
• 1:43:41
  Speaker 2: Yeah.
• 1:43:42
  Speaker 8: Well, there's Natalie Portman. I think I've said that she
• 1:43:46
  Speaker 8: doesn't seem believably sexual. That's not exactly it. She's just
• 1:43:50
  Speaker 8: not believable when she tries to go like, that's hot. No,
• 1:43:55
  Speaker 8: that doesn't look right.
• 1:43:58
  Speaker 2: And she does that sometimes. She tries. That doesn't look right.
• 1:44:02
  Speaker 8: Something's not coming off there. But yeah, that's what Brando
• 1:44:06
  Speaker 8: said when he was in that what, when his son
• 1:44:08
  Speaker 8: was on trial, he said, acting is what we do
• 1:44:11
  Speaker 8: every day to get through the day.
• 1:44:13
  Speaker 4: Um, I was going to say, I actually, it's really
• 1:44:16
  Speaker 4: weird because I've been teaching for several years and I
• 1:44:20
  Speaker 4: don't know why, but like every, you know, I'll be,
• 1:44:22
  Speaker 4: you'll get up and you'll just go into your, what
• 1:44:24
  Speaker 4: I refer to as the teacher mode. And every now
• 1:44:26
  Speaker 4: and then, I don't know what will cause me to
• 1:44:28
  Speaker 4: like break that mode, but you'll like step back and
• 1:44:30
  Speaker 4: it's almost like you're looking at yourself and it's just,
• 1:44:32
  Speaker 4: it's very disorienting. It's like, Snap back in. Don't think
• 1:44:35
  Speaker 4: about it. And I think everyone has that with their job.
• 1:44:38
  Speaker 4: You go into your job and then you just go
• 1:44:40
  Speaker 4: into that mode. And you don't even think about it.
• 1:44:43
  Speaker 4: And half the time you don't even realize it. And
• 1:44:44
  Speaker 4: when you do step back and look at it, it's disorienting. Yeah.
• 1:44:49
  Speaker 8: Especially if you work with the public and you have
• 1:44:52
  Speaker 8: to be nice to people all the time. And after
• 1:44:55
  Speaker 8: a couple of decades of that, you're like, this isn't me.
• 1:44:59
  Speaker 2: Who the hell is this? I'm not nice to everybody.
• 1:45:02
  Speaker 7: God.
• 1:45:03
  Speaker 6: Yeah.
• 1:45:05
  Speaker 2: Yeah.
• 1:45:06
  Speaker 8: And then, you know, then there are things that people
• 1:45:09
  Speaker 8: always do. Like, you know, Meryl Streep, she always has
• 1:45:13
  Speaker 8: this non-maternal quality. There's always something fucked up.
• 1:45:17
  Speaker 2: About her being a mom.
• 1:45:19
  Speaker 8: Either she's, like, giving up one of her kids for
• 1:45:21
  Speaker 8: the other or the dingo is eating them or she
• 1:45:24
  Speaker 8: can't have kids.
• 1:45:26
  Speaker 2: There's always something. There's always something with her.
• 1:45:28
  Speaker 10: Yeah.
• 1:45:31
  Speaker 2: But I don't know.
• 1:45:32
  Speaker 8: Still, the mother in this movie is is a little
• 1:45:34
  Speaker 8: bit mysterious to me. There's times when I'm getting something
• 1:45:39
  Speaker 8: from her, but I don't know what it is.
• 1:45:40
  Speaker 4: Well, that's because we aren't really interested. I mean, we've
• 1:45:42
  Speaker 4: been following everyone else along really since the beginning. And
• 1:45:45
  Speaker 4: she comes in in the final act. And she's very potent.
• 1:45:49
  Speaker 2: I mean, she's a presence on the screen. And that
• 1:45:52
  Speaker 2: one I'll give you because I remember that whole thing
• 1:45:55
  Speaker 2: in the 80s of what a big deal she was
• 1:45:57
  Speaker 2: and what she became. And they were, you know, your
• 1:46:00
  Speaker 2: top ten hot girls of the 80s. And I was
• 1:46:02
  Speaker 2: just like, eh, I don't see it. And you get
• 1:46:04
  Speaker 2: in this movie and you kind of start to see it.
