Latest / Midnight Movie Theatre / Lost Highway: We're getting to the bottom of this...

Transcript

Lost Highway: We're getting to the bottom of this... · Midnight Movie Theatre

• 0:19
  Speaker 1: Tonight, I'm joined by Ray from Spooky Nerd Club. This
• 0:23
  Speaker 1: is my second guest of all time, my first. It's
• 0:26
  Speaker 1: been a long time since I've had a guest on
• 0:28
  Speaker 1: the show, Ray, so I'm excited to have you. The
• 0:31
  Speaker 1: first guest I had was Guilford Adams with the American
• 0:36
  Speaker 1: Clown movie. Really yeah, yeah it was. It went all right,
• 0:42
  Speaker 1: but it was one of those things where like, ever
• 0:44
  Speaker 1: since then, I've kind of been discouraged to do interviews
• 0:46
  Speaker 1: because it like automatically put like an anime filter on me.
• 0:51
  Speaker 1: So I had like it gave me like rosy cheeks
• 0:53
  Speaker 1: and really like smooth complexion. Yeah.
• 0:56
  Speaker 2: After that, I was like, you have to be stone cold,
• 0:59
  Speaker 2: and you know, doing interviews are always difficult, especially in
• 1:03
  Speaker 2: the beginning, you know. Yeah, yeah, I appreciated, thank you
• 1:07
  Speaker 2: for having me on.
• 1:08
  Speaker 3: Yeah, of course. Yeah, I'm excited to have you.
• 1:10
  Speaker 1: I you know, really excited to talk about Lost Highway.
• 1:13
  Speaker 1: So my god, yeah started out, so this is your
• 1:19
  Speaker 1: first David Lynch movies.
• 1:20
  Speaker 2: Like it is it is, it's the first David Lynch
• 1:23
  Speaker 2: movie you ever watched. I know that probably sounds crazy
• 1:26
  Speaker 2: because you know, his film has been around for a
• 1:29
  Speaker 2: long time, but It's just he's just been one of
• 1:32
  Speaker 2: those directors that I always felt like, I don't know,
• 1:35
  Speaker 2: I mean, he acting like a little bitch about it,
• 1:38
  Speaker 2: but I always felt like he was like the artsy farts,
• 1:41
  Speaker 2: he kind of like r director. So I kind of
• 1:45
  Speaker 2: avoided his movies because I'm the kind of person that, like,
• 1:50
  Speaker 2: I like an ending, and a lot of his movies
• 1:52
  Speaker 2: are maybe like they end with like a little open ending.
• 1:56
  Speaker 3: Yeah, yes, yeah, definitely.
• 1:57
  Speaker 1: I think that's something where like famous when he's being
• 2:00
  Speaker 1: interviewed and people are like, so, what's this movie about?
• 2:03
  Speaker 1: Like what's your movie about? He's just like, I don't know,
• 2:06
  Speaker 1: you tell me, and.
• 2:08
  Speaker 2: And like I get it, Like it could be cool.
• 2:11
  Speaker 2: But I I'm the kind of person that, like, I
• 2:14
  Speaker 2: fucking hate Unsolved Mysteries, the TV show. I'll watch it
• 2:20
  Speaker 2: and then be mad at the end knowing that the
• 2:22
  Speaker 2: mystery wasn't solved.
• 2:23
  Speaker 1: Dude, I know what you mean. I've done that too,
• 2:26
  Speaker 1: because I'm always like, I'm like, what, how do they
• 2:29
  Speaker 1: not figure this out? It's fucking you don't even Yeah, no,
• 2:33
  Speaker 1: I have that too, Like I'll listen to some true
• 2:35
  Speaker 1: crime podcasts and like, you know, they won't necessarily let
• 2:40
  Speaker 1: you know that it hasn't been solved at the beginning,
• 2:42
  Speaker 1: and the way they get to the end, they're like, yeah,
• 2:44
  Speaker 1: then they never found out who fucking killed her. You're like,
• 2:47
  Speaker 1: it's just like, are you fucking kidding me?
• 2:48
  Speaker 2: Fucking phone number that pops up? I need your help.
• 2:52
  Speaker 2: It's like, I'm just sitting on my ash trying to
• 2:54
  Speaker 2: mistee if you can figure this out, How the fuck
• 2:56
  Speaker 2: am I gonna help you.
• 2:57
  Speaker 1: It's like, you guys need to get your fucking asses
• 2:59
  Speaker 1: out there and solve this Shiteah. Yeah, I'm not gonna
• 3:02
  Speaker 1: be able to sleep tonight, motherfuckers.
• 3:04
  Speaker 2: Yeah. So like like that, like that's how I always
• 3:08
  Speaker 2: felt about those type of movies and stuff. But I've
• 3:12
  Speaker 2: recently been wanting to get into David Lynch films because
• 3:15
  Speaker 2: everyone's just been talking about it online, especially you know,
• 3:19
  Speaker 2: since the passing and everything. Yeah, but so when you
• 3:22
  Speaker 2: recommended this, It's funny because I was literally telling my wife.
• 3:27
  Speaker 2: I was like, Hey, I'm gonna check out my home
• 3:28
  Speaker 2: and drive. I was like, I keep hearing that this
• 3:30
  Speaker 2: is like David Lynch's best film. Yeah, And then you
• 3:34
  Speaker 2: text me literally like the same day, and I was
• 3:37
  Speaker 2: like if you've seen Lost Highway. And then I looked
• 3:41
  Speaker 2: it up and I was like, oh shit, that's a
• 3:43
  Speaker 2: David Lynch movie. I was like, all right, that should
• 3:45
  Speaker 2: be pretty cool. Then I'll do that as my first movie.
• 3:48
  Speaker 1: Yeah. Yeah, I was pretty excited to watch this one again.
• 3:51
  Speaker 1: And I was really excited when I heard that you
• 3:54
  Speaker 1: hadn't seen any of his movies because I well, my
• 3:58
  Speaker 1: introduction into David Lynch was it was through a racer
• 4:03
  Speaker 1: Head and so, and I was probably like eighteen years old,
• 4:08
  Speaker 1: and I was really, you know, into horror movies. I
• 4:10
  Speaker 1: was just whatever, but mostly like gores, you know, not
• 4:13
  Speaker 1: the I wasn't into like art house movies yet. I'll
• 4:16
  Speaker 1: say that, like, I hadn't dove into that genre. I
• 4:19
  Speaker 1: was thinking, like everyone kept talking about like, oh yeah,
• 4:22
  Speaker 1: racerheads fucking freaky, it's gonna scare the shit. I don't
• 4:25
  Speaker 1: even I don't even know if that's exactly how to
• 4:27
  Speaker 1: describe it, but they'd be like, you know, it's disturbing, YadA, YadA.
• 4:30
  Speaker 1: So I was thinking like, oh, damn, you know, he's
• 4:32
  Speaker 1: this like incredible director, has this huge, big reputation. And
• 4:37
  Speaker 1: as an eighteen year old watching like that, as my
• 4:40
  Speaker 1: first David Lynch movie. At the time, I was just
• 4:45
  Speaker 1: kind of like, what the fuck, because it's a I
• 4:49
  Speaker 1: don't know, It's one of those things where like I
• 4:51
  Speaker 1: don't know if that's the best like first David Lynch
• 4:54
  Speaker 1: movie to watch.
• 4:55
  Speaker 3: And I was gonna ask.
• 4:56
  Speaker 1: You, like, do you think Lost Highway is a good
• 4:58
  Speaker 1: place to start as far as David Lynch movies? Like
• 5:01
  Speaker 1: how did you feel about it? Overall?
• 5:03
  Speaker 2: To me? Personally, I think I don't know if you
• 5:06
  Speaker 2: did this intentionally, but because you know, I watch a
• 5:09
  Speaker 2: lot of like the hard thrillers with like the erotic
• 5:13
  Speaker 2: type thrillers. Yeah, of like Manuel films and like even
• 5:17
  Speaker 2: ful chie movies and shit, Yeah, I don't know if
• 5:19
  Speaker 2: that was the intention, but like it kind of like
• 5:22
  Speaker 2: went like up the filmmaking that I.
• 5:26
  Speaker 3: Like, you know it was.
• 5:29
  Speaker 1: It was a little bit unintentional, actually, and I forgot
• 5:32
  Speaker 1: about all that until I started watching it again.
• 5:37
  Speaker 2: So yeah, when I was watching it and all them
• 5:41
  Speaker 2: scenes was happening, I was like, oh yeah. I was
• 5:43
  Speaker 2: like Adrian was like, raised gonna fuck with this here.
• 5:46
  Speaker 1: I'm just rubbing my hands together. I's gonna like this one. No,
• 5:51
  Speaker 1: I forgot about all that honestly, like some of the
• 5:54
  Speaker 1: other scenes that really stuck out to me, like we'll
• 5:56
  Speaker 1: get into but so we land on this movie because
• 6:01
  Speaker 1: basically because of that meme you sent me the meme
• 6:04
  Speaker 1: about like the nineties supremacy, like or was the early
• 6:07
  Speaker 1: two thousand supremacy, and it's like Marilyn Manson and all
• 6:10
  Speaker 1: the like new metal soundtracks, and I was like, immediately
• 6:16
  Speaker 1: made me think a Lost Highway just because I was like, dude.
• 6:19
  Speaker 2: Had soundtrack slapped.
• 6:20
  Speaker 1: Yeah. I was like, he's got all these fucking Vaners,
• 6:22
  Speaker 1: he got like Smashing Pumpkins, He's got Trent Reznor on there,
• 6:25
  Speaker 1: Marilyn Manson, Yeah, Ramstein's in there a bunch, and Marilyn
• 6:30
  Speaker 1: Manson and Twiggy are in the fucking movie.
• 6:32
  Speaker 3: There has a little cameo.
• 6:34
  Speaker 1: So I was like, dude, you gotta watch this movie then, like,
• 6:37
  Speaker 1: if you're into that shit, check this one out.
• 6:39
  Speaker 2: No. It was dope, especially when they I feel like
• 6:42
  Speaker 2: whenever something crazy happened, they enhanced the music level like
• 6:46
  Speaker 2: really loud in the film and just had it blasting.
• 6:49
  Speaker 2: But it was kind of cool.
• 6:51
  Speaker 1: Yeah, I love the Ramstein moments like whenever. Towards the
• 6:55
  Speaker 1: end of the movie when he's kind of like going
• 6:57
  Speaker 1: through that, Yeah, the dude's house and like kind of
• 7:00
  Speaker 1: slow mos and like the Ramstein like really slow Ramstein
• 7:03
  Speaker 1: song kicks in that shit was awesome. The Marilyn Manson
• 7:07
  Speaker 1: songs are great. There's like a I want to say
• 7:10
  Speaker 1: there was a few of those songs were written for
• 7:13
  Speaker 1: the movie.
• 7:13
  Speaker 3: Like I thought he said this.
• 7:15
  Speaker 1: I think the Smashing Pumpkins song that's in there, and
• 7:18
  Speaker 1: it's pretty quiet. I just kind of like recognized Billy
• 7:21
  Speaker 1: Corgan's voice when it was playing. Afterwards, I was looking
• 7:25
  Speaker 1: it up and I thought it said that that was
• 7:28
  Speaker 1: written for the movie.
• 7:29
  Speaker 3: So I was like, oh, it's but I guess he.
• 7:31
  Speaker 1: Was friends with like Trent Reznor and Marilyn Manson and shit,
• 7:34
  Speaker 1: and just really into new metal around that time. So
• 7:38
  Speaker 1: he got all those motherfuckers in the movie. And he's
• 7:40
  Speaker 1: one of those guys too where when you start watching
• 7:43
  Speaker 1: his movies, he'll have the same actors in a lot
• 7:46
  Speaker 1: of his movies because I think he just is like
• 7:48
  Speaker 1: friends with them, you know what I mean, Like he
• 7:50
  Speaker 1: becomes friends and then just keeps him. Like Bill Pullman,
• 7:55
  Speaker 1: the guy that plays Fred, the main guy you know
• 7:59
  Speaker 1: at the beginning that was his neighbor. Really yeah, so
• 8:02
  Speaker 1: he's just like, hey, you want to do the movie
• 8:04
  Speaker 1: or whatever, and he's like hell yeah, so yeah. So
• 8:08
  Speaker 1: it's like a lot of like in uh in Twin Peaks,
• 8:12
  Speaker 1: there's like, famously, there's this like I think a Native
• 8:16
  Speaker 1: American guy who's kind of like a supernatural villain, you know,
• 8:20
  Speaker 1: that just kind of pops up, whose name is Bob,
• 8:22
  Speaker 1: and he was just like he was just like a
• 8:26
  Speaker 1: lighting guy or something, or like, you know, a hand
• 8:28
  Speaker 1: guy where he would just be like building shit on
• 8:31
  Speaker 1: set and he was just like, hey, do you want
• 8:33
  Speaker 1: to do this role? And the guy's like, yeah, I guess,
• 8:36
  Speaker 1: and then he's like becomes this you know really I
• 8:40
  Speaker 1: don't know about famous, but like really recognizable face and
• 8:44
  Speaker 1: stuff like that, and.
• 8:45
  Speaker 2: Kind of he kind of probably knew that he had
• 8:47
  Speaker 2: a look. I was watching something with David Lynch saying
• 8:51
  Speaker 2: how he like he like really studies people and like
• 8:55
  Speaker 2: he liked the psychology of people more shit like that.
• 8:59
  Speaker 3: Yeah, so makes.
• 9:00
  Speaker 2: Sense why he even picked somebody pick one of the
• 9:02
  Speaker 2: fucking grips.
• 9:04
  Speaker 1: Yeah, yeah, that's exactly.
• 9:08
  Speaker 3: Get your ass in here.
• 9:08
  Speaker 1: We're gonna turn you into a fucking ghost, evil ghost.
