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Speaker 1: Warning, Today's episode will contain some minor spoilers for various

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Speaker 1: David Lynch films and television shows, notably Twin Peaks. There

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Speaker 1: is no film, it's all an illusion. That's a David

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Speaker 1: Lynch reference, so be warned. Hello, Naman's Jason Concepcion.

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Speaker 2: And I'm Rosday Nike and welcome back to X.

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Speaker 1: Ray Vision of that podcast or wed I'm deep. Okay,

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Speaker 1: your favorite shows, movies, comics and pop culture coming from

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Speaker 1: my podcast where we'll bring you three one two, three

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Speaker 1: Godays episodes a week every Tuesday and Thursday for sure,

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Speaker 1: and then an extra day thrown in there. You sometimes Wednesday, sometimes.

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Speaker 2: You never know when it's coming. And into episode, we

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Speaker 2: have got our coffees and our pies, cherry pies, and

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Speaker 2: we are here to honor the late David Lynch. As

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Speaker 2: soon as he passed, we were in the group chat

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Speaker 2: we were like, it's got to be done. So today

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Speaker 2: we're gonna do it. We're gonna look back a time

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Speaker 2: capsule of all the film and television works so you

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Speaker 2: should add to your collection and check out and how

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Speaker 2: they impacted us. And in the back matter, we're going

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Speaker 2: to discuss what makes Lynch such an iconic figure in

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Speaker 2: cinema and pop culture history.

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Speaker 1: But first previously on Well Rosie. David Lynch passed away

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Speaker 1: recently and I'm here in La. You're here in La.

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Speaker 1: There is currently a memorial, a public memorial of sorts

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Speaker 1: at the La the Burbank Bob's Big Boy, where the

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Speaker 1: filmmaker would often get lunch around two three.

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Speaker 2: Drink his coffee in his chocolate milkshake. You can see

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Speaker 2: him to Luca Lake, I think regularly. That's one thing

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Speaker 2: I think people don't understand about the magic of La is,

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Speaker 2: like it is magical to be here. Generally there's palm trees,

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Speaker 2: there's sun, there's beaches, there's mountains, there's there's you know,

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Speaker 2: horrible fires that we were living through and sending our

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Speaker 2: hopes and prayers to that. But like there is it's

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Speaker 2: still a movie making town. Like you can just be

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Speaker 2: hanging out and just see someone like David Lynch in

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Speaker 2: a diner or go to a screening and see some

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Speaker 2: like incredible artists that you never thought you would get

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Speaker 2: to see in real life. Like it's pretty magical in

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Speaker 2: that way. It still is a movie making town. And

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Speaker 2: I think someone like Lynch because of his you know,

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Speaker 2: unique form and play within film, but also his like

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Speaker 2: strange accessibility and sincerity, Like people knew that you could

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Speaker 2: just go that him and John Carpenter would be there,

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Speaker 2: just like having lunch at Big Boy. Yeah, and now

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Speaker 2: there's a very beautiful, very big probably soon to get

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Speaker 2: too big. Might have to get it.

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Speaker 1: As soon to get too big. It might be too

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Speaker 1: big as we speak, When did you first become aware

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Speaker 1: of David Lynch the guy? Not just because I remember

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Speaker 1: the I first saw Elevant man like as a child

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Speaker 1: and that was the first one I saw, But I

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Speaker 1: didn't know about him until years later. So when did

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Speaker 1: you first become aware of him as a personality as

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Speaker 1: a person?

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Speaker 2: Okay, so before I was even born. My mom always

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Speaker 2: blames this for me being like weird. But she she

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Speaker 2: went to the Rio Cinema in Dalston and when she

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Speaker 2: was pregnant and they did a mom and baby screening

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Speaker 2: of Blue Velvet and you could like take your kid

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Speaker 2: and go and see it, and she'd had it was good,

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Speaker 2: So she went and she was pregnant and she was

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Speaker 2: like so mortified when Dennis Hopper like had the gas

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Speaker 2: mask on and he was like I want to get

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Speaker 2: back inside when he's like trying to, you know, And

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Speaker 2: and she left, and she's always been like, you know,

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Speaker 2: maybe that's why, like you like all this weird stuff

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Speaker 2: because when you were in you I went to see

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Speaker 2: Blue Velvet. But I when I was a kid, my

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Speaker 2: best friend donoll we were just into like really weird

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Speaker 2: stuff and I we had probably already seen the June movie,

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Speaker 2: but I do really distinctly remember we went to see

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Speaker 2: My Holland Drive at the cinema in two thousand and one,

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Speaker 2: so we would have been thirteen, and we specifically like

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Speaker 2: went to see that movie because we like David Lynch.