• 1:46:07
  Speaker 2: I mean, not even in a weird, like, cheesy magazine
• 1:46:10
  Speaker 2: cover hot way, but in this, like, connection that she
• 1:46:13
  Speaker 2: has with him. But she also has this, like, presence.
• 1:46:16
  Speaker 2: Once she gets in there and she's just sort of
• 1:46:19
  Speaker 2: talking and you sort of see how, you know, you
• 1:46:22
  Speaker 2: could get sucked into her and her appeal and probably
• 1:46:25
  Speaker 2: how this happened with him. And she does like in
• 1:46:28
  Speaker 2: this and this is almost the only role of every
• 1:46:30
  Speaker 2: scenery where I was just like, OK, no, I see it.
• 1:46:33
  Speaker 2: I see what that is that they've been, you know,
• 1:46:36
  Speaker 2: trying to sell me throughout the 80s and she disappeared eventually.
• 1:46:39
  Speaker 2: But I don't know. It's like they were really pushing
• 1:46:42
  Speaker 2: that and I never bought into it. But this performance
• 1:46:45
  Speaker 2: and maybe because it's so limited. Because you get two scenes, basically,
• 1:46:49
  Speaker 2: but they're so impressive and it's so well put together
• 1:46:52
  Speaker 2: that it wins you over and you do start to
• 1:46:54
  Speaker 2: see that appeal.
• 1:46:56
  Speaker 9: Yeah.
• 1:46:59
  Speaker 8: I guess the thing that I'm remembering from the 80s
• 1:47:04
  Speaker 8: as part of the general culture, there was this kind of, well,
• 1:47:08
  Speaker 8: people used to say, well, the kid in the movie
• 1:47:10
  Speaker 8: at one point, he says something is radical. I'm like, oh,
• 1:47:13
  Speaker 8: I remember that. I remember people saying radical. But other
• 1:47:18
  Speaker 8: people would say things were intense. And there was that whole,
• 1:47:21
  Speaker 8: you know, when punk started going around in the U.S. more,
• 1:47:29
  Speaker 8: there was that thing like, you know, the safety pins.
• 1:47:33
  Speaker 8: And I don't know. There's just something about the way
• 1:47:37
  Speaker 8: he says that Travis doesn't sleep. He doesn't sleep.
• 1:47:43
  Speaker 2: He just.
• 1:47:44
  Speaker 8: Okay, I don't know. He doesn't sleep.
• 1:47:49
  Speaker 5: All right.
• 1:47:51
  Speaker 8: Maybe he has a safety pin in his face. I
• 1:47:54
  Speaker 8: don't know.
• 1:47:55
  Speaker 2: What is that about, really? There's just something.
• 1:47:57
  Speaker 8: It was part of the punk spirit that people were
• 1:48:02
  Speaker 8: trying to impress you with some sort of intensity or
• 1:48:05
  Speaker 8: their capacity for emotional pain or something. And I don't
• 1:48:10
  Speaker 8: really know what it is, and I don't know if
• 1:48:12
  Speaker 8: anybody knows what it is, but there are things that
• 1:48:15
  Speaker 8: are in the air in popular culture at a certain time.
• 1:48:20
  Speaker 8: and you don't really see it until later, and you
• 1:48:23
  Speaker 8: go back and you go, oh, yeah.
• 1:48:26
  Speaker 6: Yeah.
• 1:48:26
  Speaker 2: Sometimes with that hindsight, it all starts to come together.
• 1:48:30
  Speaker 6: Life of a Reaper man is always intense.
• 1:48:34
  Speaker 2: That's true.
• 1:48:36
  Speaker 4: I don't know.
• 1:48:36
  Speaker 2: Is there anything else we need to hit on this one?
• 1:48:38
  Speaker 2: Have we covered it?
