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Lynchmas - Mulholland Drive · Thirsty For More - Movie Review

• 0:00
  Speaker 1: Hello, everyone, and welcome to.
• 0:02
  Speaker 2: The Mary Lynch Mass Mary Second Annual Mary Lynch Mass.
• 0:06
  Speaker 2: Mary Lynch. It's a little late, Mary Lynch Mass. Mary Lynch.
• 0:09
  Speaker 1: It's late because it's like David Lynch has died, and
• 0:13
  Speaker 1: it's I was really sad about it. It's brought us together, yeah,
• 0:17
  Speaker 1: and it's it's it's unfortunate because I really like not
• 0:21
  Speaker 1: to be selfish and not to be like immediately like
• 0:25
  Speaker 1: I wanted one more movie, but like also, uh yeah,
• 0:29
  Speaker 1: it's just it sucks. It's it's bittersweet.
• 0:32
  Speaker 2: Because because he had like an exemplar, exemplary career.
• 0:36
  Speaker 1: Where everything was a banger and.
• 0:38
  Speaker 2: Everyone like unanimously loves and supports him. No one has
• 0:42
  Speaker 2: a bad thing to say about him.
• 0:43
  Speaker 1: Except for that letter he signed years ago.
• 0:46
  Speaker 2: Don't look it up, but he he he really like
• 0:54
  Speaker 2: is you know, it's rare to have a career that's
• 1:01
  Speaker 2: like as uncompromising and as like solid and visionary as
• 1:08
  Speaker 2: his has been. And I can't help but think of
• 1:11
  Speaker 2: and please follow me on this line of thought. But
• 1:14
  Speaker 2: like there's a parallel for me here with Bjork and
• 1:18
  Speaker 2: the kinds of artists that they both are in their
• 1:20
  Speaker 2: respective genres. You know obviously like singular voices, like singular
• 1:26
  Speaker 2: visionary sort of like profits of their of their of
• 1:30
  Speaker 2: their art form. Really and I think like two things
• 1:35
  Speaker 2: came out in two thousand and one, Mulholland Drive and
• 1:39
  Speaker 2: Vespertine by Byork, both absolute and complete masterpieces in their
• 1:44
  Speaker 2: own right. And yeah, this was like an inspirational time
• 1:50
  Speaker 2: for me, dude, Like I was very like my brain
• 1:55
  Speaker 2: was expanding with these two artists this year, and I
• 1:59
  Speaker 2: was I think, like seventeen, like the perfect age to
• 2:03
  Speaker 2: watch something like this. So that's my experience with Mulholland Drive,
• 2:07
  Speaker 2: and that's why to this day it remains my favorite
• 2:11
  Speaker 2: Lynch movie. But what's your experience of Mulholland Drive, Because
• 2:16
  Speaker 2: you have a totally unique relationship to David Lynch, I
• 2:20
  Speaker 2: would say, like even even compared to myself, Like I
• 2:23
  Speaker 2: know that you're like tom Works Knights. I kept thinking
• 2:27
  Speaker 2: about Tom Works Knights as I was watching this movie,
• 2:30
  Speaker 2: and I was like, man, like the blonde and the
• 2:33
  Speaker 2: brunette and the like the confusion between the two of them,
• 2:37
  Speaker 2: the doppelgangerness, like what was what was what is your
• 2:40
  Speaker 2: your remembering of this movie and relationship to.
• 2:44
  Speaker 1: Will you introduced me to the movie and it was
• 2:47
  Speaker 1: on VHS and it was one of my Uh I
• 2:52
  Speaker 1: was like thirteen, so it was my first experience for
• 3:04
  Speaker 1: realizing that what movies could be was something different rather
• 3:09
  Speaker 1: than like having.
• 3:10
  Speaker 2: A very strict narration.
• 3:13
  Speaker 1: And it's like, it's one thing to be like, oh,
• 3:15
  Speaker 1: Quentin Tarantino's which is those scenes around it's not happening
• 3:18
  Speaker 1: at the same time, you know, it's not.
• 3:20
  Speaker 2: It's not that.
• 3:21
  Speaker 1: But I think Bronson, friend of the show, really put
• 3:25
  Speaker 1: it into perspective when we got to high school and
• 3:27
  Speaker 1: we talked about him as a filmmaker. This movie in particular,
• 3:33
  Speaker 1: was that it's a nightmare on film and like its Hollywood. Yeah, well,
• 3:39
  Speaker 1: like I meant part of it, Like I think part
• 3:42
  Speaker 1: of it was like just his expression of like the
• 3:46
  Speaker 1: ability to have this kind of dream on film. Yeah,
• 3:51
  Speaker 1: actually because it does have logic, Yeah, but it's it
• 3:55
  Speaker 1: feels like a dream.
• 3:58
  Speaker 2: And it is. The movie. It's is about dreams. It's
• 4:01
  Speaker 2: about dreams of going to Hollywood. It's becoming a nightmare
• 4:05
  Speaker 2: of Hollywood.
• 4:06
  Speaker 1: All of the series about the d of Hollywood.
• 4:09
  Speaker 2: Oh my god. This movie like Cast for Eyebrows exclusively
• 4:14
  Speaker 2: both justin through incredible poking through unibrow and Dan Jodea's overgrown,
• 4:22
  Speaker 2: like completely messy pushed down to one side and up
• 4:27
  Speaker 2: on the other side the side he slept on, of course,
• 4:31
  Speaker 2: and also Robert Forster dude at the beginning of Best
• 4:37
  Speaker 2: Hairlining Game.
• 4:38
  Speaker 1: Dude, dude, Yeah, totally the best ant legs in the game.
• 4:42
  Speaker 1: But also just bringing back battlemente Mary Sweeney as the editor.
• 4:48
  Speaker 1: Jack Fisk is the production designer. All people who were
• 4:53
  Speaker 1: Lynch staples in his other movies. Uh and man, like
• 4:59
  Speaker 1: just just I wrote something some stuff down too, hold on.
• 5:07
  Speaker 2: I think when people.
• 5:08
  Speaker 1: Watch David Lynch's movies they kind of feel intimidated, especially
• 5:15
  Speaker 1: because like younger people get into him because older people
• 5:18
  Speaker 1: are always like, oh my god, it's amazing and having
• 5:24
  Speaker 1: they are for older people.
• 5:27
  Speaker 2: It's much more for.
• 5:27
  Speaker 1: Older people than it is for younger people, absolutely specifically
• 5:31
  Speaker 1: because of like experiences that you have and how to
• 5:34
  Speaker 1: translate them into movies, but also that like it's all
• 5:39
  Speaker 1: of his movies are very esoteric and ethereal, and he's
• 5:42
  Speaker 1: clearly very intelligent, and that can be like intimidating to
• 5:47
  Speaker 1: a degree where people can dismiss him as like pretend
• 5:50
  Speaker 1: like fuck this, you know what I mean, or like
• 5:53
  Speaker 1: not even pretentious, but like people get angry.
• 5:56
  Speaker 2: I was talking to friend of the show Anna today
• 5:59
  Speaker 2: about this, and she her first experience of this movie
• 6:02
  Speaker 2: was that she thought it was a pretential piece of shit.
• 6:04
  Speaker 2: She's like, what this fucking Hollywood bullshit? Go learn something real?
• 6:08
  Speaker 1: Yeah, And it's but it is real.
• 6:10
  Speaker 2: It is it's very it's real in its it's real
• 6:13
  Speaker 2: in its existentialism. You know, people like it's it's about existence,
• 6:19
  Speaker 2: like the whole dreams reality being confronted with death and
• 6:23
  Speaker 2: chased by death. And old age.
• 6:27
  Speaker 1: Yeah, old age that in particular, or age catching up
• 6:31
  Speaker 1: to you, especially with actors who are with actresses exactly,
• 6:36
  Speaker 1: and and the the idea that oh no, I'm too
• 6:39
  Speaker 1: old for this role, or and and Naomi Watts existing
• 6:44
  Speaker 1: in this realm where she's like playing way younger and
• 6:50
  Speaker 1: like but like in this we in this very old
• 6:53
  Speaker 1: Hollywood way, and the whole first two hours, like the
• 6:57
  Speaker 1: first two hours are shot in that kind of way.
• 6:59
  Speaker 1: There's like a low to everything, even with the sort
• 7:02
  Speaker 1: of scary night marrish parts, and also.
• 7:05
  Speaker 2: Not only a glow but a melodrama to the way
• 7:08
  Speaker 2: that everything is acted. Everything it's like it's heightened this
• 7:13
  Speaker 2: like surreal kind of way, like everything is like and
• 7:16
  Speaker 2: there are moments of like incredible, incredible pieces of acting,
• 7:20
  Speaker 2: but they're always actually like when people have to act
• 7:24
  Speaker 2: in the scene, they're couch, they locked in their couched
• 7:28
  Speaker 2: within the movie. In the movie, the quote unquote acting
• 7:32
  Speaker 2: that you would see is actually behind the scenes.
• 7:35
  Speaker 1: The realistic quote unquote acting is in scenes within scenes.
• 7:41
  Speaker 1: So Naomi Watts going to her first audition, that gross
• 7:45
  Speaker 1: old fan I love, like they just have it being
• 7:49
  Speaker 1: like a gross Burt Reynolds pervert who's like really good
• 7:53
  Speaker 1: at acting but also is a gross berver.
• 7:56
  Speaker 2: No, but showed the kind of the underbelly of that
• 8:00
  Speaker 2: nightmare of the kind of you know, the leariness of
• 8:05
  Speaker 2: Hollywood and the old man gropiness of Hollywood. Right Like
• 8:08
  Speaker 2: he's he's acknowledging that in this movie, and he's I
• 8:11
  Speaker 2: do think he's just a throw like.
• 8:15
  Speaker 1: I've seen I've seen him wear this outfit.
• 8:20
  Speaker 2: Of the hair. Hi, I'm Johnny's Yeah, I don't know,
• 8:30
  Speaker 2: do you want to go? Do you want to go
• 8:32
  Speaker 2: through the movie. I think it's useful for us to
• 8:34
  Speaker 2: have like the reference points of where things happen in
• 8:39
  Speaker 2: the movie. So I don't know that we necessarily need
• 8:42
  Speaker 2: to like keep it super linear, because the movie jumps
• 8:46
  Speaker 2: around itself a lot. But I think it's useful to
• 8:50
  Speaker 2: have kind of like to know who the characters are,
• 8:53
  Speaker 2: to know who what the like sort of repeated tropes
• 8:56
  Speaker 2: are sure, and we can delve more. I'm more interested
• 8:59
  Speaker 2: in delving into like sort of talking about some of
• 9:02
  Speaker 2: the ideas the movie explores.
• 9:04
  Speaker 1: Yeah, so we get Rita, not we don't know if
• 9:09
  Speaker 1: that's her real name. Ever, we get Rita gets into
• 9:13
  Speaker 1: a car crash on Mahone Drive, and but it's also
• 9:19
  Speaker 1: framed as like these two guys who are taking her
• 9:25
  Speaker 1: in the car are gonna drive her to a place
• 9:29
  Speaker 1: to murder her. And she hits her head and she
• 9:33
  Speaker 1: walks out of the car and she walks back into Hollywood. Yeah,
• 9:40
  Speaker 1: but like before we get in coming back to Hollywood,
• 9:43
  Speaker 1: coming back to Hollywood, Yeah, before we get into it,
• 9:45
  Speaker 1: because it does feel like, oh, I'm getting I'm getting
• 9:49
  Speaker 1: sucked back into something that's like dangerous because we set
• 9:53
  Speaker 1: up the first scene is dancing.
• 9:56
  Speaker 2: It's like the the.
• 10:02
  Speaker 1: Dance recital thing that Naomi Watts Betty, the Naomi Watts
• 10:09
  Speaker 1: character like wins a competition for which I never got
• 10:13
  Speaker 1: as a kid, because it's when you're twelve and you
• 10:15
  Speaker 1: fucking watch these kinds of movies.
• 10:17
  Speaker 2: It's like, yeah, but you know what, I will say,
• 10:21
  Speaker 2: like they are for older people, but they're for younger
• 10:24
  Speaker 2: people too. They're for kids. And I do think that
• 10:27
  Speaker 2: that there's a reason that when older people tell you,
• 10:30
  Speaker 2: like the Mystery of David Lynch and tell you to
• 10:32
  Speaker 2: like check David Lynch out, and you're like, oh, I will,
• 10:35
  Speaker 2: and then you check it out and it's like outrageous in.
• 10:37
  Speaker 1: A way that magical. It's magically in the way that
• 10:40
  Speaker 1: he's he's magical. And I was like, and I was like, man, like,
• 10:43
  Speaker 1: he must have never gotten any therapy. I was like, no,
• 10:45
  Speaker 1: he did. He didn't believe in it. Yeah, he just
• 10:47
  Speaker 1: did transcedently meditation to these movies. But what's interesting about that,
• 10:52
  Speaker 1: You're right, You're right. Don't get me wrong. I'm not
• 10:54
  Speaker 1: saying like, like, what I'm saying is more for adults
• 11:01
  Speaker 1: to understand. And it's I think when when they when
• 11:04
  Speaker 1: they watch it as a young person and they they
• 11:08
  Speaker 1: kind of have an experience of it. They don't go
• 11:11
  Speaker 1: for trying to understand it. They're pretty reasonable in terms
• 11:15
  Speaker 1: of understanding them watching them as an adult, Like watching this,
• 11:19
  Speaker 1: I was like, oh, okay, yeah, almost just makes sense,
• 11:23
  Speaker 1: and like, like I feel like people kind of really
• 11:26
  Speaker 1: big up the sort of I need to watch YouTube
• 11:31
  Speaker 1: videos to understand it, you know what I mean. And
• 11:34
  Speaker 1: it's like if you pay attention, like it's it's really.
• 11:37
  Speaker 2: But the thing is you have to kind of trust
• 11:39
  Speaker 2: your intuition when you're watching it too, and you have
• 11:43
  Speaker 2: to trust the feelings that he's making you feel because
• 11:45
  Speaker 2: he's making you feel feelings.
• 11:47
  Speaker 1: Yeah, for sure, but also bringing back images like oh,
• 11:51
  Speaker 1: like this this Betty person is not a real person.
• 11:57
  Speaker 1: She's like, you know, a person who's later on we
• 12:02
  Speaker 1: find out that like or potentially who knows like it's
• 12:05
  Speaker 1: he leaves room to dream, which is also very nice.