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Speaker 2: We'd gotten old David Lynch movies out of the video

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Speaker 2: store that we had where we lived in Hackney. And yeah,

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Speaker 2: I remember really distinctly both of us just being like, WHOA,

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Speaker 2: what like a crazy movie? And that was really another

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Speaker 2: step towards my kind of cinephile story. So that was

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Speaker 2: definitely it. And I still hold like a very special

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Speaker 2: place in my heart for My Holland Drive, and I

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Speaker 2: still get that feeling every time, like if you're driving

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Speaker 2: in LA and you see My Holland Drive, I'm always

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Speaker 2: like that's my Holland Drive, like the there is like

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Speaker 2: I know this, It's from movies. So I would definitely

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Speaker 2: say that was a big one. But I think the

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Speaker 2: reason that we were even aware of who he was

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Speaker 2: was probably because of Twin Peaks for sure.

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Speaker 1: I think for me, I first saw The Elephant Man

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Speaker 1: as a kid. It was playing on cable all the time,

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Speaker 1: and I was very, very affected by that movie. It's

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Speaker 1: a tremendously one of the most beautiful modern black and

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Speaker 1: white films, I think, yeah, and it is a heartbreaking

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Speaker 1: film the end. It's about a man who is born

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Speaker 1: with severe physical deformities to the point that he can't

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Speaker 1: He has to sleep standing like sitting up because he

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Speaker 1: lays down he'll suffocate. And he's kept in a like

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Speaker 1: as a circus performer, like in a cage. But he's

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Speaker 1: very sensitive, very intelligent, and as he says in the

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Speaker 1: film many times, not an animal. He's mellows in this

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Speaker 1: really affecting way, and it really it really it. As

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Speaker 1: a kid, it really broke my heart. I was like,

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Speaker 1: oh my god, this is one of the most sad

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Speaker 1: things I've ever seen. And then of course I saw Dune,

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Speaker 1: but I didn't make that this is all as a kid,

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Speaker 1: so I didn't make the connection of you know, David

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Speaker 1: Lynch and as as a director, and I don't think

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Speaker 1: I had a tremendous idea about directors and what they did.

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Speaker 1: So and then I saw Dune, which I loved as

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Speaker 1: a kid. Although I found it tremendously weird.

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Speaker 2: It's very very weird, but very appealing to the eye

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Speaker 2: of a child because there's so much great stuff going on.

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Speaker 1: That I thought it was great and I still think

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Speaker 1: it's great. And then and then you're right, Twin Peaks

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Speaker 1: was a sensation. But as a person, David Lynch, I

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Speaker 1: want to say, this is sometime during the Twin Peaks run,

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Speaker 1: And again I was very young, and I didn't have

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Speaker 1: a lot of parental supervision, and I was always up

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Speaker 1: late watching late night television, like starting in the fourth grade,

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Speaker 1: fourth fifth grade, I just would stay up late and

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Speaker 1: lunch like Letterman and Lynch appeared on and My he

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Speaker 1: talked about Twin Peaks a little bit. And then I

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Speaker 1: recall David's like, you brought something for us to see

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Speaker 1: and he's like yeah, and he brings out like this

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Speaker 1: collection of photographs and he had he talked about how

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Speaker 1: he was walking around outside his house and he saw

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Speaker 1: his line of ants, so he took a toothpick, and

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Speaker 1: on the toothpick he mounted a ball of meat and

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Speaker 1: cheese I think, and then he covered the meat and

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Speaker 1: cheeseball with clay, and then you know, carved like eye

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Speaker 1: holes and then a mouth and I think nose holes

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Speaker 1: and like these little kind of like Shrek like ears

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Speaker 1: out of clay, and the holes allowed the ants to

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Speaker 1: get in, and then he mounted it right in the

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Speaker 1: path of the ants and then just took pictures of

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Speaker 1: like the ants going into the eye holes and like

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Speaker 1: carving out the meat and taking it away. And I

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Speaker 1: had never seen anything like that on television. Don't work television,

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Speaker 1: I'm like, and it was I was like, Wow, what

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Speaker 1: a tremendously weird guy. And I've always been fascinated by, like,

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Speaker 1: truly sincerely weird people. And that was my first understanding

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Speaker 1: of David Lynch's, like oh shit, he's weird. And then

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Speaker 1: it wasn't until college that I watched Blue Velvet and

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Speaker 1: was just blown away by the everything of it. We'll

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Speaker 1: describe what that means in a bit, but I mean,

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Speaker 1: what would you say, are the hallmarks of David Lynch.