• 1:48:40
  Speaker 4: I think we've covered most. At least I wanted to hit.
• 1:48:44
  Speaker 2: Yeah, I think so. I think it's... To me, it
• 1:48:48
  Speaker 2: kind of... It comes together because of those scenes in
• 1:48:51
  Speaker 2: the room. I think without those, it would be good,
• 1:48:55
  Speaker 2: and it would be a well-put-together indie movie, and you
• 1:48:59
  Speaker 2: would definitely see what they're trying to do, but if
• 1:49:01
  Speaker 2: it just.
• 1:49:01
  Speaker 4: I don't think it would have.
• 1:49:03
  Speaker 2: If it just ended and he, like, you know... drop
• 1:49:05
  Speaker 2: the kid off with her and left, it wouldn't come
• 1:49:08
  Speaker 2: together like it does.
• 1:49:08
  Speaker 4: And I don't think it would have held up over time.
• 1:49:10
  Speaker 2: No.
• 1:49:11
  Speaker 4: If it weren't for that either.
• 1:49:12
  Speaker 2: Somehow that.
• 1:49:13
  Speaker 4: I think it would have been something that just kind
• 1:49:14
  Speaker 4: of got pushed to the side.
• 1:49:16
  Speaker 6: Yeah.
• 1:49:16
  Speaker 4: Not necessarily forgotten, but not, you know.
• 1:49:20
  Speaker 2: That scene makes it classic. Like, watching that scene with
• 1:49:24
  Speaker 2: her and him, it's like that is why you would
• 1:49:27
  Speaker 2: come back to this.
• 1:49:28
  Speaker 4: And there are a lot of films that are like that,
• 1:49:29
  Speaker 4: where there's just that one moment that just captivates you
• 1:49:32
  Speaker 4: that makes the film worth watching, even though a lot
• 1:49:34
  Speaker 4: of it you might be kind of hit and miss on.
• 1:49:36
  Speaker 2: I mean, and then I go back and remember all
• 1:49:39
  Speaker 2: the other good stuff, and everything else is good, but
• 1:49:42
  Speaker 2: that somehow ties it all together and makes it just,
• 1:49:45
  Speaker 2: it makes it stick with you as time goes on. Well,
• 1:49:49
  Speaker 2: there are parts.
• 1:49:50
  Speaker 8: Of it that don't hold up all that well for
• 1:49:53
  Speaker 8: me over time. But overall, I think it's a really
• 1:49:55
  Speaker 8: innovative movie with a lot of interest in it that
• 1:49:59
  Speaker 8: you don't see in other movies.
• 1:50:02
  Speaker 4: And for me, it's just a performance piece more than
• 1:50:04
  Speaker 4: anything else.
• 1:50:07
  Speaker 2: And I don't know, visuals.
• 1:50:08
  Speaker 4: That's true, too.
• 1:50:09
  Speaker 2: I got sucked into the visuals.
• 1:50:10
  Speaker 6: I mean, the theme and what it's trying to say
• 1:50:13
  Speaker 6: and in terms of, as you were saying, Brian, about it,
• 1:50:16
  Speaker 6: you know, being about a broken relationship and how that happens.
• 1:50:19
  Speaker 6: I mean, for me, I think it's a perfect beginning
• 1:50:22
  Speaker 6: to end, and every single part of it I think
• 1:50:25
  Speaker 6: is important. I mean, there's complaints about the pace, but
• 1:50:29
  Speaker 6: I think it never drags, and I can't imagine a
• 1:50:32
  Speaker 6: single second that I could take out and have it
• 1:50:35
  Speaker 6: be the same film.
• 1:50:36
  Speaker 4: Yeah, but I'll still side with Fred on this in
• 1:50:38
  Speaker 4: the sense that I don't know how well it would
• 1:50:40
  Speaker 4: have worked without... people playing the roles that they did.
• 1:50:44
  Speaker 4: I mean, you take Stanton out and put someone else.