• 12:08
  Speaker 2: And also he undermines every sort of every time you
• 12:12
  Speaker 2: believe you've got it, he undermines what you think you've
• 12:15
  Speaker 2: got totally, especially at the end as the movie kind
• 12:17
  Speaker 2: of progresses into that sort of like open Pandora's Box
• 12:21
  Speaker 2: nightmarish sort of reimagining of what is going on. It's
• 12:25
  Speaker 2: really cool.
• 12:26
  Speaker 1: Well, it's also interesting that that his version of Pandora's
• 12:31
  Speaker 1: Box is always reality. Horror is the reality. It's never
• 12:35
  Speaker 1: never the like dreams because you can.
• 12:38
  Speaker 2: And that's why he loves exploring this basis of the
• 12:41
  Speaker 2: artifice of like people having interactions. It's like very much
• 12:45
  Speaker 2: like I've been seeing a lot of like chatter about
• 12:47
  Speaker 2: and I know it's like an over used like or
• 12:51
  Speaker 2: it's maybe like an over discussed thing, but like David
• 12:56
  Speaker 2: Lynch seen as autistic, Oh yeah, yeah, and like just yeah,
• 13:01
  Speaker 2: like that's the things like we don't know, but like
• 13:03
  Speaker 2: and like it's not good to diagnose someone, but like
• 13:06
  Speaker 2: a lot of people with autism like definitely relate to
• 13:09
  Speaker 2: his movies and like this kind of like idea of
• 13:11
  Speaker 2: like performing an emotion, the performance of emotion and sort
• 13:17
  Speaker 2: of like this kind of like the fact that it's
• 13:19
  Speaker 2: always a little bit removed and a little bit like
• 13:22
  Speaker 2: stilted and artificial. It's kind of like you see it
• 13:26
  Speaker 2: in that way and like to show you that the
• 13:29
  Speaker 2: kind of surreality of that highlights the surreality of that reality.
• 13:35
  Speaker 1: Yeah, totally, And I think that he's got.
• 13:41
  Speaker 2: All of that.
• 13:42
  Speaker 1: I think is very good when it comes to the
• 13:46
  Speaker 1: discussion around how he is. But I also think that
• 13:50
  Speaker 1: people the part of the problem with the diagnosis element
• 13:54
  Speaker 1: of just doing it through art is that he is
• 13:57
  Speaker 1: like a very like you watch it, like watch those
• 14:00
  Speaker 1: scenes where he's like, what is this? Who gives a
• 14:02
  Speaker 1: fucking ship? How long a scene is?
• 14:04
  Speaker 2: You know what I mean? He just he comes off.
• 14:06
  Speaker 1: As a regular guy because he's just like who cares, like.
• 14:10
  Speaker 2: This is cool? You know what I mean?
• 14:12
  Speaker 1: Whereas like the characters themselves, like we get to the
• 14:15
  Speaker 1: two detectives, for example, in this next scene where Rita
• 14:19
  Speaker 1: has come down, she's hidden where Betty is staying, and
• 14:23
  Speaker 1: then she kind of passes out or whatever, and uh,
• 14:29
  Speaker 1: they're they're very like you're right, They're very stilted and
• 14:33
  Speaker 1: very like, yep, I should I should?
• 14:36
  Speaker 2: I saw this?
• 14:37
  Speaker 1: Yeah, he already showed me that.
• 14:40
  Speaker 2: Hilarious And his act just he just like shows up
• 14:43
  Speaker 2: swinging dick in one scene, like, man, he's so good.
• 14:47
  Speaker 2: He's such a good actor. He's in another Lynch movie, right,
• 14:50
  Speaker 2: he's isn't he Lost Highway? No?
• 14:53
  Speaker 1: I think he's in the I think he's in Twin
• 14:57
  Speaker 1: Peaks the Yeah, yeah, and and and he's really good
• 15:07
  Speaker 1: and and I love that we see like it's the morning,
• 15:12
  Speaker 1: Rita wakes up and she sees this like posh lady
• 15:16
  Speaker 1: get out of her apartment. Uh, and you know, get
• 15:20
  Speaker 1: her bags, put in a taxi and and Rita runs
• 15:23
  Speaker 1: into her apartment to like hide out and stuff and
• 15:27
  Speaker 1: that that's that's uh Betty's aunt. Yeah, and she falls
• 15:34
  Speaker 1: asleep again, and then we get the the classic scene
• 15:39
  Speaker 1: of the two men in the diner. Uh.
• 15:44
  Speaker 2: Oh okay, So I think this scene needs like the
• 15:48
  Speaker 2: level of discussion that we gave to the mystery. Oh yeah,
• 15:54
  Speaker 2: because to so accurately like, first of all, best eyebrows
• 16:01
  Speaker 2: in the game.
• 16:02
  Speaker 1: Yeah, totally. Like what's his actors there, Patrick Fleisch Fishler,
• 16:07
  Speaker 1: He's so good. He's amazing also in the return and.
• 16:10
  Speaker 2: His scene partner is really good too. What's this guy's name?
• 16:12
  Speaker 1: This dude's name is Pat and Michael Cook.
• 16:15
  Speaker 2: Yeah, and like this was such a great scene, Like
• 16:19
  Speaker 2: so he's describing a dream. The camera work is, the
• 16:25
  Speaker 2: motion that's happening in the scene is some of the
• 16:28
  Speaker 2: most daring like filmmaking storytelling that I think I've ever
• 16:33
  Speaker 2: seen in people. I don't know if I've seen it
• 16:35
  Speaker 2: talked about enough, but if it hasn't been, it should be.
• 16:39
  Speaker 2: This this scene is amazing. Like the way that the
• 16:42
  Speaker 2: camera is moving, like constantly moving up when it's filming
• 16:46
  Speaker 2: the other guy. It's the not eyebrows guy.
• 16:49
  Speaker 1: It's it's constantly drifting. Do you like, like very very subtly,
• 16:55
  Speaker 1: like if you watch it on on.
• 16:59
  Speaker 2: The cropt hs, But if you watch it like two.
• 17:03
  Speaker 1: X, you notice it way more right because it's like drifting,
• 17:07
  Speaker 1: but like when you're watching it, it's so it's doing
• 17:09
  Speaker 1: it so slowly. And then but like also that part
• 17:13
  Speaker 1: where he's like and you were standing right over there,
• 17:16
  Speaker 1: and then it goes over and looks over there and
• 17:19
  Speaker 1: it's like and there is it just.
• 17:22
  Speaker 2: Like includes you in the dream because you because because
• 17:25
  Speaker 2: actually he's having the dream. He's describing the dream, but
• 17:28
  Speaker 2: he's having it too because it everything that happens in
• 17:31
  Speaker 2: the dream happens in the reality totally. And yeah, I
• 17:35
  Speaker 2: mean I think so you've you've come to confront.
• 17:38
  Speaker 1: I love the assumption of like, so you're you're here
• 17:45
  Speaker 1: to like.
• 17:46
  Speaker 2: See if it's going to happen. And sometimes David Lynch
• 17:49
  Speaker 2: puts in these animal ruins that that like really sort
• 17:53
  Speaker 2: of are meant to like be like a dumb sort
• 17:56
  Speaker 2: of like oh reality, you know, but like it's wholly undermined, Yeah,
• 18:01
  Speaker 2: because of all the magical shit that happened. Yeah, totally.
• 18:04
  Speaker 1: And then we get to the super super scary. It's
• 18:11
  Speaker 1: a scary scene. It's still scary. It's so scary, and
• 18:13
  Speaker 1: just like like floating out the way he drifts out
• 18:19
  Speaker 1: because like so they they you know, he's like, let's
• 18:22
  Speaker 1: go confront it.
• 18:22
  Speaker 2: And then he turns around. Eyebrows turns around, and he's
• 18:26
  Speaker 2: like he looks at him and he and you see it.
• 18:29
  Speaker 2: The motion of the camera and the like music cues
• 18:33
  Speaker 2: and stuff tell you that that's exactly what it looked.
• 18:36
  Speaker 1: Like in the dream, the dream, and not just that,
• 18:38
  Speaker 1: but that he is scared. He describes him as scared,
• 18:42
  Speaker 1: and he doesn't need to play it that way because
• 18:44
  Speaker 1: the description is already in her head and his eyebrows
• 18:47
  Speaker 1: turns around.
• 18:48
  Speaker 2: I was just cold. But he's a good actor. He's
• 18:53
  Speaker 2: a really good actor.
• 18:55
  Speaker 1: He's the one guy who like plays a dead eyed
• 18:58
  Speaker 1: psycho so well but is so nice in real life.
• 19:01
  Speaker 2: Totally, and like just the power of this character is
• 19:06
  Speaker 2: how genuinely scared he is didn't it ever seem to
• 19:10
  Speaker 2: you like, Oh, no, totally, You're just like yeah, And
• 19:14
  Speaker 2: like so when you see him being like really vulnerable
• 19:18
  Speaker 2: to this guy and telling of this dream, you're like, oh,
• 19:20
  Speaker 2: it's it is very serious whatever's going on.
• 19:22
  Speaker 1: Yeah, totally, you believe it instantly. But also like this
• 19:26
  Speaker 1: whole scene and later on, like David Lynch feels like
• 19:32
  Speaker 1: he has a deep, deep fear of poverty and homelessness
• 19:36
  Speaker 1: and bum you know what I mean. Like it feels
• 19:40
  Speaker 1: like the constantly, constantly and like the clash between like
• 19:46
  Speaker 1: who is in that position and why they do it
• 19:49
  Speaker 1: and the kind of chaotic evil that they are. And
• 19:54
  Speaker 1: it's like uncontrollably evil. Like the person just comes out.
• 20:00
  Speaker 1: This is played by a lady named Bonnie Eron's by
• 20:02
  Speaker 1: the way, Like he he just comes. I don't know
• 20:05
  Speaker 1: if it's a manure creates, yeah, he and it is
• 20:09
  Speaker 1: just kind of a creature, right, And like you know,
• 20:12
  Speaker 1: even in God Alight, you know, because it is that
• 20:17
  Speaker 1: it's the same world, it's the same place, right, and
• 20:21
  Speaker 1: like it feels same universe, all of it, all of
• 20:26
  Speaker 1: the movies and and like but even in in uh
• 20:31
  Speaker 1: not so much Lost Highway because the the because there
• 20:36
  Speaker 1: is a the criminal underbelly. They have wealth that they
• 20:40
  Speaker 1: like lord over people and the sort of belt a.
• 20:43
  Speaker 1: Zargetti plays like a working class kind of guy, but
• 20:47
  Speaker 1: he involves himself. There's a mystery, the need to want
• 20:51
  Speaker 1: to participate in it, and the that that like grossness
• 20:56
  Speaker 1: is there. And also in in While the Heart, which
• 21:00
  Speaker 1: I'm gonna watch later today, like there there are like
• 21:06
  Speaker 1: trailer park people there who are like, you know, meth heads,
• 21:10
  Speaker 1: who are like, it's scary and it seems scary, and
• 21:13
  Speaker 1: he wants to make it.
• 21:14
  Speaker 2: He wants to make it scary. Yeah, I think so.
• 21:16
  Speaker 2: I think so. I think it's because well, it also
• 21:21
  Speaker 2: ties in for him, I think to Americana, right, yeah, totally,
• 21:25
  Speaker 2: and like Railroads and like Red Lipsticks, Sunset Lawns Boulevard
• 21:33
  Speaker 2: being so prominent, which is his favorite movie, being so prominent,
• 21:37
  Speaker 2: and like Sunset Boulevard as itself being a David Lynch movie,
• 21:41
  Speaker 2: it's fully in the same vein as a David Lynch movie.
• 21:44
  Speaker 1: If you've ever seen it and want it, it's the
• 21:46
  Speaker 1: Mister Tamil, I'm Ready for my clothes, you know that
• 21:49
  Speaker 1: that movie, And it's like it's clearly his own experiences
• 21:57
  Speaker 1: with producers shared.
• 22:00
  Speaker 2: I kept thinking that the whole movie, like this is
• 22:02
  Speaker 2: the Girl, and like the seriousness and the night marrishness
• 22:07
  Speaker 2: of being told something as a director and being like, what, No,
• 22:12
  Speaker 2: He's in the whole movie. Justin Trux almost seems like
• 22:15
  Speaker 2: the most reasonable and for most of the movie, but
• 22:21
  Speaker 2: like other than some of the outrageous things he also does,
• 22:24
  Speaker 2: like putting.
• 22:25
  Speaker 1: The paint the paint, but also, you know, like the
• 22:32
  Speaker 1: thing about David Lynch is that he also.
• 22:38
  Speaker 2: Takes these people who.
• 22:39
  Speaker 1: Are very disproportionately strange in the normal culture and will
• 22:47
  Speaker 1: put them in movies in ways that really accentuates their
• 22:53
  Speaker 1: their lack of accentuates their lack of quote unquote normalcy
• 23:05
  Speaker 1: in real life. But because the world around them in
• 23:08
  Speaker 1: his movies are so strange, they feel so natural to
• 23:12
  Speaker 1: the world.
• 23:13
  Speaker 2: Like Michael J.
• 23:13
  Speaker 1: Anderson, who plays the talking backwards man in Twin.
• 23:17
  Speaker 2: Peaks, he's in this movie.
• 23:20
  Speaker 1: He's in this movie, but he's tall and they give
• 23:23
  Speaker 1: him I don't know if this is like a real
• 23:25
  Speaker 1: person that they just put his body.
• 23:27
  Speaker 2: I don't know, Like he's in like a wheelchair. It's
• 23:30
  Speaker 2: kind of like a it's kind of like a.
• 23:32
  Speaker 1: Tall in it.
• 23:32
  Speaker 3: He's not, so it just seems strange all of a
• 23:37
  Speaker 3: sudden because it's like, oh, it's so his proportions are
• 23:41
  Speaker 3: even weirder in this like context.
• 23:43
  Speaker 2: Yeah, yeah, yeah, yeah, it's it's really cool. It's really cool.
• 23:47
  Speaker 1: Or like the very tall guy who's in in Twin Peaks.
• 23:52
  Speaker 2: Or you know, David Lynch likes dealing in extremes. Yeah,
• 23:58
  Speaker 2: totally capturing extremes.
• 24:01
  Speaker 1: And like people making mysterious phone calls in the background,
• 24:06
  Speaker 1: doing things on your art that you're like, no, this.
