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Speaker 1: Dear listeners of Hollywoodland, does it feel like you're stuck

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Speaker 1: in limbo, standing under a flickering streetlight at the corner

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Speaker 1: of Hollywood and true crime, waiting for the next episode

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Speaker 1: of Hollywoodland to drop? I got you. Welcome to Hollywoodland,

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Speaker 1: the rap party. What is the good word, my fellow

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Speaker 1: movie geeks, you true crime freaks just like me? You

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Speaker 1: guys like your movie history served up with a side

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Speaker 1: of grit and grime. And this, of course, is the

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Speaker 1: place where we rescue those stories from the cutting room floor,

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Speaker 1: the stories that were left behind, the very same stories

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Speaker 1: that have now made you the most dangerous person at

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Speaker 1: the party. I'm your host, Zeth Lundy, writer, showrunner, and

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Speaker 1: good doctor here at Double Elvis. And today in the

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Speaker 1: Hollywoodland Rap Party, we are talking about mysteries. We're talking

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Speaker 1: about dreams, the unresolved and the great David Lynch, which

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Speaker 1: means that later in the show, I'll be joined by

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Speaker 1: Jake Brennan of Disgraceland to give you guys some dreamlike

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Speaker 1: dirty wrecks. Plus, I've got your calls, your texts, your emails.

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Speaker 1: So come on, everybody. Let's party. First of all, I

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Speaker 1: gotta say, I screwed up here, guys. Last week, I

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Speaker 1: promised you our episode on Tim Allen from the Archive,

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Speaker 1: and as Disco Michael, I believe, pointed out over on

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Speaker 1: our Patreon, here's David Lynch popping up in your feed

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Speaker 1: this week. Not Tim Allen. That's my bad. I'm still

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Speaker 1: not quite sure what I did, but I think I

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Speaker 1: just looked at the wrong spot on my programming calendar

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Speaker 1: when I was prepping stuff with Matt, and thus... the mix-up.

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Speaker 1: It was a crazy week last week. There was a

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Speaker 1: lot of stuff going on, a lot of work-life balance

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Speaker 1: going on that turned into an imbalance, I guess. But

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Speaker 1: have no fear, Mr. Allen, the cocaine cowboy from Kalamazoo,

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Speaker 1: will be back in action next week. That I can promise.

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Speaker 1: But that means we have the pleasure of talking about

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Speaker 1: David Lynch today. And you know what? David Lynch would

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Speaker 1: have co-signed on this fuck-up because, you know, it's interesting, right?

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Speaker 1: It's unexpected. It's not the way things are supposed to

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Speaker 1: be or supposed to have gone. Who cares, right? There's

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Speaker 1: that great clip of David Lynch that pops up in

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Speaker 1: my social feed all the time where he's shooting something,

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Speaker 1: a movie, and someone on set asks him if he

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Speaker 1: wants to cut the length of the shot. And he's like,

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Speaker 1: who gives a shit about how long a shot is? Like,

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Speaker 1: what is the big deal? So I'm going into this

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Speaker 1: week with some of that what is the big deal

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Speaker 1: energy here. And also with the knowledge that everything in life,

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Speaker 1: including our little blunders and missteps, they're all part of

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Speaker 1: the mystery. Life is a mystery, which sounds cliched to say,

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Speaker 1: but it's true. It's a beautiful mystery at times. It's

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Speaker 1: a very painful mystery at other times. Last week, I

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Speaker 1: had the pleasure of talking with the BBC host. about

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Speaker 1: the 50th anniversary of Stevie Wonder's Songs of the Key

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Speaker 1: of Life album. And I wrote about it as well,

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Speaker 1: the anniversary over on Substack. And as I was thinking

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Speaker 1: about that record, I was like, well, the meaning of

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Speaker 1: life is in this record, right? It's all there because

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Speaker 1: the meaning of life is love. It's as simple as that.

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Speaker 1: And yes, as cliched as that. But humans being contradictory

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Speaker 1: and finicky beings, as we want to be, I will

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Speaker 1: now say that the meaning of life is not only love,

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Speaker 1: but it's also, or perhaps instead, it's mystery. Life is

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Speaker 1: not a mystery. Life is mystery. It's not knowing and

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Speaker 1: perhaps finding a way to accept that you can't understand everything.

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Speaker 1: And I think maybe there's some peace in that, getting

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Speaker 1: to that place. I don't practice transcendental meditation the way

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Speaker 1: that David Lynch did, but Perhaps that's the whole point

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Speaker 1: of that practice as well. You know, it's to get

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Speaker 1: closer to, you know, an acceptance of mystery. And again,

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Speaker 1: I'm not talking about like, you know, Dashiell Hammett mystery

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Speaker 1: or Raymond Chandler mystery. I'm talking about things that we

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Speaker 1: can't explain. And David Lynch's filmography, you know, of course,

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Speaker 1: is riddled with this kind of mystery. Again, it's the

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Speaker 1: whole point. He famously did not want to solve the

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Speaker 1: case of Laura Palmer, the dead girl who drives the

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Speaker 1: narrative in his groundbreaking 1990s TV show, Twin Peaks, because

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Speaker 1: solving the thing meant an end to the mystery. And

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Speaker 1: mystery is where the good stuff is. That was David

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Speaker 1: Lynch's playground. I think Lynch was really onto something here,

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Speaker 1: you know, because how many times have you watched a

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Speaker 1: movie with a really compelling premise? You know, someone disappears,

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Speaker 1: someone turns up dead. Something is rotten in Denmark or

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Speaker 1: Missoula or wherever, only for the mystery to later be

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Speaker 1: solved in a way that feels cheap or empty or unsatisfying.

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Speaker 1: Is it more satisfying to have no closure, to have

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Speaker 1: the mystery carry on? For example, a movie that I

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Speaker 1: love is David Fincher's The Game, starring Michael Douglas, underrated

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Speaker 1: Fincher film. This came out right after Seven and right

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Speaker 1: before Fight Club. And it's about this wealthy prick played

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Speaker 1: by Michael Douglas who gets a birthday gift from his

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Speaker 1: mischievous younger brother who's played by Sean Penn. And the

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Speaker 1: gift is this subscription to a game. And the game

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Speaker 1: starts without your knowledge and sort of takes over your life.

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Speaker 1: And suddenly, Michael Douglas' character is thrust into what seems

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Speaker 1: to be some sort of dark conspiracy in which he's

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Speaker 1: the main character. He's being watched. He's being set up.

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Speaker 1: He's being followed. His life is at stake. and he's

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Speaker 1: running around San Francisco at night trying to figure out

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Speaker 1: just what the hell is going on. And the whole

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Speaker 1: time watching it, you're thinking, well, this is just a game, right?

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Speaker 1: Or wait, is it just a game? Oh my God,

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Speaker 1: it's not a game. This is really happening. No, wait,

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Speaker 1: it is just a game. And it goes back and

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Speaker 1: forth like that, right? And when the film comes to

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Speaker 1: an end, and listen, this came out like almost 30

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Speaker 1: years ago, so the statute of limitations on spoilers has

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Speaker 1: long since gone out the window. When it comes to

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Speaker 1: an end... It's just kind of like, oh yeah, it

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Speaker 1: was just a game. Happy birthday, you rich fuck, right? Now, again,

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Speaker 1: I'm not trying to denigrate this movie. I love this movie.

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Speaker 1: And I love how right up to the very end,

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Speaker 1: it toys with your understanding of what is happening. You know,

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Speaker 1: the very last scene, the very last 10 minutes or so,

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Speaker 1: you're flip-flopping between thinking it's a game and thinking it's

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Speaker 1: real at least three or four times. But once we know,

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Speaker 1: you know, when the film resolves and the credits roll, like,

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Speaker 1: that's it. And there's really no other way for this

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Speaker 1: particular film to resolve. It's either one thing or the other.

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Speaker 1: It's either a game or it's not. But my point is,

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Speaker 1: despite that, there are no like what the fuck questions left.

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Speaker 1: There's no longer a mystery to be solved. And this

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Speaker 1: is how these films play out. There is a mystery.

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Speaker 1: They are meant to be solved. And that's the whole deal.

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Speaker 1: And that's why people go to the movies and watch

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Speaker 1: stories like this. I get it. And I know there's

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Speaker 1: a whole cross section of you guys out here. who

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Speaker 1: hates when a movie doesn't do that, when a movie does,

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Speaker 1: you know, leave you hanging. But a David Lynch film

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Speaker 1: offers us more to chew on, even if the story

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Speaker 1: itself is resolved. More to chew on, I guess, maybe

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Speaker 1: after the fact. And again, I'm not trying to, I'm

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Speaker 1: not trying to say, please don't, don't misinterpret that I'm

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Speaker 1: trying to say that David Lynch is better than David

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Speaker 1: Fincher because I'm not trying to compare those two. They're,

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Speaker 1: they're so different and there's no point to, to try

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Speaker 1: to compare them. They're both great. But, A Lynch film

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Speaker 1: has lingering mysteries. You know, even if Kyle MacLachlan shoots

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Speaker 1: Dennis Hopper at the end of Blue Velvet, we're still

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Speaker 1: left wondering, what the fuck was all that shit with

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Speaker 1: Dean Stockwell singing Roy Orbison, right? And even if the

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Speaker 1: evil Bobby Peru is shot dead and Sailor and Lula

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Speaker 1: reunite against all odds at the end of Wild at Heart,

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Speaker 1: you're still left wondering, what the fuck was up with

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Speaker 1: Crispin Glover freaking out about making us lunch in the

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Speaker 1: middle of the night? What was up with those naked

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Speaker 1: ladies that came out of nowhere in Big Tuna and

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Speaker 1: danced around? And what was up with that car crash

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Speaker 1: that Sailor and Lula came upon in the middle of

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Speaker 1: the night and the girl played by Sherilyn Fenn who

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Speaker 1: had been mortally wounded? The game does not haunt me

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Speaker 1: or cause me to ruminate on questions like these long

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Speaker 1: after it's over, which is okay. Again, every film does

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Speaker 1: not have to do that. The reason I love watching

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Speaker 1: the game is I love being thrilled by its construction

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Speaker 1: and its execution in the moment. But what makes Lynch...

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Speaker 1: feel so radical is how he doesn't cut out the

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Speaker 1: things that don't make sense. If he made the game,

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Speaker 1: it would have ended the same way, perhaps, but there

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Speaker 1: would have just been a bunch of weird shit that

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Speaker 1: happened throughout that you struggle to explain or make sense of.

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Speaker 1: Some people call this surreal. Others call it operating within

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Speaker 1: some sort of a dream state. Lynch operates definitely within that.

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Speaker 1: A Dream State. I think he writes thinking of a

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Speaker 1: dream state. He takes his inspiration from dreams. His memoir

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Speaker 1: is even titled Room to Dream. There's a great interview

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Speaker 1: with David Lynch. There's so many great interviews with David Lynch.

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Speaker 1: I'm not sure that anyone has really gotten, for me,

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Speaker 1: gotten to the core of creativity and the mystery around

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Speaker 1: creativity than David Lynch did. But there's this great interview.