• 1:50:46
  Speaker 6: In, I mean, it's... Well, I feel that way about
• 1:50:49
  Speaker 6: any Harry Stanton film.
• 1:50:50
  Speaker 4: That's true.
• 1:50:51
  Speaker 2: But even, you know, as much as I hadn't been
• 1:50:54
  Speaker 2: sold on Nastassja Kinski, throwing somebody else in there, throwing
• 1:50:57
  Speaker 2: some other cheesy 80s actress to do these couple of scenes,
• 1:51:01
  Speaker 2: I mean, they could have done that, and I think
• 1:51:03
  Speaker 2: that would have made the movie suffer. Even Dean Stockwell,
• 1:51:06
  Speaker 2: I mean, I know there's issues there, but I think
• 1:51:10
  Speaker 2: he makes it something different than had you thrown somebody
• 1:51:13
  Speaker 2: else in there. So I think it is. It does
• 1:51:16
  Speaker 2: have these little elements that, yeah, just kind of came
• 1:51:21
  Speaker 2: together right, all of it.
• 1:51:22
  Speaker 4: And I think you had to go with people who
• 1:51:24
  Speaker 4: were lesser-known characters at the time or actors at the time, too, because,
• 1:51:29
  Speaker 4: I mean, you put, like, the star power in there,
• 1:51:32
  Speaker 4: and you can't believe that those people would be real people.
• 1:51:36
  Speaker 4: I mean, you do believe, looking at each one of
• 1:51:38
  Speaker 4: these actors in here, that they could have been, you know,
• 1:51:41
  Speaker 4: somebody very much real in this situation. So in that sense,
• 1:51:45
  Speaker 4: I think it was at least a very wise casting decision.
• 1:51:47
  Speaker 6: And we haven't even addressed John Lurie in terms of casting.
• 1:51:52
  Speaker 2: Okay.
• 1:51:53
  Speaker 6: Did anybody else love that? That Lurie was up in there? No?
• 1:51:56
  Speaker 6: I'm the only one?
• 1:51:57
  Speaker 2: I'm letting you address it.
• 1:51:58
  Speaker 6: No, I mean, that's all. Just that statement. He was
• 1:52:00
  Speaker 6: only there for a second. He was beautiful and perfect.
• 1:52:04
  Speaker 8: I don't know so much about Natasha Kinski. I don't know.
• 1:52:08
  Speaker 2: Again, her Texas accent.
• 1:52:10
  Speaker 6: Yeah, there were some issues with the accent.
• 1:52:12
  Speaker 2: It was very convincing to a German guy who doesn't
• 1:52:15
  Speaker 2: know Texas. He was like, oh, she sounds good.
• 1:52:18
  Speaker 8: Long conversations.
• 1:52:23
  Speaker 6: But I did, I actually sort of found those moments
• 1:52:26
  Speaker 6: where she lapsed charming because it was like the moments
• 1:52:29
  Speaker 6: where she was really vulnerable that her German accent started
• 1:52:32
  Speaker 6: coming out again. She started losing the southern accent.
• 1:52:35
  Speaker 2: Again, that's that's what that weird vulnerability. That's why I'd
• 1:52:38
  Speaker 2: never gotten that from her. And I'm like, that's sort
• 1:52:40
  Speaker 2: of part of the appeal, I think, is she's never
• 1:52:43
  Speaker 2: had that before to me. And all of a sudden
• 1:52:45
  Speaker 2: she was a real person. And I was like, OK,
• 1:52:47
  Speaker 2: I can see I can see why you would want
• 1:52:49
  Speaker 2: to be interested in her for the first time, really.
• 1:52:53
  Speaker 6: I just keep looking at her and thinking what a
• 1:52:55
  Speaker 6: beautiful woman Klaus Kinski would have been.
• 1:52:58
  Speaker 2: Yeah, kind of.
• 1:52:59
  Speaker 6: Yeah.
• 1:52:59
  Speaker 2: There are moments I'm like, I've always thought that about him, though.
• 1:53:03
  Speaker 8: I mean, you just look at him and you think, man,
• 1:53:05
  Speaker 8: what an attractive woman he would have been.