• 9:12
  Speaker 1: And he's just like, yeah, I've never acted, so go
• 9:15
  Speaker 1: ahead and do it, I guess. Yeah, And like yeah,
• 9:18
  Speaker 1: bringing up the like art the more artsy thing about
• 9:22
  Speaker 1: it or about him and his movies and stuff like that.
• 9:26
  Speaker 3: I don't know if I've heard like his movies described.
• 9:28
  Speaker 1: This way, but there's another director who I've heard his
• 9:31
  Speaker 1: movies described as like art exploitation. And I kind of
• 9:35
  Speaker 1: feel like after watching this again and think, I haven't
• 9:38
  Speaker 1: seen all of his movies or anything, but the ones
• 9:40
  Speaker 1: that I have seen, I kind of get that I
• 9:43
  Speaker 1: get to that description is pretty accurate for him too,
• 9:46
  Speaker 1: Like it has a lot of like horror elements and
• 9:49
  Speaker 1: a lot of art house elements that are just kind
• 9:51
  Speaker 1: of like mashed together.
• 9:53
  Speaker 2: That's true.
• 9:54
  Speaker 3: Yeah, So I was thinking about that this.
• 9:56
  Speaker 2: Was the first time you watched this movie.
• 9:59
  Speaker 1: It was honestly just like a couple of years ago,
• 10:01
  Speaker 1: probably yeah, probably two years ago. I So Mulholland Drive,
• 10:06
  Speaker 1: in my opinion, from what I've seen anyway, I think
• 10:09
  Speaker 1: is his best movie. It's my favorite that I've seen.
• 10:13
  Speaker 1: I think I was thinking about, like, where's the best
• 10:16
  Speaker 1: entry level to David Lynch, you know, And I wanted
• 10:20
  Speaker 1: to say Maul Holland Drive, because I just think it's
• 10:23
  Speaker 1: a great movie. At the same time, I was thinking, like, honestly,
• 10:26
  Speaker 1: probably Twin Peaks, Yeah, would be like the like the
• 10:31
  Speaker 1: easiest way to get into like David Lynch stuff, because
• 10:33
  Speaker 1: it has a lot of the same weirdness, but it
• 10:36
  Speaker 1: also has like this really like these soap opera ish
• 10:39
  Speaker 1: like drama feel to it, and it's just really well
• 10:43
  Speaker 1: done at least, like season one is amazing. I haven't
• 10:47
  Speaker 1: finished that the full series yet, but season one is
• 10:51
  Speaker 1: like every episode's perfect and it's Yeah.
• 10:53
  Speaker 2: Some of my friends been trying to get me to
• 10:55
  Speaker 2: watch the Twin Peaks for a long time.
• 10:57
  Speaker 1: Yeah, yeah, it's worth it for sure. Watching Spartacus not yet, Yeah,
• 11:05
  Speaker 1: I hear you. It's tough, dude, getting into TV shows
• 11:08
  Speaker 1: is like it's a fucking commitment.
• 11:11
  Speaker 2: Yeah, I get it though, Like I mean, that's what
• 11:14
  Speaker 2: I heard the most positive about David Lynch's Twin Peaks
• 11:17
  Speaker 2: in My Home Drive. That's why I was originally gonna
• 11:21
  Speaker 2: start with My Home Drive. But you said this film,
• 11:23
  Speaker 2: and I was like, let's fucking do it. I'm not
• 11:25
  Speaker 2: mad at it. Honestly, I thought it was cool, especially
• 11:29
  Speaker 2: because I love that movie True Romance. So was it?
• 11:34
  Speaker 1: Yeah?
• 11:34
  Speaker 3: Yeah, Hell was.
• 11:36
  Speaker 2: For me automatically. Yeah. She was just fucking bad in
• 11:41
  Speaker 2: this movie. Yeah, makes it easy to watch even though
• 11:44
  Speaker 2: it's slow paced, you know.
• 11:46
  Speaker 1: Right, Yeah, yeah, definitely, dude. Yeah, they definitely don't shy
• 11:52
  Speaker 1: away from her jugs. Right.
• 11:54
  Speaker 2: I was like, Jesus Christy, she had to. I said,
• 11:57
  Speaker 2: she must have gotten a nice bag for this movie.
• 12:00
  Speaker 2: I would hope.
• 12:02
  Speaker 1: Yeah, they're just like, you're gonna get banged a whole
• 12:05
  Speaker 1: lot in a black wig, and then you're gonna get
• 12:08
  Speaker 1: banged a whole lot in a blond wig, and your
• 12:11
  Speaker 1: drugs are gonna be out for like at least forty
• 12:15
  Speaker 1: of the movie.
• 12:16
  Speaker 2: I'm like, damn, she plays a really good prostitute in movies. Yeah,
• 12:20
  Speaker 2: it's just like she nails that role.
• 12:22
  Speaker 1: Oh yeah, yeah, it's wild. And then she's in her
• 12:26
  Speaker 1: other great role, Little Nicky. Yeah that's right, Little Nicky's
• 12:31
  Speaker 1: girlfriend fucking legendary. So yeah, so I forgot about all that.
• 12:39
  Speaker 1: I really didn't. No, Little Nicky's fantastic movie, fucking Hitler
• 12:47
  Speaker 1: and hell, getting Pineapple shoved up his ass and yeah,
• 12:52
  Speaker 1: and then he got Azzy in there due it is
• 12:56
  Speaker 1: just a fantastic movie. We gotta do a little Nikki episode.
• 12:59
  Speaker 2: Yeah, of the rewatch it.
• 13:01
  Speaker 1: Yeah, I think I've got it over here somewhere, or
• 13:05
  Speaker 1: maybe it's still at my parents' house. I don't remember.
• 13:09
  Speaker 1: We had it on VHS. We used to watch the
• 13:11
  Speaker 1: hell out of it. So yeah, it's always a go to.
• 13:16
  Speaker 1: But yeah, I forgot about all the sex stuff in
• 13:18
  Speaker 1: this movie until I like, I have the cop I
• 13:22
  Speaker 1: have a copy of it here, I've got the Criterion
• 13:26
  Speaker 1: uh collection, saying you know, I've got I've got this
• 13:30
  Speaker 1: in mull Holland Drive and I've got fire.
• 13:33
  Speaker 3: Walk with Me or like that.
• 13:35
  Speaker 2: They just had that twenty four hour Criterion sale. I
• 13:41
  Speaker 2: missed it was like for one day.
• 13:43
  Speaker 3: Shit, well that's always good.
• 13:45
  Speaker 2: They'll do it again in the summer, halfway to Black Friday,
• 13:50
  Speaker 2: cell or some bullshit.
• 13:52
  Speaker 3: That's true.
• 13:54
  Speaker 1: But I went on Prime and I looked at some
• 13:55
  Speaker 1: of the reviews, you know, and like instantly I went
• 13:58
  Speaker 1: to the one star reviews because I was just like,
• 14:00
  Speaker 1: I don't remember this movie being that bad, you know,
• 14:02
  Speaker 1: like who gave us a one star? And then uh,
• 14:05
  Speaker 1: and pretty much all the complaints were just like I
• 14:07
  Speaker 1: didn't know I was gonna be watching a fucking porno.
• 14:10
  Speaker 1: I was just like, I know, like it was. People
• 14:13
  Speaker 1: were flipping out about it. They're just like Jesus Christ.
• 14:19
  Speaker 2: If anything, I'm upset that it wasn't a porno.
• 14:23
  Speaker 3: I mean, yeah, they could have.
• 14:24
  Speaker 1: It's it's interesting though, I guess you know it is
• 14:27
  Speaker 1: about pornos in a way. Yeah, honestly. One of my
• 14:31
  Speaker 1: favorite lines is when the uh, the mister Eddie or
• 14:35
  Speaker 1: Dick Larant when he's meeting up with meeting up with
• 14:38
  Speaker 1: the dude, the kid that's fixing up his car, and
• 14:41
  Speaker 1: he's just like, you're like, porno's just kind of he goes.
• 14:46
  Speaker 1: The guy just kind of looks up and goes, what
• 14:48
  Speaker 1: he goes, give you a boner?
• 14:51
  Speaker 3: The fuck?
• 14:52
  Speaker 2: He kind of just like, no, I want your fucking
• 14:57
  Speaker 2: no porno tape.
• 14:59
  Speaker 3: Ye who knows what.
• 15:02
  Speaker 2: And I'm sure somebody else watched, and it's like that's
• 15:05
  Speaker 2: some symbolism that tape is is a passion of the
• 15:08
  Speaker 2: torture the devil or some ship. He didn't take the tape,
• 15:13
  Speaker 2: so you see how his life went.
• 15:15
  Speaker 1: See, I was thinking the tape, you know how. So
• 15:18
  Speaker 1: the movie starts out with the fucking guy with Fred
• 15:23
  Speaker 1: Fred Madison the saxophone player.
• 15:25
  Speaker 2: His best saxophone player since Tim Capillo.
• 15:28
  Speaker 1: Dude another, Yes, have them back to back doing dual sax.
• 15:36
  Speaker 3: Solo fucking playing the sax off Man. I don't know.
• 15:42
  Speaker 1: The thing is Bill Pullman is actually playing the sax
• 15:45
  Speaker 1: in this movie. He is he learned to play the saxophone.
• 15:48
  Speaker 1: He realized it looks so much cooler light. Yeah, I
• 15:52
  Speaker 1: get this strove Like god, dude, he is going nuts.
• 15:56
  Speaker 1: So yes, fucking Fred Madison the sax player he gets
• 16:02
  Speaker 1: I guess. It first starts out with someone buzzing into
• 16:05
  Speaker 1: his house and they just say Dick Laran is dead,
• 16:09
  Speaker 1: and then it cuts out of that scene and then
• 16:11
  Speaker 1: he shows up with a fucking blank VHS tape on
• 16:15
  Speaker 1: his doorstep. Him and his wife or girlfriend watch it.
• 16:19
  Speaker 1: So I was thinking that the blank VHS tape that
• 16:22
  Speaker 1: mister Eddie was trying to give the other guy Pete.
• 16:26
  Speaker 1: I was thinking, like, Okay, is he the one leaving
• 16:30
  Speaker 1: the blank VHS tapes? Is this like some sort of
• 16:32
  Speaker 1: symbolism to that. I don't really think so, because that
• 16:36
  Speaker 1: doesn't make any sense. But at the same time, I
• 16:39
  Speaker 1: don't know if it matters if it makes any sense
• 16:41
  Speaker 1: or not. It's just interesting how like blank VHS tapes
• 16:46
  Speaker 1: would pop up from time to time.
• 16:48
  Speaker 2: Yeah, I don't like when I was watching it, I
• 16:52
  Speaker 2: kind of got the like I just wanted to see
• 16:55
  Speaker 2: it for what it was. Yeah, really get into two
• 17:00
  Speaker 2: easy of like some symbolism and stuff. Yeah, it kind
• 17:03
  Speaker 2: of forced me to.
• 17:05
  Speaker 3: Yeah, it kind of does.
• 17:06
  Speaker 1: Like there's almost no way around it, because if you
• 17:09
  Speaker 1: don't look at it from like a what does this
• 17:12
  Speaker 1: mean like perspective, then the movie doesn't really mean anything.
• 17:17
  Speaker 3: You know what I mean.
• 17:18
  Speaker 1: It kind of like makes you do that, which so
• 17:21
  Speaker 1: like I guess, just to run down the whole thing
• 17:24
  Speaker 1: real fast. So that so Fred he's a sax player.
• 17:29
  Speaker 1: He thinks his wife's cheating on him. He's I guess
• 17:32
  Speaker 1: impotent or like he just comes too fast or something
• 17:35
  Speaker 1: like he premature ejaculates like really bad, I guess, And
• 17:38
  Speaker 1: so yeah he can't he's not good at fucking, and
• 17:43
  Speaker 1: so he thinks his whife or girlfriend is cheating on him.
• 17:47
  Speaker 2: She definitely was the way Yeah, the hold her at the.
• 17:51
  Speaker 1: Part Andy, Yeah, that ship was uncomfortable, like I mean, fuck.
• 18:00
  Speaker 2: With his fucking cigarette.
• 18:01
  Speaker 1: Yeah, yeah, man, I feel bad for Fred. I mean,
• 18:08
  Speaker 1: but then so he kills his wife. I'm just just
• 18:13
  Speaker 1: to run through like the basics or whatever. He kills
• 18:15
  Speaker 1: his wife, he goes to prison, and then while he's
• 18:18
  Speaker 1: in prison, he turns into a different character. He turns
• 18:21
  Speaker 1: into uh Pete who is a younger. Who's a young
• 18:25
  Speaker 1: guy played by Balthasar Zeeddi. Yeah, how you say his name?
• 18:30
  Speaker 1: Let me see if I got his name written.
• 18:32
  Speaker 2: I've never seen a guy before.
• 18:34
  Speaker 1: Yeah, let's see. Yeah, Balthis are Getty is the guy.
• 18:37
  Speaker 2: What he reminded me of was that I don't know
• 18:40
  Speaker 2: if you've ever seen Puppe and Master six.
• 18:43
  Speaker 1: No, I haven't.
• 18:44
  Speaker 3: I haven't got through all the pup I've seen, like
• 18:46
  Speaker 3: the first one.
• 18:47
  Speaker 2: I think it's called a Curse of the Pupping Master,
• 18:50
  Speaker 2: Curse of pup and Master or something. But the main
• 18:52
  Speaker 2: guy in that movie reminded me of his character because
• 18:56
  Speaker 2: he was just like this this country boy who just
• 18:59
  Speaker 2: had like a fucking jumper and he worked at like
• 19:02
  Speaker 2: the gas station and get like bullied by the locals
• 19:05
  Speaker 2: and ship and kind of. This guy was just like
• 19:07
  Speaker 2: the local mechanic. Yeah, fucking one piece outfit on. Yeah,
• 19:12
  Speaker 2: he's getting like basically kind of like manipulated by the
• 19:15
  Speaker 2: fucking local ball sky.
