1 00:00:17,920 --> 00:00:20,820 Speaker 1: What's going on, everybody? My name is Zeth Lundy, writer, showrunner, 2 00:00:20,960 --> 00:00:23,919 Speaker 1: and good doctor here at Double Elvis. And it's Friday, 3 00:00:24,200 --> 00:00:27,020 Speaker 1: which means it's time yet again for another installment of 4 00:00:27,060 --> 00:00:29,480 Speaker 1: The Screening Room. This is our weekly episode of the 5 00:00:29,540 --> 00:00:32,190 Speaker 1: podcast in which we watch a movie that has something 6 00:00:32,200 --> 00:00:34,510 Speaker 1: to do with our main episode's subject and themes of 7 00:00:34,550 --> 00:00:37,409 Speaker 1: the week, and then we talk about it. This week, 8 00:00:37,430 --> 00:00:40,970 Speaker 1: we ran our scripted and sound-designed episode from the archive 9 00:00:41,130 --> 00:00:44,150 Speaker 1: on David Lynch, which if you haven't heard that, it's 10 00:00:44,229 --> 00:00:47,489 Speaker 1: two episodes back in your feed. And then on Wednesday, 11 00:00:47,830 --> 00:00:51,070 Speaker 1: in the wrap party, I talked about Lynch's ideas and 12 00:00:51,740 --> 00:00:54,380 Speaker 1: I talked about movies as dreams. I talked about movies 13 00:00:54,440 --> 00:00:57,200 Speaker 1: as mystery. And I also talked a bit about what 14 00:00:57,320 --> 00:01:01,060 Speaker 1: Lynch has meant to me. But what I want to 15 00:01:01,080 --> 00:01:04,160 Speaker 1: do here is get into what is arguably one of 16 00:01:04,200 --> 00:01:08,200 Speaker 1: his greatest films, Mulholland Drive. Mulholland Drive came out in 17 00:01:08,220 --> 00:01:11,980 Speaker 1: the States in October of 2001. It was written and 18 00:01:12,020 --> 00:01:15,500 Speaker 1: directed by David Lynch. It was his ninth feature film, 19 00:01:16,060 --> 00:01:18,000 Speaker 1: and it would prove to be his next to last 20 00:01:18,459 --> 00:01:24,410 Speaker 1: feature film. It stars Naomi Watts, Laura Herring, Justin Theroux. 2001, 21 00:01:24,410 --> 00:01:26,170 Speaker 1: this was the year of the Lord of the Rings, 22 00:01:26,390 --> 00:01:31,410 Speaker 1: Fellowship of the Ring. This was the year of Training Day, Memento, AI, 23 00:01:31,530 --> 00:01:36,610 Speaker 1: Artificial Intelligence, Donnie Darko, the Royal Tenenbaums. This was also 24 00:01:36,670 --> 00:01:39,950 Speaker 1: the year of the Coen brothers, the man who wasn't there, 25 00:01:40,480 --> 00:01:44,240 Speaker 1: their black and white noir starring Billy Bob Thornton. And 26 00:01:44,380 --> 00:01:50,080 Speaker 1: both Joel Coen and David Lynch shared... the award for 27 00:01:50,140 --> 00:01:53,470 Speaker 1: Best Director at the Cannes Film Festival that year. The 28 00:01:53,510 --> 00:01:57,090 Speaker 1: Man Who Wasn't There, also very dark. I recently watched that, 29 00:01:57,270 --> 00:01:59,770 Speaker 1: re-watched that again for the first time in a while, 30 00:02:00,030 --> 00:02:02,780 Speaker 1: and I was struck by it. I loved it at 31 00:02:02,800 --> 00:02:04,260 Speaker 1: the time when it came out, but I guess I'd 32 00:02:04,300 --> 00:02:07,360 Speaker 1: forgotten about how strong a movie it is. It's really, 33 00:02:07,400 --> 00:02:09,880 Speaker 1: it's got to be in the top five Coen Brothers 34 00:02:09,900 --> 00:02:14,899 Speaker 1: films in my estimation. Just incredible. So again, not nearly 35 00:02:14,940 --> 00:02:18,160 Speaker 1: as dark as Mulholland Drive, but definitely there was something 36 00:02:18,280 --> 00:02:21,419 Speaker 1: in the air that year. You know, and I distinctly 37 00:02:21,460 --> 00:02:25,460 Speaker 1: remember when this film came out, Mulholland Drive, because I 38 00:02:25,480 --> 00:02:29,430 Speaker 1: had just moved to LA and the real Mulholland Drive, 39 00:02:29,950 --> 00:02:33,750 Speaker 1: the actual serpentine street up there in the Hollywood Hills, 40 00:02:34,750 --> 00:02:38,030 Speaker 1: you know, you move to LA and that road already 41 00:02:38,050 --> 00:02:41,429 Speaker 1: has this deep mythology to it. You know, it's where 42 00:02:41,470 --> 00:02:44,490 Speaker 1: Jack Nicholson lived and it's where Marlon Brando lived. And 43 00:02:45,070 --> 00:02:48,049 Speaker 1: as a new resident of LA, one of my favorite 44 00:02:48,070 --> 00:02:53,730 Speaker 1: things to do was drive around, especially Mulholland Drive, and 45 00:02:53,770 --> 00:02:57,150 Speaker 1: especially at night because it was just, I don't know, 46 00:02:57,610 --> 00:03:03,430 Speaker 1: it was both romantic and mysterious, 100% cinematic. All the 47 00:03:03,490 --> 00:03:07,710 Speaker 1: houses are like snuggled away in nature, these hideaways that 48 00:03:07,750 --> 00:03:12,000 Speaker 1: are overlooking the streets of LA that are twinkling down below. 49 00:03:12,440 --> 00:03:15,420 Speaker 1: There was even a stretch of Mulholland that I think 50 00:03:15,440 --> 00:03:17,760 Speaker 1: you could pull over and you could look directly down 51 00:03:17,980 --> 00:03:22,820 Speaker 1: on the Hollywood Bowl down below. So moving to LA 52 00:03:23,320 --> 00:03:25,920 Speaker 1: and then for this movie to come out about LA, 53 00:03:26,040 --> 00:03:29,320 Speaker 1: about Hollywood, about Mulholland Drive, it was exciting for me. 54 00:03:29,810 --> 00:03:33,010 Speaker 1: It was equally exciting because as a David Lynch fan, 55 00:03:33,790 --> 00:03:38,030 Speaker 1: this movie comes right after he did Twin Peaks, right 56 00:03:38,070 --> 00:03:41,910 Speaker 1: after he did Lost Highway, but also immediately right after 57 00:03:42,500 --> 00:03:45,460 Speaker 1: his film, The Straight Story, which one could say is 58 00:03:45,800 --> 00:03:48,760 Speaker 1: the weirdest movie David Lynch ever made, and he made 59 00:03:48,800 --> 00:03:51,520 Speaker 1: a lot of weird movies. What made The Straight Story 60 00:03:51,980 --> 00:03:54,870 Speaker 1: weird for David Lynch was that it was rated G, 61 00:03:55,510 --> 00:03:59,670 Speaker 1: it was made for Disney, it was this warm-hearted tale 62 00:03:59,730 --> 00:04:02,110 Speaker 1: about an old man who rides a tractor across the 63 00:04:02,150 --> 00:04:06,870 Speaker 1: Midwest to go make amends with his estranged brother. I really, 64 00:04:06,910 --> 00:04:09,990 Speaker 1: really enjoyed The Straight Story, but I will admit I 65 00:04:10,030 --> 00:04:12,760 Speaker 1: was pumped to when I heard about Mulholland Drive, because 66 00:04:12,800 --> 00:04:15,940 Speaker 1: it was Lynch in the Lynch zone. It was a 67 00:04:16,000 --> 00:04:18,839 Speaker 1: return to form, so to speak. And I hate that phrase. 68 00:04:19,360 --> 00:04:21,200 Speaker 1: I hate when people say, oh, a return to form, 69 00:04:21,940 --> 00:04:26,270 Speaker 1: because I feel like it denigrates stuff that artists create 70 00:04:26,310 --> 00:04:28,370 Speaker 1: that's sort of outside their usual lane. But I think 71 00:04:28,390 --> 00:04:32,549 Speaker 1: that phrase actually applies here perfectly, because the straight story 72 00:04:32,589 --> 00:04:34,650 Speaker 1: was really the only time that Lynch went out of 73 00:04:34,710 --> 00:04:38,589 Speaker 1: character like that. Maybe Dune as well. Maybe the Elephant Man. 74 00:04:38,710 --> 00:04:40,650 Speaker 1: All right. So maybe the straight story isn't the only time. 75 00:04:40,710 --> 00:04:44,740 Speaker 1: But It's such an outlier. So anyways, I go to 76 00:04:44,760 --> 00:04:46,800 Speaker 1: see this movie at the theater, 2001. I don't know, 77 00:04:46,820 --> 00:04:49,000 Speaker 1: I don't remember what theater I saw it at, but 78 00:04:49,020 --> 00:04:50,740 Speaker 1: I want to say it was in Pasadena, I think. 79 00:04:51,640 --> 00:04:56,460 Speaker 1: I was floored by it, and I was also just 80 00:04:56,660 --> 00:04:59,940 Speaker 1: utterly baffled by it. And I was floored by how 81 00:04:59,980 --> 00:05:02,610 Speaker 1: baffled I was, I think. I don't know that I 82 00:05:02,640 --> 00:05:07,370 Speaker 1: was expecting such a vicious poison pen letter to Hollywood. 83 00:05:07,390 --> 00:05:10,789 Speaker 1: It's very much Lynch's own personal version of the player. 84 00:05:11,560 --> 00:05:13,280 Speaker 1: which is a movie that's still on my mind since 85 00:05:13,300 --> 00:05:15,260 Speaker 1: we talked about that recently. And speaking of the player, 86 00:05:15,820 --> 00:05:19,530 Speaker 1: Robert Altman cast Lyle Lovett in that movie. That was 87 00:05:19,570 --> 00:05:21,910 Speaker 1: one of the singer-songwriter's first film roles. And Lynch was 88 00:05:21,950 --> 00:05:24,350 Speaker 1: almost like, hold my beer. And he went and he 89 00:05:24,390 --> 00:05:28,690 Speaker 1: cast Billy Ray Cyrus as the guy who's cheating with 90 00:05:28,990 --> 00:05:33,049 Speaker 1: Justin Theroux's wife in this. The movie is also very 91 00:05:33,110 --> 00:05:36,570 Speaker 1: much in conversation with David Lynch's past work. You get 92 00:05:36,600 --> 00:05:40,039 Speaker 1: a little Twin Peaks action with Michael J. Anderson, the 93 00:05:40,140 --> 00:05:43,560 Speaker 1: actor who spoke backwards in the Red Room in Twin Peaks. 