• 1:53:08
  Speaker 2: That's all you.
• 1:53:09
  Speaker 9: I don't know.
• 1:53:12
  Speaker 8: A lot of people, I remember a friend of mine
• 1:53:15
  Speaker 8: saying how ugly he was. She thought he was so ugly.
• 1:53:18
  Speaker 2: I was like, really? No, he's so striking and interesting looking. Really?
• 1:53:23
  Speaker 2: Interesting looking, that's the way to put it. Well, yeah.
• 1:53:30
  Speaker 4: He's got long hair and a Gary, wrath of God,
• 1:53:32
  Speaker 4: and you can squint your eyes and pretend.
• 1:53:35
  Speaker 8: Well, he looks kind of like a German Rolling Stone,
• 1:53:38
  Speaker 8: you know?
• 1:53:40
  Speaker 2: He does.
• 1:53:41
  Speaker 8: They all look like carnies, you know? They're pretty haggard,
• 1:53:46
  Speaker 8: but in an interesting way. Yeah, so what would they
• 1:53:51
  Speaker 8: call the Rolling Stones in German? My German is really poor.
• 1:53:56
  Speaker 2: You'll have to ask Natan.
• 1:53:57
  Speaker 8: Das Rolling Stones.
• 1:54:00
  Speaker 2: Vim can tell you. Just say it with a German accent.
• 1:54:03
  Speaker 8: Yeah, I used to know a little bit of German,
• 1:54:06
  Speaker 8: but when I worked in an art gallery, we had
• 1:54:09
  Speaker 8: this inflatable Edvard Munch scream figure, and people would come
• 1:54:16
  Speaker 8: in and ask all kinds of crazy things, but the
• 1:54:20
  Speaker 8: one I remember over and over people would ask is
• 1:54:24
  Speaker 8: that the kid from Home Alone.
• 1:54:27
  Speaker 8: And, you know, because he's got his hands up. And
• 1:54:30
  Speaker 8: I started with that much. I started telling them that, yes,
• 1:54:35
  Speaker 8: it is. But it's the original Home Alone. It was
• 1:54:38
  Speaker 8: a German expressionist film before it became like the Hollywood thing.
• 1:54:44
  Speaker 8: And it started a young Klaus Kinski. And it was
• 1:54:48
  Speaker 8: called Das Kinder ist in der Zimmer mit kind alter
• 1:54:53
  Speaker 8: Leute gefunden.
• 1:54:54
  Speaker 2: I don't know.
• 1:54:55
  Speaker 8: I had my dad tell me, I said, what's the
• 1:54:59
  Speaker 8: longest way of saying home alone in German? And it
• 1:55:04
  Speaker 8: was something like the child is alone in the house
• 1:55:07
  Speaker 8: with no old people.
• 1:55:10
  Speaker 2: I can't remember it.
• 1:55:11
  Speaker 4: I wish I'd written it down. Fritz Long's last film
• 1:55:14
  Speaker 4: or something. Like his lost film.
• 1:55:17
  Speaker 2: Yeah. Somewhere I'm just picturing a German mother going, Edward! Yeah.
• 1:55:23
  Speaker 8: Yeah, I actually told that to people. I actually said that.
• 1:55:27
  Speaker 8: That's my one gift. That's what I could.
• 1:55:30
  Speaker 2: Do on camera.
• 1:55:31
  Speaker 4: Somebody did that somewhere.
• 1:55:32
  Speaker 8: That's the one thing I can do is I can
• 1:55:34
  Speaker 8: keep a straight face. I can't really act, but I
• 1:55:37
  Speaker 8: got this thing going with kids. It was my thing.
• 1:55:40
  Speaker 8: I would do a straight face contest. And we would
• 1:55:42
  Speaker 8: just look at each other until one of us smiled,
• 1:55:45
  Speaker 8: and I've never lost. And sometimes I'll be out somewhere.
• 1:55:49
  Speaker 4: Just like Rorschach?