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Speaker 1: What would you say are the themes and the devices

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Speaker 1: that many of his films have in common and the

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Speaker 1: things that he would you can feel that he's interested

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Speaker 1: in through his movies.

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Speaker 2: I think, like a sincere interest in the concept of

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Speaker 2: like America and Americana.

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Speaker 1: Yeah, and that's right. It's a Midwestern guy from small

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Speaker 1: town America.

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Speaker 2: What does it mean to be in America whether you're

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Speaker 2: in a rural area, which Twin Peaks explores this kind

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Speaker 2: of idea of like the idyllic notion of like nature

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Speaker 2: and living with nature, and the dangers and the secrets

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Speaker 2: that hide behind small town life, which is also very

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Speaker 2: apparent in like Blue Velvet. But then also like Wild

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Speaker 2: at Heart with Laura Dunn and Nick Cage, that is

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Speaker 2: a movie that's very concerned with this kind of like

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Speaker 2: over the top, violent, embellished kind of road trip version

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Speaker 2: of what Americana can be, Like Las Vegas driving down

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Speaker 2: Route sixty six. He was just a man who was

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Speaker 2: very interested in telling a story about the place that

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Speaker 2: he lived. And I think that that goes from anything

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Speaker 2: from like Blue Velvet, Twin Peaks, Lost Highway, Wild at Heart,

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Speaker 2: More Holland drive. Obviously, then you're getting into the very

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Speaker 2: specifically LA movies, but also the straight Story, which I

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Speaker 2: think a lot of people have really been revisiting, which

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Speaker 2: seemed at the time in nineteen ninety nine like this

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Speaker 2: just absolute diversion from David Lynch's which was generally seen

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Speaker 2: as controversial and shocking and very adult. And the straight

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Speaker 2: story is just about a guy who drives his lawn

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Speaker 2: mower across the country to see his friends. Yeah, based

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Speaker 2: on a true story, and it's very ironically. It really

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Speaker 2: reminds me of another one of my favorite Stone Cold widows,

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Speaker 2: Berna Herzog. He wrote this book about walking across the

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Speaker 2: country to see his friend who had cancer. And I

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Speaker 2: think that there is this similarity of interest in both

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Speaker 2: the tiniest stories, like what would drive somebody to do that?

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Speaker 2: How much do you have to love someone? And there's

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Speaker 2: this very affecting moment in the straight story that a

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Speaker 2: lot of people have been sharing where the guy's like, oh,

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Speaker 2: you came all this way from me, and he's like, yeah,

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Speaker 2: I did. And it's kind of this acknowledgment of like

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Speaker 2: humanity and friendship and male friendship and platonic love, and

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Speaker 2: it's this really tiny moment in what is like a

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Speaker 2: very vast story, and what was seen at the time

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Speaker 2: is like why did he make this? But when you

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Speaker 2: look at it in the context of the rest of

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Speaker 2: his movies, I think it makes a lot of sense.

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Speaker 2: I also would say, obviously like surrealism, especially if you're

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Speaker 2: looking at like Eraise Ahead, which I think was another

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Speaker 2: movie that I saw really really young that scared me.

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Speaker 2: Everyone was like, oh my god, you don't want to

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Speaker 2: see the erais Ahead baby, like nobody film. Yeah, Yeah, definitely,

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Speaker 2: like wait what and that was from nineteen seventy seven.

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Speaker 2: It feels very ahead of its sky. It feels very

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Speaker 2: akin to like a Tetsuo The Iron Man, or like

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Speaker 2: international cinema cinema from Japan around the same time, or

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Speaker 2: in the late eighties.

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Speaker 1: In early twentieth century films like Metropolis.

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Speaker 2: Yeah, very that's definitely very in his vein, and I

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Speaker 2: think that mixture.

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Speaker 1: I think is very much referenced in the opening of

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Speaker 1: it too.