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Speaker 1: I forget who it was with. where he talks about

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Speaker 1: dream logic, and he talks about how a dream can

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Speaker 1: feel a certain way to you, the dreamer. But when

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Speaker 1: you try to explain the dream to someone else, it's

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Speaker 1: impossible to get them to feel the way that you

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Speaker 1: felt experiencing it, right? And then ultimately, what's really cool

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Speaker 1: about cinema is that Cinema can be the dream and

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Speaker 1: that you as the viewer are experiencing that dream and

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Speaker 1: so is everyone else who is watching it. And every

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Speaker 1: person watching it has their own interpretation of what they saw,

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Speaker 1: which is also why David Lynch refused to explain his

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Speaker 1: movies to critics or journalists or to anyone else who

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Speaker 1: asked because explaining it would ruin the mystery, right? Besides,

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Speaker 1: I don't even think that Lynch could explain some of

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Speaker 1: these things. And that, my friends, once again, is the

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Speaker 1: whole point. I'm reminded of a line that Monica Bellucci

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Speaker 1: says in Twin Peaks Season 3, the Twin Peaks The Return,

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Speaker 1: when she says, we are like the dreamer who dreams

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Speaker 1: and then lives inside the dream. So with that in mind,

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Speaker 1: later in this episode, I will be joined by Jake

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Speaker 1: Brennan of Disgraceland, And we are going to give you

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Speaker 1: guys another dose of our Dirty Rex recommendations of music

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Speaker 1: and movies this week that are dreamlike. They feel like

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Speaker 1: a dream. They employ dream logic, perhaps. Maybe they exist

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Speaker 1: in a dream state. Or they're just about dreams. Although

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Speaker 1: I hope Jake comes with something a little bit deeper

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Speaker 1: than the Fleetwood Mac song, I know he will. So

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Speaker 1: stick around for that. Speaking of Jake and speaking of Disgraceland,

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Speaker 1: over in the feed of our sister show, We just

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Speaker 1: dropped a brand new episode on the great Screamin' Jay Hawkins,

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Speaker 1: a true rock and roll originator, written by yours truly,

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Speaker 1: by the way. This episode asks the question, was Screamin'

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Speaker 1: Jay Hawkins murdered? Which, you know, that question is definitely

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Speaker 1: out there. There are multiple people who knew Jay who

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Speaker 1: have spoken about this on the record, some off the record. Now,

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Speaker 1: you know, the official, or maybe you don't know, if

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Speaker 1: you don't know the Screamin' cause of his death in

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Speaker 1: the year 2000 was organ failure after emergency surgery to

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Speaker 1: treat an aneurysm. But there's some talk out there that

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Speaker 1: the cause was actually something a little bit more sinister

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Speaker 1: than that. Listen to this episode of Disgraceland on Apple Podcasts,

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Speaker 1: the iHeartRadio app, or wherever you get your podcasts. Coming

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Speaker 1: up later this week on Friday. I've got a new

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Speaker 1: installment of The Screening Room. That's our weekly episode here

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Speaker 1: in Hollywoodland where I take a deep dive into one film.

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Speaker 1: And this week, that film is David Lynch's 2001 mystery

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Speaker 1: Mulholland Drive. I'm stoked to get into this one. My

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Speaker 1: favorite Lynch movie, and I've been on the record for

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Speaker 1: this before, is Wild at Heart. I think just because

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Speaker 1: of when I saw that when I was, you know,

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Speaker 1: at in high school. I think I was a junior

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Speaker 1: or senior. Just that formative moment in time when you're

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Speaker 1: sort of forming your tastes and these things that stick

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Speaker 1: with you forever. But Mulholland Drive is just brilliant and

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Speaker 1: full of mystery. I remember seeing this in the fall

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Speaker 1: of 2001 at the theater, right after I moved out

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Speaker 1: to LA. And the movie takes place, of course, in LA.

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Speaker 1: And I had just graduated from film school a few

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Speaker 1: years prior to David Lynch was a huge influence on

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Speaker 1: me in school. If you could see any of my

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Speaker 1: student films now, they were all driven by dream logic.

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Speaker 1: They did not make sense in a traditional way. One

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Speaker 1: in particular was actually about dreams and featured someone dreaming

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Speaker 1: in it. I always felt like I was failing at

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Speaker 1: making films or writing films. I struggled with writing screenplays.

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Speaker 1: because it seemed like everyone else, or at least it

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Speaker 1: appeared that way to me, that everyone else could put

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Speaker 1: together narratives that made sense, they could tell a story.

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Speaker 1: And here I was just operating on a feeling or

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Speaker 1: a hunch, trying to get that feeling or that hunch

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Speaker 1: to translate to a moving picture. So anyway, to feel

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Speaker 1: like I couldn't really do what I wanted to do,

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Speaker 1: to tell a coherent story, and then to graduate, move

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Speaker 1: to L.A., And to see this brand new film by

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Speaker 1: David Lynch that is staunchly Lynchian and nonconformist, it was very,

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Speaker 1: very comforting to me. So I hope you guys come

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Speaker 1: back and check that episode out on Friday. And then

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Speaker 1: next week, as promised last week, our episode from the

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Speaker 1: archive all about Tim Allen. 617-906-6638. That's the number you

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Speaker 1: can call or text, leave a voicemail, send a message,

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Speaker 1: give me your thoughts on any of this stuff we're

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Speaker 1: talking about. You know, I'm curious, how much mystery do

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Speaker 1: you like in your movies? Does the mystery have to

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Speaker 1: be solved or resolved? Do you like more questions than answers?

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Speaker 2: 617-906-6638.

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Speaker 1: Leave me a voicemail, send me a text. You can

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Speaker 1: also email me at disgracelandpod at gmail.com. I've got to

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Speaker 1: take a quick break here, guys, but when we return,

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Speaker 1: I'm going to get into all the calls and messages

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Speaker 1: and emails y'all sent me this past week. So as

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Speaker 1: Marvin Barry told the audience at the Enchantment Under the

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Speaker 1: Sea dance, don't nobody go nowhere. What's up, guys? Dr.

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Speaker 1: Lundy hanging with you here in the Hollywoodland Rap Party, 617-906-6638.

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Speaker 1: That's how you get in touch, just like our caller

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Speaker 1: here from the 6-1 down under.

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Speaker 3: Hi, it's Kelly here, a friend of yours from Australia.

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Speaker 3: I just listened to your So I Married an Ex-Murderer episode,

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Speaker 3: one of my favorite movies ever. I love that movie. Oh,

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Speaker 3: my gosh.

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Speaker 2: I was 20 when it came out, so not much

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Speaker 2: older than you.

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Speaker 3: Yeah, and I just wanted to say you got the

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Speaker 3: pronunciation of Anthony LaPaglia perfect.

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Speaker 1: You were absolutely spot on.

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Speaker 3: Perfect. Amazing.

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Speaker 2: Don't change a thing.

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Speaker 3: Love your show. Thank you for everything you do. And

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Speaker 3: I look forward to listening to your other episodes. Bye.

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Speaker 1: Kelly, thank you so much for calling in. Great to

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Speaker 1: hear your voice. I'm glad that you dig on So

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Speaker 1: I Married an Axe Murderer. It really is. It's a

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Speaker 1: really fun time. Personally, I'm happy that I said Anthony

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Speaker 1: LaPaglia correctly the first time. That really makes my day because,

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Speaker 1: you know, It's a flip of the coin 50-50 thing.

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Speaker 1: And it just turns out that when it comes to

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Speaker 1: name pronunciations, I'm usually on the wrong end of that coin.

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Speaker 1: So appreciate you listening and calling in Kelly. Rock on.

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Speaker 1: Let's see. We got another voicemail here from the 903.

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Speaker 3: Hey, Jake and Dr.

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Speaker 2: Lundy.

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Speaker 3: I am just calling with the glue actors that your

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Speaker 3: question was for this week. Anyway, Steve Buscemi. And I'm

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Speaker 3: actually going to take it to the extent of it's

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Speaker 3: his life. We're all just living in it. He is

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Speaker 3: the main focus of the simulation. We just happen to

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Speaker 3: be side characters in his life. For 31 years now,

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Speaker 3: since like 1985, he has done small productions, big productions,

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Speaker 3: and award-winning pictures Fargo and not to mention and he

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Speaker 3: went down and helped on 9-11 and helped dig through

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Speaker 3: the rubble and that was like crazy to me that

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Speaker 3: a guy you know that's a Hollywood actor actually went

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Speaker 3: in and did that just without recognition without anything he

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Speaker 3: just put on a fire hat and coat and stuff

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Speaker 3: like he happened to have and then he you know

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Speaker 3: he did all that that was crazy that's my main

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Speaker 3: glue guy like Steve Buscemi All right, love the show, guys.

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Speaker 3: Rock and roll. Bye.

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Speaker 1: I think this might be the greatest answer to this question,

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Speaker 1: at least for Gen Xers like me. You could look

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Speaker 1: at character actors from the past like M. Emmett Walsh

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Speaker 1: or Ned Beatty to be a glue person. And by

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Speaker 1: the way, sorry, the caller here from the 903 is

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Speaker 1: talking about, we were talking about Phil Hartman and the

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Speaker 1: glue the other week. Actors who sort of hold together

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Speaker 1: ensemble casts the way that Phil Hartman does. held together

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Speaker 1: the cast of Saturday Night Live. And I love this answer.

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Speaker 1: I remember, you know, I remember seeing Steve Buscemi pop

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Speaker 1: up in indie movies back in the 90s. And it'd

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Speaker 1: be like, oh yeah, it's that dude again. It's that,

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Speaker 1: you know, as they say in Fargo, the funny looking

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Speaker 1: guy again. As a early adopter, early adopter, early fan

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Speaker 1: of the Coen brothers, you know, he just kept on

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Speaker 1: popping up in Coen brothers movies. He has an incredible

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Speaker 1: scene in Miller's Crossing where he talks very, very fast.

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Speaker 1: He's got an incredible small role in Barton Fink as

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Speaker 1: a bellhop named Chet. I kept on seeing him in

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Speaker 1: these Coen Brothers films. That was really how I sort

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Speaker 1: of charted Buscemi. And then when you started to see

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Speaker 1: him in other stuff, it was like, oh, cool, the

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Speaker 1: guy from the funky Coen Brothers movies that I like

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Speaker 1: is getting some love elsewhere. Don't forget, we talked about

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Speaker 1: The Sopranos the other week, too. Don't forget about his

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Speaker 1: great run in The Sopranos, too. So 903, thanks for

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Speaker 1: that call.

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Speaker 2: 617-906-6638.

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Speaker 1: You can call or, like the 808 here, you can text.

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Speaker 1: The 808 wrote in for Zeth. Mr. Fix-It sounds eerily

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Speaker 1: close to 2017's Mom and Dad starring Nick Cage and

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Speaker 1: Selma Blair. Although a horror and not meant to be

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Speaker 1: a comedy, it was a bit too comedic to me

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Speaker 1: since Nick Cage makes choices, LOL. Yeah, 808, Nick Cage

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Speaker 1: does make choices. And that's what we love about him,

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Speaker 1: you know? The 808 here is talking about Mr. Fix-It.

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Speaker 1: This was a legendary script that Phil Hartman had written

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Speaker 1: back in the late 80s, I believe, that never got

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Speaker 1: produced and it sort of disappeared and was meant to

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Speaker 1: be like this sort of like comedic horror film. You know,

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Speaker 1: I never saw Mom and Dad. This is like, at

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Speaker 1: some point, you know, Nick Cage just started like taking

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Speaker 1: every single script that was offered to him and it

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Speaker 1: became really hard unless you wanted to be a Nick

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Speaker 1: Cave completist to sort of see everything that he was in.

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Speaker 1: So this is in that pile of stuff that I

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Speaker 1: just have not seen from Nick Cave. Nick Cave. Have

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Speaker 1: I been saying Nick Cave this whole time? Speaking about

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Speaker 1: Anthony LaPaglia. Holy shit. I'm sorry. Nick Cage. Maybe if

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Speaker 1: I say Nicholas Cage, I won't say Nick Cave. Nick Cave,

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Speaker 1: also great. You know, maybe we should have a movie

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Speaker 1: where Nick Cage plays Nick Cave. I would absolutely see

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Speaker 1: that movie. 808, I wonder if you would too. I'm guessing...

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Speaker 1: I'm guessing you'd be in just for the spectacle of it.

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Speaker 2: 617-906-6638.

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Speaker 1: Text from the 516. Scott from the 516, just started

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Speaker 1: my workout when I heard your list of top 100

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Speaker 1: shows of the 2000s. If The Sopranos is not on

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Speaker 1: the list, then the list isn't worth the paper it's

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Speaker 1: written on. I am re-watching that series again for the

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Speaker 1: third time. The 516 here is talking about the New

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Speaker 1: York Times list of the 100 greatest TV shows of

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Speaker 1: the 21st century, which does not feature The Sopranos, because

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Speaker 1: The Sopranos debuted in 1999. And I said, that was

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Speaker 1: a whole bunch of malarkey. And Scott here in the

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Speaker 1: 516 agrees. You know, I was just saying to my

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Speaker 1: wife the other day, Scott, I was like, do we

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Speaker 1: need to rewatch The Sopranos again? Because I just keep

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Speaker 1: thinking about it. And we did a rewatch, was it

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Speaker 1: during COVID? Maybe during COVID, we did our last rewatch

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Speaker 1: of the whole series. And it was just, it was

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Speaker 1: great because especially like in the second half of the series,

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Speaker 1: which for whatever reason, I feel like I've seen earlier

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Speaker 1: episodes more often, more frequently, those first couple of seasons especially.

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Speaker 1: But later on, some of those later seasons, I was like,

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Speaker 1: I don't remember this at all. And it was like

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Speaker 1: watching it for the first time. So I think I

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Speaker 1: need to get on my third rewatch as well, Scott.