• 24:10
  Speaker 2: Isn't what I want. Oh, how did you guess this movie? Uh?
• 24:13
  Speaker 2: Used to what was going to be a show? Right?
• 24:16
  Speaker 2: This was gonna be like a like it wasn't gonna
• 24:19
  Speaker 2: be called I.
• 24:19
  Speaker 1: Don't think it was going to be called Mulholland Drive.
• 24:21
  Speaker 1: It might have been called Mahon Drive. But it was
• 24:23
  Speaker 1: the same conceit as Twin Peaks, where the mystery was
• 24:26
  Speaker 1: going to be like the unsolvable thing with these strange
• 24:30
  Speaker 1: array of characters that weren't necessarily going to connect in
• 24:34
  Speaker 1: this way, but they end up doing it and it works.
• 24:37
  Speaker 2: I Like, do you know about like there was this
• 24:41
  Speaker 2: actress that was like a huge fan of David Lynch
• 24:45
  Speaker 2: and super inspirational to him as a muse. And she
• 24:49
  Speaker 2: died in a car accident that same year that this
• 24:52
  Speaker 2: movie came out. Oh really, yeah, do you know about this? No,
• 24:55
  Speaker 2: tell me, I don't know what her name is, but
• 24:59
  Speaker 2: like she was, like she was returning from a party
• 25:03
  Speaker 2: with Marilyn Manson in Hollywood when she got into a
• 25:08
  Speaker 2: head on collision that took her life. Crazy.
• 25:11
  Speaker 1: Marilyn Manson was in the car. No, she was coming
• 25:14
  Speaker 1: from his party, and she interested. She introduced David Lynch
• 25:19
  Speaker 1: to Marilyn Manson and to his music and influenced the
• 25:23
  Speaker 1: entire soundtrack of Lost Highway.
• 25:24
  Speaker 2: Wow. And she died this year in a car accident
• 25:29
  Speaker 2: like this, So like I think that this is like
• 25:31
  Speaker 2: I don't know if it's like David Lynch cosmicness, connectedness
• 25:35
  Speaker 2: or whatever, but like it seems, you know, it's like
• 25:37
  Speaker 2: the parallels are obvious, like a young, bright eyed, bushy
• 25:41
  Speaker 2: tailed actress coming to Hollywood, was a director as a muse,
• 25:45
  Speaker 2: and like you know, and then tying that into the
• 25:48
  Speaker 2: existentialism of dreams themselves and and old Hollywood and the
• 25:54
  Speaker 2: like seediness of old Hollywood yeah, it's all very interesting.
• 25:58
  Speaker 1: Speaking of coming to Hollywood, we get introduced to Betty
• 26:01
  Speaker 1: and her two creepy.
• 26:03
  Speaker 2: Old flight companions. They were just they met on the plane. Yeah, yeah,
• 26:09
  Speaker 2: they're like, oh, it's so nice to meet you on
• 26:10
  Speaker 2: the plane. I hope your dreams go really well. Thanks.
• 26:14
  Speaker 2: This girl from deer Horn, Ontario or where was it,
• 26:19
  Speaker 2: I forget deer Lake something, it was something. It was
• 26:23
  Speaker 2: an interesting name. The place exists, I looked it up.
• 26:28
  Speaker 1: But then them smiling at each other and leaving, yeah,
• 26:32
  Speaker 1: and hitting the woman hitting the man's leg.
• 26:36
  Speaker 2: Well it kind of sets up what happens later on, right, yes,
• 26:39
  Speaker 2: like but yeah, so like these are two scary kind
• 26:42
  Speaker 2: of old people that have very glassy smiles that you
• 26:47
  Speaker 2: know the ghost story that I always tell.
• 26:49
  Speaker 1: Yeah, the which one, Oh, the one where you saw
• 26:51
  Speaker 1: the people on the road on your trip.
• 26:55
  Speaker 2: On the tour. This is the kind of smile.
• 26:58
  Speaker 1: A couple of ghost stories, the terror on the the.
• 27:02
  Speaker 2: The Russian boat. Yeah but no, no, I mean you
• 27:05
  Speaker 2: knew the one. I went, Yeah, that's the kind of
• 27:08
  Speaker 2: smile that they had. Yeah, it's a cool fucking like
• 27:15
  Speaker 2: you and I have always loved doing an outrageous smile
• 27:19
  Speaker 2: towards each other. Oh yeah, like brotherly love acknowledgment, but
• 27:23
  Speaker 2: also like, hey, dude, this is ridiculous. Yeah, so it's
• 27:30
  Speaker 2: cool that he uses that. What what happens after she
• 27:33
  Speaker 2: meets Coco.
• 27:34
  Speaker 1: Coco, Yeah, played by Anne Miller, who was like an
• 27:37
  Speaker 1: actor from this era, like she was like in forties
• 27:41
  Speaker 1: and fifties movie.
• 27:42
  Speaker 2: She's amazing. She's perfect for it.
• 27:44
  Speaker 1: Because of the she's that kind of like aged into
• 27:49
  Speaker 1: a like like.
• 27:51
  Speaker 2: Yeah, but like I was once clamorous, you know, totally totally,
• 27:56
  Speaker 2: and she you know she was Yeah, dude, I was
• 28:00
  Speaker 2: once claus but yeah.
• 28:04
  Speaker 1: And and then like you know, Naimi Watts comes in.
• 28:07
  Speaker 1: She is like very bright and she's like, oh, my
• 28:11
  Speaker 1: aunt Ruth. But then she like comes into the swank
• 28:17
  Speaker 1: ass pad, which is like why does Hollywood look so
• 28:20
  Speaker 1: brown and yellow?
• 28:21
  Speaker 2: I mean I always kind of like, yeah, I always
• 28:23
  Speaker 2: pictured it like this. It was like this when I
• 28:26
  Speaker 2: went there. Yeah for sure, I was there for a
• 28:28
  Speaker 2: long time.
• 28:29
  Speaker 1: Yeah, and then she gets she meets Rita who's naked
• 28:35
  Speaker 1: in the taking a shower, and it's like she's it's
• 28:38
  Speaker 1: so like being in this situation would be so scary,
• 28:41
  Speaker 1: and the fact that Naomi Watts plays this in such
• 28:44
  Speaker 1: a great way because it's like, oh my god, I'm
• 28:46
  Speaker 1: so sorry, Like so a Canadian.
• 28:49
  Speaker 2: Assumes everything for her in the best way, in the most,
• 28:53
  Speaker 2: in the most Yeah. Well again, So we have doppelgangers.
• 28:58
  Speaker 2: These are adoppel gangers. They're like the they're Ying Yang,
• 29:01
  Speaker 2: two sides of the same coin. They are the same
• 29:03
  Speaker 2: person at the same time. They're one and the same,
• 29:06
  Speaker 2: but they're also completely different and separate from each other
• 29:10
  Speaker 2: at the same ture, Like they represent different parts of Hollywood,
• 29:14
  Speaker 2: different parts of like Deep Psyche, different parts of.
• 29:17
  Speaker 1: The life, and also the feelings that you have of
• 29:20
  Speaker 1: disassociation from like a very traumatic experience.
• 29:25
  Speaker 2: So yeah, exact exactly. So I think my my vision
• 29:29
  Speaker 2: of what happens for at least the first part of
• 29:31
  Speaker 2: the before the Frank Ocean change up is we get
• 29:38
  Speaker 2: to like we get to explore what it would be
• 29:41
  Speaker 2: like if you got into an accident deep River on
• 29:45
  Speaker 2: deep River, got into an accident, disassociate deeply River, associated
• 29:50
  Speaker 2: from yourself, dissociated from yourself, and like turned into another
• 29:54
  Speaker 2: person who represents your like enthusiasm, your joy, your like
• 30:00
  Speaker 2: brightness towards life and you have externalized yourself into this
• 30:03
  Speaker 2: like insecure, unsure, mysterious, you know, darker, right, she's like
• 30:10
  Speaker 2: the dark hair one. This is the bright haired one,
• 30:12
  Speaker 2: you know. Like it seems like he's playing with those
• 30:14
  Speaker 2: sides of the coins in a way, you know, yeah, totally.
• 30:17
  Speaker 1: And also it could be like it could be just
• 30:19
  Speaker 1: as easy as like, oh no, it's the like deformed
• 30:24
  Speaker 1: thoughts of like a woman who just killed herself the
• 30:28
  Speaker 1: last few men exactly exactly yourself, right, and this this
• 30:32
  Speaker 1: tragedy of missed opportunities like wish to live out your
• 30:40
  Speaker 1: all of the possibilities that you had, or the wish
• 30:42
  Speaker 1: fulfillment of being the actor that was chosen for a
• 30:46
  Speaker 1: role exactly, and the lives you can have as an actor, because.
• 30:50
  Speaker 2: It's about acting, it's about movies.
• 30:53
  Speaker 1: It's about Dan Hidea, who's in this next scene, but
• 30:57
  Speaker 1: also the chaos of having stuff happen around you in
• 31:02
  Speaker 1: this scene where people are talking about you to you
• 31:07
  Speaker 1: without acknowledging your existence.
• 31:09
  Speaker 2: Yeah yeah, yeah, it's very demeaning. It's it feels like
• 31:12
  Speaker 2: he's like tapping into having been demeaned in this way.
• 31:16
  Speaker 1: Totally, or or at least the feeling of.
• 31:18
  Speaker 2: This of course it's so accurately portrayed. Yeah, for sure,
• 31:24
  Speaker 2: what are you taught? What moment? Like that kind of girl. Yeah,
• 31:30
  Speaker 2: and it was the third girl, dude, it wasn't either
• 31:32
  Speaker 2: of that, but that she was there Betty in the
• 31:36
  Speaker 2: dream in the Frank Ocean switch up. Totally totally okay, sorry.
• 31:39
  Speaker 1: And then the sort of interesting part of catering to
• 31:45
  Speaker 1: this Italian guy who is like like, it's like, what
• 31:50
  Speaker 1: are we talking about here?
• 31:52
  Speaker 2: It's like and you know what, like there's always a
• 31:54
  Speaker 2: mysterious guy who's the money, and it's always an ethnic guy,
• 31:56
  Speaker 2: like Italian, an Italian. Yeah, totally, that's what David lynchseley. Dude,
• 32:00
  Speaker 2: he doesn't see race unless you're an Italian. And then
• 32:04
  Speaker 2: you're like a gangster is like a fat guy who
• 32:06
  Speaker 2: gets beat up. Catering to this this Italian guy espresso,
• 32:11
  Speaker 2: uh and like it's an Angelo bel Monte played by Angelo.
• 32:17
  Speaker 2: He's And then David said, oh man, Laura Palmer's theme, dude,
• 32:22
  Speaker 2: how it makes twin peaks.
• 32:24
  Speaker 1: Yeah, but but letting letting it be this this thing
• 32:31
  Speaker 1: of of yeah, of course we're gonna do for anything
• 32:35
  Speaker 1: for this guy, even find the best whatever. And when
• 32:40
  Speaker 1: he gets pissed. It's like, well I have the money
• 32:42
  Speaker 1: sort of him getting passed, and the.
• 32:44
  Speaker 2: Way that they get scared at his reaction it came
• 32:49
  Speaker 2: highly recommended. His reaction to the espresso. He's so pretentious
• 32:55
  Speaker 2: that he spits out the very best, most highly recommended
• 32:58
  Speaker 2: espresso to a napkin that he asked for quietly napkin.
• 33:04
  Speaker 2: And and so much mumbling. It is so much frustrating
• 33:07
  Speaker 2: mumbling in this movie, but not even spitting it out,
• 33:09
  Speaker 2: like yeah.
• 33:13
  Speaker 1: And Dan Hidea's close ups and close ups of.
• 33:16
  Speaker 2: His push stone pushy. My eyebrows would look like this
• 33:20
  Speaker 2: if I didn't get them cut.
• 33:21
  Speaker 1: And everybody just yelling. There's so much yelling in all
• 33:25
  Speaker 1: of David Lynch.
• 33:27
  Speaker 2: Yeah, and then going with the intensity of those emotions.
• 33:30
  Speaker 1: Yeah, and then going back into meet with Michael J.
• 33:34
  Speaker 1: Anderson to be like.
• 33:37
  Speaker 2: Should we what do we do?
• 33:39
  Speaker 1: And he's just like get rid of them or whatever
• 33:41
  Speaker 1: he says to just like fire everybody on the movie.
• 33:46
  Speaker 2: Oh man. And then when fucking m.
• 33:53
  Speaker 1: When fucking I was gonna say, David Lynch, but when
• 33:56
  Speaker 1: when uh just fucking destroyed the car Johnny, Yeah, totally.
• 34:05
  Speaker 2: Yeah, he takes he takes a golf club and like
• 34:10
  Speaker 2: smashes out, he like walks with it like a cane
• 34:13
  Speaker 2: and then smashes up the windshield. Really cool looking image.
• 34:18
  Speaker 2: It's the car of the of the people that came
• 34:22
  Speaker 2: right like he's smashing their car. H Yeah, that's the implication.
• 34:25
  Speaker 1: And then when the I guess the producers or somebody
• 34:29
  Speaker 1: calls him and he's like I'm going home.
• 34:32
  Speaker 2: Yeah, but then they they tried like sabotage his life.
• 34:36
  Speaker 2: They like freeze his money and ship. Yeah, well we're
• 34:39
  Speaker 2: not there yet. Where are we?
• 34:41
  Speaker 1: He's he like is driving home, and then we get
• 34:44
  Speaker 1: to that.
• 34:49
  Speaker 2: Okay.
• 34:57
  Speaker 1: He plays a character named Joe. His name is Mark
• 34:59
  Speaker 1: pelag Green. He's the guy who's Where's the money Lebowski?
• 35:02
  Speaker 1: Where's the money?