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Speaker 2: Yeah, oh man, I used to love that movie. Yeah,

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Speaker 2: I would say, I think another thing that comes across

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Speaker 2: in all of his movies. Whether he's acting in a movie,

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Speaker 2: everyone's been sharing his performance as John Houston. In Spielberg's

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Speaker 2: The Fableman's that came out recently, he had like a

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Speaker 2: short one horizon. Where's the horizon? I think about it

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Speaker 2: a lot now. Whatever is at the top, it's interesting,

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Speaker 2: it's at the bottom of the bottom, it's interesting. The

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Speaker 2: middle it's boring. Get out. But like I think something

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Speaker 2: that shines through is also just like a sincere love

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Speaker 2: for cinema. Like he loves movie making. He loves the

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Speaker 2: he loves art granularly it can be. He loves how

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Speaker 2: the light hits the set. He loves the mees on

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Speaker 2: sen he loves the production of making a movie. He

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Speaker 2: loves the people he makes movies with. There's those incredible

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Speaker 2: pictures of him when he was trying to get Laura

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Speaker 2: don an oscar for Mulholland Drive, and he's sitting with

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Speaker 2: the cow just on the side of the street outside

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Speaker 2: the Academy with the big you know, for your consideration,

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Speaker 2: Laura Dunn, this was just a man who's crely loved

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Speaker 2: his country, his job, his life, the people he worked with,

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Speaker 2: someone like Kyle McLaughlin, who is just such a fantastic

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Speaker 2: talent who he feels, you know, he wrote a piece recently,

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Speaker 2: and it was such a beautiful read basically about how

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Speaker 2: David Lynch created him, Like there's no version of him

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Speaker 2: that exists today without Lynch.

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Speaker 1: Yeah, plucked him from obscurity, in his words.

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Speaker 2: Because he did June, he did Blue Velvet, he did

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Speaker 2: Twin Peaks. He managed to craft this enigmatic kind of

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Speaker 2: career out of just working with this man who saw

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Speaker 2: something in him and who was willing to play with

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Speaker 2: him on screen. And I do think that Twin Peaks

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Speaker 2: probably changed the trajectory of David Lynch's career in obviously

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Speaker 2: many ways, like you're making mainstream TV, your name is

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Speaker 2: getting out there, but more so in like a way

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Speaker 2: of crafting a very passionate fandom. Like I worked at

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Speaker 2: a movie thing in London called Genesis Cinema, and I

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Speaker 2: worked at the bar and we hosted the Twin Peaks

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Speaker 2: fest right one year, and I got to meet matgen

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Speaker 2: Amchik and Sherylyn Fenn and it was really incredible. But

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Speaker 2: the passion that the fans have for that show, I've

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Speaker 2: only seen a kin is like comic Con.

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Speaker 1: It's kind of amazing that it became a thing.

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Speaker 2: People dressed up, they queued up they paid for signatures.

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Speaker 2: Especially when the show came out, people who loved David

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Speaker 2: Lynch at first were very confused by it because it

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Speaker 2: was straight. It was kind of a straight down the

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Speaker 2: line at the beginning.

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Speaker 1: Yes, yeah, in the beginning, Yes, in the beginning, yeah yeah,

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Speaker 1: yeah yeah, as a murder mystery kill the ponds, because

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Speaker 1: you're right, there is this wonderful mainstream hook of the

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Speaker 1: murder mystery, and then it just evolves.

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Speaker 2: Well, let's let's use this as.

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Speaker 1: A jumping up the plane to talk about his work.

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Speaker 1: Let's talk about his work starting with his first full

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Speaker 1: length feature film, nineteen seventy Seven's a raser Head. Very

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Speaker 1: much an art film, very much a film. Another film

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Speaker 1: that I think is one of the great modern black

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Speaker 1: and white films. It's about this guy, a racer head

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Speaker 1: who you know, goes about living his very strange life

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Speaker 1: in a unknown kind of industrial industry city and he

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Speaker 1: has a lot of kind of dreamlike things happen to him.

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Speaker 1: He has a there's a child involved. But it's really

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Speaker 1: a kind of collection of visual tone poems that are

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Speaker 1: really quite striking. It feels as if you are having

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Speaker 1: a full length dream, is what yes film is.

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Speaker 2: Like, I think it does establish that dream like nature

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Speaker 2: that becomes a really big part of most of Lynch's films,

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Speaker 2: especially Blue Velvet and Lost Highway, Amahalan Drive, and also

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Speaker 2: I would say as well to a point June. I

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Speaker 2: feel like a lot of what he did with June

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Speaker 2: was like incredibly dreamlike and strange. But yeah, this was

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Speaker 2: definitely the ultimate. Like when I was a teenager, you'd

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Speaker 2: be like, oh my god, have you seen a rais ahead?