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Speaker 1: So stay tuned and I'll let you know if that happens.

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Speaker 1: Got a text here from the 610. It says, Dr. Zeth,

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Speaker 1: It's your old pal Jonathan in the 610. How did

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Speaker 1: I never hear Lee Moses? Thanks for the dirty recs

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Speaker 1: and rock-a-rola. Rock-a-rola, Jonathan. You're not the only one. Another disco.

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Speaker 1: My guy Matthew was jamming on that too. He sent

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Speaker 1: me a message. Yeah, if you guys don't know, again,

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Speaker 1: if you missed last week's episode, I was talking about

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Speaker 1: this Lee Moses album called Time and Place from the

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Speaker 1: early 70s, 71, I think, that was reissued, I don't know,

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Speaker 1: a few months ago. more than a few years back,

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Speaker 1: but reissued in the 21st century. And it is just

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Speaker 1: a killer diamond in the rough R & B record

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Speaker 1: with great cover versions of California Dreamin' and Hey Joe

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Speaker 1: and so much other goodness in there. So do like

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Speaker 1: Jonathan and Matthew and me and check that out.

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Speaker 3: 617-906-6638.

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Speaker 1: Text from the 410 line. Hi, Seth, writing in from

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Speaker 1: the 410. I adore Innerspace. It's my absolutely favorite Martin

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Speaker 1: Short movie. It is such a core memory, renting it

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Speaker 1: time and time again. Thanks for bringing that one back

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Speaker 1: to light. Bex, Bex, you got it. I talked about

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Speaker 1: Innerspace the other day, guys, because I watched that for

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Speaker 1: the first time in years. And just like Bex here,

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Speaker 1: that was a core memory, watching it just really unlocked

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Speaker 1: shit for me that I hadn't thought about in years,

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Speaker 1: which is, I enjoy that. I like how that happens.

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Speaker 1: If you guys haven't seen Inner Space, I don't know

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Speaker 1: what to tell you. Peak Martin Short, peak Dennis Quaid,

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Speaker 1: peak Joe Dante. It's a blast. Got a text here

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Speaker 1: from the 207 fellow Mainer. Here's what it says. All's

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Speaker 1: I got to say about you and Heat is that

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Speaker 1: you focused way too much on De Niro and Pacino

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Speaker 1: when you shouldn't have given a shit about that. Who

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Speaker 1: gives a shit about them together? They are completely different

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Speaker 1: actors that somehow got lumped together. Why? Is it because

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Speaker 1: they are both Italian? I don't get it. Look at

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Speaker 1: the movie as a whole and focus less on your

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Speaker 1: preconceived notions. Val Kilmer stole the show along with Tom

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Speaker 1: Sizemore plus the rest of the cast and the bank

423
00:24:37,830 --> 00:24:39,889
Speaker 1: robbery scene alone was one of the best cinema has

424
00:24:39,990 --> 00:24:42,470
Speaker 1: ever seen. I know it's off topic. I am late

425
00:24:42,490 --> 00:24:44,810
Speaker 1: to the party as I just came across your podcast.

426
00:24:44,869 --> 00:24:46,790
Speaker 1: I just found your take on heat to be plain

427
00:24:46,830 --> 00:24:50,609
Speaker 1: wrong to the point of annoyance. But it's art, so

428
00:24:50,630 --> 00:24:52,930
Speaker 1: you are open to your subjective view. I'm just here

429
00:24:52,950 --> 00:24:56,350
Speaker 1: to tell you, WTF. Tighten your shit up when it

430
00:24:56,369 --> 00:24:58,330
Speaker 1: comes to heat. No hard feelings, though. You have been

431
00:24:58,369 --> 00:25:00,169
Speaker 1: spot on for the rest of the films. Sorry to

432
00:25:00,210 --> 00:25:06,240
Speaker 1: be harsh. I'm just releasing steam from your take on heat. 207,

433
00:25:06,520 --> 00:25:10,639
Speaker 1: no offense taken. Much love to you, especially as a

434
00:25:10,760 --> 00:25:13,800
Speaker 1: fellow Mainer here. So the 207 is talking about my

435
00:25:14,200 --> 00:25:17,000
Speaker 1: previous hot takes on heat and not liking the movie Heat,

436
00:25:17,060 --> 00:25:21,750
Speaker 1: the Michael Mann movie Heat. And I absolutely hear you

437
00:25:21,850 --> 00:25:24,570
Speaker 1: on what you're saying here. But this is why I

438
00:25:24,810 --> 00:25:27,050
Speaker 1: focus too much on Robert De Niro and Al Pacino.

439
00:25:27,830 --> 00:25:31,520
Speaker 1: Because when this movie came out, when was this, 95?

440
00:25:31,520 --> 00:25:34,540
Speaker 1: When this movie came out in 95, I was born

441
00:25:34,560 --> 00:25:39,100
Speaker 1: in the late 70s. We grew up with the greatest

442
00:25:39,260 --> 00:25:45,310
Speaker 1: actors working were Robert De Niro and Al Pacino. De Niro, especially,

443
00:25:45,369 --> 00:25:49,129
Speaker 1: when he came along, Taxi Driver, Raging Bull, he was

444
00:25:49,150 --> 00:25:52,050
Speaker 1: doing shit that nobody had done before. And Pacino, likewise.

445
00:25:52,630 --> 00:25:55,070
Speaker 1: And there hadn't been sort of this shift in acting

446
00:25:55,650 --> 00:25:58,230
Speaker 1: since Brando. You know, it was De Niro, it was

447
00:25:58,350 --> 00:26:01,470
Speaker 1: Meryl Streep, it was Al Pacino. They were unlocking something

448
00:26:01,580 --> 00:26:05,020
Speaker 1: new in human behavior that we hadn't seen on screen before.

449
00:26:05,619 --> 00:26:09,040
Speaker 1: So growing up, it was like these two guys were

450
00:26:09,420 --> 00:26:13,000
Speaker 1: the two guys, right? And yes, they were in The

451
00:26:13,020 --> 00:26:16,560
Speaker 1: Godfather Part II together, but they didn't act together on screen.

452
00:26:16,660 --> 00:26:20,570
Speaker 1: And so at the time when Heat came out, 207,

453
00:26:20,570 --> 00:26:24,909
Speaker 1: I remember the conversation was, holy fuck, Robert De Niro

454
00:26:24,970 --> 00:26:29,179
Speaker 1: and Al Pacino, the two greatest actors working today are

455
00:26:29,460 --> 00:26:32,379
Speaker 1: finally going to be in a movie together. Can you

456
00:26:32,420 --> 00:26:35,920
Speaker 1: believe that? That was why we gave a shit about

457
00:26:35,960 --> 00:26:38,530
Speaker 1: them being together at that time. And that is why

458
00:26:38,650 --> 00:26:42,770
Speaker 1: I continued to focus on that because that was the

459
00:26:42,810 --> 00:26:45,730
Speaker 1: story of that movie. It was like this big get

460
00:26:46,050 --> 00:26:48,469
Speaker 1: that a director was finally making a film with these

461
00:26:48,530 --> 00:26:50,149
Speaker 1: two guys together. So that was the point. That was

462
00:26:50,170 --> 00:26:52,860
Speaker 1: the whole deal. So that's where I came from. That's

463
00:26:52,880 --> 00:26:54,980
Speaker 1: where I've, that's where I've always come from on this movie,

464
00:26:55,000 --> 00:26:58,120
Speaker 1: because I remember that being the conversation about that movie

465
00:26:58,140 --> 00:27:01,000
Speaker 1: when it came out. And even the, even the press

466
00:27:01,320 --> 00:27:04,730
Speaker 1: talked that up. If I'm not mistaken, the commercials on

467
00:27:04,790 --> 00:27:07,210
Speaker 1: TV talked that up. It was like, you know, it

468
00:27:07,230 --> 00:27:10,109
Speaker 1: was a big, it was an, it was event-tized cinema.

469
00:27:10,410 --> 00:27:13,320
Speaker 1: All right. But I get it, and you know, I

470
00:27:13,359 --> 00:27:16,590
Speaker 1: haven't watched Heat in forever, so I really need to

471
00:27:16,619 --> 00:27:18,510
Speaker 1: watch it again and see if I need to reappraise

472
00:27:19,140 --> 00:27:22,330
Speaker 1: my take. And again, 207, no hard feelings, much love,

473
00:27:22,710 --> 00:27:27,730
Speaker 1: and I appreciate you listening. Welcome to Hollywoodland. If you are,

474
00:27:27,750 --> 00:27:29,910
Speaker 1: it sounds like you're new here, happy to have you,

475
00:27:30,109 --> 00:27:33,109
Speaker 1: and you know, always feel free to let me know

476
00:27:33,130 --> 00:27:35,270
Speaker 1: what you think, whether I'm on or I'm off, right?

477
00:27:36,710 --> 00:27:39,649
Speaker 1: All right, let's jump over here real quick before I

478
00:27:39,670 --> 00:27:42,080
Speaker 1: switch gears. Let's get an email in here. you guys

479
00:27:42,100 --> 00:27:46,540
Speaker 1: can email me at disgracelandpod at gmail.com. Back on that

480
00:27:46,940 --> 00:27:50,080
Speaker 1: subject of the New York Times top 100 TV shows,

481
00:27:50,200 --> 00:27:55,150
Speaker 1: got an email from Jason with the subject line top 100. Hi, Dr. Z,

482
00:27:55,210 --> 00:27:57,810
Speaker 1: Jason in the 845 here. Well, I have to say,

483
00:27:57,830 --> 00:28:00,690
Speaker 1: I think the Sopranos aged poorly and is way more

484
00:28:00,790 --> 00:28:03,550
Speaker 1: uneven than you remember, but I agree that it shouldn't

485
00:28:03,609 --> 00:28:06,470
Speaker 1: be on the list. They had to set hard limits.

486
00:28:07,430 --> 00:28:12,109
Speaker 1: As to my best shows, only some, BoJack Horseman, The Wire,

487
00:28:12,970 --> 00:28:17,100
Speaker 1: Party Down, not on the list. Midnight Diner, a Japanese show,

488
00:28:17,280 --> 00:28:21,159
Speaker 1: not on the list. Taskmaster, not on the list. Line

489
00:28:21,260 --> 00:28:24,440
Speaker 1: of Duty, better than any police show ever. I'm not

490
00:28:24,520 --> 00:28:27,260
Speaker 1: counting The Wire as a police show, not on list.

491
00:28:27,980 --> 00:28:32,399
Speaker 1: Battlestar Galactica, Garth Marenghi, not on list. And Would I

492
00:28:32,460 --> 00:28:37,380
Speaker 1: Lie to You, not on list. Thanks, Jason. Fascinating list here.

493
00:28:37,460 --> 00:28:42,470
Speaker 1: I'm curious about this Midnight Diner show, the Japanese show. Oh, damn.

494
00:28:42,830 --> 00:28:46,900
Speaker 1: Midnight Diner. My uncle just sent me a text the

495
00:28:46,920 --> 00:28:50,260
Speaker 1: other day about this show and said it's his favorite show.

496
00:28:51,260 --> 00:28:53,980
Speaker 1: Is it on Netflix? I think he said it was

497
00:28:54,000 --> 00:28:56,880
Speaker 1: his favorite Netflix show. Anyways, got to check that out,

498
00:28:56,920 --> 00:28:59,850
Speaker 1: Midnight Diner. And I'm curious about Line of Duty. I

499
00:28:59,910 --> 00:29:03,350
Speaker 1: don't know that I know this show either. So thanks

500
00:29:03,390 --> 00:29:07,970
Speaker 1: for that. disgracelandpod at gmail.com. You can email me like

501
00:29:08,010 --> 00:29:14,210
Speaker 1: Jason here, or you can call or text 617-906-6638. Maybe

502
00:29:14,230 --> 00:29:16,150
Speaker 1: you've got something to say, something to get off your chest.

503
00:29:16,170 --> 00:29:19,270
Speaker 1: You know, let me know. Get at me. While you're

504
00:29:19,310 --> 00:29:22,430
Speaker 1: doing that, I'm going to take a quick commercial break,

505
00:29:22,470 --> 00:29:25,510
Speaker 1: but when I return, I will be joined by Disgraceland's

506
00:29:25,610 --> 00:29:27,770
Speaker 1: Jake Brennan, and we will give you guys some dirty

507
00:29:27,870 --> 00:29:49,580
Speaker 1: recs all about dreams. Stay with us. All right, everybody.