94 00:05:44,210 --> 00:05:47,700 Speaker 1: It also has the Angelo Badalamenti score that is so 95 00:05:47,740 --> 00:05:50,580 Speaker 1: evocative of what he did for Twin Peaks. It's got 96 00:05:50,620 --> 00:05:55,159 Speaker 1: this singer at the Silencio Club singing Roy Orbison in Spanish, 97 00:05:55,760 --> 00:06:00,080 Speaker 1: which is evocative of Dean Stockwell singing Roy Orbison in 98 00:06:00,120 --> 00:06:04,599 Speaker 1: Blue Velvet. There's also this whole construct in this club, Silencio, 99 00:06:04,640 --> 00:06:07,870 Speaker 1: where demonstrate how this is being done with the woman 100 00:06:07,880 --> 00:06:10,210 Speaker 1: who's singing and the people who are playing the music. 101 00:06:10,250 --> 00:06:14,190 Speaker 1: They're not actually performing. They're lip syncing to a tape. 102 00:06:15,210 --> 00:06:18,570 Speaker 1: And that has a Twin Peaks quality to it as well. 103 00:06:19,130 --> 00:06:22,680 Speaker 1: And then you also have more than a wink to 104 00:06:22,760 --> 00:06:28,760 Speaker 1: cinematic history, to Billy Wilder's Sunset Boulevard, to Ingmar Bergman's Persona, 105 00:06:28,820 --> 00:06:33,110 Speaker 1: to Hitchcock's Vertigo with all the doppelgangers and Naomi Watts 106 00:06:33,190 --> 00:06:36,910 Speaker 1: as the Kim Novak slash Grace Kelly stand-in, which of 107 00:06:37,070 --> 00:06:41,909 Speaker 1: course also gives a nod to Lynch's own Lost Highway, 108 00:06:42,029 --> 00:06:45,890 Speaker 1: another film about doppelgangers with echoes of Hitchcock running through it. 109 00:06:47,010 --> 00:06:50,420 Speaker 1: This was Naomi Watts' breakout role. And here she plays 110 00:06:50,440 --> 00:06:53,000 Speaker 1: a woman named Betty, who has just arrived in Los 111 00:06:53,080 --> 00:06:56,220 Speaker 1: Angeles looking to break into Hollywood as an actress. She's 112 00:06:56,260 --> 00:06:59,140 Speaker 1: staying at her aunt's place, this little bungalow in When 113 00:06:59,180 --> 00:07:01,900 Speaker 1: she gets there, she discovers that there's another woman, played 114 00:07:01,940 --> 00:07:05,300 Speaker 1: by Laura Herring, who's been hiding out there. At the 115 00:07:05,320 --> 00:07:08,610 Speaker 1: beginning of the film, Laura Herring's character, who goes to 116 00:07:08,670 --> 00:07:12,130 Speaker 1: call herself Rita, has this traumatic incident where the driver 117 00:07:12,150 --> 00:07:14,290 Speaker 1: of the limo she's in tries to shoot her. There's 118 00:07:14,310 --> 00:07:17,170 Speaker 1: a car crash. She stumbles away from the crash. She's 119 00:07:17,210 --> 00:07:20,730 Speaker 1: left with amnesia, and thus she winds up in Betty's 120 00:07:20,950 --> 00:07:23,420 Speaker 1: aunt's apartment, just sort of scared and not really sure 121 00:07:23,440 --> 00:07:26,250 Speaker 1: what's going on. We also find out that Rita has 122 00:07:26,510 --> 00:07:28,830 Speaker 1: a wad of cash in her purse, as well as 123 00:07:28,850 --> 00:07:33,950 Speaker 1: this mysterious blue key. And Betty, being this naive, trusting soul, 124 00:07:34,430 --> 00:07:36,940 Speaker 1: takes it upon herself to help Rita figure out who 125 00:07:37,000 --> 00:07:40,080 Speaker 1: she is and what's going on, which leads to more 126 00:07:40,140 --> 00:07:43,540 Speaker 1: mystery and to romance, but also to a loss of 127 00:07:43,660 --> 00:07:49,100 Speaker 1: self and a chaotic, tragic unraveling. The casting of this 128 00:07:49,140 --> 00:07:52,210 Speaker 1: film is incredible. David Lynch offers the role of Betty 129 00:07:52,630 --> 00:07:55,510 Speaker 1: to Naomi Watts after just having a conversation with her 130 00:07:55,790 --> 00:07:58,630 Speaker 1: without having seen any of her prior work. He offers 131 00:07:58,680 --> 00:08:01,860 Speaker 1: the role of Rita to Laura Herring, who in 1985 132 00:08:01,860 --> 00:08:05,440 Speaker 1: had become the first Hispanic woman to be crowned Miss USA, 133 00:08:05,520 --> 00:08:07,840 Speaker 1: and then had appeared in just a bunch of soap 134 00:08:07,920 --> 00:08:12,960 Speaker 1: operas and cheesy TV films with titles like Black Scorpion 2, Aftershock. 135 00:08:13,440 --> 00:08:16,600 Speaker 1: He cast Justin Theroux as the beleaguered film director, again, 136 00:08:16,620 --> 00:08:19,800 Speaker 1: a relative unknown. This is David Lynch, one of those 137 00:08:19,840 --> 00:08:23,120 Speaker 1: directors that everyone has wanted to work with at some 138 00:08:23,160 --> 00:08:26,280 Speaker 1: time or another. I'm sure any famous actor or actress 139 00:08:26,320 --> 00:08:29,020 Speaker 1: in 2001 would have slashed their rate to work with Lynch. 140 00:08:29,640 --> 00:08:33,660 Speaker 1: And yet he decides to cast these lesser known faces, 141 00:08:33,679 --> 00:08:39,440 Speaker 1: which really helps sell this very surreal, bizarre story. But 142 00:08:39,480 --> 00:08:43,069 Speaker 1: then I guess David Lynch has always been about working 143 00:08:43,090 --> 00:08:45,910 Speaker 1: with these lesser known actors that he can mold into 144 00:08:45,950 --> 00:08:52,160 Speaker 1: his vision. I came out of his work with Lynch. 145 00:08:52,300 --> 00:08:56,380 Speaker 1: I mean, he still is this lovable weirdo because of 146 00:08:57,040 --> 00:08:58,880 Speaker 1: Blue Velvet and Twin Peaks and all the stuff he 147 00:08:58,920 --> 00:09:01,640 Speaker 1: did there. But I'm thinking also of like Sherrilyn Fenn. 148 00:09:02,220 --> 00:09:04,900 Speaker 1: I'm thinking of Laura Dern. She was very young when 149 00:09:04,920 --> 00:09:08,710 Speaker 1: she was cast in Blue Velvet. Even Nicolas Cage was 150 00:09:08,770 --> 00:09:12,130 Speaker 1: still a very idiosyncratic actor on the margins when they 151 00:09:12,170 --> 00:09:14,570 Speaker 1: made Wild at Heart. This is long before he won 152 00:09:14,929 --> 00:09:17,270 Speaker 1: the Academy Award for leaving Las Vegas and became this 153 00:09:17,350 --> 00:09:21,550 Speaker 1: big bankable Hollywood star. And so speaking of molding actors 154 00:09:21,610 --> 00:09:25,650 Speaker 1: into vision, speaking of vision, has any movie better defined 155 00:09:25,670 --> 00:09:31,160 Speaker 1: a director's vision than this? We can argue about which 156 00:09:31,240 --> 00:09:33,800 Speaker 1: David Lynch movie is his greatest, but in terms of 157 00:09:34,460 --> 00:09:38,000 Speaker 1: the artist being inspired by the subconscious, in terms of 158 00:09:38,540 --> 00:09:42,980 Speaker 1: dreams driving the artist's engine, this is such a rich 159 00:09:43,160 --> 00:09:45,920 Speaker 1: text in which you can unpack all the ways in 160 00:09:45,950 --> 00:09:48,790 Speaker 1: which David Lynch works. And it was a text at 161 00:09:48,830 --> 00:09:54,840 Speaker 1: the time that, unsurprisingly, corporate executives did not necessarily have 162 00:09:55,200 --> 00:09:58,829 Speaker 1: the patience for. Mulholland Drive was originally supposed to be 163 00:09:58,990 --> 00:10:01,530 Speaker 1: a TV show, I believe. for ABC, which is funny 164 00:10:01,580 --> 00:10:05,560 Speaker 1: because Lynch famously was so soured on TV and ABC 165 00:10:05,740 --> 00:10:08,680 Speaker 1: after Twin Peaks ended. The network had rushed him to 166 00:10:08,740 --> 00:10:11,260 Speaker 1: finish it. They made him end it in two seasons. 167 00:10:11,300 --> 00:10:14,480 Speaker 1: They had him solve the murder of Laura Palmer. Now, 168 00:10:14,540 --> 00:10:17,700 Speaker 1: some writers start with the ending, and then they go 169 00:10:17,740 --> 00:10:19,870 Speaker 1: back to the beginning and they take a you know, 170 00:10:20,120 --> 00:10:22,550 Speaker 1: a long and winding route to get to where they 171 00:10:22,630 --> 00:10:25,450 Speaker 1: know they're going. I like to think that David Lynch 172 00:10:25,530 --> 00:10:28,750 Speaker 1: didn't know where he was going, that he began with 173 00:10:28,870 --> 00:10:31,949 Speaker 1: a premise, right? Ooh, there's a severed ear in the ground, 174 00:10:32,190 --> 00:10:35,530 Speaker 1: you know, in Blue Velvet. Or ooh, Laura Palmer's body 175 00:10:35,550 --> 00:10:39,010 Speaker 1: has just turned up in Twin Peaks. Or here in 176 00:10:39,050 --> 00:10:42,170 Speaker 1: this film, you know, Rita, she's nearly shot, you know, 177 00:10:42,230 --> 00:10:45,370 Speaker 1: and killed at the start. There's a crash. She's got amnesia. Like, well, 178 00:10:45,470 --> 00:10:47,949 Speaker 1: who is she? What happened? What the fuck is going on, right? 