• 35:03
  Speaker 2: Ship ahead? Great actor? Oh that scene. I love this scene. Well,
• 35:07
  Speaker 2: he's like fucking the most handled oar mustache dude and
• 35:11
  Speaker 2: he's like hanging out with the dude. Well you they're
• 35:15
  Speaker 2: having like the most inane small talk ever about like oh,
• 35:19
  Speaker 2: you know, like I'm just doing this and yeah, I
• 35:21
  Speaker 2: guess I'm doing this for now. I guess I can
• 35:23
  Speaker 2: afford this. Ah, you're doing fine. Hey, It just like
• 35:27
  Speaker 2: fucking kills him and then like tries to make it
• 35:30
  Speaker 2: seem like he killed himself, but shoots through the wall
• 35:34
  Speaker 2: and it hits a lady and she's like some bit
• 35:37
  Speaker 2: me bad. Okay, so An I was watching this and
• 35:40
  Speaker 2: she was like, do you think that like this is
• 35:42
  Speaker 2: trying to humiliate the fat woman, like because she's like
• 35:44
  Speaker 2: the only woman that looks like this in the movie
• 35:47
  Speaker 2: in this movie that is about womanhood, like and it
• 35:50
  Speaker 2: is about like the like idea of fading beauty and
• 35:54
  Speaker 2: like your value in society being like tied to how
• 35:57
  Speaker 2: you look and appear and stuff. So like, I don't know,
• 36:01
  Speaker 2: did it seem like this like very cold brutal scene
• 36:05
  Speaker 2: where this like fat woman gets murdered is like and
• 36:10
  Speaker 2: like not murdered only, but like kind of like humiliated,
• 36:13
  Speaker 2: like kind of dragged and like well dragged and stuff.
• 36:16
  Speaker 1: But I will say that, like this person is a
• 36:19
  Speaker 1: person that is offered some semblance. I wouldn't actually say
• 36:23
  Speaker 1: she was humiliated at all. I think she was like
• 36:25
  Speaker 1: pretty brave, like's annoying. I agree, I agree, I agree,
• 36:31
  Speaker 1: I think she I think she's cool. I do think
• 36:34
  Speaker 1: and I think the scene plays out in an interesting way,
• 36:37
  Speaker 1: but I'm just wondering, like just the idea of her
• 36:39
  Speaker 1: inclusion among all of these other actresses, because everybody else
• 36:44
  Speaker 1: is like, you know, like, I think what it's supposed
• 36:46
  Speaker 1: to show is that there's a separate there's a very
• 36:49
  Speaker 1: clear line in separation between worlds.
• 36:52
  Speaker 2: And what's interesting about.
• 36:53
  Speaker 1: Joe as the character is that it's so outraged, it's
• 36:58
  Speaker 1: so outrageous, and it's the only type of scene that
• 37:01
  Speaker 1: happens in this movie where it's.
• 37:03
  Speaker 2: It plays out like the Big Lea.
• 37:06
  Speaker 1: It's like it is like the Big Yeah, totally, it
• 37:08
  Speaker 1: is like the Big Leasking. But what's interesting about the
• 37:11
  Speaker 1: idea of this being in Betty's or Diane or or
• 37:18
  Speaker 1: Rita's mind is that this is assumptions of what a
• 37:24
  Speaker 1: drug dealer acts like and behaves like and gets away
• 37:28
  Speaker 1: with right, because later on its kills like six people
• 37:33
  Speaker 1: in the scene and it's like, well, I guess this
• 37:36
  Speaker 1: is how they do it, right, And it's like it's cold,
• 37:39
  Speaker 1: but it's also so ridiculous because it's like it's like
• 37:44
  Speaker 1: goofy in a way that the nineteen fifties is all right,
• 37:48
  Speaker 1: whereas when it happens in real life and you realize
• 37:51
  Speaker 1: that Betty is a person who maybe was a struggling actor.
• 37:54
  Speaker 1: Maybe she ended up in this situation where she was drugs,
• 37:58
  Speaker 1: maybe ended up in some sort of prostitution, because that's
• 38:00
  Speaker 1: what this guy that's this guy is. He seems like
• 38:03
  Speaker 1: a pimp because he's like, hey, do you meet any
• 38:05
  Speaker 1: new girls, like new girls that are actors that come
• 38:09
  Speaker 1: into this this place to be taken into the right
• 38:14
  Speaker 1: And then like when he and then in keeping with
• 38:19
  Speaker 1: that as a character trait in the movie, he sees
• 38:25
  Speaker 1: a regular guy. He's taking this regular woman and sees
• 38:29
  Speaker 1: this regular guy who's the janitor and is like, hey man,
• 38:32
  Speaker 1: she really needs some help here, right, And it's like
• 38:35
  Speaker 1: trying standing there, right, and and he sees that something
• 38:41
  Speaker 1: is happening, but there's a hollow neist to what he's
• 38:44
  Speaker 1: gonna do, right, And then he comes over out of
• 38:48
  Speaker 1: pure curiosity, doesn't even like come into help, but like
• 38:52
  Speaker 1: he he then shoots her and then shoots him and
• 38:59
  Speaker 1: then shoots the vacuum cleaner, which causes a problem, and
• 39:05
  Speaker 1: the alarm goes off, but there's no fire.
• 39:07
  Speaker 2: It's just it was it was so loud. Did you
• 39:11
  Speaker 2: see those things? Like how he wrote the specs of
• 39:13
  Speaker 2: like what d three three more dB over three dB
• 39:17
  Speaker 2: over of like how to play Mulhuan drive in theaters
• 39:21
  Speaker 2: to the Projectionist. Yeah, so interesting. Shit. He was so
• 39:27
  Speaker 2: obsessed with like how the things were gonna look and yeah,
• 39:32
  Speaker 2: I mean you have to be you have to be.
• 39:34
  Speaker 1: Yeah, totally, And then like you know, he gets out
• 39:37
  Speaker 1: and it cuts to Betty like talking on the phone
• 39:41
  Speaker 1: with her aunt and being like your fred Rereid have
• 39:44
  Speaker 1: walked in on her.
• 39:45
  Speaker 2: You shouldn't have. You should have told me.
• 39:47
  Speaker 1: Right, And this idea that like oh yeah, the like
• 39:53
  Speaker 1: she's she's not who are you talking to? What are
• 39:55
  Speaker 1: you talking about? And this idea that like you're talking
• 39:58
  Speaker 1: to a person that is a close loved one who
• 40:03
  Speaker 1: loves you, and like know something's off and she's trying
• 40:07
  Speaker 1: to warn you, but you don't take You're like, no,
• 40:10
  Speaker 1: I'm gonna follow my instinct and like go into the
• 40:12
  Speaker 1: mystery further, you know what I mean?
• 40:14
  Speaker 2: Yeah, yeah, Well, which begs the question like I was
• 40:17
  Speaker 2: always like, is Rita there? But people do interact with Rita,
• 40:22
  Speaker 2: she just doesn't really get seen or discussed much, Yeah,
• 40:26
  Speaker 2: by by anyone outside Naomi Watts.
• 40:29
  Speaker 1: Yeah, for sure. And it's also like like there there's
• 40:35
  Speaker 1: an switch up of not just how they're so yeah,
• 40:41
  Speaker 1: there's a switch up of how they behave to each
• 40:44
  Speaker 1: other towards each other because there is like.
• 40:49
  Speaker 2: There's a deep sensual tension that one can only have
• 40:53
  Speaker 2: with oneself.
• 40:53
  Speaker 1: But yeah, but also the fact that that Diane as
• 40:58
  Speaker 1: a character seemed like she would mentored by by Rita
• 41:03
  Speaker 1: in some to some degree and was like taken in
• 41:05
  Speaker 1: as like helping her, but like got betrayed when they
• 41:09
  Speaker 1: fell in love and she but she's in love with
• 41:11
  Speaker 1: the director or totally being used by the director or
• 41:14
  Speaker 1: like whatever.
• 41:15
  Speaker 2: That's what happens in the Frank Oshan switch up. But
• 41:16
  Speaker 2: that that storyline is also kind of like consistently undermined
• 41:20
  Speaker 2: because sometimes there's this like solipsistic journey of like she's
• 41:24
  Speaker 2: actually just like in the throes of suicide, and it
• 41:26
  Speaker 2: could be she she's like disassociated into different like yeah
• 41:30
  Speaker 2: for sure parts.
• 41:31
  Speaker 1: Yeah for sure, And and but also wants to be
• 41:34
  Speaker 1: in the power position, even if it's like an innocent
• 41:37
  Speaker 1: person being helpful, being like, oh you lost your memory,
• 41:41
  Speaker 1: let me guide you. Yeah, let me pull you through
• 41:44
  Speaker 1: whatever you're going through. I'm helping you.
• 41:46
  Speaker 2: And then this cast of characters that is encountered throughout
• 41:49
  Speaker 2: ends up playing a role in this like altered reality
• 41:52
  Speaker 2: as well. Yeah for sure, right as like these like
• 41:54
  Speaker 2: reassembled dream characters. It's like because in a dream is
• 41:58
  Speaker 2: like oh.
• 41:58
  Speaker 1: You were there, but you were you, Yeah, you were this,
• 42:00
  Speaker 1: and like that's also like, uh, what's it called? Like
• 42:04
  Speaker 1: because David EN's just super into the Wizard of Oz too,
• 42:08
  Speaker 1: and like there is that and you were there and
• 42:11
  Speaker 1: you were there, and they're like reinterpretations of what these
• 42:15
  Speaker 1: these things are, and they're like you get these two
• 42:17
  Speaker 1: three scenes with Joe where it's like once in a
• 42:21
  Speaker 1: while he'll interact with once he interacts with Betty, never
• 42:25
  Speaker 1: with anybody else. And then he talks to that girl
• 42:28
  Speaker 1: who he's like, hey, maybe you've got a cigarette, you've
• 42:30
  Speaker 1: seen any other girls around, you know what I mean? Like,
• 42:32
  Speaker 1: and it's like, yeah, it's like a weird, pervy world
• 42:36
  Speaker 1: full of like shitty things that happen, right, yeah, totally.
• 42:41
  Speaker 4: And then.
• 42:43
  Speaker 2: Yeah, we get to.
• 42:46
  Speaker 1: Justin Thurrow going home and he gets home and sure
• 42:54
  Speaker 1: enough Billy ray Cyrus is there.
• 42:56
  Speaker 2: He's working his wife and and he's so cocked in
• 42:59
  Speaker 2: this scene that that she's like, what the fuck are
• 43:02
  Speaker 2: you doing? Like she's like so indignant and angry and
• 43:05
  Speaker 2: she's been mad at him.
• 43:07
  Speaker 1: Yeah, and Willie Ray is like, you better just turn
• 43:10
  Speaker 1: around and forget what you saw. It'd probably be better
• 43:13
  Speaker 1: for all.
• 43:13
  Speaker 2: Do you know what's really funny is Cay's just sent
• 43:16
  Speaker 2: me a real life reel that like an Instagram reel
• 43:20
  Speaker 2: that of like someone like filming literally going into a
• 43:24
  Speaker 2: room where his wife is. Oh doesn't it play out
• 43:28
  Speaker 2: like almost exactly like this scene, like even with the punch, Yeah, yeah,
• 43:33
  Speaker 2: except that what are you doing? You knocked my boyfriend out?
• 43:36
  Speaker 2: Get the fuck out of here? And I was like,
• 43:37
  Speaker 2: oh no, he's like being so dead eyed. Man. It
• 43:42
  Speaker 2: was really weird.
• 43:43
  Speaker 1: Yeah, it was really sad.
• 43:46
  Speaker 2: I mean that's why we want to watch the movie
• 43:48
  Speaker 2: version directed by David Lynch. Yeah, to see the reality version.
• 43:53
  Speaker 1: And like getting thrown out of your own house.
• 43:55
  Speaker 2: Strange to be calling yourself reference to give me back
• 44:01
  Speaker 2: my phone? Diane Selwick or when we when are we
• 44:04
  Speaker 2: that part?
• 44:07
  Speaker 1: The Diane part?
• 44:10
  Speaker 2: Where are we?
• 44:11
  Speaker 1: We're right at the at where Yeah, he gets kicked
• 44:15
  Speaker 1: out of his home.
• 44:16
  Speaker 2: Can I just tell you a note I had here?
• 44:18
  Speaker 2: We should call a doctor a doctor. No, I can't.
• 44:21
  Speaker 2: I don't have health insurance.
• 44:26
  Speaker 1: Oh yeah, this is the Diane Selwick part. Yeah, she wants.
• 44:29
  Speaker 2: To make it an anonymous phone call.
• 44:31
  Speaker 1: They want to make it well, yeah, they want to
• 44:33
  Speaker 1: make an anonymous phone call to the police to find
• 44:36
  Speaker 1: out whether or not there was a crash or whatever.
• 44:39
  Speaker 2: Right, and then the police give me very like dicey,
• 44:42
  Speaker 2: shady answers.
• 44:44
  Speaker 1: But also this is the this is also the the
• 44:49
  Speaker 1: diner where.
• 44:51
  Speaker 2: It's the diner where the first where Eyebrows gets assaulted.
• 44:56
  Speaker 2: He dies, he dies. Did we say that he dies? Yeah?
• 44:59
  Speaker 2: He did does die?
• 45:00
  Speaker 1: Well, we think he dies.
• 45:02
  Speaker 2: He dies, Dude, when as a kid, when I watched it,
• 45:05
  Speaker 2: well seventeen, when I came out, I was like, oh
• 45:07
  Speaker 2: my god, he dies. But also Rita sees that.
• 45:13
  Speaker 1: The lady's name on the name tag is Diane.
• 45:16
  Speaker 2: Diane, and which sparks her memory. Yeah, and later the
• 45:20
  Speaker 2: same waitress is named Betty.
• 45:23
  Speaker 1: Betty, and like that's the interesting thing about it being
• 45:27
  Speaker 1: it's the picture.
• 45:28
  Speaker 2: Yeah, it is Wendy. It's it's so Wendy. I think
• 45:33
  Speaker 2: the entire time works nights, dude, it's amazing.
• 45:40
  Speaker 1: Yeah, a lot of it is inspired by David Lynch.
• 45:42
  Speaker 1: I actually all of it is. The black and White
• 45:46
  Speaker 1: is the Eraserhead, the pictures, The Switching Women is both this.
• 45:50
  Speaker 2: And Lost Highway. Yeah yeah, I mean I I see
• 45:54
  Speaker 2: that movie very much as a David Lynch homage. Oh yeah. Percent.
• 45:58
  Speaker 1: I was so worried that people would see it as
• 46:00
  Speaker 1: and that they would yeah. Well, like I was like,
• 46:03
  Speaker 1: how many how much will this take out? And but
• 46:06
  Speaker 1: people didn't. They were like, no, wow, that was really cool.
• 46:09
  Speaker 1: They didn't be like, wow, you stole all of them,
• 46:14
  Speaker 1: all of it, like so much of it. No.
• 46:16
  Speaker 2: I but I think that, you know, there's a there's
• 46:19
  Speaker 2: an element that you explore more specifically in your art
• 46:24
  Speaker 2: that's about like the solitariness of that kind of like
• 46:30
  Speaker 2: loner type.