508
00:29:49,620 --> 00:29:54,400
Speaker 1: Welcome back to the wrap party here in Hollywood land.

509
00:29:55,200 --> 00:29:59,950
Speaker 1: We're in the Dirty Rex section. Dirty Rex section. So

510
00:29:59,990 --> 00:30:02,840
Speaker 1: I'm joined as I always am by Jake Brennan. What

511
00:30:02,940 --> 00:30:03,740
Speaker 1: is going on?

512
00:30:04,620 --> 00:30:07,640
Speaker 2: Well, Dirty Recession sounds like a cool foreign film on

513
00:30:07,680 --> 00:30:10,160
Speaker 2: Criterion that I haven't watched yet. I'll probably just click

514
00:30:10,200 --> 00:30:12,490
Speaker 2: on the thumbnail and never watch it unless it comes

515
00:30:12,570 --> 00:30:15,110
Speaker 2: on randomly, but I'm doing good, man. I'm excited to

516
00:30:15,150 --> 00:30:15,450
Speaker 2: see you.

517
00:30:16,110 --> 00:30:20,120
Speaker 1: Likewise. I ranted about this earlier, but I'm pissed at... Actually, no, wait.

518
00:30:20,640 --> 00:30:22,000
Speaker 1: Do I rant about it later in this episode?

519
00:30:23,940 --> 00:30:25,540
Speaker 2: You may have ranted about it, but you don't know

520
00:30:25,580 --> 00:30:27,020
Speaker 2: if you've ranted about it yet. I get it.

521
00:30:27,020 --> 00:30:29,940
Speaker 1: But Criterion is having this issue with Samsung TVs right now.

522
00:30:30,180 --> 00:30:30,420
Speaker 2: I know.

523
00:30:30,440 --> 00:30:32,850
Speaker 1: Because they updated their shit, and I can't fucking watch

524
00:30:32,910 --> 00:30:34,250
Speaker 1: anything on Criterion right now.

525
00:30:34,270 --> 00:30:35,010
Speaker 2: I'm pissed off.

526
00:30:35,030 --> 00:30:35,150
Speaker 1: I know.

527
00:30:35,190 --> 00:30:38,510
Speaker 2: The app might not get approved. They're doing all this

528
00:30:38,730 --> 00:30:42,390
Speaker 2: Criterion closet content, and I feel like that's getting all

529
00:30:42,430 --> 00:30:43,990
Speaker 2: the heat, and they're neglecting the app.

530
00:30:44,470 --> 00:30:45,830
Speaker 1: You know what I mean? Agreed. Agreed.

531
00:30:45,850 --> 00:30:46,190
Speaker 3: Yeah.

532
00:30:46,230 --> 00:30:48,430
Speaker 2: Why isn't that shit on the app, by the way?

533
00:30:48,650 --> 00:30:49,830
Speaker 1: It should be. It should be.

534
00:30:50,050 --> 00:30:52,130
Speaker 2: Yeah, it absolutely should be. I just watched it on

535
00:30:52,170 --> 00:30:54,030
Speaker 2: a loop. I had a really weird thing the other day.

536
00:30:54,070 --> 00:30:56,250
Speaker 2: So I went up to Boston and I did this

537
00:30:56,330 --> 00:30:57,530
Speaker 2: interview with Payne Lindsay.

538
00:30:57,690 --> 00:30:58,210
Speaker 1: Oh yeah. Yeah.

539
00:30:58,730 --> 00:31:01,130
Speaker 2: And I was prepping for it and I was, I

540
00:31:01,170 --> 00:31:03,910
Speaker 2: was kind of messing with this concept that I'm, I'm

541
00:31:03,950 --> 00:31:06,290
Speaker 2: going to abandon, but I'm trying to prompt conversation about

542
00:31:06,330 --> 00:31:08,810
Speaker 2: true crime. So I, I was going to ask him

543
00:31:08,850 --> 00:31:12,440
Speaker 2: if he knew of this case, which was the, the death.

544
00:31:12,560 --> 00:31:15,320
Speaker 2: And this is movie related. It was the death, the

545
00:31:15,380 --> 00:31:18,480
Speaker 2: murder that inspired double indemnity. Do you know about this?

546
00:31:18,720 --> 00:31:21,560
Speaker 2: Ruth Snyder? It was, it was the crime of the century,

547
00:31:21,560 --> 00:31:28,120
Speaker 2: 1927 murder. And there was an execution. And a photographer

548
00:31:28,140 --> 00:31:30,700
Speaker 2: from the New York Daily News snuck a camera in

549
00:31:31,060 --> 00:31:35,660
Speaker 2: and got a photo of the ride the lightning moment, okay,

550
00:31:35,940 --> 00:31:40,760
Speaker 2: of the woman being killed via the death penalty. And

551
00:31:40,780 --> 00:31:44,590
Speaker 2: the New York Daily News ran it on the front

552
00:31:44,630 --> 00:31:47,580
Speaker 2: page of the paper. This is the 1920s. People think

553
00:31:47,740 --> 00:31:50,460
Speaker 2: things are fucked up now. They've always been fucked up.

554
00:31:50,860 --> 00:31:53,700
Speaker 2: So anyhow, like this is all swimming around in my brain.

555
00:31:53,720 --> 00:31:56,680
Speaker 2: And the other night I'm watching the Criterion closet stuff.

556
00:31:56,740 --> 00:31:59,650
Speaker 2: I just got it going on YouTube in my bedroom.

557
00:31:59,890 --> 00:32:03,310
Speaker 2: And Jason Sudeikis is in the closet. He pulls out

558
00:32:03,350 --> 00:32:05,650
Speaker 2: Double Indemnity and he tells this story. And I'm like,

559
00:32:05,690 --> 00:32:08,110
Speaker 2: holy shit. I'm just literally just thinking about this.

560
00:32:08,230 --> 00:32:08,510
Speaker 3: Wow.

561
00:32:08,770 --> 00:32:11,750
Speaker 2: And he finishes the story by going, fun, fun, little

562
00:32:11,770 --> 00:32:14,990
Speaker 2: known fact, that photographer was my great-grandfather.

563
00:32:16,080 --> 00:32:17,600
Speaker 1: Isn't that crazy? That is crazy.

564
00:32:17,940 --> 00:32:20,180
Speaker 2: Yeah. How did he know it was my great, great grandfather?

565
00:32:20,340 --> 00:32:22,970
Speaker 2: I don't, I've never met Jason Sudeikis before in my life.

566
00:32:23,870 --> 00:32:25,470
Speaker 2: That's a joke. That's a bad joke. It was his

567
00:32:25,530 --> 00:32:26,310
Speaker 2: great grandfather.

568
00:32:28,430 --> 00:32:30,330
Speaker 1: I was picking up on it. I was picking up

569
00:32:30,390 --> 00:32:31,770
Speaker 1: on that dad humor. I got it.

570
00:32:32,790 --> 00:32:33,310
Speaker 3: I know.

571
00:32:33,410 --> 00:32:37,180
Speaker 2: So dad, it's so brutal. Um, and also Norm from

572
00:32:37,220 --> 00:32:40,300
Speaker 2: Cheers is Jason Sudeikis' uncle. I'm not making a joke. What?

573
00:32:40,360 --> 00:32:40,560
Speaker 3: Really?

574
00:32:40,720 --> 00:32:41,820
Speaker 1: George Wendt? Yeah.

575
00:32:41,860 --> 00:32:42,320
Speaker 2: George Wendt.

576
00:32:42,480 --> 00:32:42,740
Speaker 3: Wow.

577
00:32:43,100 --> 00:32:43,300
Speaker 1: Yeah.

578
00:32:43,640 --> 00:32:47,480
Speaker 2: If you notice in, um, ted lasso okay there's like

579
00:32:47,520 --> 00:32:50,190
Speaker 2: i think it's season one there's like a picture of

580
00:32:50,490 --> 00:32:53,350
Speaker 2: norm from cheers like hanging in the locker room or

581
00:32:53,390 --> 00:32:55,090
Speaker 2: in his office or something like that that's too funny

582
00:32:55,110 --> 00:32:57,330
Speaker 2: i know what he's doing there wow he's doing nice

583
00:32:57,590 --> 00:32:59,570
Speaker 2: yeah so anyways um i could have dreamed all that

584
00:32:59,590 --> 00:33:00,450
Speaker 2: because we're talking.

585
00:33:00,230 --> 00:33:02,800
Speaker 1: Yeah we are talking dreams yeah we're talking david lynch

586
00:33:02,820 --> 00:33:07,100
Speaker 1: we're talking dream state dream like i don't know what

587
00:33:07,120 --> 00:33:07,620
Speaker 1: do you got.

588
00:33:08,080 --> 00:33:11,440
Speaker 2: I got some good stuff i i love this this

589
00:33:11,620 --> 00:33:14,570
Speaker 2: david lynch video that's going around that's been going around

590
00:33:14,610 --> 00:33:18,470
Speaker 2: since he died It's him filming of a later movie,

591
00:33:18,490 --> 00:33:19,910
Speaker 2: and he's in a director's chair.

592
00:33:19,930 --> 00:33:22,130
Speaker 1: I think I may have talked about this in the episode.

593
00:33:22,150 --> 00:33:24,360
Speaker 2: He's got the hat on, and they're like, we got

594
00:33:24,380 --> 00:33:25,520
Speaker 2: to hurry up. He's like, why do we have to

595
00:33:25,560 --> 00:33:28,460
Speaker 2: hurry up? Yeah, yeah, yeah, yeah. It's so good.

596
00:33:28,480 --> 00:33:30,620
Speaker 1: They're like, can we make this shorter? And he's like,

597
00:33:30,660 --> 00:33:33,260
Speaker 1: who the hell cares how long it is? Why is

598
00:33:33,280 --> 00:33:36,180
Speaker 1: everybody so worried? He's just fucking great, man.

599
00:33:36,860 --> 00:33:38,900
Speaker 2: I love that. I love that. I've been in those

600
00:33:38,960 --> 00:33:41,450
Speaker 2: situations where you're making a thing, And all of a

601
00:33:41,490 --> 00:33:43,810
Speaker 2: sudden you're making something that you didn't sign up to make.

602
00:33:43,850 --> 00:33:44,810
Speaker 1: Exactly. Exactly.

603
00:33:44,830 --> 00:33:47,060
Speaker 2: You know what I mean? And he just slams on

604
00:33:47,080 --> 00:33:47,480
Speaker 2: the brakes.

605
00:33:47,520 --> 00:33:48,820
Speaker 1: Yeah. It's so good.

606
00:33:48,860 --> 00:33:51,880
Speaker 2: It's so good. All right. So I didn't really understand

607
00:33:51,900 --> 00:33:53,820
Speaker 2: the assignment this week, but I just went in looking

608
00:33:53,840 --> 00:33:55,100
Speaker 2: for dream songs to recommend.

609
00:33:55,280 --> 00:33:55,440
Speaker 3: Right.

610
00:33:55,460 --> 00:33:55,560
Speaker 1: Great.

611
00:33:55,820 --> 00:33:57,540
Speaker 2: Great. Is that what I should be doing? Yeah.

612
00:33:57,660 --> 00:33:57,740
Speaker 1: Yeah.

613
00:33:57,760 --> 00:33:57,940
Speaker 3: Okay.

614
00:33:58,380 --> 00:34:01,580
Speaker 2: Okay. So I immediately thought without even really thinking, like

615
00:34:01,680 --> 00:34:07,080
Speaker 2: first thought, Husker Du, 1984, Zen Arcade, their second studio album.

616
00:34:07,120 --> 00:34:10,160
Speaker 2: This is the record that most people point to, I think,

617
00:34:10,260 --> 00:34:14,380
Speaker 2: when they try to name a favorite Husker Du album.

618
00:34:14,580 --> 00:34:17,300
Speaker 2: I don't think I have a favorite Husker Du album

619
00:34:17,380 --> 00:34:21,279
Speaker 2: because I love this and New Day Rising and Flip

620
00:34:21,300 --> 00:34:27,070
Speaker 2: Your Wig equally. It's a double album. And there's two songs, Dreams, Reoccurring,

621
00:34:27,690 --> 00:34:28,670
Speaker 2: and Reoccurring Dreams.

622
00:34:28,690 --> 00:34:29,390
Speaker 1: Reoccurring Dreams, right.

623
00:34:29,730 --> 00:34:29,930
Speaker 3: Yeah.