• 19:17
  Speaker 3: Yeah.
• 19:18
  Speaker 2: Yeah, yeah, it just gave me a little puppet Master
• 19:24
  Speaker 2: six energy for a little bit.
• 19:26
  Speaker 1: I got to get into the puppet Master movies. At
• 19:29
  Speaker 1: some point. I was gonna I heard about the one
• 19:32
  Speaker 1: that's not the Littlestrike? Is it the one of the Nazis?
• 19:35
  Speaker 2: No?
• 19:36
  Speaker 1: No, no, no, I guess there's like a new one,
• 19:38
  Speaker 1: and I don't know how many of them. Yeah, I
• 19:40
  Speaker 1: was gonna say the late I used to listen to
• 19:42
  Speaker 1: this podcast. It was like puppet Masters and something else,
• 19:46
  Speaker 1: and they would just talk about like the fucking puppet
• 19:48
  Speaker 1: Master movies and other movies that are like related to
• 19:51
  Speaker 1: it or whatever. And uh, they would always talk about
• 19:54
  Speaker 1: how like the newest one was, like about how the
• 19:57
  Speaker 1: puppets were somehow like connected to the Nazis.
• 20:01
  Speaker 2: Yeah, there's a I think in part three there's like
• 20:06
  Speaker 2: a whole backstory.
• 20:07
  Speaker 3: Okay, they get into it pretty early.
• 20:10
  Speaker 2: Yeah, I mean it gets a little wild.
• 20:13
  Speaker 3: But that's pretty deep, pretty dark.
• 20:17
  Speaker 2: It's not worth talking about honestly.
• 20:20
  Speaker 1: See. That's why I was like, who's making a whole
• 20:22
  Speaker 1: podcast about the puppet Master.
• 20:24
  Speaker 2: Really like enjoyed those movies a lot like they had
• 20:28
  Speaker 2: you had they had to have been like the first
• 20:29
  Speaker 2: horror movie you watched when you were a kid. I
• 20:32
  Speaker 2: love this ship.
• 20:33
  Speaker 1: Yeah see, I think I saw the first one like
• 20:36
  Speaker 1: when I was a little kid, and I was just
• 20:38
  Speaker 1: kind of like, yeah, you know, it's all right.
• 20:43
  Speaker 2: Have fun with them. But yeah, yeah, you're David Lynch
• 20:50
  Speaker 2: is fucking fucking God's pup and master storyline.
• 20:56
  Speaker 1: Yeah, yeah, yeah, yeah. I feel like David Lynch one
• 21:00
  Speaker 1: of those guys like just from what I've heard from
• 21:03
  Speaker 1: like people that I've worked with him, and from the
• 21:06
  Speaker 1: interviews I've seen with him, like how he's.
• 21:09
  Speaker 2: Like the fuck no.
• 21:11
  Speaker 1: Yeah, He's like the opposite of Stanley Kubrick type of director,
• 21:14
  Speaker 1: where like Stanley Kubrick has everything like mapped out to
• 21:17
  Speaker 1: a fucking tea. Everything's like geometrically like perfect or whatever,
• 21:22
  Speaker 1: and everything means something. I feel like David Lynch is
• 21:25
  Speaker 1: just like, let's just do something that fucking looks cool
• 21:28
  Speaker 1: and if it, if it works out, we'll put it
• 21:30
  Speaker 1: in the damn movie.
• 21:31
  Speaker 2: He like cooks with feeling and doesn't instructions on how
• 21:35
  Speaker 2: to do it exactly.
• 21:36
  Speaker 1: He's definitely not a measurer. He's just fucking dumping fucking
• 21:40
  Speaker 1: seasoning in. He does not give a FuG which is,
• 21:44
  Speaker 1: you know, kind of refreshing because you really can tell
• 21:47
  Speaker 1: when you're watching his movies, you're like, Okay, this guy's
• 21:51
  Speaker 1: just like that scene looks fucking cool.
• 21:53
  Speaker 3: Like the scenes.
• 21:54
  Speaker 1: There's a couple of scenes in there later on where
• 21:56
  Speaker 1: it's just like fog over like a mountain, like this
• 22:00
  Speaker 1: doesn't have anything to do with anything, but it's a
• 22:03
  Speaker 1: really cool shot. Like that's it. It looks amazing.
• 22:07
  Speaker 2: It's cool how he transitioned that from like that story,
• 22:11
  Speaker 2: from from the A story to the B story, like
• 22:15
  Speaker 2: with the mechanic guy and then that whole like even
• 22:19
  Speaker 2: that whole situation when like the my boss, I keep
• 22:22
  Speaker 2: calling the my boss. I don't remember his name. I
• 22:24
  Speaker 2: should probably look that up real quick.
• 22:26
  Speaker 1: It's either they call him mister Eddie, but he's also
• 22:30
  Speaker 1: Dick Laren.
• 22:32
  Speaker 2: Yeah. Yeah, So Laurent fucking came around and was like, Yo,
• 22:37
  Speaker 2: come take this ride with me. If you watch any
• 22:42
  Speaker 2: fucking old school crime mob boss movies, you don't ever
• 22:46
  Speaker 2: get in a ride with nobody.
• 22:49
  Speaker 1: I'd be like, actually, fucking I gotta go. So yeah,
• 22:54
  Speaker 1: and his boss at the mechanic shop. Fucking I feel
• 22:57
  Speaker 1: like we're just yeah, I guess that's Richard Pryor's last movie. Yeah,
• 23:04
  Speaker 1: there's a couple guys. So the weird old mechanic that's
• 23:09
  Speaker 1: like listening to the jazz you know where you know,
• 23:12
  Speaker 1: and it starts hurting his head and then he turns
• 23:14
  Speaker 1: it to the classical music or whatever. That old mechanic
• 23:18
  Speaker 1: is Jack Nance, who's the guy in a raser Head
• 23:22
  Speaker 1: and he's in Twin Peaks, so it's another one of
• 23:24
  Speaker 1: those examples. He's also in the Goolies, he plays Wolfgang,
• 23:28
  Speaker 1: the groundskeeper and the Coolies. But it's just one of
• 23:31
  Speaker 1: those examples of like you see him pop up in
• 23:34
  Speaker 1: all of like David Lynch's ship just as like sometimes
• 23:37
  Speaker 1: a little side character like that, but he's like the
• 23:40
  Speaker 1: main character in eraser Head. So it was yeah, it
• 23:43
  Speaker 1: was really neat. Yeah yeah, so he No, You're fine though, honestly,
• 23:51
  Speaker 1: like now I'm I feel like I've jumped too far
• 23:53
  Speaker 1: ahead and I kind of want to go back to
• 23:56
  Speaker 1: the Fred Madison ship. So I feel like the whole
• 24:00
  Speaker 1: movie could be like an unintentional blue choo ad. Yeah,
• 24:06
  Speaker 1: like with the the first part of the movie with
• 24:09
  Speaker 1: when Fred is fucking Patricia Arcuat and it's just like
• 24:12
  Speaker 1: they could just throw a blue choo like like you know,
• 24:16
  Speaker 1: screenshot or whatever up there and just be like, there
• 24:18
  Speaker 1: you go, Bud, could you could have turned your whole
• 24:22
  Speaker 1: life around if you just would have taken some damn
• 24:24
  Speaker 1: blue choo and fucked your wife better?
• 24:27
  Speaker 2: She said, you can wake me up when you come home.
• 24:31
  Speaker 2: So you should have knew, poor bastard, you needed to
• 24:35
  Speaker 2: handle business.
• 24:37
  Speaker 1: So so it is, it's hard to talk about this
• 24:39
  Speaker 1: movie without jumping around because the way it ties together
• 24:43
  Speaker 1: and how it's it's like a circular thing, like a
• 24:46
  Speaker 1: circular story, because it's like you almost you get a
• 24:50
  Speaker 1: lot of hints. Obviously you kind of know that like
• 24:52
  Speaker 1: his wife or girl, I guess it's his wife, right.
• 24:55
  Speaker 3: Yeah, okay, so his wife's cheating on.
• 24:57
  Speaker 2: Him, and we can't skip over whenever fucking and that
• 25:01
  Speaker 2: cgi fucking.
• 25:03
  Speaker 1: Face when yeah, there's the fucking yeah, the weird guy.
• 25:09
  Speaker 1: I think it's the people call him like mister Highway
• 25:12
  Speaker 1: or something like that. He's like the So that is blake.
• 25:17
  Speaker 1: What's that guy's name?
• 25:19
  Speaker 2: Isn't me too? Because or did it feel like every
• 25:22
  Speaker 2: time like someone was having sex that it kind of
• 25:25
  Speaker 2: like something bad started happening.
• 25:27
  Speaker 1: Yeah. Yeah, it kind of seemed like there was like
• 25:30
  Speaker 1: a lot of like you know, I don't know, like.
• 25:36
  Speaker 3: It felt very like.
• 25:38
  Speaker 1: Ominous whenever people were starting to have sex or whenever
• 25:42
  Speaker 1: they would have sex, and it was just kind of
• 25:43
  Speaker 1: like something's off here.
• 25:45
  Speaker 2: And like evenied yeah in sex or whatever, or I
• 25:50
  Speaker 2: don't know, maybe I'm overthinking.
• 25:52
  Speaker 1: Well, I don't know, you might be onto something because
• 25:55
  Speaker 1: like later on when he switches to Pete, the younger character,
• 25:59
  Speaker 1: he's good at having sex, is what we find out.
• 26:02
  Speaker 1: And it's kind of one of those things where you're like,
• 26:04
  Speaker 1: so is this like I mean, it's probably the.
• 26:09
  Speaker 2: Way following him was like, man, he's getting all his
• 26:13
  Speaker 2: ass everywhere he goes.
• 26:15
  Speaker 1: Yeah, he says like, oh he gets more pussy than
• 26:17
  Speaker 1: a toilet seat or whatever. That fucking so you kind
• 26:22
  Speaker 1: of think that like what's probably going on is that
• 26:25
  Speaker 1: like Bill Pullman's character is has like had a mental break.
• 26:30
  Speaker 1: He's entered like a fugue state, and he's living out
• 26:32
  Speaker 1: like a false reality through Pete, you know what I mean,
• 26:37
  Speaker 1: Like this is like his idyllic version of himself and
• 26:40
  Speaker 1: he's probably just in prison this whole time, waiting to
• 26:43
  Speaker 1: be put to death, but in his mind, he's like
• 26:45
  Speaker 1: out reliving his life.
• 26:47
  Speaker 3: Yeah, and that's kind.
• 26:49
  Speaker 1: Of like I feel like the first way that I
• 26:52
  Speaker 1: would interpret this movie, I guess I think there's other
• 26:55
  Speaker 1: ways you could too, which.
• 26:57
  Speaker 2: I think is great, But then kind of tricks you
• 27:01
  Speaker 2: with that as well, because he comes back at the end.
• 27:05
  Speaker 1: Yeah, yeah, because yeah, you're right, he turns back into
• 27:08
  Speaker 1: Bill Pullman or Fred and at the beach or whatever,
• 27:13
  Speaker 1: and then he kind of like everything kind of loops,
• 27:17
  Speaker 1: and I feel like, I guess that is something I
• 27:19
  Speaker 1: was reading about this that it was like this movie
• 27:22
  Speaker 1: was inspired by, No, what is it like a Mobius strip,
• 27:26
  Speaker 1: which is like a never ending loop or something like
• 27:28
  Speaker 1: a mathematical problem that never ends. And that's kind of like, yeah,
• 27:32
  Speaker 1: I know. When I was reading that, I was like,
• 27:34
  Speaker 1: holy fucking shit, dude. I was like, this is insane.
• 27:37
  Speaker 1: I was like, it seems like it could just be
• 27:39
  Speaker 1: like something that happened on accident. But when you think
• 27:41
  Speaker 1: of it like that, you're like, well, maybe there was
• 27:43
  Speaker 1: some more thought put into this than I realized. But yeah,
• 27:46
  Speaker 1: I was it was saying that it was like the
• 27:49
  Speaker 1: idea was based off of that. It's like some sort
• 27:51
  Speaker 1: of mathematic equation. I think it was like a Mobius
• 27:54
  Speaker 1: strip or something.
• 27:55
  Speaker 3: But because then.
• 27:57
  Speaker 1: At the end of the movie, when he's running from
• 28:01
  Speaker 1: the cops or getting ready to run from the cops,
• 28:03
  Speaker 1: he fucking kills Dick Laran with the highway man and
• 28:08
  Speaker 1: and he goes back to his house. He buzzes the
• 28:10
  Speaker 1: house and says Dick Laran is dead, like how it
• 28:13
  Speaker 1: happened at the beginning of the movie. Yeah, and then
• 28:16
  Speaker 1: the cops take off after him. And the thing I
• 28:18
  Speaker 1: didn't realize at the beginning is that you hear the
• 28:21
  Speaker 1: sirens and stuff go by too.
• 28:24
  Speaker 2: Really, I didn't even catch it.
• 28:26
  Speaker 1: Yeah, so it is like the exact like same scenario
• 28:30
  Speaker 1: playing out. Yeah, so he's like stuck in this loop,
• 28:33
  Speaker 1: I guess in the house.
• 28:36
  Speaker 3: Yeah, I don't. I think it's like it. I don't know.
• 28:40
  Speaker 1: It's one of those things where it's like it's gotta
• 28:41
  Speaker 1: almost just be a situation where it's all in his head. Yeah,
• 28:45
  Speaker 1: I guess, like after a certain like I.
• 28:47
  Speaker 2: Wish Gary Busey would have opened the door at the end.
• 28:51
  Speaker 3: Yeah.
• 28:52
  Speaker 1: Yeah, I fucking loved when Gary Busey's in this movie.
• 28:55
  Speaker 1: He did a good job. Yeah, I was gonna say
• 28:57
  Speaker 1: he did a good job. I was like, okay, is.
• 29:00
  Speaker 3: He can act?