179 00:10:48,990 --> 00:10:51,130 Speaker 1: And it just went from there. And the thrill of 180 00:10:51,210 --> 00:10:55,180 Speaker 1: it was where the story took him and what happened. Well, 181 00:10:56,100 --> 00:10:58,859 Speaker 1: what did happen? What the hell happened in this movie, right? 182 00:10:59,340 --> 00:11:02,300 Speaker 1: I'm guessing more than one television executive asked that question 183 00:11:02,340 --> 00:11:07,210 Speaker 1: because after shooting some footage for the Mulholland Drive TV show, 184 00:11:07,280 --> 00:11:11,230 Speaker 1: it was unceremoniously dropped by the network. And David Lynch 185 00:11:11,470 --> 00:11:14,290 Speaker 1: is once again out here kicking himself for being duped 186 00:11:14,350 --> 00:11:19,060 Speaker 1: into trusting these bastards. Perhaps that fed into the vicious 187 00:11:19,120 --> 00:11:22,000 Speaker 1: portrait of Hollywood in this film as a place where 188 00:11:22,860 --> 00:11:25,760 Speaker 1: awful people live and work, people who want to use you, 189 00:11:25,850 --> 00:11:29,850 Speaker 1: deceive you, humiliate you, and ultimately destroy you. A place 190 00:11:29,870 --> 00:11:34,430 Speaker 1: where someone pure like Betty could never hope to survive. 191 00:11:35,030 --> 00:11:38,429 Speaker 1: And so once the project gets dumped by the American network, tellingly, 192 00:11:39,070 --> 00:11:41,170 Speaker 1: Lynch secures the rest of the funding to turn this 193 00:11:41,190 --> 00:11:44,750 Speaker 1: into a film from Studio Canal, which is a French company. 194 00:11:44,809 --> 00:11:48,449 Speaker 1: And thank God they did. Because, man, Mulholland Drive is 195 00:11:48,630 --> 00:11:52,130 Speaker 1: a film unlike any other. It's a film about doubles. 196 00:11:52,990 --> 00:11:56,220 Speaker 1: It's about a man in a dream lurking outside behind 197 00:11:56,260 --> 00:11:59,440 Speaker 1: a restaurant. It's about a hitman and a cowboy and 198 00:11:59,460 --> 00:12:02,780 Speaker 1: a director under pressure from the mob. It's also about 199 00:12:02,820 --> 00:12:05,770 Speaker 1: an aspiring actress desperately trying to fit into a world 200 00:12:05,809 --> 00:12:08,050 Speaker 1: that does not want her. And we're going to get 201 00:12:08,090 --> 00:12:36,160 Speaker 1: into it right after this. All right, guys, Dr. Lundy 202 00:12:36,480 --> 00:12:39,260 Speaker 1: here in the screening room with you. Thanks for joining 203 00:12:39,300 --> 00:12:41,960 Speaker 1: me here talking about Mulholland Drive. I have a couple 204 00:12:41,980 --> 00:12:44,199 Speaker 1: of things I want to talk about. when talking about 205 00:12:44,220 --> 00:12:49,760 Speaker 1: this movie. Number one, Winkies Diner on Sunset Boulevard. There's 206 00:12:49,820 --> 00:12:52,040 Speaker 1: a scene early on in the film that takes place 207 00:12:52,090 --> 00:12:55,470 Speaker 1: at a diner called Winkies. Winkies is not a real place. 208 00:12:56,230 --> 00:12:58,890 Speaker 1: The signage out front looks like it was created by 209 00:12:59,490 --> 00:13:01,750 Speaker 1: the graphic designer who did the logo for Seinfeld, by 210 00:13:01,790 --> 00:13:07,170 Speaker 1: the way. Inside Winkies, two men sit at a booth 211 00:13:07,320 --> 00:13:09,640 Speaker 1: and have a conversation over breakfast. One of the men, 212 00:13:10,100 --> 00:13:13,820 Speaker 1: the great character actor, Patrick Fischler, is telling the other 213 00:13:13,840 --> 00:13:16,360 Speaker 1: guy about a dream that he had that takes place 214 00:13:16,600 --> 00:13:19,480 Speaker 1: at this very diner. And how in this dream, he 215 00:13:19,559 --> 00:13:22,040 Speaker 1: can't tell if it's day or night, but what he 216 00:13:22,140 --> 00:13:25,840 Speaker 1: does know is that he's afraid. He's so afraid. And 217 00:13:25,860 --> 00:13:28,900 Speaker 1: the guy sitting across from him, he's in this dream too, 218 00:13:29,280 --> 00:13:32,850 Speaker 1: and he's also afraid. But this guy, he's not at 219 00:13:32,890 --> 00:13:35,050 Speaker 1: the booth. He's standing over by the register near the 220 00:13:35,090 --> 00:13:37,650 Speaker 1: door in the dream, right? And at some point, the 221 00:13:37,690 --> 00:13:41,430 Speaker 1: Patrick Fischler character realizes in this dream that he is 222 00:13:41,490 --> 00:13:45,990 Speaker 1: afraid of because there's a man out back behind the restaurant. 223 00:13:46,030 --> 00:13:48,689 Speaker 1: He can see the man through the wall, and he 224 00:13:48,710 --> 00:13:52,830 Speaker 1: can see his face, and that he is the one 225 00:13:52,990 --> 00:13:57,530 Speaker 1: who is doing it. Doing what? Making him afraid? We're 226 00:13:57,550 --> 00:14:00,910 Speaker 1: not entirely sure, but the other man says, okay, so 227 00:14:00,929 --> 00:14:04,620 Speaker 1: you came here today to see if he's out there, right? 228 00:14:05,200 --> 00:14:09,800 Speaker 1: To see if this is actually real. And the Fishler 229 00:14:09,840 --> 00:14:12,400 Speaker 1: character says, you know, yeah, I want to see if 230 00:14:12,720 --> 00:14:15,660 Speaker 1: it's real in order to get rid of this god-awful feeling. 231 00:14:15,700 --> 00:14:20,420 Speaker 1: Because this feeling of dread in his dream has quite 232 00:14:20,480 --> 00:14:25,620 Speaker 1: obviously followed him into his waking life, right? Now, before 233 00:14:25,640 --> 00:14:28,360 Speaker 1: I go further on this, the way this scene is 234 00:14:28,440 --> 00:14:31,360 Speaker 1: shot is unnerving. And I don't know that I noticed 235 00:14:31,420 --> 00:14:32,880 Speaker 1: it at first. It took me a couple of times 236 00:14:32,900 --> 00:14:35,540 Speaker 1: to notice this. It kind of knocks you off your 237 00:14:35,640 --> 00:14:39,220 Speaker 1: access because the cameras seem to be floating. It's like 238 00:14:39,240 --> 00:14:41,900 Speaker 1: a two-shot scene and anyone else would have shot it 239 00:14:41,980 --> 00:14:45,340 Speaker 1: as such, cutting back and forth between the characters. But 240 00:14:45,420 --> 00:14:48,120 Speaker 1: watch how the camera is kind of bobbing up and 241 00:14:48,180 --> 00:14:51,710 Speaker 1: down and left to right ever so slightly, right? And 242 00:14:51,750 --> 00:14:54,510 Speaker 1: so when they get up to essentially recreate this guy's 243 00:14:54,570 --> 00:14:58,210 Speaker 1: dream and walk out back to behind the restaurant where 244 00:14:58,250 --> 00:15:00,590 Speaker 1: we wind up getting the single greatest jump scare in 245 00:15:00,690 --> 00:15:05,350 Speaker 1: David Lynch's filmography, the sound design starts to creep in. 246 00:15:05,490 --> 00:15:09,480 Speaker 1: It's almost like the early stages of a capsizing vessel 247 00:15:09,560 --> 00:15:13,670 Speaker 1: on stormy seas. It's like twisted steel or a knotted stomach. 248 00:15:13,730 --> 00:15:17,130 Speaker 1: It's a masterful scene, a masterful bit of dialogue by 249 00:15:17,170 --> 00:15:20,330 Speaker 1: Patrick Fischler. And what is so brilliant about it is 250 00:15:20,350 --> 00:15:22,650 Speaker 1: that it happens so early in the film. And I 251 00:15:22,710 --> 00:15:25,850 Speaker 1: think it happens in order to tell you, look, what 252 00:15:25,870 --> 00:15:28,410 Speaker 1: you are watching, what you're about to witness, the story 253 00:15:28,470 --> 00:15:30,540 Speaker 1: that is about to unfold is going to be told 254 00:15:31,180 --> 00:15:35,100 Speaker 1: with dream logic. And perhaps you don't even realize this 255 00:15:35,120 --> 00:15:37,740 Speaker 1: the first time you watch the film. I'm 99% sure 256 00:15:38,260 --> 00:15:39,980 Speaker 1: I did not realize it because the first time you 257 00:15:40,020 --> 00:15:42,780 Speaker 1: watch the film, you're just sort of bowled over by 258 00:15:42,800 --> 00:15:46,140 Speaker 1: the what the fuck-ness of it all, right? But these 259 00:15:46,180 --> 00:15:49,180 Speaker 1: two guys, Patrick Fischler and the other guy, I apologize, 260 00:15:49,220 --> 00:15:53,720 Speaker 1: other guy, I don't know who you are. They're minor 261 00:15:53,760 --> 00:15:57,850 Speaker 1: characters and the scene seems completely disassociated from the rest 262 00:15:57,880 --> 00:15:59,690 Speaker 1: of the film because they're not in the film beyond 263 00:15:59,730 --> 00:16:02,950 Speaker 1: this scene. But later when this scene is echoed back 264 00:16:03,440 --> 00:16:07,000 Speaker 1: with different characters, when other scenes are echoed back with 265 00:16:07,070 --> 00:16:10,010 Speaker 1: different characters and in different ways, when the movie becomes 266 00:16:10,050 --> 00:16:13,770 Speaker 1: this serpent eating its tail, I think you can point 267 00:16:13,810 --> 00:16:16,650 Speaker 1: back to the Winky scene as the Rosetta Stone of 268 00:16:16,690 --> 00:16:18,950 Speaker 1: the film. Not that it helps you better understand the film. 269 00:16:19,830 --> 00:16:22,730 Speaker 1: I talked in the wrap party this week