• 1:55:50
  Speaker 8: And I'll just see a kid, and he'll just look
• 1:55:54
  Speaker 8: at me, and I'm like, what? And he'll just look,
• 1:55:57
  Speaker 8: and I'm like, oh, he's a challenger. It's one of
• 1:56:01
  Speaker 8: these kids, and I have to do the straight face thing.
• 1:56:04
  Speaker 4: And then the mother looks over like, what the hell
• 1:56:06
  Speaker 4: are you doing?
• 1:56:06
  Speaker 2: Quit looking at my child and see if he's a bastard. Yeah.
• 1:56:11
  Speaker 8: Yeah, so that's my thing like Brando in The Godfather
• 1:56:15
  Speaker 8: did his orange peel thing. But I do the straight face.
• 1:56:19
  Speaker 2: All right. So that wraps up Paris, Texas. All right.
• 1:56:26
  Speaker 2: I guess we will take a break and head back
• 1:56:28
  Speaker 2: to Harry Dean Stanton's office.
• 1:56:33
  Speaker 6: I'll shoot you if you don't believe. Got my dead
• 1:56:37
  Speaker 6: on my rosary.
• 1:56:38
  Speaker 8: Hypocrisy, hypocrisy. Soldiers of a pure war.
• 1:56:42
  Speaker 6: Soldiers of a pure war.
• 1:56:44
  Speaker 11: I wear my collar.
• 1:56:46
  Speaker 6: Shirt full of promise.
• 1:56:47
  Speaker 8: The lion's son of your lord.
• 1:56:49
  Speaker 6: I'll take you to the jungle, boy. And you don't
• 1:56:52
  Speaker 6: need to worry no more. I'll give you everything you need.
• 1:56:56
  Speaker 6: All you have to do is believe.
• 1:56:59
  Speaker 3: One minute till showtime. Satisfy yourself with a thirst-quenching drink.
• 1:57:05
  Speaker 3: Your favorite beverage awaits you at our refreshment stand.
• 1:57:11
  Speaker 12: G-G-T-M-C.
• 1:57:14
  Speaker 11: Live.
• 1:57:16
  Speaker 2: For you, fresh air.
• 1:57:22
  Speaker 1: Big Willie and the Samurai are at your service, breaking
• 1:57:26
  Speaker 1: films down and turning them around, giving recommendations that are
• 1:57:30
  Speaker 1: always on point. Visit ggtmc.com for more information. The Gentleman's
• 1:57:36
  Speaker 1: Guide to Midnight Cinema, bringing class to the trash since 1977.
• 1:57:49
  Speaker 10: This is Hunter Carson, and you're listening to me have
• 1:57:53
  Speaker 10: a meltdown on Movie Meltdown.
• 1:57:54
  Speaker 3: It's part of your problem, you know, you haven't seen
• 1:58:01
  Speaker 3: enough movies.
• 1:58:02
  Speaker 2: All of life's riddles are answered in the movies.
• 1:58:05
  Speaker 3: And now, on with the show.
• 1:58:08
  Speaker 9: No sense of responsibility.
• 1:58:31
  Speaker 11: Like me, I'm a peculiar child.
• 1:58:54
  Speaker 6: I've run out of desire. Look at all the pretty photos.
• 1:59:00
  Speaker 6: Too shallow to read between the lines.
• 1:59:09
  Speaker 2: All right, so we are back, and we are still
• 1:59:12
  Speaker 2: here in the theater. And as we came out of that,
• 1:59:15
  Speaker 2: we were listening to music. You heard it. You heard
• 1:59:17
  Speaker 2: music anyway, right?
• 1:59:18
  Speaker 6: Yeah.
• 1:59:19
  Speaker 2: My Dolls, which I found in the.
• 1:59:23
  Speaker 5: Yes.