• 29:04
  Speaker 1: I know? I love that dynamic. I love how like.
• 29:07
  Speaker 1: So there's when he turns into Pete the younger version.
• 29:12
  Speaker 1: He just like goes back home. Well, like, so he
• 29:14
  Speaker 1: turns into Pete in prison and the prison guards are like,
• 29:18
  Speaker 1: what the fuck? This isn't fucking Fred Madison.
• 29:21
  Speaker 2: You're fucking shit going on here.
• 29:24
  Speaker 1: Yeah, so they look him up and they're like, this
• 29:26
  Speaker 1: guy's not supposed to be in jail.
• 29:28
  Speaker 3: So they just let him out.
• 29:30
  Speaker 2: I thought that was so funny. They just let him go, Like, yeah,
• 29:34
  Speaker 2: we don't know, I just transformed into a whole different person.
• 29:39
  Speaker 1: I guess he's free. We'll keep an eye on him, though, Yeah,
• 29:42
  Speaker 1: we'll just follow him around a little bit. Yeah. But
• 29:45
  Speaker 1: then it's like his parents they don't know what the
• 29:48
  Speaker 1: fuck happened either. They're just like, hey, what's up. You're
• 29:51
  Speaker 1: back home now? And his friends show up and they're
• 29:54
  Speaker 1: just like, all right, have fun, and they just let
• 29:56
  Speaker 1: him leave with his friends. It's like they'll be like,
• 29:59
  Speaker 1: what the fuck do you mean? Like what happened and
• 30:02
  Speaker 1: they never say what happened with him, But there's that
• 30:07
  Speaker 1: moment when his parents sit him down and they're like,
• 30:10
  Speaker 1: we need to talk to you, you know, and.
• 30:12
  Speaker 2: They knew what happened. Yeah, they didn't say it.
• 30:16
  Speaker 1: They make it sound like he like came home covered
• 30:19
  Speaker 1: in blood and was like with somebody is that I
• 30:24
  Speaker 1: can't remember if I'm like misremembering that.
• 30:27
  Speaker 2: Because they're like, I don't remember. Honestly, I'm stu that
• 30:34
  Speaker 2: was like in the very beginning when he first got
• 30:36
  Speaker 2: home with the parents and then they sat him down,
• 30:40
  Speaker 2: but I don't think it was I don't know.
• 30:44
  Speaker 1: Yeah, that part was like I thought they let us
• 30:48
  Speaker 1: know more of what was going on with him during
• 30:51
  Speaker 1: that scene. But this time around when I was watching,
• 30:53
  Speaker 1: I was like, yeah, they just kind of like leave
• 30:56
  Speaker 1: it at a at a cliffhanger where they're just like,
• 30:59
  Speaker 1: we know what happened and we're never going to talk
• 31:01
  Speaker 1: about it again, and he just kind of like looks confused,
• 31:03
  Speaker 1: like yeah, fuck yeah. It's it's crazy because like you
• 31:09
  Speaker 1: want to know more, Like I want to know what
• 31:11
  Speaker 1: happened with Pete, Like I want.
• 31:13
  Speaker 2: To know more about everything. Tell me I don't like unsolved.
• 31:21
  Speaker 3: It's a tough one.
• 31:22
  Speaker 2: I mean, there was a lot of situations that happened
• 31:25
  Speaker 2: where it kind of made me feel like, all right,
• 31:28
  Speaker 2: I think I got this, but then like you get
• 31:32
  Speaker 2: deeper into it, and then there's just ship happened where
• 31:35
  Speaker 2: I'm like, is he trying to tell like a cold
• 31:37
  Speaker 2: story here? Tell? Like I just wasn't sure. But yeah,
• 31:42
  Speaker 2: I guess that's the whole point of all of it.
• 31:44
  Speaker 1: Right, Yeah, I guess to kind of let you decide
• 31:47
  Speaker 1: what you think it's about.
• 31:49
  Speaker 3: Yeah, it's one of those.
• 31:52
  Speaker 2: Even want to he didn't want to really say or whatever. Yeah.
• 31:57
  Speaker 1: Yeah, I mean I guess if it's like a loop,
• 32:00
  Speaker 1: then there isn't an ending.
• 32:01
  Speaker 2: But I mean, you know, then at the same time,
• 32:04
  Speaker 2: I thought to myself, I was like an arties, Like,
• 32:07
  Speaker 2: was that the fucking Highwayman? Was that like his conscience?
• 32:11
  Speaker 1: Yeah? So the Highwayman, I think like this time around
• 32:16
  Speaker 1: watching it, I think the Highwayman is just like a
• 32:19
  Speaker 1: representation of like people that want a murder because sometimes
• 32:24
  Speaker 1: he's with Dick Laren when like Dick Laren's calling Pete
• 32:27
  Speaker 1: and stuff, and he's like threatening him about how he
• 32:31
  Speaker 1: knows that he's sleeping with Alice and he's just like,
• 32:36
  Speaker 1: you know, that seems fucking cracks me up too, because
• 32:39
  Speaker 1: Dick Laren just calls Pete and he's just like, how
• 32:41
  Speaker 1: you doing, Pete?
• 32:42
  Speaker 2: Yeah, and he says like, I'm glad you're doing well. Yeah.
• 32:48
  Speaker 3: I just keeps.
• 32:49
  Speaker 1: Saying it, yeah, and then he hands the phone to
• 32:51
  Speaker 1: the highwayman or whatever, and I can't remember what he says,
• 32:55
  Speaker 1: but he basically just says some like ominous shit to
• 32:57
  Speaker 1: him too, and he's like crying and because he's like
• 33:01
  Speaker 1: I don't know what, like he knows he's fucking dead.
• 33:04
  Speaker 1: He's at that point, and yeah, so fuck, I guess
• 33:08
  Speaker 1: if we're going back to like when he turns into Pete,
• 33:11
  Speaker 1: Pete's working at the repair shop, mister Eddie picks him up,
• 33:15
  Speaker 1: Dick Laurent picks him up and takes him for the drive,
• 33:18
  Speaker 1: and there's the great tailgating scene. Yeah. So this that
• 33:21
  Speaker 1: fucking part cracks me up because it's just like it feels.
• 33:24
  Speaker 2: Like, honestly like I hate people do that. So yeah,
• 33:29
  Speaker 2: when I'm driving, I think everyone related to that.
• 33:32
  Speaker 3: Yeah, that's what I was thinking.
• 33:33
  Speaker 1: I was like, dude, this has to be just one
• 33:34
  Speaker 1: of those like personal frustrations where they're just like everyone
• 33:38
  Speaker 1: fucking hates tailgating. I fucking hate it too, So we're
• 33:41
  Speaker 1: just gonna have this guy beat the shit out of
• 33:43
  Speaker 1: this guy that tailgates him and then yell at him
• 33:46
  Speaker 1: about the rules of the road and all the safety like.
• 33:49
  Speaker 2: Oh, that happened. And then they once they left the
• 33:54
  Speaker 2: scene after like beating a dudea they kind of just
• 33:57
  Speaker 2: like took him back to the mechanic shop and that
• 34:00
  Speaker 2: was it. I was like, what was the ride for
• 34:02
  Speaker 2: just to listen for that, like, yeah, whistle in the
• 34:05
  Speaker 2: car just to fix that little tweak.
• 34:07
  Speaker 3: And then yeah, yeah.
• 34:08
  Speaker 2: Because I was approached him, was so like like scary because, yeah,
• 34:13
  Speaker 2: what the fuck I'm about to get set up by
• 34:15
  Speaker 2: this guy. We got two people sitting behind me that
• 34:18
  Speaker 2: I can't see. I'm gonna get iced in this car.
• 34:21
  Speaker 1: Dude.
• 34:22
  Speaker 3: I was thinking that too.
• 34:23
  Speaker 1: It was like it feels really scary because it's just
• 34:25
  Speaker 1: like this is one of those situations where like he's
• 34:28
  Speaker 1: either gonna like ask you to run drugs for him
• 34:31
  Speaker 1: or ask you to like kill somebody for him, or
• 34:34
  Speaker 1: he's gonna kill you. But really he's just like I
• 34:36
  Speaker 1: need you to tune up my engine. Yeah, and then
• 34:39
  Speaker 1: like I'm gonna drive around and beat the fuck out
• 34:41
  Speaker 1: of some guy.
• 34:43
  Speaker 2: I wish. I wish if I ever heard like noises
• 34:46
  Speaker 2: in my car, all I had to do was fucking
• 34:48
  Speaker 2: take a screwdriver and tighten this and be like, you're good.
• 34:51
  Speaker 3: That's it.
• 34:52
  Speaker 1: I know, man, did I I'm not great at working
• 34:55
  Speaker 1: on cars, but if it was like that, holy shit, yeah,
• 34:59
  Speaker 1: I feel pretty good. I was just like, hell, yeah,
• 35:01
  Speaker 1: just pull over, let me get my tools out.
• 35:04
  Speaker 2: I'm talking, and watched to actually be like a legit
• 35:06
  Speaker 2: situation that could happen.
• 35:08
  Speaker 1: Yeah, I was gonna say, I don't even know enough
• 35:11
  Speaker 1: to be like, now, that's not real. Maybe it is
• 35:15
  Speaker 1: that easy, you know. I did have Like I was
• 35:18
  Speaker 1: driving like an older CRV a while back, and there
• 35:21
  Speaker 1: was a moment where it just fucking died at the
• 35:23
  Speaker 1: gas station. So I pushed it off to the side,
• 35:26
  Speaker 1: you know, And it was close enough to work to
• 35:28
  Speaker 1: where I just walked over to work and I I
• 35:30
  Speaker 1: just let him know at the counter. I was like,
• 35:32
  Speaker 1: my car fucking won't start. I'm just I'm gonna go
• 35:35
  Speaker 1: to work. I'll pick it up after work. I'll tell
• 35:37
  Speaker 1: it and I went back there and I started thinking, like,
• 35:41
  Speaker 1: you know, one time the starter was loose, so I
• 35:45
  Speaker 1: literally just like opened the thing and jiggled a bunch
• 35:47
  Speaker 1: of shit around and then started it.
• 35:49
  Speaker 3: And it worked.
• 35:50
  Speaker 1: Yeah, so maybe it is that.
• 35:52
  Speaker 2: Easy, like a OTV you.
• 35:55
  Speaker 1: Shake it. Yeah, it was kind of one of those cars. Honestly,
• 35:59
  Speaker 1: it was like it would never stop running, but when
• 36:02
  Speaker 1: it would have a problem, it was always something like
• 36:04
  Speaker 1: kind of easy where you just like fucking dick around
• 36:08
  Speaker 1: with it it starts working again. But yeah, so then
• 36:11
  Speaker 1: he takes him back to the garage and then they
• 36:14
  Speaker 1: show up again because he's like, hey, I'm gonna I'm
• 36:18
  Speaker 1: gonna bring the Cadillac by. Later he's like, great, do it.
• 36:22
  Speaker 1: I love that car or something. And then when they
• 36:25
  Speaker 1: do that, so then they bring the Cadillac by and
• 36:28
  Speaker 1: that's when we get Patricia Arquette light Fred Madison has
• 36:35
  Speaker 1: the dark haired Patricia Arcat and then this is Patricia
• 36:39
  Speaker 1: Arquette with a blonde wig and she shows up and honestly,
• 36:42
  Speaker 1: this scene where she shows up in the garage to
• 36:45
  Speaker 1: me is like a perfect scene.
• 37:11
  Speaker 2: I'm leaving the Caddy, like I told you, if you
• 37:14
  Speaker 2: could get a chance to give it the once over today.
• 37:16
  Speaker 1: Sure, Uh, you want to pick it up later on
• 37:19
  Speaker 1: uh or in the morning.
• 37:22
  Speaker 2: If you think you can finish it. I'll be back
• 37:23
  Speaker 2: later today. It'll be done. Yeah, my man, Pete.
• 37:40
  Speaker 4: M h this magic moment so rent in so it's
• 38:01
  Speaker 4: like any alarm.
• 38:06
  Speaker 2: Until I milled you and then it happened. It took
• 38:16
  Speaker 2: you by surprise.
• 38:18
  Speaker 4: I knew that you felt it chewing.
• 38:22
  Speaker 2: I could see it by the booking. You are.
• 38:27
  Speaker 4: Sweeter than wine. Sought that thing as Summer's night. Everything
• 38:36
  Speaker 4: I want I have when half God I put to
• 38:42
  Speaker 4: tart this magic moment while your lips are close to mine,
• 38:53
  Speaker 4: it last forever.
• 39:00
  Speaker 1: It's one of those video Yeah, it's one of those
• 39:03
  Speaker 1: scenes where like it's using a needle drop and using
• 39:06
  Speaker 1: the music and like the best way possible. Honestly, Like,
• 39:10
  Speaker 1: in my opinion, I can see a lot of people saying, like, no,
• 39:13
  Speaker 1: that scenems fucking cheesy.
• 39:14
  Speaker 2: No, Honestly, you're right, because I feel like when we
• 39:18
  Speaker 2: first transition into that part, like when Freget is locked
• 39:24
  Speaker 2: up and he turns into this other guy's name Pete, Pete,
• 39:29
  Speaker 2: when he turns into Pete around that time was when
• 39:32
  Speaker 2: I really was starting to get engaged into the film.
• 39:35
  Speaker 1: Yeah.
• 39:36
  Speaker 2: Then when you see Patricia come in the car with
• 39:39
  Speaker 2: the mob, dude, then it really was like I'm like, okay.
• 39:43
  Speaker 2: I was like, now we're getting her back after she's
• 39:46
  Speaker 2: been murdered. I was like, I'm sure that's the same person.
• 39:49
  Speaker 3: Yeah.
• 39:50
  Speaker 2: Yeah, but you know that whole scene, the way it
• 39:53
  Speaker 2: was shot, everything to music, it was just perfect.