• 46:31
  Speaker 1: Yeah, it's very much about like bad men, bad men
• 46:37
  Speaker 1: not knowing how to be good and trying hard.
• 46:43
  Speaker 2: Clint Eastwood trying hard, trying hard, trying hard to be good.
• 46:51
  Speaker 2: It'll be like, just like in the movies, we pretend
• 46:53
  Speaker 2: to be someone else. There's these little moments, like snippets
• 46:56
  Speaker 2: in this movie that kind of like inform how you're
• 47:00
  Speaker 2: supposed to feel like this it is calling to mind
• 47:06
  Speaker 2: acting the idea of acting.
• 47:08
  Speaker 1: Or the idea of creation, creativity, being creative, putting yourself
• 47:13
  Speaker 1: in a different headspace. Speaking of putting yourself in a
• 47:16
  Speaker 1: different headspace, when Justin Threux gets a call from I
• 47:20
  Speaker 1: guess his producer, and she tells him that she has
• 47:25
  Speaker 1: to go see a guy to get to wear a
• 47:28
  Speaker 1: ranch is to talk to a cowboy.
• 47:30
  Speaker 2: Oh, dude, the talking to a cowboy which like periodically
• 47:35
  Speaker 2: has giant hats. The giant hats, yeah, slightly oversized hats.
• 47:42
  Speaker 2: I love it, dude, I love it. See like this
• 47:46
  Speaker 2: is the thing that people like seeing David Lynch and
• 47:49
  Speaker 2: then they like they're like I was also talking today
• 47:52
  Speaker 2: to Case about how I hate when people like he
• 47:55
  Speaker 2: also hates when people like sort of describe things as
• 47:58
  Speaker 2: Lynchian that are things to things that are like misunderstandings
• 48:02
  Speaker 2: of Lynch. And I also feel the same way about
• 48:06
  Speaker 2: when people misunderstand York, Like when people are like, I
• 48:11
  Speaker 2: want to talk to the trees and it's like, okay,
• 48:14
  Speaker 2: she does do that, but.
• 48:15
  Speaker 1: Not like that, but like that she does do that,
• 48:23
  Speaker 1: quote unquote, is that's the misunderstanding of what she's doing exactly,
• 48:27
  Speaker 1: because it's like it's you're getting the cadence of what
• 48:31
  Speaker 1: she's doing. You're not getting what she's doing, You're not
• 48:33
  Speaker 1: getting the substance. Yeah, and it's like.
• 48:36
  Speaker 2: It's true, dude, it's true. It's so frustrating, and that
• 48:39
  Speaker 2: sometimes when people like Patton Oswald, like it showed like
• 48:44
  Speaker 2: Kay's was annoyed. Oh yeah, the yeah, I know, he
• 48:47
  Speaker 2: shows like a Simpsons level understanding of.
• 48:50
  Speaker 1: The Simpsons understands it more because they're doing it as
• 48:53
  Speaker 1: a gag, whereas this is like he's like.
• 48:56
  Speaker 2: Taking from the Simpsons at the basis level of the
• 49:00
  Speaker 2: thing that they're like referencing. Yeah, oh the wackiness. It's
• 49:07
  Speaker 2: not fucking Monty Python. Okay, I mean even Lynch. Yeah,
• 49:12
  Speaker 2: I mean Monty Python's great too. Yeah, but David Lynch's
• 49:17
  Speaker 2: David Ly.
• 49:20
  Speaker 1: And then we get the scene where Betty and Rita
• 49:24
  Speaker 1: are get a knock at the door from the neighbor who's.
• 49:28
  Speaker 2: Like, oh, the melted wacky neighbors you. She's like, I'm
• 49:35
  Speaker 2: saying mystical thing, this very like panicked mama behavior. Yeah,
• 49:38
  Speaker 2: totally she what did she say? She was like, you're
• 49:42
  Speaker 2: not you're not supposed to be here like something like that.
• 49:46
  Speaker 2: And then She slightly looks inside and slightly sees this
• 49:50
  Speaker 2: is like to me, because she says, who are you?
• 49:54
  Speaker 2: I think it's a part of Betty that they don't recognize.
• 49:57
  Speaker 1: Yeah, it's like the same kind of psyche thing of
• 50:02
  Speaker 1: like Ducky Jones.
• 50:04
  Speaker 2: Yeah, I'll never give you guys agent again, but you
• 50:08
  Speaker 2: can have Yeah.
• 50:11
  Speaker 1: I mean even even this is that kind of movie
• 50:17
  Speaker 1: where it's like, I'm robbing you of the the the
• 50:20
  Speaker 1: answers of old detective movies from the fifties. I'm robbing
• 50:25
  Speaker 1: you of answer life because you're like it is like
• 50:31
  Speaker 1: it's it's asking such insane questions and not answering them
• 50:36
  Speaker 1: at all. Well, like even with the it's a good
• 50:39
  Speaker 1: lead up to the Cowboy, because the Cowboy is like, now,
• 50:43
  Speaker 1: are you telling me that you know what I'm talking about?
• 50:46
  Speaker 1: Because that's what you think I want to know? Or
• 50:50
  Speaker 1: are you thinking about? And you know, like it's something
• 50:53
  Speaker 1: like that. I'm butchering the line. But man, this outfit
• 50:56
  Speaker 1: is total inspiration. The handkerchief the cowboy had I didn't
• 51:01
  Speaker 1: even remember it from this. The cravat, yeah, and the
• 51:06
  Speaker 1: sweet jacket. God damn, I really just fully just took
• 51:12
  Speaker 1: this and didn't remember this.
• 51:15
  Speaker 2: I'm watching it now. It's great. It's great. I can't
• 51:22
  Speaker 2: believe that.
• 51:23
  Speaker 1: I can't believe I just it's just funny that like
• 51:26
  Speaker 1: he died so recently. I finished the script the day before.
• 51:31
  Speaker 1: And also we shot that scene with thought that looks
• 51:33
  Speaker 1: exactly like this.
• 51:36
  Speaker 2: It's kiss me, dude, Yeah it is. Sometimes. You know,
• 51:41
  Speaker 2: it's interesting that that would happen, Like it's almost like
• 51:47
  Speaker 2: your cosmic connection to this figure, to this cultural icon.
• 51:51
  Speaker 4: Yeah.
• 51:52
  Speaker 2: Yeah, I'm sad. I was sad, dude, it really it
• 51:57
  Speaker 2: really hit.
• 51:57
  Speaker 1: Me, Like, yeah, I was really upset.
• 52:00
  Speaker 2: But then I was thinking to myself, Man, we lived
• 52:04
  Speaker 2: in the same time as that incredible legend who made
• 52:08
  Speaker 2: all who made that groundbreaking art that like will never
• 52:13
  Speaker 2: ever be recreated, a singular talent, yeah, and who was
• 52:19
  Speaker 2: able to express his vision so so unadulterated.
• 52:24
  Speaker 1: Yeah, except for Dune, which is fine whatever.
• 52:28
  Speaker 2: It's still good, I mean, is it.
• 52:30
  Speaker 1: I don't know, it's not. I don't think it's very good.
• 52:38
  Speaker 1: But yeah, and also getting getting me to be like, hey, dude,
• 52:42
  Speaker 1: like you could do this with like mini DV you
• 52:46
  Speaker 1: could just make things. Who cares you could just make them?
• 52:48
  Speaker 2: And it looks so good. It looks so good inland. Yeah, yeah,
• 52:57
  Speaker 2: it does. Like and just because he shoots sometimes on film,
• 53:03
  Speaker 2: how you can shoot on Yeah, totally. He just saw
• 53:08
  Speaker 2: the potential.
• 53:09
  Speaker 1: Yeah, totally. The next scene is probably the pinnacle of
• 53:14
  Speaker 1: what we were talking about earlier, where Betty is doing
• 53:17
  Speaker 1: a scene with Rita and she's what's what's how this
• 53:22
  Speaker 1: is played out shot wise is actually really incredible because
• 53:25
  Speaker 1: she's in the pink robe, uh, and she's acting in
• 53:30
  Speaker 1: the way that Diane acts later on, which is kind
• 53:34
  Speaker 1: of like a little bit miserable, a little bit like jaded,
• 53:39
  Speaker 1: not like Betty at all. And then it cuts to
• 53:44
  Speaker 1: Rita and she's stiltedly doing lines and then the camera
• 53:49
  Speaker 1: pulls out and you see that the script is in
• 53:52
  Speaker 1: her hands.
• 53:53
  Speaker 2: Yeah so, but at first you makes it seem like
• 53:55
  Speaker 2: something she says makes it seem like it's like a
• 53:57
  Speaker 2: more intense moment, like yeah, like how could you do this?
• 54:00
  Speaker 2: Or what was it? It was like it's like.
• 54:03
  Speaker 1: Her and a lover being found out by Betty's character's
• 54:09
  Speaker 1: dad that like their love affair is going to be revealed,
• 54:15
  Speaker 1: and I don't know. It's a great, great scene and
• 54:19
  Speaker 1: she plays it in the movie, like very seriously and
• 54:23
  Speaker 1: very well.
• 54:24
  Speaker 2: The best acting is done in the in these scenes
• 54:27
  Speaker 2: where they're playing.
• 54:28
  Speaker 1: The most conventional yeah, which is like best interns in
• 54:33
  Speaker 1: contrast to how the performances are done by other characters.
• 54:38
  Speaker 2: Or it's the most uote unquote realistic. Yeah exactly, exactly, yeah, yeah,
• 54:43
  Speaker 2: but not the best You're right, because it's she's still
• 54:45
  Speaker 2: acting amazingly when she's being outrageous totally totally uh. And
• 54:49
  Speaker 2: then she's like she pulls a lot of the weight
• 54:52
  Speaker 2: in the movie. I would say, Naomi Wats, Yeah, she doesn't.
• 54:55
  Speaker 2: I mean she this is her like thing, it's her thing.
• 55:00
  Speaker 1: What's great about this next scene is that Naomi Watts
• 55:04
  Speaker 1: is talking to Coco. Funnily enough, Coco is revealed later
• 55:11
  Speaker 1: on to be justin Thorrow Aunt Adam's mom, which which
• 55:16
  Speaker 1: is great because she comes off as a motherly figure
• 55:19
  Speaker 1: to her, and she's like the idea that Nami Watts
• 55:26
  Speaker 1: Betty Diane is going to an audition being told by
• 55:31
  Speaker 1: a motherly figure to be careful about rita. But really
• 55:36
  Speaker 1: it's like, this is your future in Hollywood.
• 55:39
  Speaker 2: Careful about these inclinations in yourself.
• 55:42
  Speaker 1: Yeah, And it's really just like constant warning about the
• 55:47
  Speaker 1: disgustingness of the underbelly of Hollywood and how it is.
• 55:52
  Speaker 2: And like for as a greater metaphor to life too,
• 55:55
  Speaker 2: I think, yeah, it delves into the existentialness of bad choices.
• 55:58
  Speaker 1: Or wrong or wrong choices.
• 56:00
  Speaker 2: Yeah, like always the idea of like the mystery of
• 56:04
  Speaker 2: a of a of a lost woman too, and like
• 56:08
  Speaker 2: it's it's such a repeating the.
• 56:10
  Speaker 1: Theme for David Lynch, Yeah, for sure. And you know,
• 56:14
  Speaker 1: she goes and does like a fucking killer job at.
• 56:17
  Speaker 2: This audition audition, but like you have to describe what
• 56:21
  Speaker 2: happens though, because like the guy is the actor her
• 56:26
  Speaker 2: acting partner and gross. They also first they he's a
• 56:31
  Speaker 2: gross permit. But they also introduced like like more people
• 56:36
  Speaker 2: than you can really remember, yeah, oh ye, which always
• 56:40
  Speaker 2: does happen in these situations. And I like that they
• 56:44
  Speaker 2: kind of shone a light on that. It was like
• 56:45
  Speaker 2: showing the like the like kind of outsider like behind
• 56:50
  Speaker 2: the scenes stuff to like how this is done, like
• 56:56
  Speaker 2: you know casting and.
• 56:59
  Speaker 1: Like, yeah, presented like an animal, like a show animal,
• 57:03
  Speaker 1: and you're supposed to do tricks.
• 57:05
  Speaker 2: Yeah, exactly. And and then so she does she like
• 57:10
  Speaker 2: is uncomfortable first by his leariness, but then she taps
• 57:13
  Speaker 2: in so hard, does like this like insane sort of
• 57:17
  Speaker 2: like very intimate, very sensitive, very quiet bit of like
• 57:25
  Speaker 2: it's almost the soliloquy, like she's almost alone in the scene.
• 57:28
  Speaker 1: And the director not knowing how to direct her, and
• 57:34
  Speaker 1: the director the actor being like acting, is reacting and
• 57:38
  Speaker 1: he does such a good job of reacting and.
• 57:41
  Speaker 2: Done could also tell he's a little He shows a
• 57:44
  Speaker 2: little that he's taken aback by how.
• 57:46
  Speaker 1: How strong she is and how how aggressive she is,
• 57:50
  Speaker 1: the choices that she's exactly.
• 57:51
  Speaker 2: And the funny thing is is that.
• 57:53
  Speaker 1: Though that's how those old actors did tap into, they
• 57:55
  Speaker 1: didn't really realize like, oh man, like this is this
• 58:00
  Speaker 1: is how fucking emotions. Emotions work in real life too.
• 58:05
  Speaker 1: Write They're just like I'm an alcoholic whatever you know.
• 58:09
  Speaker 1: And this dude's like like like very like charcoal brown skin.
• 58:15
  Speaker 2: Oh my god, dude, like like I was just like
• 58:17
  Speaker 2: holy shit. The tan was was intense.
• 58:22
  Speaker 1: And like really but really well played like both of them,
• 58:26
  Speaker 1: like it was like a dance between them. And the
• 58:28
  Speaker 1: funny thing is is that like the director is an
• 58:31
  Speaker 1: idiot and doesn't know anything, but the full like play
• 58:35
  Speaker 1: of the scene is like for the audience of.
• 58:39
  Speaker 2: The age difference was so deliberate. Yeah, such as like
• 58:43
  Speaker 2: a like an intense age noticeable feel age difference, Yeah,
• 58:49
  Speaker 2: for sure.