about how 270 00:16:23,830 --> 00:16:26,430 Speaker 1: David Lynch said that a movie can be a dream 271 00:16:26,810 --> 00:16:30,530 Speaker 1: or that a dream can be a movie. And Mulholland 272 00:16:30,550 --> 00:16:35,090 Speaker 1: Drive proves this And it does so by letting you 273 00:16:35,120 --> 00:16:36,990 Speaker 1: know through the scene. I don't know that a film 274 00:16:37,010 --> 00:16:41,090 Speaker 1: has ever gotten the dream logic thing down better than 275 00:16:41,130 --> 00:16:44,470 Speaker 1: this one. Because there's just a... I think people try 276 00:16:44,510 --> 00:16:47,870 Speaker 1: to control the dream logic thing too much. And what 277 00:16:47,910 --> 00:16:51,360 Speaker 1: makes Lynch so great is he's so willing to just 278 00:16:51,480 --> 00:16:54,640 Speaker 1: let the dream logic guide him. And he doesn't try 279 00:16:54,660 --> 00:16:56,510 Speaker 1: to control it. And he doesn't try to explain it. 280 00:16:56,800 --> 00:16:59,920 Speaker 1: He just lets it be what it is. And that's 281 00:16:59,940 --> 00:17:04,280 Speaker 1: what made him the greatest. Number two, interpretation. This is 282 00:17:04,320 --> 00:17:07,219 Speaker 1: connected to the dream logic thing. I said earlier, right 283 00:17:07,240 --> 00:17:09,000 Speaker 1: before the commercial break, I did my usual thing where 284 00:17:09,020 --> 00:17:11,450 Speaker 1: I said, this is a film about blah, blah, blah, blah, blah, right? 285 00:17:12,090 --> 00:17:14,530 Speaker 1: But is it really about those things? It might not be. 286 00:17:15,690 --> 00:17:17,890 Speaker 1: You and I are both going to watch this movie, 287 00:17:18,550 --> 00:17:21,360 Speaker 1: and we're both going to come away with entirely different interpretations. 288 00:17:21,960 --> 00:17:24,879 Speaker 1: There's so many ways to read this movie. You can 289 00:17:24,920 --> 00:17:27,780 Speaker 1: read it as a metaphysical text. You can read it 290 00:17:27,920 --> 00:17:31,119 Speaker 1: as a poisonous Valentine to Hollywood, as the Village Voice 291 00:17:31,230 --> 00:17:34,119 Speaker 1: described it. You can read it as a film about obsession, 292 00:17:34,600 --> 00:17:37,600 Speaker 1: a film about illusion. You can read into the lesbian 293 00:17:37,619 --> 00:17:40,560 Speaker 1: text of it all. But I tend to fall into 294 00:17:41,000 --> 00:17:43,500 Speaker 1: the Roger Ebert camp, which is to say that I 295 00:17:43,560 --> 00:17:45,420 Speaker 1: think I might agree with Roger Ebert when he said 296 00:17:45,520 --> 00:17:49,380 Speaker 1: of Mulholland Drive, quote, there is no explanation. There may 297 00:17:49,480 --> 00:17:54,700 Speaker 1: not even be a mystery, unquote. Now look, people love 298 00:17:55,080 --> 00:17:58,720 Speaker 1: to overanalyze shit, especially movies. Some people carry with them 299 00:17:58,760 --> 00:18:03,649 Speaker 1: this academic, scholarly baggage ported over from lit classes in 300 00:18:03,690 --> 00:18:07,370 Speaker 1: high school and college, and there's this tendency or this 301 00:18:07,410 --> 00:18:10,889 Speaker 1: desire to always look for themes and meaning and motifs 302 00:18:10,990 --> 00:18:14,990 Speaker 1: and all that. I'm sure that this impulse is driven 303 00:18:15,040 --> 00:18:19,100 Speaker 1: by our collective need to feel intelligent, to solve a problem, 304 00:18:19,580 --> 00:18:26,900 Speaker 1: to demonstrate that we are connoisseurs and appreciators of art, 305 00:18:27,080 --> 00:18:29,659 Speaker 1: as it were. But sometimes, you know, shit is in 306 00:18:29,700 --> 00:18:32,679 Speaker 1: a film for a much less complicated reason than people 307 00:18:33,100 --> 00:18:37,810 Speaker 1: like to believe. Take Psycho, for example, Alfred Hitchcock's Psycho. 308 00:18:38,010 --> 00:18:40,870 Speaker 1: The scene near the end of that film where Marion's 309 00:18:40,930 --> 00:18:43,770 Speaker 1: sister and her husband or boyfriend, I forget what he is, 310 00:18:44,170 --> 00:18:47,810 Speaker 1: are searching the Bates house, right? And right before they 311 00:18:47,850 --> 00:18:51,229 Speaker 1: come upon the mummified body of Mrs. Bates, they stumble 312 00:18:51,270 --> 00:18:54,470 Speaker 1: upon this record player. There's a record there on the 313 00:18:54,510 --> 00:18:56,879 Speaker 1: player and we get a glimpse of the title. It's 314 00:18:57,020 --> 00:19:03,640 Speaker 1: Beethoven's Eroica Symphony. So to the person trying to figure 315 00:19:03,720 --> 00:19:09,070 Speaker 1: out clues and as a way, as a lens into 316 00:19:09,109 --> 00:19:13,810 Speaker 1: like meaning, right? Go like, ooh, like, let me research 317 00:19:13,850 --> 00:19:15,970 Speaker 1: what the Eroica Symphony is all about. Let's see. Oh, 318 00:19:16,330 --> 00:19:21,310 Speaker 1: it represented a transition between the classical and the romantic era. Oh, 319 00:19:21,390 --> 00:19:24,820 Speaker 1: Beethoven dedicated it to Napoleon and then erased the dedication 320 00:19:24,840 --> 00:19:27,750 Speaker 1: and So let's now apply this to the themes of 321 00:19:27,830 --> 00:19:31,310 Speaker 1: Psycho to sort of unpack why the Eroica Symphony is 322 00:19:31,369 --> 00:19:35,910 Speaker 1: here in the shot. No. Hitchcock put that there because 323 00:19:36,050 --> 00:19:38,150 Speaker 1: you only see it for a brief moment. You see 324 00:19:38,170 --> 00:19:42,050 Speaker 1: the word Eroica, and immediately, what do you think? Erotic, right? 325 00:19:42,090 --> 00:19:46,850 Speaker 1: You think erotic. You misread it. And so subliminally, in 326 00:19:46,890 --> 00:19:49,909 Speaker 1: your mind, you've got erotic on the brain, which directly 327 00:19:49,930 --> 00:19:52,100 Speaker 1: to into whatever the fuck is going on between Norman 328 00:19:52,119 --> 00:19:54,260 Speaker 1: Bates and his mother, all right? There's not a deeper 329 00:19:54,700 --> 00:19:58,679 Speaker 1: meaning there for exactly, you know, Hitchcock put it there because, 330 00:19:59,140 --> 00:20:02,150 Speaker 1: you know, it was dedicated to Napoleon and the dedication 331 00:20:02,170 --> 00:20:04,470 Speaker 1: was then erased and how that has something to do 332 00:20:04,490 --> 00:20:06,290 Speaker 1: with it. No, it has nothing to do with that, right? 333 00:20:07,470 --> 00:20:11,139 Speaker 1: So using that, particular kind of logic. Take Mulholland Drive and, 334 00:20:11,150 --> 00:20:12,890 Speaker 1: I don't know, the cowboy, the character of the cowboy. 335 00:20:13,630 --> 00:20:16,909 Speaker 1: I don't believe the cowboy represents the suppression of the 336 00:20:16,990 --> 00:20:21,210 Speaker 1: creative entity in Hollywood. I think he's just a creepy-ass 337 00:20:21,750 --> 00:20:23,280 Speaker 1: dude who comes in and out of the film to 338 00:20:23,320 --> 00:20:26,439 Speaker 1: weird you out and add to the film's illusion of mystery. 339 00:20:26,859 --> 00:20:30,060 Speaker 1: The cowboy makes you want to get all metaphorical, right? 340 00:20:30,540 --> 00:20:33,840 Speaker 1: But like so much other stuff here, the cowboy exists, 341 00:20:33,960 --> 00:20:36,620 Speaker 1: I believe, for a much less complicated reason than you'd 342 00:20:36,640 --> 00:20:40,140 Speaker 1: like to believe. Number three, The Cowboy. Let's talk about 343 00:20:40,180 --> 00:20:43,439 Speaker 1: this guy. He's played by a guy named Monty Montgomery, 344 00:20:43,740 --> 00:20:45,960 Speaker 1: but I swear he looks like this other character actor 345 00:20:46,359 --> 00:20:50,810 Speaker 1: whose name escapes me. Monty Montgomery is actually a film producer, 346 00:20:50,950 --> 00:20:53,390 Speaker 1: not an actor. He produced Wild at Heart. He produced 347 00:20:53,410 --> 00:20:56,310 Speaker 1: another film called The Portrait of a Lady. He co-directed 348 00:20:56,369 --> 00:20:59,730 Speaker 1: a film alongside Catherine Bigelow back in the 80s called 349 00:20:59,790 --> 00:21:02,390 Speaker 1: The Loveless, starring Willem Dafoe. I think that's his only 350 00:21:03,210 --> 00:21:07,000 Speaker 1: directorial effort. And I believe that... Mulholland Drive is his 351 00:21:07,180 --> 00:21:10,460 Speaker 1: only acting credit. He is incredible. And not only is 352 00:21:10,510 --> 00:21:14,550 Speaker 1: he weird and freaky, and he has this like, he's 353 00:21:14,570 --> 00:21:18,850 Speaker 1: very pale. And he's got the fucking bandana and the hat. 354 00:21:18,910 --> 00:21:21,990 Speaker 1: It's like he's so out of, he's like the narrator 355 00:21:22,030 --> 00:21:24,090 Speaker 1: in The Big Lebowski. He's like completely out of place, right? 356 00:21:25,119 --> 00:21:28,060 Speaker 1: But he's so fucking funny. His big scene where he 357 00:21:28,100 --> 00:21:30,460 Speaker 1: meets Justin Theroux's character out at a ranch or whatever. 