• 39:56
  Speaker 1: It's so good. Yeah, like the slow mo. I just
• 39:59
  Speaker 1: feel like the is like, so it's this magic moment
• 40:02
  Speaker 1: by lou Reid. It's like a cover you know, by
• 40:04
  Speaker 1: lou Reid, and just the way the song sounds, Yeah,
• 40:10
  Speaker 1: the fucking slow mo, and just the way that Balti
• 40:13
  Speaker 1: Sargetti looks like how he's just like staring and now
• 40:18
  Speaker 1: I don't know, there's like really good blocking in that
• 40:20
  Speaker 1: scene too, where like she's walking by and like and
• 40:24
  Speaker 1: then there's somebody in the way. I don't know something
• 40:26
  Speaker 1: about that yeah yeah yeah. And then but then he's
• 40:32
  Speaker 1: mad that like they start having an affair or whatever,
• 40:36
  Speaker 1: if you want to call it that. But that kind
• 40:38
  Speaker 1: of lends itself to the idea that like this is
• 40:41
  Speaker 1: like all in Fred Madison's head because he's like reliving
• 40:44
  Speaker 1: how he probably met Alice or Renee is his wife's name.
• 40:49
  Speaker 1: So it's like that in his idealic version of this
• 40:52
  Speaker 1: or whatever, this would be like a really fantastical way
• 40:56
  Speaker 1: to like re meet the love of his life or something,
• 41:00
  Speaker 1: and he like steals.
• 41:01
  Speaker 2: The true or it could be his ultimate fantasy.
• 41:05
  Speaker 1: Yeah, because then like you kind of get a glimpse
• 41:08
  Speaker 1: that like Renee was probably a prostitute or at least
• 41:11
  Speaker 1: like a porn star before they got together, and he
• 41:14
  Speaker 1: either like vaguely knows about it, or he knows about
• 41:18
  Speaker 1: it but just like tries to ignore it. Because there's
• 41:22
  Speaker 1: like that scene when they're driving home after the party
• 41:25
  Speaker 1: and he's like, how do you know that fucking asshole, Andy?
• 41:28
  Speaker 1: And he's like, oh, we met at a party and
• 41:31
  Speaker 1: you know, and stuff like that, and like it was
• 41:33
  Speaker 1: just a job or something, and he's like what kind
• 41:35
  Speaker 1: of job and she's like, I don't remember, and it's like,
• 41:38
  Speaker 1: what do you mean you don't remember a job? Like, motherfucker.
• 41:42
  Speaker 1: So you know it's probably something like that, like she
• 41:44
  Speaker 1: was a porn star or something or whatever, and he's
• 41:47
  Speaker 1: just like.
• 41:48
  Speaker 2: Kind of hates it. Yeah.
• 41:53
  Speaker 1: Yeah, So then I know, dude, I know, that's what
• 41:58
  Speaker 1: I kept thinking. I was like, dude, this is it's
• 42:00
  Speaker 1: like way too like in tune with like how so
• 42:03
  Speaker 1: many people who are like cooks on the internet now
• 42:06
  Speaker 1: you know what I mean. It's like Adam twenty two
• 42:09
  Speaker 1: and I keep seeing stuff about like Larry Wheels too,
• 42:13
  Speaker 1: where it's just like what Larry Wheels is a cock
• 42:15
  Speaker 1: and his wife is just like makes him pay for
• 42:18
  Speaker 1: everything and she's like, I don't know, they always talk
• 42:20
  Speaker 1: about I don't know, this stuff's so fucking ridiculous, but yeah,
• 42:24
  Speaker 1: I feel like that's the type of shit that is
• 42:26
  Speaker 1: like marketed towards guys for some reason.
• 42:29
  Speaker 3: Though.
• 42:29
  Speaker 1: Yeah, it's like anytime I open it liketh yeah it's
• 42:34
  Speaker 1: that or yeah, like I didn't even know who these
• 42:37
  Speaker 1: fuck these people were until like I opened up Facebook
• 42:40
  Speaker 1: and it's just like, yeah, right, the whole fucking story
• 42:44
  Speaker 1: is like spelled out in like a thirty second reel
• 42:46
  Speaker 1: that I'm like scrolling through and it's just like, wait,
• 42:48
  Speaker 1: what it's a fucking guy. Yeah, it's a cuck city
• 42:53
  Speaker 1: out there, I guess.
• 42:55
  Speaker 2: Yeah, so that's pretty much his life. Why he was
• 42:57
  Speaker 2: so upset and then he just went I don't know
• 43:00
  Speaker 2: if I missed anything, But what ticked him to like
• 43:05
  Speaker 2: go crazy and kill Renee?
• 43:08
  Speaker 3: I think it's after it's after that. It's after the
• 43:11
  Speaker 3: after the party.
• 43:12
  Speaker 1: So they get back home and she's like kind of
• 43:15
  Speaker 1: getting ready for bed, and he because earlier he tells
• 43:18
  Speaker 1: her about that dream where he's like, I had a
• 43:19
  Speaker 1: dream that you were calling for me or whatever, and
• 43:23
  Speaker 1: then you got attacked or something. And then she's like
• 43:26
  Speaker 1: getting ready for bed or whatever. And then she comes
• 43:29
  Speaker 1: out of the bathroom, and I love the lighting in
• 43:31
  Speaker 1: that scene too, because like the hallway gets super dark,
• 43:34
  Speaker 1: the whole house gets like so dark that like you
• 43:36
  Speaker 1: can't hardly even see the people on the screen, you
• 43:39
  Speaker 1: know what I mean. And she starts like calling for him,
• 43:43
  Speaker 1: just like how it was in the dream. And then
• 43:46
  Speaker 1: after that it cuts to the like really quick shot
• 43:48
  Speaker 1: of him. From what I read, she's like dismembered. Yeah, yeah,
• 43:52
  Speaker 1: you can't hardly tell what's going on. You just see
• 43:55
  Speaker 1: like him over her with a bunch of blood. But
• 43:57
  Speaker 1: I guess, like in the in the Wikipedia says that
• 44:01
  Speaker 1: he like chopped her up or whatever, and then he's
• 44:04
  Speaker 1: getting his ass wept by the cops. Transitions from that
• 44:07
  Speaker 1: to him getting fucking beat up by the cops and
• 44:09
  Speaker 1: they're just like fucking murder or whatever, and they're busting
• 44:12
  Speaker 1: them up.
• 44:14
  Speaker 2: And everyone in this whole movie was very soft spoken.
• 44:17
  Speaker 2: It was a very quiet movie.
• 44:19
  Speaker 1: Yeah, it's very very quiet, especially at the beginning, and
• 44:24
  Speaker 1: very like not a ton of dialogue at the beginning either.
• 44:28
  Speaker 1: I feel like they just like use the visuals or
• 44:31
  Speaker 1: people's like body language to kind of show Yeah. Yeah,
• 44:36
  Speaker 1: it really was. It's one of like, if you can
• 44:38
  Speaker 1: show what's going on without saying a lot, I feel
• 44:41
  Speaker 1: like that's really really powerful. So so if we're jumping
• 44:45
  Speaker 1: back to Pete, I feel like the whole Pete story
• 44:49
  Speaker 1: is like, yeah, his idyllic version of how he would
• 44:52
  Speaker 1: steal Renee away from that old lifestyle or whatever. But
• 44:56
  Speaker 1: really that doesn't even make that much sense because she's
• 44:59
  Speaker 1: like pipulating Pete. Ye know, fucking robbed this guy Andy's house.
• 45:05
  Speaker 2: Exactly the whole I want to say the message that
• 45:09
  Speaker 2: I got from that because after he kills the one guy,
• 45:15
  Speaker 2: he's just looking at the body all shook and stuff,
• 45:19
  Speaker 2: and then he's like, we killed her, and she's like, no,
• 45:23
  Speaker 2: you killed.
• 45:24
  Speaker 3: Her, Yeah, you killed him.
• 45:26
  Speaker 2: Yeah, And then at that moment, I was like, this
• 45:29
  Speaker 2: is why you got to stop being Captain Saber Hope.
• 45:32
  Speaker 1: I know, man, I know I was thinking the same thing. Yeah,
• 45:37
  Speaker 1: I was like, the whole that is true. The whole
• 45:40
  Speaker 1: message is like, don't fuck with these hoes. You got
• 45:44
  Speaker 1: you got the whole world, the moral exactly. It's like,
• 45:50
  Speaker 1: and then she got the gun on him. You trust me?
• 45:53
  Speaker 2: I know, I was like, oh shit, I probably shouldn't
• 45:57
  Speaker 2: trust you.
• 45:58
  Speaker 1: I think in that moment, it's the moment whenever the
• 46:01
  Speaker 1: guy gets killed on accident and the porno of her
• 46:05
  Speaker 1: is playing in the background and she's just like stealing
• 46:08
  Speaker 1: his jewelry, like right off his body, and he's like
• 46:11
  Speaker 1: in shock. At that moment, I think that's when it
• 46:14
  Speaker 1: finally hits him that like this bitch is crazy, Like
• 46:18
  Speaker 1: she doesn't love me. I've been manipulated this whole time
• 46:22
  Speaker 1: and I've thrown my entire life.
• 46:24
  Speaker 3: Away to.
• 46:27
  Speaker 2: Which is crazy.
• 46:28
  Speaker 1: Yeah, He's still just like, you know what, I'm just
• 46:30
  Speaker 1: gonna go for it anyway.
• 46:33
  Speaker 2: Because it's like they're like having sex and shit at
• 46:35
  Speaker 2: the beach, yeah, where the beach houses, and he's like
• 46:39
  Speaker 2: what I he says like I want you or I
• 46:43
  Speaker 2: want you to be mine or something. Yeah, and then
• 46:46
  Speaker 2: she just says the most gangster ship ever like you'll
• 46:49
  Speaker 2: never be yeah, yeah, you will be mine.
• 46:55
  Speaker 1: Yeah. And then she just walks into the cabin.
• 46:58
  Speaker 2: Yeah that confirmed me where I was like, Bees.
• 47:02
  Speaker 1: I know, you can't trust it. Should have listened to
• 47:05
  Speaker 1: three h three dude, never trust the whole.
• 47:10
  Speaker 2: I was like, but it was Patricia. I was like,
• 47:13
  Speaker 2: you know, you're going to do some dumb shit.
• 47:15
  Speaker 1: I mean, like Pete's twenty four, I think is what
• 47:19
  Speaker 1: they say. Yeah, it's like you kind of get it.
• 47:22
  Speaker 1: He has the other girlfriend, yeah that he just totally
• 47:26
  Speaker 1: like ditches too.
• 47:27
  Speaker 2: He did have this like weird innocence about him.
• 47:30
  Speaker 1: Yeah, like he seems kind of naive and dumb. Well,
• 47:36
  Speaker 1: but he almost makes the right choice. Like when she
• 47:38
  Speaker 1: shows up to I don't even know why she shows
• 47:42
  Speaker 1: up again, but she shows up in the taxi, I
• 47:45
  Speaker 1: think just to try to pick him up, because yeah,
• 47:47
  Speaker 1: she goes up to him and she's like, do you
• 47:49
  Speaker 1: want to take me out to dinner? And at first
• 47:51
  Speaker 1: he's like, I don't think that's a good idea. You know,
• 47:54
  Speaker 1: he's thinking, like, mister Eddie's gonna fucking murder.
• 47:56
  Speaker 2: Me, yes, exactly, and then.
• 47:59
  Speaker 1: Like she goes and she calls a cab and he
• 48:02
  Speaker 1: This part cracked me up, but it's like Pete's so smooth.
• 48:05
  Speaker 1: He just goes over there and grabs the phone. He's like, yeah,
• 48:07
  Speaker 1: we're not gonna need that cabin, like it hangs up
• 48:10
  Speaker 1: and then they just go bang instantly. Yeah.
• 48:13
  Speaker 3: Yeah, they don't even have dinner.
• 48:15
  Speaker 2: You want to skip the cab and all?
• 48:17
  Speaker 3: Yeah? Yeah yeah, And.
• 48:21
  Speaker 2: That's what I'm saying, Like even during his sex scenes,
• 48:24
  Speaker 2: it seemed like he didn't want to do it.
• 48:26
  Speaker 1: Yeah, yeah, he seemed like weird, right right, And I
• 48:31
  Speaker 1: think when he sees that she's in I think when
• 48:34
  Speaker 1: he actually sees her in the porno is when it
• 48:37
  Speaker 1: hits him that like, oh, like she just fucks everybody,
• 48:42
  Speaker 1: Like this isn't like this isn't like just for me
• 48:45
  Speaker 1: kind of thing, you know what I mean. Yeah, I
• 48:48
  Speaker 1: don't know.
• 48:49
  Speaker 2: That's why I think, like, get where you're coming from.
• 48:52
  Speaker 2: How this could have been like Renee's backstory, Yeah, and
• 48:55
  Speaker 2: like Fred just basically reliving that whole life of like
• 48:59
  Speaker 2: how it was in the beginning, or maybe it could
• 49:03
  Speaker 2: have been as perfect in the beginning, but then at
• 49:05
  Speaker 2: the same time, the way it ends, it's just like
• 49:07
  Speaker 2: kind of fucks you up to where it's like, maybe
• 49:09
  Speaker 2: that's not the truth, but that's intentional.
• 49:12
  Speaker 1: Yeah, yeah, it's super intention Yeah. And then but because
• 49:16
  Speaker 1: I do think there's some truth like sprinkled in, there's
• 49:19
  Speaker 1: that scene where like the cops are at Andy's house
• 49:23
  Speaker 1: when he's dead, and like earlier whenever Pete and Alice
• 49:28
  Speaker 1: were there, they look at the picture and it has
• 49:30
  Speaker 1: Renee and Alice in the picture with Dick Larat and Andy. Yeah,
• 49:34
  Speaker 1: but then when the cops look at the picture, it's
• 49:36
  Speaker 1: just yeah, it's just Renee. And so I think that
• 49:40
  Speaker 1: is kind of one of those things that's telling you like, yeah, yeah,
• 49:44
  Speaker 1: it's like this is actually Renee's story. Alice is like yeah,
• 49:50
  Speaker 1: I mean the whole time. Yeah, yeah, So I think
• 49:54
  Speaker 1: there is like a little bit of truth in what.