624
00:34:29,950 --> 00:34:31,210
Speaker 2: And they kind of, I don't want to say they

625
00:34:31,290 --> 00:34:34,150
Speaker 2: bookend the album, even though Reoccurring Dreams is literally the

626
00:34:34,210 --> 00:34:40,450
Speaker 2: last song. They're instrumentals. And they're the best vibe. It's

627
00:34:40,469 --> 00:34:45,730
Speaker 2: like a punk rock kind of like just amphetamine dream,

628
00:34:45,910 --> 00:34:47,580
Speaker 2: I guess, if I was to describe it.

629
00:34:47,870 --> 00:34:48,089
Speaker 3: Yeah.

630
00:34:48,630 --> 00:34:52,220
Speaker 2: And they really, I don't know, it's the type of thing,

631
00:34:52,430 --> 00:34:55,900
Speaker 2: I think oftentimes like like punk bands in the 80s

632
00:34:55,920 --> 00:34:59,540
Speaker 2: or college rock alternative, what do you want to call it?

633
00:34:59,680 --> 00:35:01,700
Speaker 2: They do stuff like this. Fugazi did a bunch of

634
00:35:01,719 --> 00:35:06,690
Speaker 2: this on their albums. These kind of weird instrumental segues.

635
00:35:06,930 --> 00:35:08,670
Speaker 2: And it's the type of shit that like critics really

636
00:35:09,070 --> 00:35:12,230
Speaker 2: love that I don't really love, but I really love this.

637
00:35:12,489 --> 00:35:15,669
Speaker 2: I really love the vibe of these two tracks on

638
00:35:15,710 --> 00:35:19,180
Speaker 2: Zen Arcade. Even though there's much better songs on Zen Arcade,

639
00:35:19,219 --> 00:35:21,520
Speaker 2: which speaks to the brilliance of this album, the Grant

640
00:35:21,580 --> 00:35:25,140
Speaker 2: Hart stuff in particular. I feel like Grant Hart comes

641
00:35:25,200 --> 00:35:27,380
Speaker 2: out swinging on this album. I like his songs more

642
00:35:27,420 --> 00:35:29,739
Speaker 2: than Bob Mould's on this album, which is going to

643
00:35:29,760 --> 00:35:30,850
Speaker 2: piss some people off for sure.

644
00:35:31,170 --> 00:35:33,549
Speaker 1: Oh, Grant Hart was incredible. Are these the tracks that

645
00:35:33,590 --> 00:35:35,509
Speaker 1: have the Hare Krishna symbols on them, or is that?

646
00:35:35,969 --> 00:35:38,279
Speaker 2: No, that's the Hare Krishna tune, which is kind of

647
00:35:38,320 --> 00:35:40,980
Speaker 2: in conversation with these two tunes. It's very similar as well.

648
00:35:41,120 --> 00:35:42,000
Speaker 1: Maybe that's why I'm thinking of.

649
00:35:42,239 --> 00:35:44,700
Speaker 2: But that has the Hare Krishna chant in it. And

650
00:35:44,739 --> 00:35:47,700
Speaker 2: you remember that from that excellent George Harrison Disgraceland episode

651
00:35:47,730 --> 00:35:48,210
Speaker 2: that you wrote.

652
00:35:48,730 --> 00:35:48,930
Speaker 1: Yes.

653
00:35:48,969 --> 00:35:52,410
Speaker 2: Because that was the musical inspiration I took to Ryan

654
00:35:52,430 --> 00:35:56,290
Speaker 2: to create the music. I brought that song. I was like,

655
00:35:56,370 --> 00:35:58,240
Speaker 2: do our version of this because of the whole Krishna

656
00:35:58,260 --> 00:35:58,910
Speaker 2: George Harrison.

657
00:35:59,100 --> 00:36:00,580
Speaker 1: Yeah, exactly. Yeah, yeah, yeah.

658
00:36:01,080 --> 00:36:03,939
Speaker 2: So that's, that's my first recommendation to two for dreams,

659
00:36:03,960 --> 00:36:06,980
Speaker 2: reoccurring and reoccurring dreams and cheeky bastards that they are

660
00:36:07,020 --> 00:36:10,000
Speaker 2: who's could do. Um, and the final one reoccurring dreams,

661
00:36:10,340 --> 00:36:13,940
Speaker 2: I think the drum track and the guitar track are

662
00:36:13,980 --> 00:36:16,460
Speaker 2: backwards versions of the first.

663
00:36:16,560 --> 00:36:19,360
Speaker 1: Oh, funny. I love that. I love that. Just to

664
00:36:19,390 --> 00:36:22,190
Speaker 1: be contrarian here. I just want to restate my, my opinion,

665
00:36:22,210 --> 00:36:24,370
Speaker 1: which is that warehouse is my favorite who's could do album.

666
00:36:24,930 --> 00:36:26,870
Speaker 2: That is a bold, bold opinion.

667
00:36:26,989 --> 00:36:28,029
Speaker 1: It's so good.

668
00:36:28,440 --> 00:36:30,680
Speaker 2: I totally disagree. But you know what? I haven't really

669
00:36:30,700 --> 00:36:34,719
Speaker 2: given that album a chance since I was 15 years old.

670
00:36:34,840 --> 00:36:35,680
Speaker 1: Oh, man. Give it a chance.

671
00:36:35,700 --> 00:36:36,719
Speaker 2: I do.

672
00:36:36,739 --> 00:36:40,010
Speaker 1: Double album, Warner Brothers. Is it their Warner debut?

673
00:36:40,030 --> 00:36:40,090
Speaker 3: No.

674
00:36:41,430 --> 00:36:43,469
Speaker 2: Yeah, it's their only major label album.

675
00:36:43,489 --> 00:36:44,390
Speaker 1: Yeah, yeah, yeah, yeah.

676
00:36:44,410 --> 00:36:46,850
Speaker 2: It's the album that broke up the band, right?

677
00:36:46,930 --> 00:36:49,410
Speaker 1: Yeah, it is. But it's also like, that was the

678
00:36:49,450 --> 00:36:51,509
Speaker 1: time when Warner's, like Prince was on Warner's, and I

679
00:36:51,550 --> 00:36:53,810
Speaker 1: feel like that was an example of Warner's giving them

680
00:36:53,850 --> 00:36:55,450
Speaker 1: a contract and just letting them do whatever they wanted

681
00:36:55,469 --> 00:36:57,250
Speaker 1: to do and not trying to manage them, you know?

682
00:36:57,270 --> 00:36:59,109
Speaker 1: I don't know if that's true or not, but.

683
00:36:59,530 --> 00:37:01,489
Speaker 2: I don't fully know the story, but I believe Bob

684
00:37:01,510 --> 00:37:04,890
Speaker 2: Mould's boyfriend was the manager or the N.R.

685
00:37:04,930 --> 00:37:05,109
Speaker 3: Guy.

686
00:37:05,130 --> 00:37:07,950
Speaker 1: Yeah, yeah. Death involved. Right, right, something like that, yeah.

687
00:37:08,489 --> 00:37:09,880
Speaker 2: It's on our list of stuff to do, but I've

688
00:37:09,890 --> 00:37:12,020
Speaker 2: never really fully looked into it because it just seems

689
00:37:12,460 --> 00:37:13,380
Speaker 2: so sad.

690
00:37:13,580 --> 00:37:14,020
Speaker 1: Yeah, I know.

691
00:37:14,280 --> 00:37:15,680
Speaker 2: I know. Yeah.

692
00:37:15,820 --> 00:37:16,080
Speaker 1: Okay.

693
00:37:16,400 --> 00:37:19,440
Speaker 2: All right. So staying in the SST lane.

694
00:37:19,540 --> 00:37:20,239
Speaker 1: Oh, yeah.

695
00:37:20,260 --> 00:37:23,590
Speaker 2: Zen Arcade was on SST. This isn't an SST album.

696
00:37:23,690 --> 00:37:28,290
Speaker 2: It's a DGC album, but it's from the SST lane.

697
00:37:29,250 --> 00:37:37,010
Speaker 2: And it's Sonic Youth's tunic song for Karen from 1990s Goo. Now,

698
00:37:37,170 --> 00:37:42,549
Speaker 2: the first lyric from this song, dreaming, dreamy, dreaming of

699
00:37:42,590 --> 00:37:45,920
Speaker 2: a girl like me, dreamy, dreaming of a girl like me.

700
00:37:46,700 --> 00:37:50,880
Speaker 2: That's Kim Gordon singing in a very dreamlike voice. And

701
00:37:50,920 --> 00:37:54,890
Speaker 2: this is her singing the song from the point of

702
00:37:54,950 --> 00:37:59,690
Speaker 2: view of a dead Karen Carpenter. Wow. And it's, It's

703
00:37:59,750 --> 00:38:03,890
Speaker 2: a dream state. It just sounds dreamy. And it's Kim Gordon.

704
00:38:03,910 --> 00:38:08,430
Speaker 2: It sounds sexy and weird and just fucking incredible. And

705
00:38:08,469 --> 00:38:10,680
Speaker 2: it's Karen Carpenter kind of vibing with like all these

706
00:38:10,800 --> 00:38:14,440
Speaker 2: dead rock stars. She's like hanging out with Brian, I

707
00:38:14,460 --> 00:38:18,160
Speaker 2: believe Wilson, not Jones. And, you know, Janice. And it's

708
00:38:18,219 --> 00:38:21,980
Speaker 2: all these guys and gals getting name checked. Great song.

709
00:38:22,239 --> 00:38:26,129
Speaker 2: And just reminds me of an incredible dream. And, you know,

710
00:38:26,170 --> 00:38:31,350
Speaker 2: people say, people say, two different things about dreams. They say,

711
00:38:31,390 --> 00:38:34,110
Speaker 2: don't talk about your dreams because it's never interesting.

712
00:38:34,469 --> 00:38:34,689
Speaker 1: Yeah.

713
00:38:35,850 --> 00:38:39,670
Speaker 2: Kim Gordon can talk to me about her dreams on

714
00:38:39,730 --> 00:38:42,410
Speaker 2: record or in person. Anytime she wants.

715
00:38:42,750 --> 00:38:46,130
Speaker 1: There's that great built to spill line. Nobody wants to

716
00:38:46,150 --> 00:38:47,790
Speaker 1: hear what you dreamt about unless you dreamt about them.

717
00:38:48,150 --> 00:38:49,530
Speaker 3: Yeah. Yeah.

718
00:38:49,910 --> 00:38:53,259
Speaker 2: I don't know. I kind of like hearing people's dreams

719
00:38:53,280 --> 00:38:53,819
Speaker 2: because it's a window.

720
00:38:53,840 --> 00:38:55,700
Speaker 1: No, I do too. It is a window. Yeah. They're

721
00:38:55,719 --> 00:38:56,739
Speaker 1: so weird. Do you dream a lot?

722
00:38:57,340 --> 00:39:01,430
Speaker 2: Oh yeah. I have the most fucking vivid dream. vivid dreams,

723
00:39:02,250 --> 00:39:03,510
Speaker 2: like super intense.

724
00:39:03,790 --> 00:39:05,910
Speaker 1: When I, when I do remember them, they're super intense

725
00:39:05,969 --> 00:39:07,529
Speaker 1: and vivid, but I feel like half the time I don't,

726
00:39:07,670 --> 00:39:11,140
Speaker 1: I know I wake up and I don't remember dreaming. Yeah.

727
00:39:11,200 --> 00:39:13,900
Speaker 1: My wife, on the other hand, um, fights a lot

728
00:39:13,920 --> 00:39:16,439
Speaker 1: of people in her dreams and those are usually acted

729
00:39:16,500 --> 00:39:18,180
Speaker 1: out in her sleep. And so I usually get punched

730
00:39:18,200 --> 00:39:19,620
Speaker 1: in the middle of the night at some point. Is

731
00:39:19,660 --> 00:39:23,300
Speaker 1: she winning? I think in the dream she is. Yeah, absolutely.

732
00:39:23,320 --> 00:39:24,750
Speaker 2: Yeah. Good.

733
00:39:25,010 --> 00:39:27,630
Speaker 1: Um, Hey, Kim, you mentioned Kim Gordon. I was in

734
00:39:27,650 --> 00:39:29,120
Speaker 1: the car the other day with my son and he

735
00:39:29,160 --> 00:39:31,440
Speaker 1: was DJing as he often does, or always does when

736
00:39:31,480 --> 00:39:35,000
Speaker 1: he rides. And he put on a Black Flag song,

737
00:39:35,700 --> 00:39:38,089
Speaker 1: Slip It In. And I was like, is this Kim

738
00:39:38,110 --> 00:39:42,489
Speaker 1: Gordon on this track? Because there's a female voice in there. No,

739
00:39:42,510 --> 00:39:45,049
Speaker 1: it's Kira. Oh, from the band?