358 00:21:30,480 --> 00:21:33,600 Speaker 1: And the scene is basically set up. Justin Theroux is 359 00:21:34,560 --> 00:21:37,820 Speaker 1: making a movie, and there's obviously some pressure from organized 360 00:21:37,880 --> 00:21:41,540 Speaker 1: crime to cast a certain actress, and the cowboy is 361 00:21:41,560 --> 00:21:43,160 Speaker 1: here to put a little bit of pressure on him, right? 362 00:21:44,020 --> 00:21:46,240 Speaker 1: So they're out at this ranch, and he says something 363 00:21:46,260 --> 00:21:50,610 Speaker 1: to Justin Theroux's director character. He's like, man's attitude goes 364 00:21:50,710 --> 00:21:54,310 Speaker 1: some ways the way his life will be. Is that 365 00:21:54,369 --> 00:22:00,149 Speaker 1: something you might agree with? And Theroux's like, sure, whatever, right? 366 00:22:00,560 --> 00:22:02,540 Speaker 1: And the cowboy's like, did you agree with me because 367 00:22:02,600 --> 00:22:04,740 Speaker 1: you think that's what I wanted you to say or 368 00:22:04,780 --> 00:22:07,340 Speaker 1: because you truly believe it? And Thoreau's like, yeah, I 369 00:22:07,380 --> 00:22:10,470 Speaker 1: believe it, truly. And then the cowboy's like, what did 370 00:22:10,510 --> 00:22:13,610 Speaker 1: I just say? In a way of like, you know, 371 00:22:13,710 --> 00:22:15,109 Speaker 1: when you talk to somebody and they're like, did you 372 00:22:15,130 --> 00:22:16,189 Speaker 1: hear what I just said? They're like, yeah, yeah, yeah, 373 00:22:16,250 --> 00:22:18,650 Speaker 1: I do. And they're like, well, what did I just say? 374 00:22:18,930 --> 00:22:23,560 Speaker 1: It's totally funny and it almost enters Coen Brothers' territory. 375 00:22:24,480 --> 00:22:26,240 Speaker 1: But then it gets pulled back into the lynch zone 376 00:22:26,260 --> 00:22:29,199 Speaker 1: as the conversation gets weirder and more intense. And it's 377 00:22:29,290 --> 00:22:32,250 Speaker 1: obvious that this cowboy guy isn't fucking around. The cowboy 378 00:22:32,850 --> 00:22:36,690 Speaker 1: is a truly original lynch creation. He's like the mystery 379 00:22:36,710 --> 00:22:40,270 Speaker 1: man in Lost Highway. He's like Ben, Dean Stockwell's character 380 00:22:40,350 --> 00:22:43,880 Speaker 1: in Blue Velvet. He's like, not Bobby Peru in Wild 381 00:22:43,900 --> 00:22:45,760 Speaker 1: at Heart, because that's too much of a central character. 382 00:22:45,800 --> 00:22:50,060 Speaker 1: He's like maybe Mr. Reindeer in Wild at Heart or 383 00:22:50,420 --> 00:22:53,060 Speaker 1: any other guys hanging out in Big Tuna, like John 384 00:22:53,100 --> 00:22:56,859 Speaker 1: Lurie and those other characters. These bizarro characters are the 385 00:22:57,080 --> 00:23:01,270 Speaker 1: sorts of things that can only exist inside a dream. 386 00:23:01,680 --> 00:23:04,390 Speaker 1: And if not there, they can exist in a David 387 00:23:04,430 --> 00:23:10,470 Speaker 1: Lynch film. Number four, sound. The underrated MVP of this 388 00:23:10,570 --> 00:23:13,429 Speaker 1: film and of Wild at Heart and Lost Highway and 389 00:23:13,550 --> 00:23:16,590 Speaker 1: so many other David Lynch films is the sound design. 390 00:23:17,609 --> 00:23:21,190 Speaker 1: Angelo Badalamenti did the score for this, but his score 391 00:23:21,730 --> 00:23:26,109 Speaker 1: was also recycled as sound design. I was reading something, 392 00:23:26,190 --> 00:23:28,970 Speaker 1: an interview with Badalamenti, I think around the time that 393 00:23:29,010 --> 00:23:31,790 Speaker 1: this came out. And this is what he had to say. 394 00:23:31,850 --> 00:23:35,189 Speaker 1: He said, on both Lost Highway and Mulholland Drive, I 395 00:23:35,230 --> 00:23:39,620 Speaker 1: gave David multiple music tracks, which we called Firewood. I'd 396 00:23:39,640 --> 00:23:42,119 Speaker 1: go into the studio and record these long 10 to 397 00:23:42,119 --> 00:23:46,020 Speaker 1: 12 minute cues with a full orchestra. Sometimes I'd add 398 00:23:46,080 --> 00:23:48,740 Speaker 1: synthesizers to them. I'd vary the range of the notes, 399 00:23:49,130 --> 00:23:52,070 Speaker 1: then layer these musical pieces together. All would be at 400 00:23:52,109 --> 00:23:54,780 Speaker 1: a slow tempo. then David would take this stuff like 401 00:23:54,820 --> 00:23:57,940 Speaker 1: it was firewood, and he'd experiment with it. So that's 402 00:23:57,960 --> 00:24:00,429 Speaker 1: what a lot of the musical sound design stuff is 403 00:24:00,470 --> 00:24:05,169 Speaker 1: that you're hearing. David really creates beautiful things with it. Now, 404 00:24:05,210 --> 00:24:08,070 Speaker 1: it helps that David Lynch was also a musician. He 405 00:24:08,109 --> 00:24:11,669 Speaker 1: very much was in touch with his inner musician. But 406 00:24:11,710 --> 00:24:13,949 Speaker 1: it's really cool to hear about how they did what 407 00:24:13,990 --> 00:24:15,770 Speaker 1: they did, because there's so many times in a Lynch 408 00:24:15,810 --> 00:24:17,730 Speaker 1: film where you're just like, man, how do they think 409 00:24:17,790 --> 00:24:22,169 Speaker 1: about that sound choice in there? sometimes things sound like 410 00:24:22,190 --> 00:24:25,859 Speaker 1: they're like going backwards. I talked about the diner scene earlier. 411 00:24:25,890 --> 00:24:27,980 Speaker 1: There's often a lot of these just rumblings that just 412 00:24:28,040 --> 00:24:32,040 Speaker 1: make you feel, they make you feel unsettled. They're unnerving. 413 00:24:32,320 --> 00:24:34,680 Speaker 1: They're meant to sort of like, you know, it's almost 414 00:24:34,700 --> 00:24:38,380 Speaker 1: like an old school Hollywood score. The big, the strings 415 00:24:38,400 --> 00:24:40,889 Speaker 1: that would sweep up and make you feel, you know, 416 00:24:41,030 --> 00:24:44,350 Speaker 1: sad or they'd make you feel romantic or whatever. And 417 00:24:44,570 --> 00:24:47,430 Speaker 1: Lynch does that, but he does it with these pieces 418 00:24:47,470 --> 00:24:52,410 Speaker 1: of firewood from Angelo Badalamente. And he makes you feel unsettled. 419 00:24:52,910 --> 00:24:56,659 Speaker 1: You get what you feel is almost like a music, concrete, 420 00:24:56,980 --> 00:25:00,619 Speaker 1: avant-garde punctuation. That's what the sound design is. It's punctuation. 421 00:25:00,660 --> 00:25:05,619 Speaker 1: It's exclamation points. It's em dashes. It's semicolons. It reminds 422 00:25:05,660 --> 00:25:08,240 Speaker 1: me of another filmmaker like Scorsese, who's very much in 423 00:25:08,280 --> 00:25:11,880 Speaker 1: touch with how music coexists in his films. But Scorsese 424 00:25:11,920 --> 00:25:14,780 Speaker 1: is always thinking from the POV of a needle drop 425 00:25:15,160 --> 00:25:17,669 Speaker 1: and how that will work with a scene. Lynch not 426 00:25:17,730 --> 00:25:20,600 Speaker 1: only created some of the most indelible images in cinema history, 427 00:25:20,619 --> 00:25:23,699 Speaker 1: but also some of the most uncompromisingly original pieces of 428 00:25:23,780 --> 00:25:27,260 Speaker 1: sound design to accompany them. I don't know that we'll 429 00:25:27,320 --> 00:25:30,570 Speaker 1: ever see another filmmaker who thinks and works in the 430 00:25:30,609 --> 00:25:34,610 Speaker 1: same way, especially not now in 2026. I mean, you know, 431 00:25:34,670 --> 00:25:37,010 Speaker 1: the news coming down that Paramount and Warner Brothers are 432 00:25:37,070 --> 00:25:41,540 Speaker 1: merging into one megacorporation. intent on shoving more toy movies 433 00:25:41,600 --> 00:25:45,260 Speaker 1: down our throats? I mean, Matchbox, the movie, anyone? Seriously? 