• 49:57
  Speaker 2: You're saying is true too, because then when the ask
• 50:00
  Speaker 2: him what's her name? Alice? Yeah, when he asked her
• 50:05
  Speaker 2: about that picture, she's like, no, it's just me.
• 50:08
  Speaker 3: Yeah.
• 50:08
  Speaker 2: Yeah, it's like, who is this other person here with you?
• 50:12
  Speaker 2: And yeah it's just.
• 50:14
  Speaker 1: Me, yes, yeah, oh yeah. And then yeah, there's another
• 50:18
  Speaker 1: scene too, where they ask they mentioned Alice. I think
• 50:24
  Speaker 1: someone calls, oh, it's whenever he turns back into fucking
• 50:28
  Speaker 1: Fred on the beach, because like they're fucking on the beach,
• 50:32
  Speaker 1: And as soon as she says you'll never have me,
• 50:34
  Speaker 1: he turns back into Fred from Pete and then she
• 50:38
  Speaker 1: he starts saying like feeling He's like, what the hell?
• 50:43
  Speaker 1: He just instantly busts like, ah fuck, it's kind of
• 50:48
  Speaker 1: a bitch.
• 50:49
  Speaker 3: Not again.
• 50:50
  Speaker 1: I'm also like they gotta be having some sandy as
• 50:53
  Speaker 1: nuts at that point, like they're just right in the beach,
• 50:57
  Speaker 1: butt naked.
• 50:58
  Speaker 2: It's just like, if this is gonna end right here,
• 51:00
  Speaker 2: let's just get this out the way.
• 51:02
  Speaker 3: Yeah, we might as well.
• 51:04
  Speaker 1: But so he says he calls her Alice. I think, yeah,
• 51:09
  Speaker 1: he calls her, he calls her one of the names.
• 51:11
  Speaker 1: And then she's like, there's only this one. There's only
• 51:15
  Speaker 1: one of us basically, and then she walks into the cabin.
• 51:18
  Speaker 1: I think, yeah, so I think that's also confirming that,
• 51:21
  Speaker 1: like there's only Renee. Yeah right, possibly, yeah, possibly, I
• 51:28
  Speaker 1: mean god.
• 51:29
  Speaker 2: And then I have like this other thought where like, mister,
• 51:33
  Speaker 2: I want to say Saint Laurent, but yeah, remember how
• 51:39
  Speaker 2: they were having that like little party at the house,
• 51:42
  Speaker 2: and he was like making out with uh Renee, not Renee,
• 51:47
  Speaker 2: wasn't No, it wasn't Renee. He was making out with
• 51:50
  Speaker 2: I'm sorry, I just want to get the name right.
• 51:51
  Speaker 2: I keep saying it wrong. It's Renee. And who was
• 51:54
  Speaker 2: the other one? Alice? Alice. Yeah, he's making out with
• 51:57
  Speaker 2: Alice and they're watching the Porno on the wall whatever.
• 52:00
  Speaker 1: Yeah.
• 52:00
  Speaker 2: And during that whole scene, that's when the Marilyn Manson song,
• 52:04
  Speaker 2: yeah spelling you start getting in and the start making
• 52:07
  Speaker 2: her strip and shit like that. Yeah, and it felt
• 52:12
  Speaker 2: very cultish to me, like around that part, like this
• 52:15
  Speaker 2: is like something she's basically doing against her will, Like maybe, so, yeah,
• 52:21
  Speaker 2: so am i mentioned in two different scenes?
• 52:23
  Speaker 1: Yeah, so I was gonna say, so this happened to
• 52:25
  Speaker 1: me too. This is what I'm talking about. So this
• 52:28
  Speaker 1: is why, this is why I rewatched this because I
• 52:31
  Speaker 1: was literally thinking the same thing that you're talking about
• 52:33
  Speaker 1: right now. This movie has so many like similar scenes
• 52:38
  Speaker 1: that with like similar characters. Yeah, whenever she's Alice, she
• 52:44
  Speaker 1: starts telling Pete about how she knows Dick Laurent because
• 52:48
  Speaker 1: he's like, how do you even get mixed up with
• 52:50
  Speaker 1: this guy. Yeah, yeah, and she's like, oh, it was
• 52:52
  Speaker 1: just a job. But then she goes into detail about
• 52:55
  Speaker 1: the job and basically like yeah, so she shows up.
• 52:58
  Speaker 1: That part is fucking funny because she's like this guy,
• 53:01
  Speaker 1: this armed guard is watching the door and there's another
• 53:04
  Speaker 1: guy in the next room lifting lights and it just
• 53:06
  Speaker 1: shows that like guy bench pressing. I was like, what
• 53:10
  Speaker 1: the fuck is going.
• 53:10
  Speaker 2: Out of that that weightlifter. That'd be like wait, wait.
• 53:14
  Speaker 3: Yeah, Ronnie Colman.
• 53:15
  Speaker 1: And so yeah, so that's Alice in that scene, and yeah,
• 53:22
  Speaker 1: she gets the gun put up to her.
• 53:23
  Speaker 2: Head and she says that's a different scene.
• 53:26
  Speaker 3: That's a different scene where.
• 53:28
  Speaker 2: Yeah, the guard is pointing a gun at her head
• 53:30
  Speaker 2: and making her trip basically to seduce Laurent.
• 53:33
  Speaker 1: Yes.
• 53:34
  Speaker 2: And then we get the next the party scene where
• 53:37
  Speaker 2: they're all at the party together and with Marilyn. Yeah,
• 53:41
  Speaker 2: and then the Manson used to start playing And that's
• 53:43
  Speaker 2: the part that felt very Coltish to me.
• 53:46
  Speaker 1: Yeah, and I think that like is a snuff film
• 53:50
  Speaker 1: because like Marilyn Manson gets killed there, and like no
• 53:53
  Speaker 1: one really is reacting in a weird way. So it
• 53:55
  Speaker 1: makes me wonder, like, Okay, so Dick Laren's making pornos
• 53:58
  Speaker 1: but also like snuff films.
• 54:00
  Speaker 3: I'm guessing.
• 54:01
  Speaker 1: I mean, he obviously like kills people like no big deal,
• 54:04
  Speaker 1: So it does kind of make you wonder, and.
• 54:08
  Speaker 2: Lyn only showing from experience of what he's seeing. Maybe
• 54:14
  Speaker 2: he's been to one of these parties where they had
• 54:16
  Speaker 2: a snuff film, so.
• 54:18
  Speaker 3: I mean, yeah, you never know.
• 54:19
  Speaker 1: I feel like if you're in the in Hollywood, you've
• 54:22
  Speaker 1: probably been to some pretty fucking weird parties.
• 54:24
  Speaker 2: I've been to a club in Miami. Yeah there's been
• 54:28
  Speaker 2: pornoles on the walls like that, really, and it's just
• 54:32
  Speaker 2: everyone's drinking fucking alcohol at the bar, hanging out like
• 54:35
  Speaker 2: nothing's happening. But it's just I wouldn't that.
• 54:41
  Speaker 1: Yeah, see, I feel like that's just asking for trouble.
• 54:44
  Speaker 1: Like you're gonna get people just jacking off at the
• 54:46
  Speaker 1: bar when they get too drunk, you know what I mean.
• 54:49
  Speaker 1: Like some guy's gonna be there just like hammered.
• 54:51
  Speaker 2: Like you know too much.
• 54:55
  Speaker 1: Yeah, this is my favorite party? Is there like every night?
• 54:58
  Speaker 1: What the fuck are we doing? Guy?
• 55:00
  Speaker 2: Remember it was like they were showing the old school
• 55:03
  Speaker 2: porno and it was like drumming bass playing in the background.
• 55:06
  Speaker 3: Nice. Yeah, that sounds about.
• 55:10
  Speaker 2: Right, okay, drum and bass.
• 55:15
  Speaker 1: So the the other scene, the Marilyn Manson scene, that
• 55:18
  Speaker 1: is Renee because that happens whenever, and that happens when
• 55:22
  Speaker 1: he turns back to Fred. Fred goes to the Lost
• 55:26
  Speaker 1: Highway hotel or motel or whatever, and he beats the
• 55:29
  Speaker 1: ship out of dickclaren because diclaren's banging Renee at that point,
• 55:33
  Speaker 1: and then she leaves. Fred knocks on the door as
• 55:36
  Speaker 1: soon as the answers, he fucking pistol whips him and
• 55:39
  Speaker 1: throws them in the trunk and then drives him out
• 55:41
  Speaker 1: to the middle of the desert. And so that's another
• 55:44
  Speaker 1: thing that like I think obviously the whole movie is
• 55:47
  Speaker 1: just kind of like up for interpretation, all very surreal
• 55:51
  Speaker 1: and stuff. But you see him driving off in the
• 55:55
  Speaker 1: highway man or whatever is like watching him from the hotel.
• 55:58
  Speaker 1: But then when he gets out to the desert, you know,
• 56:00
  Speaker 1: they get into that fight, which that fight should have
• 56:04
  Speaker 1: never happened because like Fred has a gun and he
• 56:07
  Speaker 1: goes and opens the trunk like so casual, like he's
• 56:10
  Speaker 1: just getting out some damn luggage, and it's like, dude,
• 56:12
  Speaker 1: you just pistol whip. Yeah, he just fucking spears him
• 56:16
  Speaker 1: out of the trunk and they start fighting. And this
• 56:18
  Speaker 1: reminded me of Suspiria, I don't know, like the scene
• 56:21
  Speaker 1: whenever they're fighting in the desert and all of a sudden,
• 56:24
  Speaker 1: the Highwayman you don't see him, but his hand just
• 56:26
  Speaker 1: comes into frame and hands him a knife and Fred
• 56:29
  Speaker 1: just grabs it and cuts it Dick Laron's throat.
• 56:32
  Speaker 2: See that what makes me feel like sometimes that like
• 56:34
  Speaker 2: that's his like conscience or his evil conscious that he
• 56:39
  Speaker 2: just can't resist. Yes, I think at the same time,
• 56:42
  Speaker 2: it's like who the fuck is he? You don't know,
• 56:47
  Speaker 2: it's weird.
• 56:48
  Speaker 3: Yeah.
• 56:49
  Speaker 1: So every time the Highwayman talks to him, or at
• 56:52
  Speaker 1: least like a few times, he always starts out by saying,
• 56:55
  Speaker 1: like we've met before. Yeah, yeah, And I think that
• 56:58
  Speaker 1: is like one of those things where it's like, yeah,
• 57:00
  Speaker 1: it's his conscious, it's his like his want to like murder,
• 57:04
  Speaker 1: I think, and it's like part of his like mental
• 57:07
  Speaker 1: break that he's going through. Because dopple Gangers, maybe maybe
• 57:13
  Speaker 1: the Highwayman is real.
• 57:16
  Speaker 2: We mean being real, really fuck up everything.
• 57:20
  Speaker 3: You just see him like drive away.
• 57:23
  Speaker 2: This motherfucker showed up in Brene's face.
• 57:27
  Speaker 1: Yeah. Yeah, that's like before I even met him too.
• 57:31
  Speaker 1: He's just like, oh, what the fuck.
• 57:32
  Speaker 2: Is that scene though at the party when you first
• 57:36
  Speaker 2: get introduced to the highwayman. That is creepy.
• 57:40
  Speaker 3: Yeah, that is like he kind.
• 57:42
  Speaker 2: Of looked like Pazuzu and exist at his face.
• 57:47
  Speaker 1: Dude the whole time. It's just like that creepy like
• 57:49
  Speaker 1: smile with his eyes super wide.
• 57:51
  Speaker 2: Yeah.
• 57:52
  Speaker 1: Yeah, so that was let me see, that was Robert
• 57:55
  Speaker 1: either Robert or yeah, Robert Blake. And I think that
• 57:59
  Speaker 1: was his last movie too, and I guess with that.
• 58:02
  Speaker 1: So that's another thing where it's like, yeah, that's one
• 58:06
  Speaker 1: of those things too, where like dude, David Lynch is
• 58:08
  Speaker 1: chill as fuck. He just told him to do whatever
• 58:11
  Speaker 1: he wanted. Yeah, So he didn't say like I need
• 58:14
  Speaker 1: you to like wear these clothes or do your hair
• 58:16
  Speaker 1: like this, or shave off your fucking eyebrows. Robert Blake
• 58:20
  Speaker 1: just decided apparently he shaved his eyebrows off and cut
• 58:23
  Speaker 1: his hair super short and parted it down the middle
• 58:26
  Speaker 1: and then covered his face in kabuki paint and just
• 58:28
  Speaker 1: showed back up to the set like that. And David
• 58:31
  Speaker 1: Lynch was like, sure, this is awesome. Do whatever you want, man,
• 58:37
  Speaker 1: But yeah, that scene is like a perfect.
• 58:39
  Speaker 2: Just makes sense because it's just like he seems like
• 58:44
  Speaker 2: he's trying to fuck with the audience a lot, so
• 58:46
  Speaker 2: like something unexplained like that to just be in the
• 58:49
  Speaker 2: film makes sense.
• 58:51
  Speaker 1: Yeah, it's amazing. Yeah, that is like one of those
• 58:55
  Speaker 1: I feel like examples of David Lynch like doing horror
• 58:58
  Speaker 1: and the right way, like building suspense and doing horror
• 59:02
  Speaker 1: and really like like almost supernatural in a way. In
• 59:07
  Speaker 1: that scene where it's like he calls him at his
• 59:09
  Speaker 1: house while he's standing in front of him, right, like
• 59:12
  Speaker 1: just the whole thing is like, yeah, that seems amazing.