• 58:50
  Speaker 1: And and then we get you know, the sort of
• 58:55
  Speaker 1: clapping at the end of the scene, and everybody's like, wow,
• 58:58
  Speaker 1: that was so great. But like, and this happens with
• 59:02
  Speaker 1: audiences too. That's why I hate fans of things, but
• 59:06
  Speaker 1: like audiences who don't really get what it is to
• 59:11
  Speaker 1: like make a movie, whether it be on the production
• 59:14
  Speaker 1: side or whether it be like the interaction with actors
• 59:17
  Speaker 1: and how they need.
• 59:18
  Speaker 2: To feel comfortable. You need to feel comfortable.
• 59:20
  Speaker 1: Work with them, not against them, you know, and sometimes
• 59:24
  Speaker 1: against them too, like fucking weirdos like Kubrick.
• 59:29
  Speaker 2: But you know, you've.
• 59:31
  Speaker 1: Got the contrast between this director who's like kind of
• 59:35
  Speaker 1: getting everything he wants with our boy Adam being like
• 59:42
  Speaker 1: panicked and like not being able to get the thing
• 59:45
  Speaker 1: that he wants out of the art because there's so
• 59:48
  Speaker 1: much money involved and it sucks. But also they keep
• 59:54
  Speaker 1: mentioning your aunt would be so proud, like the nepotistic
• 59:58
  Speaker 1: element in this as well, because she's also the movie
• 1:00:04
  Speaker 1: is constantly implying that she is the replacement for this
• 1:00:08
  Speaker 1: this actor, but like like we know that she was
• 1:00:13
  Speaker 1: the replaceable one in her real life, right, So it's.
• 1:00:17
  Speaker 2: Like it's well, it's showing us to and also it's
• 1:00:22
  Speaker 2: living out the dream of being the chosen.
• 1:00:25
  Speaker 1: The chosen one exactly, which.
• 1:00:27
  Speaker 2: Is it's really cool. It's a really cool way to
• 1:00:30
  Speaker 2: sort of like play into like a very familiar feeling
• 1:00:34
  Speaker 2: in life of like, you know, really wanting to make
• 1:00:37
  Speaker 2: it and be good at something, excel at something, and
• 1:00:40
  Speaker 2: like the reality of that sometimes looks different than than
• 1:00:43
  Speaker 2: what you expect, right, Yeah, and such a I think,
• 1:00:47
  Speaker 2: such a like massive achievement of like theme exploration on
• 1:00:53
  Speaker 2: so many different levels. Yeah, totally.
• 1:00:56
  Speaker 1: And also the agent, the incestuous nature of the business
• 1:01:00
  Speaker 1: where the agent is like, oh you know him, no him,
• 1:01:04
  Speaker 1: I was married to him for ten years, you know,
• 1:01:06
  Speaker 1: where it's like everybody's wheeling and dealing on like kind
• 1:01:12
  Speaker 1: of vague promises to friends of family members of people
• 1:01:18
  Speaker 1: that you know, it's all about people you know, and
• 1:01:21
  Speaker 1: then caught to we get the like singing the doop
• 1:01:25
  Speaker 1: the ladies and the dudes like singing with.
• 1:01:31
  Speaker 2: You know.
• 1:01:32
  Speaker 1: In the next scene, and.
• 1:01:35
  Speaker 2: David Lynch's relationship to music is really unbelievable.
• 1:01:41
  Speaker 1: Yeah, he was the best, I would say, like next
• 1:01:45
  Speaker 1: to I think Jim Jarmush. Those are the guys for
• 1:01:49
  Speaker 1: me who are like or Martin Scorsese obviously too, but
• 1:01:51
  Speaker 1: Martin Scorsese to a different degree because it's like all
• 1:01:54
  Speaker 1: played music, but this with score and how music works.
• 1:01:58
  Speaker 2: But all not just score, would say. I would say
• 1:02:00
  Speaker 2: also what he chooses, Yeah, the music he chooses, like
• 1:02:04
  Speaker 2: like how he loves like fifties shit and how he
• 1:02:07
  Speaker 2: like likes kind of there's like bands that are like
• 1:02:10
  Speaker 2: David Lynch bands right, like.
• 1:02:12
  Speaker 1: Yeah, oh totally. That he put in Twin Peaks exactly exactly.
• 1:02:16
  Speaker 2: So I think that just having this doop moment is
• 1:02:20
  Speaker 2: a reminder of that of that throwback the fifties thing
• 1:02:23
  Speaker 2: the like and the fifties thing isn't for me about
• 1:02:27
  Speaker 2: like it's like it's it's an exploration of like the
• 1:02:30
  Speaker 2: the idea of dream Americana, you know, the like kind
• 1:02:34
  Speaker 2: of just the promise of it, not the reality of it. Yeah, totally.
• 1:02:38
  Speaker 1: And then we get who the actor is that is
• 1:02:43
  Speaker 1: being chosen by the studio, right, and she does a
• 1:02:47
  Speaker 1: great job she does a great job. But then but
• 1:02:50
  Speaker 1: also the funny thing is the reason I keep bringing.
• 1:02:52
  Speaker 2: Up the facts lie.
• 1:02:54
  Speaker 1: But but what's what's her name? The person that it
• 1:02:59
  Speaker 1: cuts to singing the doop song? He he is a
• 1:03:03
  Speaker 1: director goes up to her and is like, you know,
• 1:03:05
  Speaker 1: I have to see auditions, but you've got the role
• 1:03:07
  Speaker 1: basically right. So it's like this mishmash of when things
• 1:03:12
  Speaker 1: line up and when you need to make compromises and
• 1:03:16
  Speaker 1: when you need to like you know, succumb to studio
• 1:03:20
  Speaker 1: pressures or whatever. Because he agrees to it, Yeah, he does,
• 1:03:25
  Speaker 1: because it's like this is the girl.
• 1:03:26
  Speaker 2: Yeah he bows.
• 1:03:29
  Speaker 1: Because also sometimes the studio makes a good point.
• 1:03:32
  Speaker 2: That's a shitty thing they do.
• 1:03:34
  Speaker 1: Is that like, as an artist, you want to be
• 1:03:37
  Speaker 1: that person who's like making the final decisions and you're
• 1:03:40
  Speaker 1: and you don't have to be the.
• 1:03:42
  Speaker 2: Best people are the ones that know when to listen.
• 1:03:44
  Speaker 1: Yeah, oh absolutely, when when I because I think what
• 1:03:48
  Speaker 1: what people think is making like the right decisions is
• 1:03:54
  Speaker 1: kind of feeling a little bit like all of the
• 1:04:00
  Speaker 1: decisions have to be yours.
• 1:04:02
  Speaker 2: Yeah, but yeah, exactly, You're not always gonna have the
• 1:04:04
  Speaker 2: best instincts, especially about your own stuff. Yeah, exactly. You
• 1:04:07
  Speaker 2: need feedback, Yeah, totally.
• 1:04:09
  Speaker 1: And I think he's also like a really good antenna
• 1:04:13
  Speaker 1: for like one talks about this, he's like, you know,
• 1:04:17
  Speaker 1: pulling ideas out of the air. And then but you're right,
• 1:04:21
  Speaker 1: when they do lock eyes, she like freaks out, Betty,
• 1:04:25
  Speaker 1: Betty freaks out and like runs away.
• 1:04:28
  Speaker 2: Yeah she has she made a promise to herself because
• 1:04:31
  Speaker 2: she is Diane. Yeah.
• 1:04:36
  Speaker 1: And then we get to I mean a lot of
• 1:04:39
  Speaker 1: scenes where there are a lot of scenes where it's
• 1:04:41
  Speaker 1: like them to being followed them to being like like
• 1:04:46
  Speaker 1: being like sort of almost like stalked and seeing things.
• 1:04:57
  Speaker 2: Are you good?
• 1:04:57
  Speaker 1: Yeah? And then they go over to Diane's place and
• 1:05:07
  Speaker 1: you can tell that Rita really doesn't want to go in.
• 1:05:12
  Speaker 1: She doesn't want to have the like sort of reveal happen,
• 1:05:17
  Speaker 1: because really, Naimi Watts has been the main character the
• 1:05:20
  Speaker 1: whole time, and the movie kind of tricks you into
• 1:05:22
  Speaker 1: believing that Rita is yeah, and this woman is fucking amazing.
• 1:05:27
  Speaker 1: This Danny maul Roune is bugging to grab the woman
• 1:05:30
  Speaker 1: who lives in number twelve, and she's like, oh, Diane, yeah,
• 1:05:34
  Speaker 1: she lives over there.
• 1:05:34
  Speaker 2: I haven't seen her in a while incredible.
• 1:05:37
  Speaker 1: Danny mulroone like.
• 1:05:38
  Speaker 2: Well, yeah, and what they do in the Frank Ocean
• 1:05:40
  Speaker 2: switch up with her, but like, yeah, it's really cool
• 1:05:44
  Speaker 2: how they make her the neighbor of Betty Or who
• 1:05:47
  Speaker 2: we now know is Diane. Diane Yeah, Nami Watts. Yeah.
• 1:05:51
  Speaker 2: And then she's like, I'll come with you. She's kind
• 1:05:53
  Speaker 2: of being forceful about it, and they're being really weird
• 1:05:55
  Speaker 2: and Cagy yeah. And then and then it's like, oh,
• 1:05:58
  Speaker 2: I got to get my phone. And then so they
• 1:06:00
  Speaker 2: leave and they get to they get to her apartment.
• 1:06:06
  Speaker 1: Yeah, they break into the apartment and she's like, no,
• 1:06:09
  Speaker 1: don't do it, and it like smells really bad in there,
• 1:06:12
  Speaker 1: and then you see a dead body and it's like
• 1:06:14
  Speaker 1: it's pretty gnarly.
• 1:06:16
  Speaker 2: And the dead body is lying in the same position
• 1:06:18
  Speaker 2: that Naomi Wats's character is later lying in. Yes, Yes,
• 1:06:22
  Speaker 2: and there's like a gushy, caved in face. Yeah. I
• 1:06:26
  Speaker 2: always remember seeing like, I don't know, I feel like
• 1:06:31
  Speaker 2: it looked scarier on VHS because it was a little gushier,
• 1:06:35
  Speaker 2: like it was a little harder to make out. In HD.
• 1:06:38
  Speaker 2: It's like, oh, I can see like what they I
• 1:06:40
  Speaker 2: see the gush.
• 1:06:41
  Speaker 1: But Also, what's really funny is this scene also, and
• 1:06:45
  Speaker 1: do you remember it can't turn it off when we
• 1:06:48
  Speaker 1: do the the we did this that happened and can't
• 1:07:00
  Speaker 1: turn it off?
• 1:07:15
  Speaker 2: Like what part of the scene. I know I saw
• 1:07:17
  Speaker 2: the scene, but I'm not sure. Do you remember when.
• 1:07:21
  Speaker 1: We're looking in the mirror at each other and we're
• 1:07:24
  Speaker 1: doing this that happens al right, of course, man David
• 1:07:31
  Speaker 1: Lynch stealing all my ideas.
• 1:07:34
  Speaker 2: So she ends up.
• 1:07:35
  Speaker 1: Rita freaks out and cuts starts cutting her own hair off,
• 1:07:39
  Speaker 1: and then she gives a wig. Now we wats gives
• 1:07:46
  Speaker 1: her a wig so.
• 1:07:47
  Speaker 2: That she can look more like her I guess well.
• 1:07:50
  Speaker 1: Also, like she's clearly been like, oh, I'm disassociating. She's
• 1:07:54
  Speaker 1: had a trauma. So let's let's take her out of
• 1:07:57
  Speaker 1: her own body.
• 1:07:58
  Speaker 2: And one thing that we didn't set up before was
• 1:08:00
  Speaker 2: that there's a mysterious blue key in her purse and
• 1:08:05
  Speaker 2: a lot of extra like mysterious cash that we don't
• 1:08:07
  Speaker 2: know about, and so that that'll that I'm just mentioning
• 1:08:11
  Speaker 2: it because it's about to play.
• 1:08:12
  Speaker 1: In Yes, yes, and a mysterious cat and yeah sorry,
• 1:08:17
  Speaker 1: Rita comes in in the nude uh into Namie Watts's
• 1:08:21
  Speaker 1: room and she's like, oh God, that couch is so lumpy.
• 1:08:25
  Speaker 2: Come sleep with me, like lumpy rock movie.
• 1:08:31
  Speaker 1: Yeah, it's very porno. But but also what's nice about it, uh,
• 1:08:37
  Speaker 1: is I mean, there's a tenderness to it either way.
• 1:08:40
  Speaker 1: But what's nice about the scene is that, And and
• 1:08:42
  Speaker 1: how pornographic it plays out is that the structure of
• 1:08:46
  Speaker 1: the scene plays out in a in a fantasy kind
• 1:08:50
  Speaker 1: of way like in a porno yea. And and it
• 1:08:54
  Speaker 1: reminds me of of the the failed failed I think
• 1:08:59
  Speaker 1: it's it does it well, but but for the most part,
• 1:09:03
  Speaker 1: the failure of Brown Bunny is that exact thing, which
• 1:09:06
  Speaker 1: is the icons of pornography, but adding in the emotionality
• 1:09:11
  Speaker 1: of of.
• 1:09:13
  Speaker 2: Of dramatic performance.
• 1:09:14
  Speaker 1: But yeah, the things that get taken away in porno.
• 1:09:16
  Speaker 1: But but with that icon whereas in this this happens
• 1:09:20
  Speaker 1: in the same way, but it's handled because it's dream like,
• 1:09:25
  Speaker 1: it's handled in a much more it's handled in a
• 1:09:30
  Speaker 1: in a more natural way, ironically enough, despite it being
• 1:09:35
  Speaker 1: very natural quote unquote in the in Brown Bunny. But yeah,
• 1:09:41
  Speaker 1: the key seems to come from the.
• 1:09:47
  Speaker 2: Fact that.
• 1:09:51
  Speaker 1: She she Now we watch Betty Diane gives the key
• 1:09:55
  Speaker 1: to Joe, who's the murderer. And the money is the
• 1:09:59
  Speaker 1: money that she gives to kill Rita, Right, that's the implication.
• 1:10:04
  Speaker 2: Yeah. Yeah, so she's and this is she's kind of
• 1:10:05
  Speaker 2: being confronted with herself. She tries to kill herself herself, Yeah, totally,
• 1:10:11
  Speaker 2: and then she's killing an externalized version of herself where
• 1:10:14
  Speaker 2: it's that she projects onto, whether that's like jealousy at
• 1:10:17
  Speaker 2: greater success or the fact that she's with Justin the
• 1:10:20
  Speaker 2: Roux or you know, like a bunch of different things, yeah,
• 1:10:22
  Speaker 2: or that she's not with her Yeah, exactly, exactly, And.