740
00:39:45,350 --> 00:39:45,969
Speaker 2: Yeah, from the band.

741
00:39:45,989 --> 00:39:46,830
Speaker 1: The bass player, all right.

742
00:39:47,250 --> 00:39:47,390
Speaker 2: Yeah.

743
00:39:48,090 --> 00:39:50,670
Speaker 1: All right, it sounded very much like Kim Gordon. He

744
00:39:50,690 --> 00:39:51,989
Speaker 1: was like, what are you talking about? And I was like,

745
00:39:52,010 --> 00:39:53,529
Speaker 1: when are you going to enter your Sonic Youth phase,

746
00:39:53,570 --> 00:39:56,589
Speaker 1: by the way? And he was like, oh yeah, he

747
00:39:56,670 --> 00:39:59,529
Speaker 1: doesn't know them at all. He's like ripe for that now.

748
00:39:59,630 --> 00:40:01,630
Speaker 2: What are you going to give him first? Like, where

749
00:40:01,650 --> 00:40:02,810
Speaker 2: are you going to point him? Which album?

750
00:40:05,270 --> 00:40:07,910
Speaker 1: I think he, I think what he's heard is stuff like,

751
00:40:09,040 --> 00:40:11,500
Speaker 1: stuff from like Goo, that's a little bit more like,

752
00:40:11,540 --> 00:40:14,080
Speaker 1: you know, quote unquote mainstream. And I think he needs

753
00:40:14,100 --> 00:40:16,500
Speaker 1: a little bit more of the like, noisy shit, you know?

754
00:40:16,520 --> 00:40:17,080
Speaker 2: Really? Really.

755
00:40:17,460 --> 00:40:19,299
Speaker 1: Well, I don't know. Like, cause I, I mentioned that

756
00:40:19,320 --> 00:40:20,910
Speaker 1: to him and he was like, aren't Sonic Youth a

757
00:40:20,910 --> 00:40:22,700
Speaker 1: little too, like, I don't know. I think he has a,

758
00:40:23,090 --> 00:40:24,240
Speaker 1: the wrong impression of who they are.

759
00:40:24,330 --> 00:40:27,270
Speaker 2: Sonic Youth are too fucking what? Too basic?

760
00:40:28,310 --> 00:40:29,549
Speaker 1: That was kind of the vibe I got from him.

761
00:40:29,750 --> 00:40:30,469
Speaker 3: Wow.

762
00:40:30,570 --> 00:40:32,910
Speaker 2: Oh my God. You got your fucking hands full, dude.

763
00:40:33,410 --> 00:40:37,339
Speaker 2: You got your hands full. I'm dealing with, I have

764
00:40:37,440 --> 00:40:43,500
Speaker 2: one son who's like classic sort of mainstream punk rock obsessed. Okay.

765
00:40:43,780 --> 00:40:44,319
Speaker 2: You know, like.

766
00:40:44,340 --> 00:40:44,900
Speaker 1: Like Clash.

767
00:40:45,700 --> 00:40:53,620
Speaker 2: Yeah. Clash. Blink-182, Green Day, Weezer, Chili Peppers, that sort

768
00:40:53,660 --> 00:40:53,919
Speaker 2: of thing.

769
00:40:54,320 --> 00:40:54,839
Speaker 1: Newer stuff.

770
00:40:55,500 --> 00:40:56,260
Speaker 2: Newer stuff.

771
00:40:56,280 --> 00:40:57,000
Speaker 1: Relatively speaking.

772
00:40:57,040 --> 00:40:59,359
Speaker 2: It's like, to him, it's like what Led Zeppelin was.

773
00:40:59,469 --> 00:41:01,710
Speaker 1: It's a classic rock. You know what I mean? Yeah, yeah.

774
00:41:01,930 --> 00:41:04,810
Speaker 2: But it's informing everything, his style and all this stuff.

775
00:41:05,489 --> 00:41:09,910
Speaker 2: And then my youngest son is weirdly turning into like

776
00:41:09,950 --> 00:41:12,779
Speaker 2: a pop. Like his tastes are very, and I mean like,

777
00:41:13,500 --> 00:41:15,520
Speaker 2: Like his favorite song in the world right now is

778
00:41:15,800 --> 00:41:17,609
Speaker 2: That Thing You Do. Love that.

779
00:41:17,930 --> 00:41:18,609
Speaker 3: Yeah, yeah.

780
00:41:18,800 --> 00:41:22,469
Speaker 2: He's obsessed with the movie. Obsessed with the movie and

781
00:41:22,510 --> 00:41:24,489
Speaker 2: the song. I listen to the song. Now I can

782
00:41:24,530 --> 00:41:25,890
Speaker 2: play the song and I can sing it. You know,

783
00:41:25,910 --> 00:41:28,489
Speaker 2: the sing-alongs constantly. Before that, I told you it was

784
00:41:28,530 --> 00:41:32,270
Speaker 2: Stacy's mom. But it's just this like total pop-guided thing,

785
00:41:32,310 --> 00:41:33,590
Speaker 2: which is hysterical to me.

786
00:41:33,660 --> 00:41:34,379
Speaker 1: Yeah, yeah.

787
00:41:34,820 --> 00:41:36,860
Speaker 2: They're going to be listening to like Ornette Coleman by

788
00:41:36,900 --> 00:41:37,420
Speaker 2: the time they're 17.

789
00:41:37,400 --> 00:41:37,560
Speaker 3: Yeah.

790
00:41:40,790 --> 00:41:42,950
Speaker 2: Like your kids, like they're not going to have any

791
00:41:43,010 --> 00:41:47,290
Speaker 2: fucking time for anything remotely, just basic that I love.

792
00:41:47,530 --> 00:41:49,290
Speaker 1: You know what I mean? Yeah. I love that.

793
00:41:49,770 --> 00:41:49,989
Speaker 3: Yeah.

794
00:41:50,010 --> 00:41:52,830
Speaker 2: I don't know if I love it. I guess I do. Okay.

795
00:41:53,050 --> 00:41:53,689
Speaker 2: I have a third pick.

796
00:41:54,030 --> 00:41:54,310
Speaker 1: Okay.

797
00:41:54,330 --> 00:41:54,730
Speaker 2: Third pick.

798
00:41:55,070 --> 00:41:55,750
Speaker 1: Yeah. Third pick.

799
00:41:56,270 --> 00:41:56,509
Speaker 3: Okay.

800
00:41:57,150 --> 00:42:00,390
Speaker 2: This one came to me, uh, recommended to me by a,

801
00:42:00,610 --> 00:42:06,879
Speaker 2: one of the great intellectuals from rock scholarship, Mike Damone

802
00:42:07,030 --> 00:42:11,520
Speaker 2: from fast times of Ridgemont high, uh, who, sang these

803
00:42:11,600 --> 00:42:15,610
Speaker 2: lyrics before i'd ever known the song so he's trying

804
00:42:15,620 --> 00:42:19,330
Speaker 2: to sell cheap cheap trick tickets and he's singing the

805
00:42:19,370 --> 00:42:25,110
Speaker 2: dream police the dream police and he just does it

806
00:42:25,150 --> 00:42:27,790
Speaker 2: so convincingly that it really like made me want to

807
00:42:27,830 --> 00:42:30,569
Speaker 2: hear that song as a kid and i sought out

808
00:42:31,370 --> 00:42:33,529
Speaker 2: however i got it it must have been i mean

809
00:42:33,610 --> 00:42:35,350
Speaker 2: i don't think it's on a great i don't think

810
00:42:35,370 --> 00:42:37,210
Speaker 2: it was on a greatest hits it's on heaven tonight

811
00:42:37,250 --> 00:42:40,950
Speaker 2: which is 1979 great great record yeah And Cheap Trick,

812
00:42:41,010 --> 00:42:44,590
Speaker 2: we talked about this before, weirdly underrated band.

813
00:42:44,770 --> 00:42:45,469
Speaker 1: Yeah, I know.

814
00:42:45,489 --> 00:42:46,469
Speaker 2: I do not get it.

815
00:42:47,010 --> 00:42:47,310
Speaker 3: I know.

816
00:42:47,610 --> 00:42:53,810
Speaker 2: I don't understand. It's like great looking singer, weird fucking guitar.

817
00:42:53,510 --> 00:42:55,350
Speaker 1: Player who shreds. Right.

818
00:42:55,750 --> 00:42:57,770
Speaker 2: Super interesting rhythm section.

819
00:42:57,910 --> 00:42:58,089
Speaker 1: Yeah.

820
00:42:58,170 --> 00:42:59,330
Speaker 2: And just bangers.

821
00:42:59,610 --> 00:43:00,730
Speaker 1: Yeah, bangers for days.

822
00:43:00,930 --> 00:43:04,650
Speaker 2: Fucking bangers. Yeah. And I don't know, man. Just one

823
00:43:04,670 --> 00:43:06,450
Speaker 2: of those things. I was thinking about this today. I

824
00:43:06,450 --> 00:43:08,770
Speaker 2: was like, I think I just like.

825
00:43:10,700 --> 00:43:12,400
Speaker 2: Sounding an asshole saying this i feel like i like

826
00:43:12,440 --> 00:43:14,100
Speaker 2: weird shit and i don't think it's weird like i

827
00:43:14,100 --> 00:43:16,120
Speaker 2: don't think cheap tricks weird i think they're very i

828
00:43:16,140 --> 00:43:18,360
Speaker 2: think they're kind of basic actually yeah he gave it

829
00:43:18,410 --> 00:43:19,890
Speaker 2: to grant he'd be like what the fuck is this

830
00:43:19,910 --> 00:43:21,310
Speaker 2: i don't need this shit in my life you know

831
00:43:21,350 --> 00:43:22,230
Speaker 2: yeah yeah.

832
00:43:21,930 --> 00:43:24,430
Speaker 1: Yeah it's like um they're kind of like the flip

833
00:43:24,450 --> 00:43:26,930
Speaker 1: side of big star i feel like if they you

834
00:43:26,950 --> 00:43:30,230
Speaker 1: know how like like 20 30 years ago whatever it

835
00:43:30,270 --> 00:43:32,580
Speaker 1: was like big star was sort of like the that

836
00:43:32,620 --> 00:43:34,580
Speaker 1: was like the north star for if you're talking about

837
00:43:34,600 --> 00:43:39,160
Speaker 1: like pop underrated power pop bands or whatever right Maybe

838
00:43:39,180 --> 00:43:41,140
Speaker 1: if Cheap Trick had been a little bit less successful,

839
00:43:41,219 --> 00:43:42,980
Speaker 1: they would have been revered that way by all the

840
00:43:43,040 --> 00:43:44,379
Speaker 1: cool people. Do you know what I mean?

841
00:43:44,420 --> 00:43:45,320
Speaker 2: Like, oh, Cheap Trick.

842
00:43:45,680 --> 00:43:47,320
Speaker 1: But where Cheap Trick had the I want you to

843
00:43:47,380 --> 00:43:51,799
Speaker 1: want me thing that the Beastie Boys like sample, whatever.

844
00:43:51,820 --> 00:43:52,360
Speaker 2: Right.

845
00:43:52,820 --> 00:43:55,210
Speaker 1: Maybe it's like not as cool like Cheap Trick, but

846
00:43:55,270 --> 00:43:55,650
Speaker 1: I don't know.

847
00:43:55,950 --> 00:43:57,549
Speaker 2: They broke through in a way Big Star did not.

848
00:43:57,770 --> 00:43:57,950
Speaker 3: Right.

849
00:43:58,130 --> 00:44:00,029
Speaker 1: And I feel like people like, you know, these like

850
00:44:00,370 --> 00:44:03,870
Speaker 1: so-called quote unquote purists who are like singing the praises

851
00:44:03,930 --> 00:44:07,630
Speaker 1: of underrated, undiscovered Big Star fans. They can't go there

852
00:44:07,670 --> 00:44:10,669
Speaker 1: with Cheap Trick maybe because they're just too big.

853
00:44:10,730 --> 00:44:12,750
Speaker 2: I don't know. Yeah, they remember them from the 70s

854
00:44:12,810 --> 00:44:14,069
Speaker 2: when they were in high school and it was being

855
00:44:14,090 --> 00:44:15,950
Speaker 2: played on the radio. Right.