• 59:16
  Speaker 2: Well, did get back to the the whole Colt shit
• 59:18
  Speaker 2: where I felt like it was cold stuff going on?
• 59:20
  Speaker 2: And two is because I gotta keep checking my man's name.
• 59:28
  Speaker 2: It's not Fred, not Fred Madison. It was Fred's the
• 59:34
  Speaker 2: fucking adult version. What was the kid version again? Pete, Pete, Pete,
• 59:38
  Speaker 2: I mean Pete's in the fucking house where all this
• 59:43
  Speaker 2: ship is going down and then he walks down that
• 59:45
  Speaker 2: hallway and it's like real like like carnival house, like
• 59:51
  Speaker 2: loosen it type shit, and then he opens up that
• 59:53
  Speaker 2: one door and that couple was having sex and the
• 59:57
  Speaker 2: music just fucking cues Hi super loud, which I thought
• 1:00:01
  Speaker 2: was kind of cool. Yeah, I think, I don't know,
• 1:00:04
  Speaker 2: it just reminded me of like that stuff that we
• 1:00:07
  Speaker 2: always see in other like like the Krubrick movie Eyes
• 1:00:11
  Speaker 2: Wise Shut, Like, yeah, in each room there's like some
• 1:00:14
  Speaker 2: weird shit going on. I mean, even like Beyonce has
• 1:00:18
  Speaker 2: like a music video to where like she's walking down
• 1:00:20
  Speaker 2: this hallway and each room she looks and there's like
• 1:00:23
  Speaker 2: different scenes happening like weird shit. Yeah. So I don't know,
• 1:00:27
  Speaker 2: it just kind of I don't know, there's any kind
• 1:00:29
  Speaker 2: of like there's so much symbolism in the movie, but
• 1:00:33
  Speaker 2: maybe something I don't know what deeper meaning for showing
• 1:00:37
  Speaker 2: something like that would mean.
• 1:00:39
  Speaker 1: And it's definitely right, it definitely could be. And I
• 1:00:43
  Speaker 1: thought I'd have to go maybe watch this movie again.
• 1:00:46
  Speaker 1: I think the lady in the room is Patricia Arcat again.
• 1:00:50
  Speaker 2: Jesus Christ.
• 1:00:52
  Speaker 3: Yeah, man, So it's like.
• 1:00:53
  Speaker 2: That's what I'm saying. She had good for this. I
• 1:00:56
  Speaker 2: feel like she was going through it.
• 1:00:58
  Speaker 1: Nearly every scene she's getting banged in it and it's
• 1:01:02
  Speaker 1: just like, all right, you see what you're doing there.
• 1:01:05
  Speaker 1: But but yeah, so that scene too, Yeah, it is.
• 1:01:09
  Speaker 1: Really it's an interesting one because I think that's right
• 1:01:12
  Speaker 1: after Andy gets killed and he's kind of going through
• 1:01:14
  Speaker 1: that like shop that shock state where he's just like,
• 1:01:17
  Speaker 1: what the fuck am I getting myself into? And then
• 1:01:21
  Speaker 1: he goes upstairs to do whatever. Oh he hasked to
• 1:01:24
  Speaker 1: use the bathroom. I think, yeah, she's like it's upstairs
• 1:01:27
  Speaker 1: on the right, like, no big deal, Like there's not
• 1:01:29
  Speaker 1: a guy that just got his head slammed through a
• 1:01:31
  Speaker 1: glass table right in front of him.
• 1:01:33
  Speaker 2: He went to the first door on the right and
• 1:01:34
  Speaker 2: it was not and then he closed the door. Then
• 1:01:38
  Speaker 2: the music just dead ends.
• 1:01:40
  Speaker 3: And I think the hallway changes too.
• 1:01:42
  Speaker 1: Yeah. Yeah, Like I think when he goes up there, yeah,
• 1:01:45
  Speaker 1: it looks like some sort of weird like like motel
• 1:01:48
  Speaker 1: hell type of shit like or something. And then when
• 1:01:51
  Speaker 1: he closes the door, it looks like a regular like
• 1:01:53
  Speaker 1: door you see in a house again or something like that.
• 1:01:57
  Speaker 2: Like him struggling in a mental state is probably like
• 1:01:59
  Speaker 2: just prison guards on the other side beating Fred the
• 1:02:02
  Speaker 2: fuck up, and.
• 1:02:03
  Speaker 3: Yeah, he's just like getting his ass up.
• 1:02:06
  Speaker 1: They're like, yeah, dude, I almost feel like that, and
• 1:02:11
  Speaker 1: to jump to the very end when he's like in
• 1:02:14
  Speaker 1: his car, when it's Fred and he's in his car
• 1:02:16
  Speaker 1: driving and his head's like smoking, I get the feeling
• 1:02:19
  Speaker 1: that's probably when he's getting the electric chair or do.
• 1:02:22
  Speaker 1: I can't remember if they say they're gonna kill him
• 1:02:24
  Speaker 1: with the electric chair or the lethal injection. I know
• 1:02:28
  Speaker 1: he gets sentenced to death, and part of me was like,
• 1:02:31
  Speaker 1: I wonder if that's just him dying.
• 1:02:34
  Speaker 2: Yeah, it has to be right. What else could it mean?
• 1:02:37
  Speaker 2: Sense makes sense.
• 1:02:39
  Speaker 3: It's the only thing that would make sense.
• 1:02:40
  Speaker 1: Otherwise he's just freaking out listening to fucking Ramstein with
• 1:02:43
  Speaker 1: his head like smoking. Oh but yeah, so when so
• 1:02:46
  Speaker 1: when they get out in the desert, the highwayman hands
• 1:02:48
  Speaker 1: him the knife, hands Fred the knife. Fred slashes Dick
• 1:02:51
  Speaker 1: Laron's throat, but he's not dead. He's just like all
• 1:02:54
  Speaker 1: bloody and shit and he's like, you know, what do
• 1:02:57
  Speaker 1: you want? Or you know, I don't know. They have
• 1:02:59
  Speaker 1: like a weird exchange. Said I'm like, what does this
• 1:03:01
  Speaker 1: even mean? And then the highwayman just fucking blastic Lorett
• 1:03:04
  Speaker 1: in the head and I was like, Okay, well that
• 1:03:07
  Speaker 1: took care of that. But then when the camera goes back,
• 1:03:10
  Speaker 1: the Highwayman's gone and Fred's holding the gun. So you're like, okay,
• 1:03:15
  Speaker 1: Fred shot him up.
• 1:03:17
  Speaker 3: Yeah, Fred's the highwayman.
• 1:03:20
  Speaker 2: Frids the Highwayman.
• 1:03:22
  Speaker 3: It's been him the whole time. This is really just me.
• 1:03:24
  Speaker 2: I feel like Fred is either I mean not freda
• 1:03:27
  Speaker 2: the Highwayman's either his conscious or like the devil or
• 1:03:30
  Speaker 2: something or people that represents because he's only comes around
• 1:03:35
  Speaker 2: on something yeah, or he's trying to initiate something bad
• 1:03:40
  Speaker 2: to happen.
• 1:03:41
  Speaker 1: Yeah. It could just be like the most elaborate episode
• 1:03:45
  Speaker 1: of Scooby Dude.
• 1:03:46
  Speaker 2: Or Daly right, yeah, that's true. Or David Lynch was like, hey,
• 1:03:50
  Speaker 2: how about you just hop in any scene you want.
• 1:03:52
  Speaker 1: Wow, people will talk about this ship for the rest
• 1:03:55
  Speaker 1: of their lives and try to make sense of it.
• 1:03:58
  Speaker 1: I mean, I want to be surprised. I want to
• 1:04:02
  Speaker 1: be surprised at all.
• 1:04:03
  Speaker 2: That would be hilarious. It's like, whenever you feel like
• 1:04:06
  Speaker 2: it's appropriate, just do some weird shit and.
• 1:04:09
  Speaker 1: This handfread and knife okay, yeah, okay, yeah. So that
• 1:04:13
  Speaker 1: scene in Suspiria at the beginning when the lady's getting
• 1:04:16
  Speaker 1: killed and all of a sudden, like that knife hand
• 1:04:20
  Speaker 1: comes out of nowhere and like stabs her and she's
• 1:04:23
  Speaker 1: like that's what that reminded me of, like two a tea,
• 1:04:25
  Speaker 1: because it just feels so like out of nowhere, and
• 1:04:28
  Speaker 1: it's like, Okay, this has to be like something else
• 1:04:31
  Speaker 1: going on, Like this isn't you know, supernatural or or
• 1:04:35
  Speaker 1: whatever you want to call it, or just like yeah,
• 1:04:37
  Speaker 1: his representation of like his evil like it is like
• 1:04:41
  Speaker 1: done in like this.
• 1:04:42
  Speaker 2: It reminds me of like this old DMX song called
• 1:04:46
  Speaker 2: Damien Okay.
• 1:04:48
  Speaker 3: I like some DMX, some dog master X.
• 1:04:51
  Speaker 2: Yeah, it reminds me that because it's just DMX talking
• 1:04:53
  Speaker 2: to his like evil conscience and like basically selling his
• 1:04:57
  Speaker 2: soul to the music industry.
• 1:04:59
  Speaker 3: Damn Okay song. Honestly, I need to listen to his
• 1:05:04
  Speaker 3: deep cuts.
• 1:05:05
  Speaker 1: Me and one of my friends bought the lot his
• 1:05:07
  Speaker 1: live album on CD one time when we were in
• 1:05:10
  Speaker 1: high school and just jammed the fuck out of it.
• 1:05:12
  Speaker 1: But I never yeah, other than that, and like most
• 1:05:15
  Speaker 1: of his singles, I never got into like his deep cuts.
• 1:05:18
  Speaker 2: Really yeah, he's got like a fucking Freddy Cougar song
• 1:05:21
  Speaker 2: like okay album.
• 1:05:26
  Speaker 3: He was like ice nine Kills before Ice nine Kills.
• 1:05:30
  Speaker 2: There's like one too, the Dog Coming for You or
• 1:05:33
  Speaker 2: some ship Dude.
• 1:05:36
  Speaker 1: That that is my favorite era of rap, and I
• 1:05:39
  Speaker 1: know like it gets looked at with like maybe like
• 1:05:42
  Speaker 1: not in the most favorable light anymore, especially from like
• 1:05:46
  Speaker 1: people that listen to new rap and shit. But like
• 1:05:49
  Speaker 1: that DMX and like the Marshall Mathers LP. Is that good?
• 1:05:55
  Speaker 3: That whole era is, Like.
• 1:05:56
  Speaker 2: That album that first I think is Dark and how
• 1:06:00
  Speaker 2: This Hot. I think that's his first one album. But
• 1:06:03
  Speaker 2: that album has the song Damien. That one is definitely
• 1:06:07
  Speaker 2: worth listening to because it kind of reminds me a
• 1:06:10
  Speaker 2: little bit of like The Highwayman with like the shit
• 1:06:14
  Speaker 2: going on, but Damien is more blunt in the In
• 1:06:17
  Speaker 2: the song, it's DMX voice in both characters he's talking to.
• 1:06:23
  Speaker 2: It's basically he's talking to like somebody like the devil
• 1:06:26
  Speaker 2: or like a guilty or like a bad conscience or
• 1:06:28
  Speaker 2: something like that, or trying to get him to like
• 1:06:31
  Speaker 2: do shit, to like sell his soul to the industry.
• 1:06:34
  Speaker 3: Nice, I don't check it out. Yeah that sounds pretty neat.
• 1:06:38
  Speaker 2: Yeah, Highway took me there, The Highwayman.
• 1:06:41
  Speaker 1: Highway Man got you the DMX and got me the
• 1:06:44
  Speaker 1: DMX too. I'm gonna check that ship out. I gotta
• 1:06:47
  Speaker 1: listen to some more fucking DMX man. So so then
• 1:06:50
  Speaker 1: after that it just like loops, right, because then he
• 1:06:52
  Speaker 1: goes he tells him Fred Laren's dead, and then he
• 1:06:55
  Speaker 1: gets in the cop chase.
• 1:06:57
  Speaker 2: Was there any kind of I don't know if I'm
• 1:07:00
  Speaker 2: but was there any kind of relevance with the fucking
• 1:07:03
  Speaker 2: that beach house? Like what was that? Was that the portal?
• 1:07:06
  Speaker 2: Was that the portal to go back?
• 1:07:09
  Speaker 1: No? No, I don't know, maybe it was. See I
• 1:07:12
  Speaker 1: was thinking that too, because when he's in prison, so
• 1:07:15
  Speaker 1: he starts getting all these headaches and shit, and then
• 1:07:18
  Speaker 1: when he finally is like my fucking head's ripping in
• 1:07:21
  Speaker 1: half or whatever, he sees that beach house and it's
• 1:07:24
  Speaker 1: like smoking, it's burning or whatever. But then but the
• 1:07:27
  Speaker 1: smoke's like going in reverse, and then like the house
• 1:07:31
  Speaker 1: like gets put back together, and then he fucking wakes
• 1:07:34
  Speaker 1: up as Pete.
• 1:07:36
  Speaker 2: Yeah, and it ends there at the beach house basically
• 1:07:40
  Speaker 2: before he turns back into Fred.
• 1:07:42
  Speaker 1: Maybe that is like maybe that does symbolize that, yeah,
• 1:07:46
  Speaker 1: because that's where he ends up. Yeah, Yeah, you're right.
• 1:07:50
  Speaker 1: I was expecting it to explode whenever Patricia arc Get
• 1:07:53
  Speaker 1: walked in there, you know what I mean. Yeah, it
• 1:07:55
  Speaker 1: just looked like a shack that would explode, like in
• 1:07:58
  Speaker 1: a movie.
• 1:07:58
  Speaker 2: And then they walk in. Is fucking like a fucking
• 1:08:02
  Speaker 2: casting couch.
• 1:08:04
  Speaker 1: It's like a bunch of yeah, a bunch of moldy groceries.