• 1:59:25
  Speaker 2: Not that they have a huge amount of playing within
• 1:59:30
  Speaker 2: the screen time that they had, but yeah, the fact
• 1:59:33
  Speaker 2: that they were hanging out on the set of Paris,
• 1:59:35
  Speaker 2: Texas made me want to figure out, who the hell
• 1:59:38
  Speaker 2: is that band in the background? And then went and
• 1:59:40
  Speaker 2: found them, and they kind of kick ass.
• 1:59:41
  Speaker 6: They totally kick ass.
• 1:59:42
  Speaker 2: So yeah, I've listened to quite a few My Dolls
• 1:59:47
  Speaker 2: songs in the last few days and thought I'd throw
• 1:59:50
  Speaker 2: at least one in there. So yeah, I thought that
• 1:59:52
  Speaker 2: was pretty cool.
• 1:59:53
  Speaker 6: I commend and, yeah, approve of that.
• 1:59:57
  Speaker 2: It has been officially approved by Lucy. And hopefully the models.
• 2:00:02
  Speaker 2: I don't think they're still functional unless there's, like, a
• 2:00:04
  Speaker 2: revamped version going on.
• 2:00:06
  Speaker 6: Maybe they will now after this show.
• 2:00:07
  Speaker 2: That's right. If you guys want to, you know, come
• 2:00:10
  Speaker 2: on and tell us about your days of, or day
• 2:00:12
  Speaker 2: of shooting Paris, Texas.
• 2:00:14
  Speaker 6: With John Lurie.
• 2:00:15
  Speaker 2: So, yeah, but she did, yeah, the Trish, the singer girl,
• 2:00:19
  Speaker 2: said she, like, ran into... them at an art performance
• 2:00:23
  Speaker 2: and just sort of started talking to them and hung
• 2:00:25
  Speaker 2: out with them. And next thing you knew they were
• 2:00:28
  Speaker 2: standing around in the background.
• 2:00:29
  Speaker 6: So yeah, that pretty much solidifies them. Vendors is the
• 2:00:31
  Speaker 6: coolest human being next to Harry Dean Stanton on the planet.
• 2:00:35
  Speaker 2: That's arguable.
• 2:00:36
  Speaker 5: Okay.
• 2:00:36
  Speaker 2: He seems, he seems okay.
• 2:00:38
  Speaker 6: Oh my God.
• 2:00:38
  Speaker 2: Seriously.
• 2:00:39
  Speaker 6: Okay. We'll deal with, we'll deal with this later.
• 2:00:41
  Speaker 5: All right.
• 2:00:44
  Speaker 2: Otherwise, I guess we should get out of here. Once again,
• 2:00:47
  Speaker 2: Harry Dean Stanton fest.com. Go get your, uh, Harry Dean
• 2:00:50
  Speaker 2: Stanton t-shirts and, uh, Plan for next year. Get the
• 2:00:53
  Speaker 2: airfare going. We decided it is an international film festival,
• 2:00:56
  Speaker 2: so come from around the world.
• 2:00:59
  Speaker 6: And we have a guest, I think, pretty much lined up.
• 2:01:03
  Speaker 6: I'm not going to say who it is.
• 2:01:05
  Speaker 2: I'm not either.
• 2:01:05
  Speaker 6: But if it all works out, it will be maybe
• 2:01:08
  Speaker 6: the most exciting thing.
• 2:01:10
  Speaker 2: I believe you were alluding to it a while back,
• 2:01:12
  Speaker 2: and if you pull it off, that's going to be
• 2:01:15
  Speaker 2: quite entertaining. Let me put it that way.
• 2:01:16
  Speaker 6: He says he's in. He says he just has to
• 2:01:18
  Speaker 6: pick the weekend, which I'm willing to do.
• 2:01:22
  Speaker 2: You pick.
• 2:01:22
  Speaker 6: More than comfortable with that scenario.
• 2:01:24
  Speaker 2: I think we should leave it at that. So get
• 2:01:27
  Speaker 2: on board right now. You're going to want to see
• 2:01:29
  Speaker 2: this one. And once again, LexingtonFilmLeague.org for helping put this
• 2:01:33
  Speaker 2: together with you. And thank you, Lucy, for letting me
• 2:01:36
  Speaker 2: loiter around for the goings on.