856
00:44:16,110 --> 00:44:18,910
Speaker 1: Or they look at the cheesy power ballad they did

857
00:44:18,950 --> 00:44:20,950
Speaker 1: in the late 80s. Which I love, by the way.

858
00:44:20,969 --> 00:44:23,390
Speaker 1: That Cheap Trick never... I mean, Big Star never had

859
00:44:23,410 --> 00:44:24,940
Speaker 1: the opportunity to do that sort of thing, you know?

860
00:44:25,239 --> 00:44:29,759
Speaker 2: Right, right. Yeah, it's just... It's baffling to me. But

861
00:44:29,800 --> 00:44:31,799
Speaker 2: they also don't get... Maybe this is their own fault

862
00:44:31,820 --> 00:44:34,900
Speaker 2: because they don't allow it. I feel like we don't hear...

863
00:44:35,780 --> 00:44:41,140
Speaker 2: cheap trick songs in, in movies, in TV, like music

864
00:44:41,180 --> 00:44:45,130
Speaker 2: supervisors aren't, aren't fucking with it. And maybe they can't,

865
00:44:45,170 --> 00:44:48,590
Speaker 2: maybe there's some weird publishing rights issue that's beyond the band.

866
00:44:48,750 --> 00:44:50,350
Speaker 2: Maybe someone else controls. I don't know. I don't know.

867
00:44:50,410 --> 00:44:52,469
Speaker 2: It could be, this sounds like something, something we should

868
00:44:52,489 --> 00:44:52,850
Speaker 2: figure out.

869
00:44:53,030 --> 00:44:53,750
Speaker 1: Yeah, absolutely.

870
00:44:54,350 --> 00:44:57,339
Speaker 2: But they are, Oh, they're in, we talked about this.

871
00:44:57,420 --> 00:44:59,040
Speaker 2: They're in over the edge. Have you seen over the

872
00:44:59,080 --> 00:44:59,719
Speaker 2: edge yet?

873
00:44:59,820 --> 00:45:00,339
Speaker 1: I have not yet.

874
00:45:00,360 --> 00:45:00,510
Speaker 3: No, no.

875
00:45:02,210 --> 00:45:03,529
Speaker 2: That's one you should watch with your kids.

876
00:45:04,489 --> 00:45:04,890
Speaker 3: Oh, really?

877
00:45:04,969 --> 00:45:07,350
Speaker 2: Teenage kids. Oh, boy.

878
00:45:07,910 --> 00:45:08,149
Speaker 3: Okay.

879
00:45:08,210 --> 00:45:10,720
Speaker 2: Anyways. All right. Those are my three. Let's go to yours.

880
00:45:11,460 --> 00:45:14,340
Speaker 1: All right. I'm going to do a TV show first

881
00:45:15,500 --> 00:45:18,620
Speaker 1: for mine. Okay. And I'm going to talk about two

882
00:45:18,700 --> 00:45:21,020
Speaker 1: episodes from season six of The Sopranos.

883
00:45:21,719 --> 00:45:21,819
Speaker 3: Oh.

884
00:45:21,920 --> 00:45:26,040
Speaker 1: Episode two and three in which Tony Soprano is in

885
00:45:26,100 --> 00:45:31,660
Speaker 1: a coma. He's been shot and he dreams about– being

886
00:45:31,800 --> 00:45:36,410
Speaker 1: somebody a different person kevin finnerty you remember these episodes

887
00:45:36,430 --> 00:45:39,070
Speaker 1: of course remember these episodes i fucking hate these episodes

888
00:45:39,250 --> 00:45:41,989
Speaker 1: you hate these episodes i hate this whole season i

889
00:45:42,030 --> 00:45:44,150
Speaker 1: don't hate it because it's sopranos and i'll watch anything

890
00:45:44,570 --> 00:45:47,330
Speaker 1: sopranos and i've watched it probably five times the whole

891
00:45:47,630 --> 00:45:49,589
Speaker 1: the whole season but it is my.

892
00:45:49,610 --> 00:45:53,049
Speaker 2: Least favorite season i don't like seeing an emasculated kevin

893
00:45:53,070 --> 00:45:55,509
Speaker 2: finnerty as a fucking real estate agent or whatever the

894
00:45:55,530 --> 00:45:56,649
Speaker 2: hell tony soprano.

895
00:45:56,310 --> 00:45:58,299
Speaker 1: Insurance salesman whatever he's supposed to be yeah yeah you

896
00:45:58,320 --> 00:46:00,710
Speaker 1: know what i mean it's just tough wow It's just

897
00:46:00,750 --> 00:46:02,569
Speaker 1: tough for me, but go on. I don't mean to

898
00:46:02,590 --> 00:46:05,589
Speaker 1: rain on your parade. I have the Sopranos in the brain.

899
00:46:05,610 --> 00:46:08,390
Speaker 1: And so I thought about those. I mean, do you

900
00:46:08,430 --> 00:46:12,350
Speaker 1: like these funky episodes of the show? Like the food poisoning,

901
00:46:12,430 --> 00:46:14,190
Speaker 1: big pussy episode? Oh, I love that one.

902
00:46:14,350 --> 00:46:15,469
Speaker 2: I was just going to say, I mean, that was

903
00:46:15,489 --> 00:46:17,810
Speaker 2: the thing too. I remember when I was writing my

904
00:46:17,850 --> 00:46:20,670
Speaker 2: book and my editor was like, you can't use dream sequences.

905
00:46:21,150 --> 00:46:23,400
Speaker 2: I'm like, why not? She's like, you just can't, it's

906
00:46:23,440 --> 00:46:27,779
Speaker 2: not allowed. And says fucking who? Have you seen The Sopranos?

907
00:46:27,910 --> 00:46:29,910
Speaker 2: You know what I mean? And I mean, this is

908
00:46:30,130 --> 00:46:31,210
Speaker 2: one example.

909
00:46:31,230 --> 00:46:32,770
Speaker 1: There's a whole bunch of shit.

910
00:46:32,630 --> 00:46:34,790
Speaker 2: You can't do, but if you do it interestingly enough,

911
00:46:35,010 --> 00:46:35,570
Speaker 2: it's fine.

912
00:46:35,710 --> 00:46:36,890
Speaker 1: Yeah, right, exactly.

913
00:46:37,390 --> 00:46:39,870
Speaker 2: And I love that. I love the driving stuff with

914
00:46:39,950 --> 00:46:42,170
Speaker 2: Ralphie and the bug on his head. You know what

915
00:46:42,230 --> 00:46:42,410
Speaker 2: I mean?

916
00:46:42,450 --> 00:46:42,969
Speaker 3: Okay, cool.

917
00:46:43,690 --> 00:46:45,570
Speaker 2: It's not just a like, I don't like dreams.

918
00:46:45,810 --> 00:46:48,270
Speaker 1: You know what I mean? So speaking of dream sequences,

919
00:46:48,790 --> 00:46:51,990
Speaker 1: my next pick here is Eternal Sunshine of the Spotless Mind.

920
00:46:52,430 --> 00:46:54,190
Speaker 2: Yeah.

921
00:46:54,190 --> 00:46:58,129
Speaker 1: 2004, Michel Gondry film written by Charlie Kaufman with Jim

922
00:46:58,170 --> 00:47:01,910
Speaker 1: Carrey and Kate Winslet, score by John Bryan. Great cover

923
00:47:02,150 --> 00:47:06,750
Speaker 1: of Everybody's Gotta Learn Sometime by Beck, produced by John Bryan,

924
00:47:06,770 --> 00:47:09,049
Speaker 1: I believe. So the premise of this film is that

925
00:47:09,370 --> 00:47:11,570
Speaker 1: there's a procedure where you can have memories that you

926
00:47:11,610 --> 00:47:14,410
Speaker 1: don't want anymore removed from your head, right? And it's

927
00:47:14,450 --> 00:47:16,590
Speaker 1: about a girlfriend and boyfriend who want to remove the

928
00:47:16,630 --> 00:47:19,290
Speaker 1: memories of each other from their minds. And when Jim

929
00:47:19,330 --> 00:47:24,009
Speaker 1: Carrey's undergoing the process of we get this like, it's

930
00:47:24,030 --> 00:47:26,589
Speaker 1: this funky dream sequence in which you go through his

931
00:47:26,670 --> 00:47:30,530
Speaker 1: memories and like a dream, right? And as it's happening,

932
00:47:30,550 --> 00:47:33,370
Speaker 1: like the memories, like as it's being erased, it's falling apart.

933
00:47:33,390 --> 00:47:35,689
Speaker 1: They're inside this house on the beach and the house

934
00:47:35,710 --> 00:47:38,469
Speaker 1: starts to deteriorate and everything. And it's just like, it's

935
00:47:38,489 --> 00:47:40,650
Speaker 1: like a kind of dream sequence you've never seen before

936
00:47:40,830 --> 00:47:41,710
Speaker 1: in a movie, you know?

937
00:47:41,750 --> 00:47:41,989
Speaker 3: Yeah.

938
00:47:42,230 --> 00:47:42,410
Speaker 1: Yeah.

939
00:47:42,450 --> 00:47:42,990
Speaker 2: It's novel.

940
00:47:43,410 --> 00:47:45,150
Speaker 1: And the whole thing just feels, the whole movie kind

941
00:47:45,170 --> 00:47:46,839
Speaker 1: of feels like a dream too. Like the way that

942
00:47:46,860 --> 00:47:49,500
Speaker 1: it's shot and What's wrong with that?

943
00:47:49,560 --> 00:47:50,700
Speaker 2: I ask, you know what I mean?

944
00:47:50,780 --> 00:47:52,759
Speaker 1: Nothing's wrong with that. Yeah. So you got to go

945
00:47:52,800 --> 00:47:54,779
Speaker 1: back to your publisher and be like, listen, go watch

946
00:47:54,800 --> 00:47:56,560
Speaker 1: this movie. Yeah.

947
00:47:57,120 --> 00:47:57,359
Speaker 3: Yeah.

948
00:47:57,400 --> 00:47:59,700
Speaker 2: Yeah. They'll be like, it's a movie, not a book. Right.

949
00:48:00,239 --> 00:48:01,960
Speaker 1: And then for third pick, I was going to go

950
00:48:02,480 --> 00:48:07,890
Speaker 1: obvious and talk about Akira Kurosawa's film Dreams, which is

951
00:48:07,910 --> 00:48:11,110
Speaker 1: a series of small short films based on dreams that

952
00:48:11,150 --> 00:48:16,090
Speaker 1: he actually had. It's notable for Martin Scorsese plays Vincent

953
00:48:16,110 --> 00:48:17,510
Speaker 1: Van Gogh in the film.

954
00:48:17,610 --> 00:48:17,930
Speaker 2: Really?

955
00:48:18,190 --> 00:48:22,290
Speaker 1: Yeah, in one of the less successful moments, I think.

956
00:48:22,350 --> 00:48:24,989
Speaker 1: But some great stuff in there. I'm just not a huge,

957
00:48:25,070 --> 00:48:27,980
Speaker 1: huge fan of that movie. But I was thinking about

958
00:48:28,020 --> 00:48:30,500
Speaker 1: movies that feel like a dream. And there's this one,

959
00:48:30,600 --> 00:48:32,279
Speaker 1: I think you and I talked about this a while ago,

960
00:48:32,300 --> 00:48:34,600
Speaker 1: or maybe it was somebody else, but it's this Australian

961
00:48:34,620 --> 00:48:35,900
Speaker 1: film that came out a few years ago called The

962
00:48:35,940 --> 00:48:39,410
Speaker 1: Stranger with Joel Edgerton and Sean Harris. And it's about

963
00:48:39,469 --> 00:48:42,750
Speaker 1: this cop who's working undercover on this child abduction case.

964
00:48:43,510 --> 00:48:46,840
Speaker 1: And he starts hanging out with the key suspect to

965
00:48:46,880 --> 00:48:50,600
Speaker 1: get close to him and whatever. It's super dark, the film,

966
00:48:51,200 --> 00:48:53,960
Speaker 1: because it's a child abduction case. But the way that

967
00:48:55,040 --> 00:48:59,500
Speaker 1: the movie is shot together and the score, it feels

968
00:48:59,580 --> 00:49:03,310
Speaker 1: like a procedural detective film happening inside someone's dream.

969
00:49:03,670 --> 00:49:03,990
Speaker 3: Wow.

970
00:49:04,550 --> 00:49:06,549
Speaker 1: And you kind of come out of that movie like

971
00:49:06,690 --> 00:49:11,830
Speaker 1: it's kind of like hazy and just bizarre. But you're also...