• 1:08:07
  Speaker 1: It's like, all right, fucking is this where the Highwayman lives?
• 1:08:12
  Speaker 2: Yeah, he's camcorder dude.
• 1:08:16
  Speaker 3: That scene kicks ass too though.
• 1:08:18
  Speaker 1: Whenever he uh, whenever he just starts filming him, and
• 1:08:21
  Speaker 1: just the way that camera looks like up on his face,
• 1:08:24
  Speaker 1: he looks like a robot. It's amazing.
• 1:08:27
  Speaker 2: Yeah, it's very creepy, honestly.
• 1:08:29
  Speaker 1: And I guess that does like maybe tell you that,
• 1:08:32
  Speaker 1: like the high Man, this doesn't make sense the Highwayman
• 1:08:36
  Speaker 1: was the one sending the VHS's to Fred's.
• 1:08:39
  Speaker 2: House, I think so.
• 1:08:40
  Speaker 1: But then there's the be because because it could of
• 1:08:43
  Speaker 1: be Fred, because there's the the VHS tape that shows
• 1:08:47
  Speaker 1: Fred and Renee sleeping together.
• 1:08:50
  Speaker 2: But if the Highwayman is like basically like a figment
• 1:08:53
  Speaker 2: of imagination, then how can you do anything physical like that?
• 1:08:57
  Speaker 3: I know, That's what I mean.
• 1:08:58
  Speaker 1: I don't know.
• 1:08:59
  Speaker 3: That's the one thing about the Highwayman.
• 1:09:01
  Speaker 2: Maybe he got all the powers.
• 1:09:03
  Speaker 1: God damn it, this is too much. One thing that
• 1:09:07
  Speaker 1: I did think about, and I don't think this is
• 1:09:09
  Speaker 1: probably accurate. Part of me was thinking that, like maybe
• 1:09:13
  Speaker 1: Fred hired Pete to kill Renee or something like that,
• 1:09:20
  Speaker 1: or maybe he hired Pete to kill Dick Larent and
• 1:09:24
  Speaker 1: maybe they did have more of a connection than the
• 1:09:26
  Speaker 1: movie lets us know about. I don't know, it's interesting.
• 1:09:30
  Speaker 1: It's probably not true, but yeah, I mean it's something
• 1:09:34
  Speaker 1: I was like, maybe because then maybe he's doing the
• 1:09:36
  Speaker 1: video camera thing upon Fred's request to like freak out
• 1:09:40
  Speaker 1: Renee for some reason like or yeah, like just make
• 1:09:45
  Speaker 1: her scared because he fucking hates her, I guess or whatever.
• 1:09:49
  Speaker 3: I don't know. See, there is just like a lot of.
• 1:09:52
  Speaker 2: Because it did, didn't it feel like when Fred was like,
• 1:09:55
  Speaker 2: let's watch the tape, like very nonchalant about it, and
• 1:09:59
  Speaker 2: Renee kind of was like, wasn't into it too much?
• 1:10:03
  Speaker 1: She seems scared right away, and he's just like, I
• 1:10:05
  Speaker 1: don't know, Oh, he says, maybe it's a real estate agent.
• 1:10:09
  Speaker 2: Yeah.
• 1:10:09
  Speaker 3: I was like, yeah, what, like what.
• 1:10:12
  Speaker 2: Real estate that she was like maybe it's a real
• 1:10:14
  Speaker 2: estate it's the same exact thing. I was like, what
• 1:10:17
  Speaker 2: a real estate agent just sends you a tape with
• 1:10:20
  Speaker 2: no label or nothing order, just showing your.
• 1:10:22
  Speaker 1: House for like fifteen seconds of just your house. And
• 1:10:25
  Speaker 1: it's like, yeah, I don't know.
• 1:10:27
  Speaker 2: About that, right, what a waste of a tape?
• 1:10:29
  Speaker 1: Yeah?
• 1:10:30
  Speaker 2: No, shit, Like we're going to fucking record Jeopardy tonight
• 1:10:33
  Speaker 2: with this bitch.
• 1:10:34
  Speaker 3: Yeah, all right, we're taping over this ship.
• 1:10:37
  Speaker 2: Yeah, I know.
• 1:10:38
  Speaker 1: I would have called the police then probably I would
• 1:10:42
  Speaker 1: been like this is freaky as fun.
• 1:10:44
  Speaker 2: Didn't until the second tape.
• 1:10:45
  Speaker 1: Yeah, when the person's like in their house, which at
• 1:10:48
  Speaker 1: that point I would be like buying a machine gun.
• 1:10:51
  Speaker 2: Yeah, oh one thousand percent. I mean immediately after watching
• 1:10:54
  Speaker 2: that tape, I'm looking all around the house. I'm going
• 1:10:57
  Speaker 2: the kitchen grabbing a knife and.
• 1:10:59
  Speaker 1: Yeah, everything like a knife in a baseball bat, and
• 1:11:03
  Speaker 1: that's all. You know, I'll do my best, But yeah,
• 1:11:06
  Speaker 1: because then after that there's still he's just like, well,
• 1:11:08
  Speaker 1: I'm gonna go play the saxophone now, and it's like,
• 1:11:11
  Speaker 1: are you fucking joking me, Bud, Like you need to
• 1:11:15
  Speaker 1: stay home, you need to cancel your fucking gig saxophone. Yeah,
• 1:11:20
  Speaker 1: it was this badass.
• 1:11:24
  Speaker 2: I guess I'm not upset about the movie at all.
• 1:11:27
  Speaker 2: I'm glad I watched it. I think, like, you know,
• 1:11:30
  Speaker 2: since it was kind of up my alley, the whole
• 1:11:33
  Speaker 2: erotic thriller, kind of feel that it caught my attention
• 1:11:38
  Speaker 2: a little more than most films. I feel like maybe
• 1:11:40
  Speaker 2: if I would have jumped to someone else, like if
• 1:11:42
  Speaker 2: I watched the Eraserhead first, it probably wouldn't have went
• 1:11:45
  Speaker 2: over well for me, and I'd been like, all right,
• 1:11:47
  Speaker 2: maybe I can chill or some lunch stuff.
• 1:11:50
  Speaker 1: But yeah, I mean I definitely wasn't ready for a
• 1:11:55
  Speaker 1: racerhead when I watched it, Like, yeah, it took me
• 1:11:57
  Speaker 1: a while to watch the next in film, and I
• 1:12:00
  Speaker 1: think it was probably My Holland Drive. And when I
• 1:12:03
  Speaker 1: saw that, I was like, this movie's fucking amazing, and
• 1:12:05
  Speaker 1: it made me go back and watch Eraserhead again.
• 1:12:08
  Speaker 2: That's definitely what I'm gonna do first. I'm watching My
• 1:12:10
  Speaker 2: Holand Drive next, and then I'll go and watch Eraserhead
• 1:12:14
  Speaker 2: because then I'll be like, all right, I at least
• 1:12:16
  Speaker 2: know what he's capable off. Yeah, he just mind fucks
• 1:12:19
  Speaker 2: me with this crazy ass movie. I've seen like maybe
• 1:12:22
  Speaker 2: twenty minutes of it yeah before, and I stopped it
• 1:12:25
  Speaker 2: just because I was not in the rate right it's
• 1:12:28
  Speaker 2: watching it.
• 1:12:29
  Speaker 1: It's a slow one. There's way less dialogue and way
• 1:12:32
  Speaker 1: more symbolism, so it is like, Yeah. He also did
• 1:12:36
  Speaker 1: Wild at Heart with like Nick Cage and Laura Dern,
• 1:12:39
  Speaker 1: and he did Dune, like the eighties Dune.
• 1:12:42
  Speaker 2: Yeah.
• 1:12:42
  Speaker 1: Yeah, and he did an Elephant Man, which those are
• 1:12:45
  Speaker 1: three of his movies. I haven't seen that. I really
• 1:12:49
  Speaker 1: want to because I feel like Wild at Heart would
• 1:12:51
  Speaker 1: be sweet. I feel like I always hear that it's
• 1:12:53
  Speaker 1: like his version of the Wizard of Oz, but it
• 1:12:55
  Speaker 1: has Nick Cage and Laura Dern in it, and I'm like, dude,
• 1:12:58
  Speaker 1: I want to see that shit.
• 1:13:00
  Speaker 2: And I haven't seen any of those.
• 1:13:02
  Speaker 1: Yeah. Well, now you've opened the door. There's no turning back.
• 1:13:07
  Speaker 2: I reached the top. It's gonna it's gonna be better
• 1:13:11
  Speaker 2: than this, probably.
• 1:13:13
  Speaker 1: Yeah, what was your favorite scene, like, if you had
• 1:13:15
  Speaker 1: to pick one, like for me, Okay, I was just
• 1:13:18
  Speaker 1: gonna say I already said mine. I think mine is
• 1:13:20
  Speaker 1: probably this magic Moment scene, although there's some great others
• 1:13:24
  Speaker 1: that are like hard to choose over that one.
• 1:13:26
  Speaker 2: But the dialogue at the like at the on the
• 1:13:30
  Speaker 2: highway when the fucking mob guy Laurent fucking damn when
• 1:13:37
  Speaker 2: while I'm blanking out here when he grabs that guy
• 1:13:39
  Speaker 2: and like hits his bumper or whatever. That was pretty cool.
• 1:13:43
  Speaker 2: But I guess you could say it's my favorite scene.
• 1:13:46
  Speaker 2: My favorite scene was when maybe It's a tough one.
• 1:13:53
  Speaker 1: Yeah. I mean, like I don't even know if I
• 1:13:55
  Speaker 1: could go on and say that that one's for sure
• 1:13:58
  Speaker 1: my favorite, but that one like hit me a lot
• 1:14:00
  Speaker 1: harder this time, just the way it was done. Yeah,
• 1:14:04
  Speaker 1: it like really stood out to me.
• 1:14:06
  Speaker 2: I don't know because I want to say the scene
• 1:14:09
  Speaker 2: where Patricia Arcat took her shirt off, but.
• 1:14:14
  Speaker 1: It's like an honorable mention, at least the slow mo
• 1:14:19
  Speaker 1: part whenever there she's getting banged the first time, it's
• 1:14:24
  Speaker 1: like pretty uh.
• 1:14:26
  Speaker 2: I guess I would say the scene that creeked me
• 1:14:29
  Speaker 2: out the most, which was when Fred was at the
• 1:14:32
  Speaker 2: party with his with Renee and he just like walks
• 1:14:36
  Speaker 2: off after smoking a cigarette and he's in the house
• 1:14:39
  Speaker 2: and he sees the highwayman from like a distance, and
• 1:14:42
  Speaker 2: that whole like moment of just the highwayman just staring
• 1:14:45
  Speaker 2: at him all weird and then coming up to him
• 1:14:47
  Speaker 2: slowly and then they had that dialogue that was like
• 1:14:51
  Speaker 2: what the fuck you know it was. It creepd me out, honestly.
• 1:14:55
  Speaker 2: So that was one of the scenes that I liked.
• 1:14:58
  Speaker 2: I guess the sack scene in the very and I
• 1:15:00
  Speaker 2: was like, oh, this is going crazy.
• 1:15:02
  Speaker 3: Yeah, you know it's gonna look.
• 1:15:05
  Speaker 2: There was a lot of cool looking scenes, though it
• 1:15:08
  Speaker 2: wasn't nothing like usually when I'm watching films sometimes like
• 1:15:11
  Speaker 2: bad filmmaking can kind of distract me from paying attention
• 1:15:15
  Speaker 2: to the story. Yeah, I never felt like that with this.
• 1:15:18
  Speaker 1: Yeah, that is one thing I think you can always
• 1:15:21
  Speaker 1: like rest assured about with a David Lynch movie is that,
• 1:15:25
  Speaker 1: like his framing is always pretty excellent, Like each scene
• 1:15:29
  Speaker 1: feels like it is done with a ton of purpose,
• 1:15:32
  Speaker 1: even if he is like one of those guys that
• 1:15:34
  Speaker 1: kind of wing shit and kind of like let stuff ride,
• 1:15:37
  Speaker 1: you know That's.
• 1:15:38
  Speaker 2: What I'm saying. I like how he like sits on
• 1:15:40
  Speaker 2: some ship and he just lets the scene happen instead
• 1:15:43
  Speaker 2: of just like you know, now we get some cameras
• 1:15:45
  Speaker 2: going back and forth back and so yeah, it was
• 1:15:49
  Speaker 2: very like it wasn't much dialogue, but the acting was
• 1:15:53
  Speaker 2: really good. So, like the fact that they sat on
• 1:15:56
  Speaker 2: some shots was really good for me. And I know
• 1:15:59
  Speaker 2: that corny tech shit that people don't really care about,
• 1:16:03
  Speaker 2: but I like it.
• 1:16:05
  Speaker 1: Yeah, it's always nice to see like it does stand out, like,
• 1:16:09
  Speaker 1: especially if you go from like watching a B movie
• 1:16:11
  Speaker 1: to like something like that, where it's just like, God, damn,
• 1:16:13
  Speaker 1: this guy knows.
• 1:16:14
  Speaker 3: What the fuck he's doing. Yeah, A Blue.
• 1:16:17
  Speaker 1: Velvet is another one of his. I think Blue Velvet. Yeah,
• 1:16:20
  Speaker 1: I think you like that one a lot too. It
• 1:16:21
  Speaker 1: has a lot of like noir like crime thriller type
• 1:16:25
  Speaker 1: of vibe to it as well, And that one does
• 1:16:29
  Speaker 1: feel like it's weird too, but it does feel a
• 1:16:32
  Speaker 1: little bit more straightforward than like this movie especially.
• 1:16:35
  Speaker 2: Yeah, yeah, this one. When I looked it up immediately,
• 1:16:40
  Speaker 2: I was just like, damn, I can't believe I've never
• 1:16:42
  Speaker 2: even heard of it is.
• 1:16:43
  Speaker 1: Yeah,