434 00:25:45,280 --> 00:25:48,980 Speaker 1: I cannot imagine if David Lynch was starting out today 435 00:25:49,460 --> 00:25:51,590 Speaker 1: how he would manage to get shit done. I guess 436 00:25:51,630 --> 00:25:55,869 Speaker 1: there's places like A24 and Neon, but why do I 437 00:25:55,930 --> 00:25:59,410 Speaker 1: think that he would even struggle there as well? Listen, 438 00:25:59,430 --> 00:26:01,820 Speaker 1: I'm going to use the music thing here to pivot 439 00:26:02,410 --> 00:26:06,520 Speaker 1: to another musical subject, a hypothetical, theoretical, metaphorical, potentially possible 440 00:26:06,619 --> 00:26:11,000 Speaker 1: mixtape that one can make inspired by Mulholland Drive. Let's 441 00:26:11,060 --> 00:26:12,920 Speaker 1: make a mixtape, guys. We're going to do it right 442 00:26:12,940 --> 00:26:28,060 Speaker 1: after this break. All right, guys, Dr. Lundy rolling with 443 00:26:28,100 --> 00:26:31,420 Speaker 1: you in the screening room. The film's over. The lights 444 00:26:31,480 --> 00:26:34,659 Speaker 1: are up. We're kicking back. Got a tasty beverage in 445 00:26:34,720 --> 00:26:39,590 Speaker 1: our hands. Got the double deck cassette player out, ready 446 00:26:39,609 --> 00:26:44,010 Speaker 1: to make a tape, inspired by Mulholland Drive. Over in 447 00:26:44,050 --> 00:26:47,950 Speaker 1: the wrap party, which is just behind this episode in 448 00:26:47,990 --> 00:26:51,240 Speaker 1: your feed, on Wednesday, Jake and I were recommending stuff, 449 00:26:51,640 --> 00:26:54,820 Speaker 1: music and movies that were related to dreams, right? There's 450 00:26:54,859 --> 00:26:57,840 Speaker 1: so much about dreams in this movie, not only characters 451 00:26:57,880 --> 00:27:00,480 Speaker 1: talking about dreams, but the dream logic that we talked 452 00:27:00,520 --> 00:27:03,720 Speaker 1: about that's applied to this. And so Jake recommended a 453 00:27:03,740 --> 00:27:05,980 Speaker 1: bunch of dream songs there. If you missed that, he 454 00:27:06,020 --> 00:27:11,100 Speaker 1: recommended Dream Police, by Cheap Trick. He recommended both Reoccurring 455 00:27:11,140 --> 00:27:15,619 Speaker 1: Dreams and Dreams Reoccurring, which are on Husker Du's double album, 456 00:27:15,660 --> 00:27:19,290 Speaker 1: Zen Arcade. He also recommended Tunic, Song for Karen by 457 00:27:19,369 --> 00:27:22,489 Speaker 1: Sonic Youth, which opens with a line about dreaming. So 458 00:27:22,530 --> 00:27:24,550 Speaker 1: throw those on the tape here. You can also throw 459 00:27:24,710 --> 00:27:29,070 Speaker 1: on all manners of songs about dreams. Don't Dream It's 460 00:27:29,150 --> 00:27:31,690 Speaker 1: Over by Crowded House, Sweet Dreams Are Made of This 461 00:27:31,830 --> 00:27:35,350 Speaker 1: by The Eurythmics, All I Have to Do is Dream 462 00:27:35,390 --> 00:27:39,169 Speaker 1: by the Everly Brothers, Apocalypse Dreams by Tame Impala, and 463 00:27:39,250 --> 00:27:42,050 Speaker 1: Sleep to Dream by Fiona Apple, to name a few. 464 00:27:42,830 --> 00:27:46,230 Speaker 1: But I'm thinking about L.A., I'm thinking about driving on 465 00:27:46,280 --> 00:27:49,660 Speaker 1: Mulholland Drive, and I'm thinking about how nobody walks in L.A., 466 00:27:49,700 --> 00:27:52,920 Speaker 1: and so I'm thinking about the Missing Persons song, Walking 467 00:27:53,080 --> 00:27:58,320 Speaker 1: in L.A., from 1983, with its refrain, Nobody Walks in L.A., 468 00:27:59,359 --> 00:28:01,040 Speaker 1: I feel like I've only really gotten to know this 469 00:28:01,060 --> 00:28:04,600 Speaker 1: song recently. The New Wave channel on SiriusXM plays this 470 00:28:04,619 --> 00:28:06,740 Speaker 1: song all the time. And so I've really gotten to 471 00:28:06,980 --> 00:28:08,780 Speaker 1: really like this song in the last couple of years. 472 00:28:09,460 --> 00:28:11,180 Speaker 1: And it's funny. When I lived in LA, I called 473 00:28:11,220 --> 00:28:14,040 Speaker 1: it the place where the sidewalk ends. All I really 474 00:28:14,080 --> 00:28:17,659 Speaker 1: know about Missing Persons is that Terry Bozzio is in 475 00:28:17,700 --> 00:28:19,639 Speaker 1: this band, and so are some other dudes who played 476 00:28:19,720 --> 00:28:22,420 Speaker 1: with Frank Zappa. And I think this came after their 477 00:28:22,440 --> 00:28:25,790 Speaker 1: time with Zappa. And I always found it interesting because... 478 00:28:26,280 --> 00:28:29,359 Speaker 1: This band sounds like exactly the opposite of what Zappa 479 00:28:29,400 --> 00:28:32,480 Speaker 1: was interested in. And I also know that Terry Bozzio's 480 00:28:32,550 --> 00:28:35,109 Speaker 1: wife at the time, Dale Bozzio, who's the band's lead singer, 481 00:28:35,750 --> 00:28:38,370 Speaker 1: sounds like Karen O from the Yeah Yeah Yeahs went 482 00:28:38,450 --> 00:28:41,950 Speaker 1: back in time to sing lead in this song. Maybe 483 00:28:41,970 --> 00:28:44,690 Speaker 1: she did, guys. Maybe Karen O is a time traveler 484 00:28:44,890 --> 00:28:48,490 Speaker 1: and is also Dale Bozzio. All right, next song on 485 00:28:48,540 --> 00:28:53,260 Speaker 1: here is a song called Ole Mulholland by Frank Black 486 00:28:53,480 --> 00:28:57,130 Speaker 1: from his sophomore solo album, Teenager of the Year. 1994, 487 00:28:57,130 --> 00:29:01,550 Speaker 1: 4 AD. Nick Vincent back on drums here, Lyle Workman 488 00:29:01,570 --> 00:29:04,989 Speaker 1: on guitar, Eric Drew Feldman from Pair Ubu, I think 489 00:29:05,010 --> 00:29:08,530 Speaker 1: he was in Pair Ubu. Eric Drew Feldman collaborated with 490 00:29:08,610 --> 00:29:14,130 Speaker 1: the Pixies on their final album, Trump Lamond, if I'm 491 00:29:14,150 --> 00:29:16,570 Speaker 1: not mistaken. I believe he's on there, like keyboards maybe. 492 00:29:17,490 --> 00:29:21,150 Speaker 1: So when the Pixies break up and Charles Thompson, aka 493 00:29:21,190 --> 00:29:24,330 Speaker 1: Black Francis, inverts his name and goes from Black Francis 494 00:29:24,350 --> 00:29:27,240 Speaker 1: to Frank Black, It makes his first solo record. Eric 495 00:29:27,300 --> 00:29:29,610 Speaker 1: Drew Feltman is all over that. He produces that, I think, 496 00:29:29,640 --> 00:29:34,910 Speaker 1: or co-produces it. He's on keyboards. I was obsessed with 497 00:29:34,930 --> 00:29:37,330 Speaker 1: this record in high school. I was obsessed with the 498 00:29:37,410 --> 00:29:40,800 Speaker 1: Frank Black self-titled solo debut. and I was obsessed with 499 00:29:40,840 --> 00:29:44,300 Speaker 1: Teenager of the Year. The Pixies slash Frank Black were 500 00:29:44,320 --> 00:29:48,180 Speaker 1: my favorite thing. And I almost think I liked the 501 00:29:48,200 --> 00:29:50,900 Speaker 1: Frank Black records more, because at first, when I listened 502 00:29:50,920 --> 00:29:55,330 Speaker 1: to Pixies records, the songs where he would scream, like 503 00:29:55,410 --> 00:29:59,180 Speaker 1: Tame or rock music or whatever, I'd be skipping those. 504 00:29:59,220 --> 00:30:02,240 Speaker 1: I wanted the melodies. I was like, give me like 505 00:30:02,480 --> 00:30:05,980 Speaker 1: Valeria or give me Brick is Red or whatever. Give 506 00:30:06,000 --> 00:30:10,040 Speaker 1: me something with a melody where Frank's not screaming. Later, 507 00:30:10,080 --> 00:30:12,740 Speaker 1: I came around to that stuff and I love it 508 00:30:12,780 --> 00:30:14,640 Speaker 1: now just as much as everything else. But at the time, 509 00:30:14,720 --> 00:30:17,270 Speaker 1: I really wanted the melody and I really loved these records. 510 00:30:17,810 --> 00:30:20,350 Speaker 1: And Teenage of the Year in particular kicks off with 511 00:30:20,390 --> 00:30:25,450 Speaker 1: this like four song run, whatever happened to Pong, thalassocracy. 512 00:30:25,670 --> 00:30:28,830 Speaker 1: I want to live on an abstract plane in Kalistan. 513 00:30:29,270 --> 00:30:31,680 Speaker 1: For my money, one of the greatest opening runs of 514 00:30:31,740 --> 00:30:33,920 Speaker 1: any album. I mean, one song just falls into the next, 515 00:30:33,960 --> 00:30:36,020 Speaker 1: and you're just like on this ride. This record's like 516 00:30:36,100 --> 00:30:39,120 Speaker 1: over 60 minutes long. It's so stuffed, but it's so 517 00:30:39,320 --> 00:30:43,870 Speaker 1: fucking good. This song, Olay Mulholland, is about William Mulholland, 518 00:30:43,970 --> 00:30:48,490 Speaker 1: who designed the LA aqueduct that brought water into Los Angeles, 519 00:30:48,570 --> 00:30:52,310 Speaker 1: because LA is a desert as it is. So that's 520 00:30:52,330 --> 00:30:54,510 Speaker 1: what this song is about, is what it's named after. 521 00:30:54,550 --> 00:30:56,530 Speaker 1: That's what the street is named after. And there's many 522 00:30:56,570 --> 00:30:58,470 Speaker 1: other things in LA, I believe, that are named after 523 00:30:58,520 --> 00:31:01,300 Speaker 1: William Mulholland as well. If you're interested, I wrote about, 524 00:31:02,520 --> 00:31:04,880 Speaker 1: not Teenager of the Year, I wrote about Frank Black's 525 00:31:05,120 --> 00:31:08,459 Speaker 1: debut record for a book called The B-Sides, which is 526 00:31:08,500 --> 00:31:10,640 Speaker 1: a book a bunch of us writers who wrote books 527 00:31:10,680 --> 00:31:13,260 Speaker 1: in the 33 and a third series wrote essays on 528 00:31:13,460 --> 00:31:16,080 Speaker 1: other albums. If you could get the opportunity to write 529 00:31:16,480 --> 00:31:18,270 Speaker 1: for the series again, what would you write about? And 530 00:31:18,290 --> 00:31:20,510 Speaker 1: so I wrote about Frank Black, and that's available in 531 00:31:20,550 --> 00:31:24,720 Speaker 1: that compilation called The B-Sides. I talked about The Cowboy earlier. 