972
00:49:12,510 --> 00:49:13,799
Speaker 1: On the edge of your seat the whole time because

973
00:49:13,840 --> 00:49:16,500
Speaker 1: it's very, very tense. I think it's on Netflix. It's

974
00:49:16,520 --> 00:49:17,530
Speaker 1: a really, really good watch.

975
00:49:17,910 --> 00:49:18,450
Speaker 2: Good stuff, man.

976
00:49:18,610 --> 00:49:20,460
Speaker 1: Thank you. Good Rex. You got it. Now go have

977
00:49:20,480 --> 00:49:21,759
Speaker 1: some good dreams, okay, and tell me about them.

978
00:49:22,640 --> 00:49:22,939
Speaker 3: All right.

979
00:49:22,980 --> 00:49:23,180
Speaker 2: Later.

980
00:49:23,480 --> 00:49:23,660
Speaker 3: Later.

981
00:49:44,469 --> 00:49:47,950
Speaker 1: Okay, gang, there you go. A handful of dreamlike dirty wrecks.

982
00:49:48,070 --> 00:49:50,330
Speaker 1: Let us know if you are down with any of

983
00:49:50,370 --> 00:49:53,130
Speaker 1: these as well. Perhaps you've got your own dream state

984
00:49:53,250 --> 00:49:55,630
Speaker 1: wrecks to give all of us. You know how to

985
00:49:55,670 --> 00:50:01,009
Speaker 1: do it. Operators are standing by. 617-906-6638. You can also

986
00:50:01,130 --> 00:50:03,860
Speaker 1: email at disgracelandpod at gmail.com. Or if you are a

987
00:50:03,860 --> 00:50:08,200
Speaker 1: member of Disgrace Land All Access over on Patreon, just

988
00:50:08,260 --> 00:50:10,239
Speaker 1: jump into the chat. I also want to hear from

989
00:50:10,260 --> 00:50:13,950
Speaker 1: you guys about mystery, about weirdness, about unresolved things. Stuff

990
00:50:13,989 --> 00:50:16,459
Speaker 1: when it comes to movies. Do you like your stuff

991
00:50:16,520 --> 00:50:19,259
Speaker 1: more on the Lynchian side or no? You know, it's

992
00:50:19,280 --> 00:50:21,839
Speaker 1: like a steak. Some like it well done. Some like

993
00:50:21,900 --> 00:50:24,980
Speaker 1: it medium rare. Some like it, you know, still mooing.

994
00:50:25,080 --> 00:50:28,590
Speaker 1: So let me know. Also, guys, we are six days

995
00:50:28,710 --> 00:50:32,270
Speaker 1: into October. I'm recording this on October 6th. So six

996
00:50:32,330 --> 00:50:36,650
Speaker 1: days into so-called spooky season. If you live in New

997
00:50:36,690 --> 00:50:39,319
Speaker 1: England like I do, the leaves are popping right now.

998
00:50:39,780 --> 00:50:42,740
Speaker 1: the wind's blowing, the leaves are coming down, blowing everywhere.

999
00:50:42,780 --> 00:50:47,419
Speaker 1: It's definitely got those autumnal vibes going on. And there's

1000
00:50:47,460 --> 00:50:50,359
Speaker 1: a ton of scary movies on Criterion Channel that they

1001
00:50:50,380 --> 00:50:51,820
Speaker 1: just added for the month. And I really want to

1002
00:50:51,840 --> 00:50:54,640
Speaker 1: watch them, but they just like updated their shit or something.

1003
00:50:54,840 --> 00:50:58,609
Speaker 1: And there's some pending app update on Samsung TVs, which

1004
00:50:58,650 --> 00:51:00,469
Speaker 1: is how I watch Criterion. I watch it through my

1005
00:51:00,550 --> 00:51:03,770
Speaker 1: Samsung TV on their app. So right now I can't

1006
00:51:03,810 --> 00:51:06,390
Speaker 1: watch shit on Criterion Channel unless I want to watch

1007
00:51:06,410 --> 00:51:07,870
Speaker 1: it on my laptop, which I don't want to do.

1008
00:51:08,430 --> 00:51:11,589
Speaker 1: So I say, Criterion Channel, if you're listening, get your

1009
00:51:11,610 --> 00:51:15,050
Speaker 1: shit together and get this app update pushed through, man. Damn,

1010
00:51:15,070 --> 00:51:16,630
Speaker 1: I want to watch some scary movies. But in lieu

1011
00:51:16,650 --> 00:51:18,890
Speaker 1: of that, I did watch the other night for the

1012
00:51:18,930 --> 00:51:22,150
Speaker 1: first time another film from my blind spot list. I've

1013
00:51:22,250 --> 00:51:26,750
Speaker 1: never seen an American werewolf in London. Rick Baker did

1014
00:51:26,790 --> 00:51:29,049
Speaker 1: the makeup and special effects for this one. He's the

1015
00:51:29,090 --> 00:51:32,150
Speaker 1: guy who did the thriller video directed by John Landis,

1016
00:51:32,190 --> 00:51:34,870
Speaker 1: who also directed the thriller video. I know probably most

1017
00:51:34,890 --> 00:51:36,410
Speaker 1: of you guys have seen this and you're like, yeah,

1018
00:51:36,450 --> 00:51:39,320
Speaker 1: no shit, Lundy, it's cool. But I really enjoyed it,

1019
00:51:39,500 --> 00:51:44,360
Speaker 1: especially the rapidly deteriorating corpse of Griffin Dunn continuing to

1020
00:51:44,400 --> 00:51:46,180
Speaker 1: come back from the dead to bug his friend who,

1021
00:51:46,840 --> 00:51:49,509
Speaker 1: unlike Dunn, survived the werewolf attack but now is a

1022
00:51:49,530 --> 00:51:53,870
Speaker 1: werewolf himself. Let me know what creepy films you guys

1023
00:51:53,890 --> 00:51:58,219
Speaker 1: are getting into right now. Maybe you've got some traditions

1024
00:51:58,260 --> 00:52:01,440
Speaker 1: that you rewatch every October or maybe you're looking for

1025
00:52:01,500 --> 00:52:04,960
Speaker 1: new shit. Just holler at me. Let me know so

1026
00:52:05,000 --> 00:52:07,160
Speaker 1: I can pack in as many as I can. What

1027
00:52:07,180 --> 00:52:08,420
Speaker 1: did I put down on my list here that I

1028
00:52:08,440 --> 00:52:11,920
Speaker 1: want to see? I want to see Dead Ringers. I

1029
00:52:11,940 --> 00:52:14,380
Speaker 1: want to see The Bird with the Crystal Plumage. I

1030
00:52:14,400 --> 00:52:17,700
Speaker 1: want to see Altered States. I want to see Possession again.

1031
00:52:17,739 --> 00:52:21,840
Speaker 1: I want to rewatch Rosemary's Baby. So let me know, guys. Also,

1032
00:52:22,600 --> 00:52:27,350
Speaker 1: speaking of October, speaking of scary movies, Jake and I,

1033
00:52:28,110 --> 00:52:30,210
Speaker 1: we're going to do Shaun of the Dead for our

1034
00:52:30,250 --> 00:52:33,390
Speaker 1: next episode of This Film Should Be Played Loud. That's

1035
00:52:33,430 --> 00:52:36,230
Speaker 1: our video podcast over on Patreon. We're going to do

1036
00:52:36,250 --> 00:52:39,190
Speaker 1: that for the last Wednesday of this month, October, right

1037
00:52:39,210 --> 00:52:43,030
Speaker 1: before Halloween. This is one of the most requested movies

1038
00:52:43,790 --> 00:52:46,989
Speaker 1: on Patreon by Disco's in the chat. So yeah, I

1039
00:52:47,030 --> 00:52:50,830
Speaker 1: hope you guys are looking forward to that. But let's

1040
00:52:50,870 --> 00:52:52,529
Speaker 1: get back to the now, to the here and now,

1041
00:52:52,750 --> 00:52:55,730
Speaker 1: and let's recap, shall we? Number one, first of all,

1042
00:52:55,750 --> 00:52:59,180
Speaker 1: right now in your Hollywoodland feed, our episode on David Lynch.

1043
00:52:59,739 --> 00:53:01,940
Speaker 1: Number two, coming at you this Friday, We've got a

1044
00:53:01,980 --> 00:53:04,000
Speaker 1: new episode of The Screening Room, and this week I'm

1045
00:53:04,040 --> 00:53:08,770
Speaker 1: talking all about the 2001 film Mulholland Drive. Number three,

1046
00:53:09,070 --> 00:53:11,970
Speaker 1: next week on Monday, we're bringing you our fully scripted

1047
00:53:12,010 --> 00:53:16,730
Speaker 1: and sound design episode on Tim Allen. Number four, over

1048
00:53:16,790 --> 00:53:19,350
Speaker 1: in our sister show, Disgraceland, we've got a brand new

1049
00:53:19,390 --> 00:53:23,710
Speaker 1: episode on Screamin' Jay Hawkins. He was an operatic vocalist

1050
00:53:24,190 --> 00:53:26,480
Speaker 1: made famous by his song, I Put a Spell on You,

1051
00:53:26,540 --> 00:53:29,960
Speaker 1: a song that he performed throughout the conservative 1950s while

1052
00:53:30,040 --> 00:53:33,200
Speaker 1: jumping out of a coffin in on stage. Screamin' Jay

1053
00:53:33,219 --> 00:53:35,900
Speaker 1: Hawkins will live on in infamy after it was discovered

1054
00:53:35,920 --> 00:53:39,799
Speaker 1: that he fathered 57-plus children over the course of his life,

1055
00:53:39,880 --> 00:53:42,700
Speaker 1: not only as a singer, but as a soldier, a boxer,

1056
00:53:42,800 --> 00:53:45,080
Speaker 1: and an actor. Screamin' Jay Hawkins was a lot of

1057
00:53:45,120 --> 00:53:48,200
Speaker 1: things before he died in the year 2000. But was

1058
00:53:48,219 --> 00:53:50,690
Speaker 1: the man in the coffin actually the victim of a murder,

1059
00:53:51,110 --> 00:53:54,470
Speaker 1: as some have alleged? We'll find out in this special

1060
00:53:54,810 --> 00:53:58,230
Speaker 1: Halloween episode of Disgraced Land. Check that out on Apple Podcasts,

1061
00:53:58,250 --> 00:54:01,500
Speaker 1: the iHeartRadio app, or wherever you you get your podcast.

1062
00:54:01,520 --> 00:54:04,460
Speaker 1: Number five, this film should be played loud. Our video

1063
00:54:04,500 --> 00:54:09,960
Speaker 1: podcasts available exclusively on Disgraced Land, all access over on Patreon.

1064
00:54:10,320 --> 00:54:13,560
Speaker 1: We got a new episode on Gross Point Blank starring

1065
00:54:13,580 --> 00:54:15,960
Speaker 1: John Cusack that is out now. If you are not

1066
00:54:16,000 --> 00:54:19,680
Speaker 1: yet a member, just go to disgracedlandpod.com to sign up.

1067
00:54:20,219 --> 00:54:23,069
Speaker 1: And now, in honor of this week's episode, here's what

1068
00:54:23,090 --> 00:54:26,370
Speaker 1: America was watching at the movies in January 2025, the

1069
00:54:26,910 --> 00:54:31,170
Speaker 1: month that David Lynch died at the age of 78.

1070
00:54:34,180 --> 00:54:38,360
Speaker 1: Number 1, Mufasa, The Lion King, directed by Barry Jenkins.

1071
00:54:39,380 --> 00:54:43,320
Speaker 1: Number 2, Sonic the Hedgehog 3, directed by Jeff Fowler.

1072
00:54:43,960 --> 00:54:48,780
Speaker 1: Number 3, Moana 2, directed by Dan LeDoux Miller, Jason Hand,

1073
00:54:48,880 --> 00:54:54,709
Speaker 1: and David Derrick Jr. Number 4, Nosferatu, directed by Robert Eggers.

1074
00:54:55,489 --> 00:55:01,370
Speaker 1: Number 5, Wicked, directed by John Chu. Number 6, Complete Unknown,

1075
00:55:01,870 --> 00:55:06,610
Speaker 1: directed by James Mangold. Number seven, Den of Thieves Pantera,

1076
00:55:06,790 --> 00:55:11,730
Speaker 1: directed by Christian Gutigas. Quit talking and stop.