• 2:01:39
  Speaker 6: And thank you, Brian, for coming. For being the only
• 2:01:41
  Speaker 6: one that came.
• 2:01:42
  Speaker 2: Yeah. Go ahead. Call out the rest of our slacker
• 2:01:45
  Speaker 2: ass crew. All right. And to round things out, again, within...
• 2:01:51
  Speaker 2: That was the part.
• 2:01:51
  Speaker 6: Where I was supposed to say, love you, Fred.
• 2:01:54
  Speaker 2: We all love Fred. So with, yeah, to round things out,
• 2:02:02
  Speaker 2: we've been listening throughout the Paris, Texas goings-on of the
• 2:02:06
  Speaker 2: Raya Cooter soundtrack and all his take on it. But yeah,
• 2:02:09
  Speaker 2: I thought we would go out with the original, which
• 2:02:11
  Speaker 2: is the Blind Willie Johnson song, Dark Was the Night,
• 2:02:14
  Speaker 2: Cold Was the Ground. And this, I thought, as if
• 2:02:17
  Speaker 2: it wasn't kind of an awesome song anyway. I don't
• 2:02:20
  Speaker 2: know if you knew this, but it has the distinction
• 2:02:22
  Speaker 2: of being one of 27 samples of music included on
• 2:02:25
  Speaker 2: the Voyager Gold Record, launched into space in 77, to
• 2:02:29
  Speaker 2: represent the diversity of life on Earth. And I thought
• 2:02:33
  Speaker 2: this was very fitting for Paris, Texas. It was chosen
• 2:02:37
  Speaker 2: as the human expression of loneliness.
• 2:02:40
  Speaker 6: That's amazing.
• 2:02:41
  Speaker 2: It's kind of awesome, and... Fitz, Paris, Texas, and Fitz,
• 2:02:45
  Speaker 2: Harry Dean, Stanton, and yeah, so I thought that was
• 2:02:48
  Speaker 2: the perfect way to go out. So yes, this is
• 2:02:50
  Speaker 2: Blind Willie Johnson, dark was the night, cold was the ground. Otherwise,
• 2:02:54
  Speaker 2: that about does it. We will return next week, same
• 2:02:56
  Speaker 2: geek time, same geek feed. Thanks for listening.
• 2:02:59
  Speaker 12: Mmm, mmm, love, oh wow.
• 2:03:16
  Speaker 12: Mmm, our world.
• 2:03:49
  Speaker 6: Mmm, love.
• 2:04:11
  Speaker 12: Of the world.
• 2:04:13
  Speaker 6: Mmm.
• 2:04:13
  Speaker 4: Mmm.
• 2:04:13
  Speaker 12: Mmm.
• 2:04:14
  Speaker 2: Mmm.
• 2:04:15
  Speaker 11: Mmm.
• 2:04:15
  Speaker 3: Mmm.
• 2:04:38
  Speaker 3: I... I love.
• 2:04:39
  Speaker 12: I love.
• 2:05:01
  Speaker 12: Mm-hmm. Mm-hmm. Mm-hmm. Mm-hmm.
• 2:05:15
  Speaker 14: Mm-hmm.
• 2:05:40
  Speaker 2: Anything else?
• 2:05:41
  Speaker 6: Am I supposed to say something? I don't know. I
• 2:05:42
  Speaker 6: didn't know if you were alone at this point or
• 2:05:44
  Speaker 6: if I'm still here.
• 2:05:45
  Speaker 2: Yeah, I think you're still here. Oh, okay.
• 2:05:46
  Speaker 7: This episode is a production of Movie Meltdown, produced and
• 2:05:49
  Speaker 7: edited by The Oddity Studios, with opening music performed by
• 2:05:52
  Speaker 7: The Empires. For more on how to sponsor or support
• 2:05:55
  Speaker 7: the show, email producer at moviemeltdown.com.
• 2:05:57
  Speaker 3: Talk hard!