532 00:31:25,540 --> 00:31:28,650 Speaker 1: So I'm going to include a song called Cowboy Movie 533 00:31:29,390 --> 00:31:32,070 Speaker 1: by David Crosby, only because I want to talk to 534 00:31:32,090 --> 00:31:34,130 Speaker 1: you guys about this song. This comes from his 1971 535 00:31:34,130 --> 00:31:37,970 Speaker 1: solo album, If I Could Only Remember My Name. I 536 00:31:37,990 --> 00:31:41,360 Speaker 1: had never heard this song before until I wrote the 537 00:31:41,420 --> 00:31:45,520 Speaker 1: David Crosby episode for Disgraceland, our sister show. And when 538 00:31:45,540 --> 00:31:48,120 Speaker 1: I wrote that episode, I listened to this record and 539 00:31:48,890 --> 00:31:50,990 Speaker 1: I'm not going to lie, guys. This record blew me away. 540 00:31:51,110 --> 00:31:53,430 Speaker 1: I had no idea that I would like it as 541 00:31:53,450 --> 00:31:55,310 Speaker 1: much as I did, especially this song. This is like 542 00:31:55,330 --> 00:31:59,090 Speaker 1: an eight-minute jam. And the roster of musicians on this thing, 543 00:31:59,130 --> 00:32:01,690 Speaker 1: especially this song, it's like, I think most of the 544 00:32:01,750 --> 00:32:04,110 Speaker 1: dead are on it because Crosby was hanging out with 545 00:32:04,130 --> 00:32:06,190 Speaker 1: the dead. The Grateful Dead helped him move from one 546 00:32:06,230 --> 00:32:08,900 Speaker 1: house to another. So the Grateful Dead's on this thing. 547 00:32:09,040 --> 00:32:11,860 Speaker 1: There's other musicians from the Laurel Canyon scene that are 548 00:32:11,980 --> 00:32:15,000 Speaker 1: on it. And it's way groovier and heavier than I 549 00:32:15,020 --> 00:32:19,840 Speaker 1: would associate with David Crosby. It's a killer song for 550 00:32:19,860 --> 00:32:22,550 Speaker 1: a playlist or a mixtape. Not just this mixtape, but 551 00:32:22,620 --> 00:32:25,370 Speaker 1: any one. So anyways, Cowboy Movie. Check that record out 552 00:32:25,390 --> 00:32:27,290 Speaker 1: if you don't know it. It's really, really, really good. 553 00:32:27,770 --> 00:32:29,370 Speaker 1: I'm not going to put I Kissed a Girl on 554 00:32:29,430 --> 00:32:31,730 Speaker 1: here because I don't like that song. But I will 555 00:32:31,790 --> 00:32:34,470 Speaker 1: put on I'm in Love with a Girl by Big 556 00:32:34,510 --> 00:32:37,280 Speaker 1: Star from their second album, Radio City. This is the 557 00:32:37,380 --> 00:32:39,980 Speaker 1: album after Chris Bell left. And they're just a trio, 558 00:32:40,140 --> 00:32:42,780 Speaker 1: Alex Chilton and the boys. This song, I think it's 559 00:32:42,800 --> 00:32:45,080 Speaker 1: the last song on the record. It's just acoustic guitar 560 00:32:45,120 --> 00:32:48,140 Speaker 1: and Alex Chilton. singing. Um, and if you want to 561 00:32:48,180 --> 00:32:51,600 Speaker 1: hear where Elliot Smith came from, it's all right here. 562 00:32:51,780 --> 00:32:54,780 Speaker 1: The melody, the phrasing, the voice, this is where it starts. 563 00:32:55,100 --> 00:32:57,380 Speaker 1: I'm in love with the girl by big star. All right. 564 00:32:58,360 --> 00:33:01,920 Speaker 1: How about a song by the band detective from 1977, 565 00:33:01,920 --> 00:33:05,360 Speaker 1: their 1977 debut? I think their only record. This is 566 00:33:05,520 --> 00:33:10,880 Speaker 1: a band fronted by Michael Debar, the marquee MDB, as 567 00:33:10,920 --> 00:33:14,980 Speaker 1: he's known on, uh, his serious channel, a serious show 568 00:33:15,180 --> 00:33:19,020 Speaker 1: on the, uh, Underground Garage channel. Michael Debar hosts a 569 00:33:19,200 --> 00:33:23,570 Speaker 1: incredible rock show, rock and soul show, weekday mornings on 570 00:33:23,590 --> 00:33:26,910 Speaker 1: the Underground Garage in Sirius. Michael Debar is also sort 571 00:33:26,930 --> 00:33:30,530 Speaker 1: of this like, he's almost like this, this, the zealot 572 00:33:30,670 --> 00:33:33,310 Speaker 1: in like music and movie history. I feel like he's, 573 00:33:33,650 --> 00:33:36,910 Speaker 1: he's been everywhere and knows everybody. He fronted this band 574 00:33:36,950 --> 00:33:39,880 Speaker 1: called Detective. You know, they never really made it big, 575 00:33:40,000 --> 00:33:44,280 Speaker 1: but it's a fun record. I'm including this. I'm talking 576 00:33:44,320 --> 00:33:45,780 Speaker 1: the whole time about Michael. You guys are like, what 577 00:33:45,820 --> 00:33:49,320 Speaker 1: the fuck does Detective and Michael DeBar? Michael DeBar appears 578 00:33:49,420 --> 00:33:52,080 Speaker 1: very briefly in Mulholland Drive. I think it's the scene 579 00:33:52,120 --> 00:33:54,370 Speaker 1: at Pink's hot dog stand. And it's one of those 580 00:33:54,410 --> 00:33:57,690 Speaker 1: like the Leo DiCaprio meme moment where you snap and 581 00:33:57,730 --> 00:34:00,770 Speaker 1: point at the TV and you're like, oh, it's Michael DeBar. 582 00:34:01,390 --> 00:34:05,780 Speaker 1: So let's use the song Grim Reaper from the Detective 583 00:34:05,840 --> 00:34:08,739 Speaker 1: album just because it's a great hulking slab of like 584 00:34:08,760 --> 00:34:12,060 Speaker 1: late period Led Zeppelin rock and roll. All right. Let's see. 585 00:34:12,800 --> 00:34:16,130 Speaker 1: There's this band called... Okay, let me give you some 586 00:34:16,170 --> 00:34:19,469 Speaker 1: context for this. I think I mentioned this earlier, but 587 00:34:19,489 --> 00:34:22,670 Speaker 1: there's an incredible scene in this film where the two women, 588 00:34:22,770 --> 00:34:26,320 Speaker 1: Betty and Rita, go to a nightclub called Silencio in 589 00:34:26,360 --> 00:34:28,759 Speaker 1: the middle of the night. It's like 2 a.m. And 590 00:34:29,100 --> 00:34:32,960 Speaker 1: at this nightclub, there's a trombonist who plays, but he's playing. 591 00:34:33,280 --> 00:34:35,459 Speaker 1: He's not actually playing. He's playing to a backing track. 592 00:34:35,480 --> 00:34:38,350 Speaker 1: There's a woman who comes out who sings this Spanish 593 00:34:38,930 --> 00:34:42,600 Speaker 1: version of Roy Orbison's Crying. but she's lip syncing it. 594 00:34:42,670 --> 00:34:45,469 Speaker 1: Halfway through, she falls to the floor and the song 595 00:34:45,510 --> 00:34:48,690 Speaker 1: keeps playing. Her voice keeps going. So I was thinking 596 00:34:48,710 --> 00:34:53,069 Speaker 1: about Silencio. I was thinking about silence. And this Swedish 597 00:34:53,160 --> 00:34:57,180 Speaker 1: electronic duo, The Knife, has this song called Silent Shout. 598 00:34:57,900 --> 00:35:02,120 Speaker 1: But I'm not really into that song. But it got 599 00:35:02,140 --> 00:35:05,560 Speaker 1: me thinking about another song of theirs called Heartbeats that 600 00:35:05,640 --> 00:35:07,860 Speaker 1: seems to align a little bit more with the cocktail 601 00:35:07,880 --> 00:35:10,839 Speaker 1: of emotions in this movie. That said, I'm not going 602 00:35:10,860 --> 00:35:13,860 Speaker 1: to use their version because I like much better the 603 00:35:13,900 --> 00:35:18,060 Speaker 1: Jose Gonzalez cover of the song, the stripped down, slowed down, 604 00:35:18,700 --> 00:35:21,700 Speaker 1: nylon string acoustic guitar cover, which is one of the 605 00:35:21,739 --> 00:35:26,810 Speaker 1: greatest covers of the 2000s. Fight me. So we're going 606 00:35:26,830 --> 00:35:29,430 Speaker 1: to wrap this mixtape up with Jose Gonzalez and his 607 00:35:29,489 --> 00:35:33,310 Speaker 1: version of The Knife's Heartbeats. What do you guys think? 608 00:35:33,810 --> 00:35:37,610 Speaker 1: You got any songs about dreams or cowboys or long 609 00:35:37,650 --> 00:35:40,850 Speaker 1: drives through LA at night? Get at me and let 610 00:35:40,870 --> 00:35:45,090 Speaker 1: me know. You can call me. You can text me, 617-906-6638. 611 00:35:46,090 --> 00:35:50,239 Speaker 1: Or you can email me at disgracelandpod at gmail.com. I 612 00:35:50,260 --> 00:35:52,640 Speaker 1: got to take a quick break, guys. But hang tight. 613 00:35:52,660 --> 00:36:06,379 Speaker 1: I'm going to be right back right after this. All right, 614 00:36:06,620 --> 00:36:10,300 Speaker 1: Hollywoodland peeps, there you have it, Mulholland Drive. I mentioned 615 00:36:10,320 --> 00:36:14,839 Speaker 1: this earlier, but this was David Lynch's penultimate film. He 616 00:36:14,940 --> 00:36:18,530 Speaker 1: only made one more feature film after this, Inland Empire. 617 00:36:18,550 --> 00:36:21,510 Speaker 1: And then, of course, he also made the third season 618 00:36:21,550 --> 00:36:25,090 Speaker 1: of Twin Peaks for Showtime, which, talk about peak dream 619 00:36:25,150 --> 00:36:29,200 Speaker 1: logic shit. Just incredible stuff. It sucks that that's all 620 00:36:29,219 --> 00:36:33,040 Speaker 1: we got from him, you know? 10 movies over his career, 621 00:36:33,580 --> 00:36:36,500 Speaker 1: just 10 movies. You know, he passed away now nearly 622 00:36:36,580 --> 00:36:40,239 Speaker 1: two years ago. This January will be two years at 623 00:36:40,260 --> 00:36:43,520 Speaker 1: the age of 78. Just a tremendous body of work. 624 00:36:44,040 --> 00:36:47,839 Speaker 1: It's not all perfect, but it's all fascinating. It's hard 625 00:36:47,880 --> 00:36:50,239 Speaker 1: to rank, you know? And if I'm ranking everything, if 626 00:36:50,260 --> 00:36:53,450 Speaker 1: I'm ranking his films and his TV all together, I 627 00:36:53,489 --> 00:36:55,450 Speaker 1: think I would probably have to put Twin Peaks at 628 00:36:55,489 --> 00:36:59,029 Speaker 1: the top, like the entire series, like all three seasons, right? 