• 1:10:27
  Speaker 1: Then they want to go they have to go. Rita
• 1:10:29
  Speaker 1: wakes up and she has to go to like a
• 1:10:31
  Speaker 1: concert and it's I just, I just it's the best
• 1:10:37
  Speaker 1: scene in the movie.
• 1:10:38
  Speaker 2: It's amazing. There is no band orchestra.
• 1:10:44
  Speaker 1: Well, like, the interesting thing too, is exposing in this
• 1:10:48
  Speaker 1: scene exposing.
• 1:10:51
  Speaker 2: There's two people.
• 1:10:53
  Speaker 1: There's two people in this movie that are in Twin Peaks.
• 1:10:58
  Speaker 2: By the way, who's this.
• 1:11:01
  Speaker 1: No, I mean, like the two characters in this scene
• 1:11:03
  Speaker 1: that are in Twin Peaks, it's one of them is
• 1:11:06
  Speaker 1: what's her name?
• 1:11:08
  Speaker 2: Fuck?
• 1:11:09
  Speaker 1: The girl with the mare the mall anyway, it doesn't matter.
• 1:11:15
  Speaker 1: Somebody will correct me on that. But yes, there is
• 1:11:18
  Speaker 1: no band, there is no like. Part of it is
• 1:11:21
  Speaker 1: like people playing music that's pre recorded while miming really
• 1:11:26
  Speaker 1: well the plan and that woman who sings doing such
• 1:11:31
  Speaker 1: an emotionally powerful singing and then falling and then the
• 1:11:35
  Speaker 1: singing continues. But that's what that's what movies do. They
• 1:11:41
  Speaker 1: pull you into a world purely through fakery, through sets
• 1:11:47
  Speaker 1: that are built, music that's composed and put into the
• 1:11:50
  Speaker 1: movie after acting. That's that's not uh, it's not. It's
• 1:11:56
  Speaker 1: real emotions being presented to you on a screen. Uh
• 1:12:00
  Speaker 1: not at the time that the emotions are happening. But
• 1:12:02
  Speaker 1: the emotions have happened already once in the movie, in
• 1:12:08
  Speaker 1: real life, gone through a camera, then edited together. It's
• 1:12:12
  Speaker 1: it's fantastic.
• 1:12:13
  Speaker 2: It's such like a deep exploration of tropes and like
• 1:12:17
  Speaker 2: it is kind of like a memification in a way.
• 1:12:20
  Speaker 2: Like it's like it's like a it's a it's a
• 1:12:22
  Speaker 2: kind of like engaging with ideas on that referential level. Right, yeah,
• 1:12:27
  Speaker 2: for sure.
• 1:12:27
  Speaker 1: And that same mustachioed man that pointed Adam to the cowboy.
• 1:12:34
  Speaker 2: And and also said that he had no money left
• 1:12:36
  Speaker 2: the motel manager. Yeah, he shows up. He's great and
• 1:12:40
  Speaker 2: he yeah what is he? He like announces something.
• 1:12:45
  Speaker 1: Yeah, well he's part of the the like performance and
• 1:12:49
  Speaker 1: the dream he's part of the dreaming.
• 1:12:51
  Speaker 2: The singing in this scene is so incredible, and her
• 1:12:55
  Speaker 2: makeup is so cool. Yeah, very nicely done. Yeah, she's
• 1:13:00
  Speaker 2: got like a tear. There's like two tones on the
• 1:13:03
  Speaker 2: like very bright eyeshadow.
• 1:13:06
  Speaker 1: Red and yellow. Really nice. And they come out and
• 1:13:09
  Speaker 1: take the body and then the blue haired woman who
• 1:13:11
  Speaker 1: says Celencio at the end, but this is also called seemingly.
• 1:13:20
  Speaker 1: Seemingly she pulls out the box to open the box
• 1:13:26
  Speaker 1: with the key of the truck.
• 1:13:27
  Speaker 2: But she finds like a monolith type figure in her purse. Suddenly,
• 1:13:33
  Speaker 2: I guess because they came to this place that magically
• 1:13:36
  Speaker 2: appears in her purse.
• 1:13:38
  Speaker 1: And it's almost like the confronting the memory, like understand
• 1:13:44
  Speaker 1: where the memory is happening.
• 1:13:46
  Speaker 2: It's essentially Pandora's Box and so like.
• 1:13:48
  Speaker 1: Because Betty does. When they come home, Rita is there
• 1:13:52
  Speaker 1: and Betty disappears.
• 1:13:53
  Speaker 2: She's gone. Well because she's opened Pandora's Box.
• 1:13:56
  Speaker 1: The key well, she hasn't found it yet. She just
• 1:13:58
  Speaker 1: realizes that, and she pulls out the key and then
• 1:14:00
  Speaker 1: opens it.
• 1:14:01
  Speaker 2: But then that's exactly it. The realization was enough to
• 1:14:04
  Speaker 2: get rid of the doppel game, well, getting rid of
• 1:14:07
  Speaker 2: part of her and.
• 1:14:09
  Speaker 1: She but she still thinks she's the doppelganger. She still
• 1:14:11
  Speaker 1: thinks she's innocent.
• 1:14:13
  Speaker 2: No, but then it turns out that she's the real
• 1:14:15
  Speaker 2: one exactly. Well, if it flips on its head, who
• 1:14:18
  Speaker 2: the real one is in this? And there is no
• 1:14:21
  Speaker 2: real one really.
• 1:14:21
  Speaker 1: And this is from a video that we did too.
• 1:14:26
  Speaker 2: True. Oh yeah, damn dude.
• 1:14:34
  Speaker 1: Yeah, I stole so many ideas, but they're good ideas,
• 1:14:39
  Speaker 1: they're great ideas.
• 1:14:40
  Speaker 2: Yeah. And then.
• 1:14:43
  Speaker 1: Her aunt comes home and there's nothing there, which I loved.
• 1:14:48
  Speaker 1: I love that the the dream was a real place
• 1:14:51
  Speaker 1: could have been played by Grace. The dream feels like
• 1:14:56
  Speaker 1: a real place and and there's characters and things happened
• 1:15:01
  Speaker 1: in there. And then the cowboy peers into the room
• 1:15:06
  Speaker 1: and like closes the door.
• 1:15:10
  Speaker 2: Yeah. At this point, I think cowboys meant to show
• 1:15:12
  Speaker 2: you that, like he's Simon, he's between dreams. Yeah he is, Yeah,
• 1:15:17
  Speaker 2: it has between he's Simon, he's between dreams, and he's
• 1:15:20
  Speaker 2: kind of guiding a little bit. Yeah, but like in
• 1:15:23
  Speaker 2: a way that there's a lot of like anchor people,
• 1:15:26
  Speaker 2: like Coco is an.
• 1:15:26
  Speaker 1: Anchor person, Yeah, Coco, a Joe justin Thre justin Threau.
• 1:15:34
  Speaker 2: Yeah.
• 1:15:34
  Speaker 1: So like we get to the reality quote unquote, and
• 1:15:40
  Speaker 1: it's like it takes place in a different time. Does
• 1:15:43
  Speaker 1: it take place at the same time as does it
• 1:15:47
  Speaker 1: take place before because it takes place before she gets
• 1:15:51
  Speaker 1: into a crash or the implication is that she wants
• 1:15:53
  Speaker 1: to kill this woman.
• 1:15:55
  Speaker 2: No. I think it's like a smattering of memories that
• 1:15:57
  Speaker 2: kind of like pops up again and like recontextualizes a
• 1:16:01
  Speaker 2: lot of what we've already already seen because the blue
• 1:16:03
  Speaker 2: Key gets gets shown.
• 1:16:06
  Speaker 1: The neighbor of Diane comes over and she's like, yeah, it's.
• 1:16:13
  Speaker 2: And there's that like scene where the guy who who
• 1:16:16
  Speaker 2: who shoots the guy who's from Lebowski shoots the guy.
• 1:16:19
  Speaker 2: There's that scene where she's meeting with him and she's
• 1:16:22
  Speaker 2: actually that like was it the girl from from fucking
• 1:16:29
  Speaker 2: ron Long in the caravo? I don't know, And does
• 1:16:35
  Speaker 2: that scene exist or did I dream that? Because it's
• 1:16:38
  Speaker 2: not in it's not in it's not in Showgirls. I
• 1:16:51
  Speaker 2: think it's a different movie.
• 1:16:53
  Speaker 1: Yeah, it's in a different movie.
• 1:16:55
  Speaker 2: What is it.
• 1:16:57
  Speaker 1: I don't know.
• 1:16:58
  Speaker 2: It's not show Girls. No it's not. Okay, Okay, we'll
• 1:17:01
  Speaker 2: figure it out later. Yeah, we'll figure it out later.
• 1:17:06
  Speaker 1: Diane. She has a freak out.
• 1:17:11
  Speaker 2: When she sees when she sees.
• 1:17:15
  Speaker 1: Rita again and Rita is looking very pristine and very
• 1:17:18
  Speaker 1: like made up, and then it cuts back to Naomi
• 1:17:22
  Speaker 1: Watts and then cuts back to Rita, and Rita ends
• 1:17:28
  Speaker 1: up being Nami Watts again, right, So the implication is
• 1:17:31
  Speaker 1: very much like and she makes a coffee, so the
• 1:17:34
  Speaker 1: implication is very much like she had a love affair
• 1:17:37
  Speaker 1: with this person at some point, and then she has
• 1:17:40
  Speaker 1: a sex scene with her again on the couch and
• 1:17:45
  Speaker 1: it's like this was definitely and she's made up constantly.
• 1:17:48
  Speaker 1: She's like, Namie Watts is not made up at all.
• 1:17:51
  Speaker 1: She looks like like normal or whatever, but she's like
• 1:17:58
  Speaker 1: very aggressive and she's like she feels owed something, it
• 1:18:04
  Speaker 1: seems like, and it cuts to.
• 1:18:08
  Speaker 2: On set.
• 1:18:09
  Speaker 1: Now we're with Adam and Rita in the car and
• 1:18:13
  Speaker 1: he's explaining to an actor how he wants her to
• 1:18:17
  Speaker 1: behave like in the scene while Betty. Now Diane is
• 1:18:26
  Speaker 1: watching both of them and how easily and suavely Justin
• 1:18:29
  Speaker 1: Thurreau manages to like describe what he wants from the
• 1:18:34
  Speaker 1: scene and how he plays out the scene because there
• 1:18:38
  Speaker 1: are lovers and they're in real life, well the real
• 1:18:42
  Speaker 1: life of this movie, and there's an intense jealousy that
• 1:18:48
  Speaker 1: you can see in Naomi. And in the next scene
• 1:18:54
  Speaker 1: they have a fight and Naomi pushes Rita out and
• 1:18:58
  Speaker 1: then is like Master.
• 1:19:01
  Speaker 2: Yeah, Yeah. Something I wanted to say is, like specifically
• 1:19:04
  Speaker 2: about this scene is like there is like I think,
• 1:19:08
  Speaker 2: you know, there's like a way that I think you
• 1:19:12
  Speaker 2: could also give it a trans transnisinterpretation of like different names,
• 1:19:18
  Speaker 2: you know, like this kind of idea of like the
• 1:19:23
  Speaker 2: discovering oneself, loving oneself, but externalizing also aspects of oneself
• 1:19:31
  Speaker 2: and like then trying to like reintegrate and like doing
• 1:19:35
  Speaker 2: that through this idea of doppelgangers. It's yeah, that's pretty interesting.
• 1:19:38
  Speaker 2: It's so interesting.
• 1:19:41
  Speaker 1: And also the like the sexual element of like pain
• 1:19:47
  Speaker 1: coming through through sex and like relief of pain using
• 1:19:54
  Speaker 1: sex but it never being like enough or whatever. Diane
• 1:20:06
  Speaker 1: gets a call on the phone in a classic David
• 1:20:09
  Speaker 1: lynch room with one lamp and illuminating over a phone
• 1:20:13
  Speaker 1: in some mysterious wall and she gets a call that
• 1:20:19
  Speaker 1: she she has to go to Mulholland Drive and it's
• 1:20:24
  Speaker 1: like sixty eighty mahan to go back. And she's in
• 1:20:29
  Speaker 1: the same car that Rita was in at the beginning,
• 1:20:36
  Speaker 1: and the driver is like, oh, we're here, and she's like, driver,
• 1:20:40
  Speaker 1: are we here?
• 1:20:41
  Speaker 2: She kind of panics and it's like a.
• 1:20:42
  Speaker 1: Secret path, which is like kind of the world of Hollywood.
• 1:20:49
  Speaker 1: There's a mystery to like, what how did you get
• 1:20:51
  Speaker 1: to this place? And it's like it's just a total mystery.
• 1:20:53
  Speaker 1: It's a it's a random path.
• 1:20:55
  Speaker 2: It's like those AI means that correct what happened in
• 1:20:59
  Speaker 2: the past correctly? Oh yeah, totally yeah. She like shows up.
• 1:21:05
  Speaker 2: She the pal. She shows up at the Marilyn Manson's
• 1:21:09
  Speaker 2: party and is greeted is greeted by uh, what's her name? Rita?
• 1:21:15
  Speaker 1: Yeah, and just the Drew comes out with three drinks
• 1:21:18
  Speaker 1: and he's like there she is, and it's like, I
• 1:21:21
  Speaker 1: don't believe you've met my mother. Oh, everybody just calls
• 1:21:24
  Speaker 1: me Coco.
• 1:21:26
  Speaker 2: You did such a good impression. No, everybody just calls
• 1:21:30
  Speaker 2: me Coco. The way she says it, it's really funny
• 1:21:34
  Speaker 2: dude Transatlantic accent.
• 1:21:38
  Speaker 1: Oh yeah, totally, everybody just calls me Coca. But also like,
• 1:21:44
  Speaker 1: oh I won the jitterbug contest. Everything recontextualized has not
• 1:21:49
  Speaker 1: just a deeper meaning, but it's the kind of sadder
• 1:21:51
  Speaker 1: tinge to it totally because you're and.
• 1:21:55
  Speaker 2: Like, because it's the reality, Well it's not. It's still
• 1:21:59
  Speaker 2: not exactly the reality because it's so outrageous and surreal.