629 00:37:00,710 --> 00:37:02,469 Speaker 1: But let's take Twin Peaks out of it. So if 630 00:37:02,510 --> 00:37:09,830 Speaker 1: I'm If I'm ranking just films, personally, I go from 631 00:37:09,830 --> 00:37:14,879 Speaker 1: 10 to 1. I go 10, Dune, 9, Inland Empire, 8, 632 00:37:14,880 --> 00:37:20,660 Speaker 1: Elephant Man, 7, The Straight Story, 6, Eraserhead, 5, Fire 633 00:37:20,700 --> 00:37:25,440 Speaker 1: Walk With Me. That's the Twin Peaks movie. 4, Lost Highway, 3, 634 00:37:25,440 --> 00:37:30,010 Speaker 1: Blue Velvet, 2, Mulholland Drive, and 1, Wild at Heart. Again, 635 00:37:30,670 --> 00:37:35,430 Speaker 1: That's my personal list. I'm curious about your thoughts. Are 636 00:37:35,469 --> 00:37:38,410 Speaker 1: you guys into David Lynch? Is he too weird for you? 637 00:37:38,510 --> 00:37:41,490 Speaker 1: Do you like Mulholland Drive? Do you hate it because 638 00:37:41,530 --> 00:37:44,480 Speaker 1: you don't understand it and you don't want to understand it? 639 00:37:45,030 --> 00:37:49,969 Speaker 1: Tell me. I'm dying to know. 617-906-6638. You can also 640 00:37:50,090 --> 00:37:56,700 Speaker 1: email me, disgracelandpod at gmail.com. Next week here in Hollywoodland 641 00:37:57,600 --> 00:38:00,100 Speaker 1: on Monday, We've got our fully scripted and sound design 642 00:38:00,160 --> 00:38:03,600 Speaker 1: episode from the archive, all about Tim Allen and what 643 00:38:03,660 --> 00:38:07,800 Speaker 1: happened when he was busted for dealing cocaine, thrown in prison, 644 00:38:08,200 --> 00:38:11,520 Speaker 1: facing life in prison due to the laws back then, 645 00:38:12,140 --> 00:38:14,950 Speaker 1: and what he did to sort of survive prison and 646 00:38:14,989 --> 00:38:17,670 Speaker 1: how that informed who he became. It's a wild story. 647 00:38:18,090 --> 00:38:20,009 Speaker 1: If you haven't heard it, get ready to check that 648 00:38:20,070 --> 00:38:24,149 Speaker 1: one out. Also, coming next week in our sister show, Disgraceland, 649 00:38:24,170 --> 00:38:27,870 Speaker 1: we have a brand new episode about the Christian metal 650 00:38:27,910 --> 00:38:31,410 Speaker 1: band As I Lay Dying, which has been a long 651 00:38:31,850 --> 00:38:35,310 Speaker 1: requested episode by a number of listeners to the show. 652 00:38:36,410 --> 00:38:38,810 Speaker 1: The big headline here in the story about As I 653 00:38:38,850 --> 00:38:42,250 Speaker 1: Lay Dying is that their lead singer, Tim Lambesis, actually 654 00:38:42,310 --> 00:38:46,100 Speaker 1: tried to hire a hitman to kill his wife. He 655 00:38:46,120 --> 00:38:48,600 Speaker 1: didn't realize that the hitman he was hiring was actually 656 00:38:48,640 --> 00:38:53,180 Speaker 1: an undercover cop. But there's way more to the story, including... 657 00:38:53,460 --> 00:38:56,090 Speaker 1: you know, interrogating whether or not the Christian metal scene 658 00:38:56,210 --> 00:39:00,589 Speaker 1: is full of phony Christians. That drops Tuesday next week, 659 00:39:00,730 --> 00:39:05,029 Speaker 1: all right? Available right now in your Disgraceland feed, over 660 00:39:05,050 --> 00:39:07,339 Speaker 1: on Disgraceland, by the way, is a new episode on Screamin' 661 00:39:07,360 --> 00:39:10,740 Speaker 1: Jay Hawkins and whether or not he was actually murdered 662 00:39:10,840 --> 00:39:13,920 Speaker 1: and did not die per the official record. If you're 663 00:39:13,940 --> 00:39:18,720 Speaker 1: looking for more Disgraceland and Hollywoodland content, maybe some crossover content, 664 00:39:19,120 --> 00:39:21,450 Speaker 1: we've got just the show for you. If you love 665 00:39:21,850 --> 00:39:24,760 Speaker 1: music and movies, if you love needle drops and soundtracks 666 00:39:24,820 --> 00:39:28,530 Speaker 1: and scores, if you love how the music in films 667 00:39:28,770 --> 00:39:31,720 Speaker 1: not only adds to the experience, but is something that 668 00:39:31,760 --> 00:39:35,060 Speaker 1: you talk about sometimes more than the film itself, then 669 00:39:35,100 --> 00:39:38,420 Speaker 1: you want to check out our video podcast. This film 670 00:39:38,900 --> 00:39:42,359 Speaker 1: should be played loud. You can see this only on 671 00:39:42,460 --> 00:39:46,480 Speaker 1: our Patreon, Disgraceland, all access on Patreon. We just dropped 672 00:39:46,520 --> 00:39:48,819 Speaker 1: a brand new episode on Gross Point Blank over there, 673 00:39:49,280 --> 00:39:52,200 Speaker 1: the John Cusack film from the late 90s. We've got 674 00:39:52,219 --> 00:39:56,400 Speaker 1: episodes on Boogie Nights, on High Fidelity, on Dazed and Confused, 675 00:39:56,480 --> 00:39:58,739 Speaker 1: on The Big Lebowski, on Goodfellas, so much. We got 676 00:39:58,760 --> 00:40:00,939 Speaker 1: a new episode coming at the end of this month 677 00:40:01,960 --> 00:40:04,759 Speaker 1: on Shown of the Dead. So jump on over there 678 00:40:04,780 --> 00:40:07,140 Speaker 1: to Patreon. If you're not already there, you can go 679 00:40:07,160 --> 00:40:10,820 Speaker 1: to Patreon, but you can also just go to our website, disgracelandpod.com, 680 00:40:11,340 --> 00:40:13,549 Speaker 1: and right on the homepage is a link, more information 681 00:40:13,590 --> 00:40:15,730 Speaker 1: and a link to get signed up. So check that out. 682 00:40:16,160 --> 00:40:17,819 Speaker 1: And then listen, I hope you guys have a great 683 00:40:18,040 --> 00:40:20,800 Speaker 1: weekend lined up. Maybe there's some movies in your future. 684 00:40:21,340 --> 00:40:22,640 Speaker 1: If so, give me a holler. Let me know what 685 00:40:22,680 --> 00:40:29,299 Speaker 1: you saw, what you thought. 617-906-6638. Perhaps I'll play or 686 00:40:29,340 --> 00:40:32,790 Speaker 1: read your message on the wrap party next week. Real quick, 687 00:40:33,910 --> 00:40:35,930 Speaker 1: my wife and I watched the first episode of the 688 00:40:35,969 --> 00:40:39,810 Speaker 1: new Carrie series last night on Amazon. This is being 689 00:40:39,870 --> 00:40:42,790 Speaker 1: helmed by the great Mike Flanagan, who has done a 690 00:40:42,989 --> 00:40:45,589 Speaker 1: number of Stephen King stuff, or a few Stephen King things. 691 00:40:45,610 --> 00:40:48,299 Speaker 1: He did a He directed The Life of Chuck. He 692 00:40:48,340 --> 00:40:52,279 Speaker 1: directed Dr. Sleep, both incredible Stephen King adaptations. He also 693 00:40:52,320 --> 00:40:55,819 Speaker 1: did The Haunting of Hill House, Midnight Mass. I love, 694 00:40:55,840 --> 00:40:59,589 Speaker 1: I'll watch anything he does. And for Carrie, I've said 695 00:40:59,610 --> 00:41:01,489 Speaker 1: this in the past, I do not like Brian De 696 00:41:01,530 --> 00:41:04,150 Speaker 1: Palma's movie Carrie. I just find it to be very slow, 697 00:41:04,790 --> 00:41:07,330 Speaker 1: just very plodding. And I'm just, I just, it's just 698 00:41:07,370 --> 00:41:10,370 Speaker 1: not for me. But I will say Mike Flanagan has 699 00:41:10,550 --> 00:41:13,969 Speaker 1: updated Carrie to exist in the, in now, in the 700 00:41:14,010 --> 00:41:18,050 Speaker 1: contemporary universe. And I was blown away by the first episode. 701 00:41:18,070 --> 00:41:20,190 Speaker 1: I absolutely loved it. I thought it was just, it 702 00:41:20,230 --> 00:41:23,230 Speaker 1: was great TV. And I can't wait to watch more. 703 00:41:23,390 --> 00:41:25,610 Speaker 1: So check that out, maybe. But you know what? Before 704 00:41:25,630 --> 00:41:29,090 Speaker 1: I go, let me tell you this. Here's what America 705 00:41:29,110 --> 00:41:33,080 Speaker 1: was watching at the movies in October of 2001, the 706 00:41:33,120 --> 00:41:38,239 Speaker 1: month that Mulholland Drive was released in theaters. Number one, 707 00:41:38,560 --> 00:41:43,080 Speaker 1: Training Day, directed by Antoine Fuqua. Number two, Don't Say 708 00:41:43,120 --> 00:41:48,670 Speaker 1: a Word, directed by Gary Flader. Number three, Serendipity, directed 709 00:41:48,690 --> 00:41:53,930 Speaker 1: by Peter Chesham. Number four, Zooland, directed by Ben Stiller. 710 00:41:54,030 --> 00:42:01,140 Speaker 1: Number five, Bandits, directed by Barry Levinson. Number six, From Hell, 711 00:42:01,460 --> 00:42:06,480 Speaker 1: directed by Albert and Alan Hughes. Number seven, Joyride, directed 712 00:42:06,500 --> 00:42:12,780 Speaker 1: by John Dahl. Number eight, K-Pax, directed by Ian Sokka. 713 00:42:12,820 --> 00:42:15,320 Speaker 1: Quit talking and start mixing!