• 1:22:03
  Speaker 1: I mean it is, but it is outrageous and surreal.
• 1:22:05
  Speaker 1: This is what these kinds of things are.
• 1:22:07
  Speaker 2: Like, that's true, the chaos of it.
• 1:22:09
  Speaker 1: And also there are like really neat things that he
• 1:22:13
  Speaker 1: does with the camera lens where it's like constantly shaking
• 1:22:17
  Speaker 1: before it snaps into focus.
• 1:22:19
  Speaker 2: Uh.
• 1:22:20
  Speaker 1: And man, this Danny maul Roun, who's fucking this bon
• 1:22:24
  Speaker 1: jovie looking Danny Maulroon over here, who's like asking like
• 1:22:27
  Speaker 1: dumb inane questions. It's like, oh, yeah, how is that production?
• 1:22:31
  Speaker 1: You know those kinds of conversations at swanky parties?
• 1:22:35
  Speaker 2: Oh yeah, that redug I do know guys like that.
• 1:22:42
  Speaker 1: And then I love this as like a hint where
• 1:22:47
  Speaker 1: Justin Thureau is like, oh yeah, and that's where you
• 1:22:50
  Speaker 1: guys became friends. And her being like kind of stung
• 1:22:54
  Speaker 1: by it a little bit, where it's like there's kind
• 1:22:58
  Speaker 1: of an attitude in this where it's like I worked
• 1:23:00
  Speaker 1: really hard to be here, but I'm still being treated like, oh, yeah,
• 1:23:04
  Speaker 1: we're friends, that's why you get the jobs that you get.
• 1:23:08
  Speaker 1: In the same vein, Yeah, in the same vein of
• 1:23:13
  Speaker 1: what's his name, justin Thurreaux feeling the feelings he had
• 1:23:17
  Speaker 1: of like, this isn't the person that I'm casting, you know,
• 1:23:22
  Speaker 1: this is.
• 1:23:23
  Speaker 2: That I casted.
• 1:23:24
  Speaker 1: And then we get that scene where Rita looks at
• 1:23:29
  Speaker 1: at the new it girl. She looks at at at
• 1:23:35
  Speaker 1: Betty Diane, and then the new it girl comes over
• 1:23:38
  Speaker 1: to whisper something in her ear, and then Rita very
• 1:23:41
  Speaker 1: consciously gives her a kiss as well, which the implication
• 1:23:44
  Speaker 1: seems to be like the it girl that that dream
• 1:23:51
  Speaker 1: Adam was rejecting was the it girl that he fell
• 1:23:55
  Speaker 1: in love with in the dream. But also Betty is
• 1:23:58
  Speaker 1: like jealous of the new girl, and there's so many
• 1:24:01
  Speaker 1: like layers to to like why she Rita was so
• 1:24:08
  Speaker 1: Betty was so pissed, like as Diane.
• 1:24:11
  Speaker 2: Name Diane David.
• 1:24:13
  Speaker 1: Yeah, that's very true. Uh, And like Rita almost like
• 1:24:19
  Speaker 1: challenging her, being like okay, like this is this is.
• 1:24:27
  Speaker 2: What's it called?
• 1:24:29
  Speaker 1: This is the new person? You know what I mean? Anyway, sorry,
• 1:24:33
  Speaker 1: go ahead.
• 1:24:34
  Speaker 2: Oh nothing, I was listening to you. Yeah. Yeah.
• 1:24:36
  Speaker 1: She she ends up being like really really hurt and
• 1:24:39
  Speaker 1: like it's it's like pretty bad. And then when when
• 1:24:43
  Speaker 1: she kisses Justin what rita kisses Justin Tharreaux, she whips
• 1:24:47
  Speaker 1: her head around and it cuts to the diner Twinkies
• 1:24:51
  Speaker 1: diner where Joe is.
• 1:24:54
  Speaker 2: It's such a like a yeah, it's like a stark scene.
• 1:24:57
  Speaker 1: Yeah, and and all a waitress has dropped all over
• 1:25:02
  Speaker 1: the ship and then she comes over and she sees
• 1:25:04
  Speaker 1: the name tag and it's.
• 1:25:05
  Speaker 2: Betty Yeah, which I love.
• 1:25:07
  Speaker 1: I love all the stuff that's like integrated really well
• 1:25:11
  Speaker 1: into the It's so fucking good.
• 1:25:13
  Speaker 2: It's so good, dude. And she.
• 1:25:19
  Speaker 1: Diane hands Joe the picture and is like, don't get
• 1:25:25
  Speaker 1: me this here, and he's like all actors have fucking headshots, chill.
• 1:25:30
  Speaker 2: Yeah, but yeah, he like wants to she wants him
• 1:25:33
  Speaker 2: to murder her, dude.
• 1:25:34
  Speaker 1: Yeah, and he gives her the blue key.
• 1:25:38
  Speaker 2: She's just the same way that that like drugged Out
• 1:25:44
  Speaker 2: Girl was earlier on in the scene when when she's
• 1:25:47
  Speaker 2: talking to you, right, did we say.
• 1:25:49
  Speaker 1: Yeah, yeah h And not just that, but we see
• 1:25:53
  Speaker 1: eyebrows yea in the same place, in the same place,
• 1:25:59
  Speaker 1: and she was you were terrified, So like it does
• 1:26:05
  Speaker 1: it makes sense. The movie makes sense, of course, it's
• 1:26:10
  Speaker 1: all it's all connect interconnected with of course it makes sense.
• 1:26:14
  Speaker 1: Like and then we see the homeless man with the
• 1:26:16
  Speaker 1: blue box.
• 1:26:18
  Speaker 2: Oh yeah, it was yeah, like having.
• 1:26:23
  Speaker 1: That and the tiny old people crawling out from the bag.
• 1:26:26
  Speaker 2: Well, it's the it's old age chasing you. It's it's
• 1:26:31
  Speaker 2: irrelevance chasing you. But it thankfully never caught him. He
• 1:26:36
  Speaker 2: was able to evade it because he had an understanding
• 1:26:39
  Speaker 2: of it. Yeah, totally, Like how to continue to make
• 1:26:44
  Speaker 2: relevant art, and that's by radically embracing your vision, yeah
• 1:26:50
  Speaker 2: totally and doing it in the way that you know
• 1:26:53
  Speaker 2: is going to like reach people. Yeah, for sure.
• 1:26:59
  Speaker 1: The old people grow into giant old people.
• 1:27:03
  Speaker 2: Uh.
• 1:27:03
  Speaker 1: And they chase her Diane into her bedroom. Uh, and
• 1:27:08
  Speaker 1: she grabs a gun and shoots herself, and then smoke
• 1:27:11
  Speaker 1: happens and we see the the melted bum.
• 1:27:21
  Speaker 2: Uh.
• 1:27:21
  Speaker 1: You know, have like kind of a you know moment
• 1:27:26
  Speaker 1: in in the bright lights that are happening. Uh and
• 1:27:30
  Speaker 1: we see now we wats in really bright light with
• 1:27:33
  Speaker 1: with Rita and you just see it here Cleensio from
• 1:27:42
  Speaker 1: the Blue Haired Woman, and that's where the movie ends.
• 1:27:46
  Speaker 2: Man.
• 1:27:47
  Speaker 1: Yeah, I mean it's a ten out of ten.
• 1:27:49
  Speaker 2: Yeah, Like there's the thing like to me, you know,
• 1:27:52
  Speaker 2: I we did we did Lost Highway last year and
• 1:27:59
  Speaker 2: it's not my favorite Lynch movie. This movie is my
• 1:28:02
  Speaker 2: favorite Lynch movie. And it's because it's the first one
• 1:28:05
  Speaker 2: I liked. But also I just love the colors in it. Yeah,
• 1:28:10
  Speaker 2: I love the like worlds that are explored in it.
• 1:28:14
  Speaker 2: I feel like Lost Highways stylized in a way that
• 1:28:20
  Speaker 2: is cool and works for the movie. But I just
• 1:28:23
  Speaker 2: like this more. This is like explores some of the
• 1:28:26
  Speaker 2: same themes, but like in a way also that like
• 1:28:29
  Speaker 2: allows for you to kind of interpret a bit more,
• 1:28:32
  Speaker 2: you know.
• 1:28:34
  Speaker 1: And I mean the more I watch them, the more
• 1:28:36
  Speaker 1: I'm like, yeah, I just understand this so much. Yeah,
• 1:28:41
  Speaker 1: it's not like like to a degree that it's because
• 1:28:44
  Speaker 1: it's so embedded in my my obviously my filmmaking. Now
• 1:28:49
  Speaker 1: your storytelling, my storytelling. Yeah, despite my storytelling having more
• 1:28:57
  Speaker 1: of a linear through line, the dream and the ability
• 1:29:01
  Speaker 1: to dream is always still there, and like people saying
• 1:29:06
  Speaker 1: things that don't quite make sense, but I think it's
• 1:29:12
  Speaker 1: gonna be fucking I mean it's it's fucking awesome. This
• 1:29:15
  Speaker 1: was really really, really fucking good.
• 1:29:17
  Speaker 2: It's it's ten out of ten. And yeah, I mean
• 1:29:22
  Speaker 2: like it it was life changing, Like this movie was
• 1:29:25
  Speaker 2: like absolutely mind changing, life changing. I it's it's like
• 1:29:31
  Speaker 2: talk about Pantheon. Yeah, yeah, I don't know, it's it's
• 1:29:36
  Speaker 2: really it's really special. This movie is like it holds
• 1:29:39
  Speaker 2: a really special place in my heart.
• 1:29:40
  Speaker 1: Yeah, rest in peace, David Lynch.
• 1:29:48
  Speaker 2: We're forever indebted to you as a society. Yeah. I
• 1:29:53
  Speaker 2: think we like what you've done for storytelling and and
• 1:29:57
  Speaker 2: film and film and and also like understanding, like deep
• 1:30:02
  Speaker 2: understanding of yourself and like the bravery to go places.
• 1:30:06
  Speaker 4: Yeah.
• 1:30:20
  Speaker 1: Anyway, yeah, I guess like ten David Lynch is out
• 1:30:23
  Speaker 1: of ten or ten ten blue boxes, ten blue keys.
• 1:30:28
  Speaker 2: Yeah, I would give it ten blue keys. It opened
• 1:30:32
  Speaker 2: Pandora's box for me. I would say, sometimes you see
• 1:30:37
  Speaker 2: something that's so like earth shatteringly change, life changing that
• 1:30:46
  Speaker 2: you're like, I don't know, like you just you want
• 1:30:54
  Speaker 2: access to it, you know, it's like, how the hell
• 1:31:00
  Speaker 2: do you? I think the mystery that people find in
• 1:31:09
  Speaker 2: David Lynch's movies is the mystery that people find in
• 1:31:19
  Speaker 2: David Lynch's movies is the mystery that they have in themselves.
• 1:31:27
  Speaker 2: It's like all of the hidden things, it's all the
• 1:31:30
  Speaker 2: stuff from the darkness. It's all of the unknown stuff,
• 1:31:34
  Speaker 2: unknowable stuff. It's like the place of activation, it's the
• 1:31:41
  Speaker 2: place of calm and serenity. It's just like it's they're
• 1:31:45
  Speaker 2: ambitious movies that want to talk about the way of things,
• 1:31:50
  Speaker 2: not just like not just like tell a story from
• 1:31:55
  Speaker 2: A to B, you know, they tell the story of
• 1:32:00
  Speaker 2: inside through how they explore regularness, the regularness of life.
• 1:32:10
  Speaker 1: That's true, there's a lot of there's a lot of
• 1:32:14
  Speaker 1: that kind of theme and the clash of what's regular
• 1:32:17
  Speaker 1: or what should feel regular, and what what interests regular
• 1:32:24
  Speaker 1: people to like pursue something just generally like the pursuit
• 1:32:29
  Speaker 1: the interest and the curiosity of something. With Betty it's
• 1:32:34
  Speaker 1: it's the curiosity of Hollywood. With Jeffrey Beaumont in Blue Velvet,
• 1:32:40
  Speaker 1: it's like the mystery of what's this, what's this mystery?
• 1:32:44
  Speaker 1: Ear this magic in the air? With Belfa Sargetti. It's
• 1:32:49
  Speaker 1: like the mystery of like money and like power.
• 1:32:54
  Speaker 2: I read that he was castper his slouchiness and that
• 1:32:56
  Speaker 2: he was asked to accentuate his sludginess.
• 1:32:59
  Speaker 1: Man, I love Balthazar. He looks totally different now. It
• 1:33:01
  Speaker 1: doesn't look like Balthazar getting anymore.
• 1:33:04
  Speaker 2: I read something about him being problematic or something. I
• 1:33:07
  Speaker 2: don't know.
• 1:33:08
  Speaker 1: I didn't read pass that, and uh, yeah, in all
• 1:33:12
  Speaker 1: of them, even even with Sailor and Lula in in
• 1:33:20
  Speaker 1: in Wild at Heart, which is weird because like they're
• 1:33:25
  Speaker 1: an adaptor, Like he did an adaptation of two things.
• 1:33:29
  Speaker 1: He did a biopic in a science fiction with Dune.
• 1:33:35
  Speaker 1: It's interesting his canon, but like they're all Lynch movies,
• 1:33:38
  Speaker 1: and they're all lynchy in you know they're they don't
• 1:33:40
  Speaker 1: feel like they're like, oh, Wild at Heart is an adaptation,
• 1:33:44
  Speaker 1: Like who gives a fuck?
• 1:33:45
  Speaker 2: I don't want to read that book.
• 1:33:46
  Speaker 1: I'm going to read that book. But but there's a
• 1:33:48
  Speaker 1: sequel too. But it's interesting that that he would make
• 1:33:54
  Speaker 1: something that's not his and just somehow like rob it
• 1:33:58
  Speaker 1: of it and make it his.
• 1:34:01
  Speaker 2: It's great. Yeah, I agree, I agree. Yeah, ten out
• 1:34:03
  Speaker 2: of ten and I love David Lynch and I'm so
• 1:34:07
  Speaker 2: glad that we got to meet up to talk about this. Yeah,
• 1:34:10
  Speaker 2: follow us up. There's represents on Instagram, at more Thursday
• 1:34:13
  Speaker 2: on Twitter, and Yeah, join us on Patreon, Atreon dot
• 1:34:17
  Speaker 2: com slash thirsty for more. See you next week. Bye,