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Speaker 2: Like you got to watch this, and we'd get it

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Speaker 2: and everyone would freak out to see that a rais

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Speaker 2: ahead baby, and I was I was overly scared of

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Speaker 2: it as a child before i'd seen it, before realizing

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Speaker 2: like anything, it's kind of you know these funny.

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Speaker 1: It's mostly very weird and funny.

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Speaker 2: Yeah, adults will always tell you like, oh, you got

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Speaker 2: this is going to be really scary, and then you

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Speaker 2: watch it and you're like, well, this is old. You

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Speaker 2: know that I remember having that feeling.

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Speaker 1: Well, I will say one of the things that I

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Speaker 1: think that is present from the start of Lynch's filmography,

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Speaker 1: and it's right here one is the kind of dreamlike

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Speaker 1: the dreamlike quality, the intertextual quality. What I think he

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Speaker 1: builds that dream like feeling with takes of unusual length.

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Speaker 1: I don't mean long, and I don't mean short. I

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Speaker 1: just mean longer than you would expect for a two

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Speaker 1: shot conversation or shorter than you would expect for like

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Speaker 1: a reaction shot, and shooting from strange angles, like angles

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Speaker 1: that almost look like you're observing a scene from on

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Speaker 1: the set, but in a different way. And then also

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Speaker 1: this juxtaposition of normalcy and life with something really scary

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Speaker 1: and gross.

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Speaker 2: Like, yeah, definitely, And I mean I always remember reading

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Speaker 2: Jennifer Lynch, who is now a filmmaker in Home Right,

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Speaker 2: like David Lynch's daughter. She talked about how like she

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Speaker 2: was born with like clubbed feet and had to have

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Speaker 2: a lot of operations, and the kind of unexpected nature

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Speaker 2: of her being born and then not being born disabled

312
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Speaker 2: was like a big packed on the movie. But also

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Speaker 2: so was living in Philadelphia, Like he loved Philadelphia, but

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Speaker 2: he was living in Philadelphia in the seventies and he

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Speaker 2: was seeing some stuff he was seeing.

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Speaker 1: Referred to it as a very racist place, but also

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Speaker 1: he liked it.

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Speaker 3: Yeah, he was like he's really going through he was

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Speaker 3: living in a what I think again, his love of

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Speaker 3: like different sides of America and seeing this kind of

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Speaker 3: industrial poverty stricken place.

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Speaker 2: Also, something I think about a lot with The Raizorhead

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Speaker 2: is like af I thought it was gonna be like

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Speaker 2: a twenty minute movie, so they greenlit it because only

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Speaker 2: had twenty one page screenplay, but David Lynch obviously was

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Speaker 2: like no, So it took like over five years to make,

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Speaker 2: and he was basically living off the fact that his

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Speaker 2: childhood friend Jack Fisk and Sissy Spacek were just donating

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Speaker 2: money to him. So it's essentially that thing as well

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Speaker 2: of like you probably never get David Lynch without having

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Speaker 2: a benefactor who saw that it was worth making this

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Speaker 2: movie and for years supported him in his ability to

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Speaker 2: make this movie that would go on to obviously spark

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Speaker 2: this massive Korea And I think as well as something

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Speaker 2: that's really interesting about a rais Ahead is it couldn't

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Speaker 2: feel more tonally different than The Elephant Man, which is

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Speaker 2: a pretty straight down the line like loose of a

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Speaker 2: bio drama. Yeah, yeah, But the interesting thing about it

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Speaker 2: is Elephant Man also deals in ideas and notions of

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Speaker 2: like disability and acceptance and finding acceptance in a world

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Speaker 2: where you are different, So I think it's interesting to

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Speaker 2: kind of see those themes emerge. But yeah, obviously, then

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Speaker 2: Elephant Man becomes like this massive cultural success. It's nominated

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Speaker 2: for many many awards. John hurt Is obviously absolutely fantastic.

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Speaker 2: It's definitely one of those movies in the annals of

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Speaker 2: like disability cinema, kind of like Freaks. Freaks is still

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Speaker 2: pretty much the only major studio movie that's ever been

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Speaker 2: made with a majority disabled cast until the Woody Allen

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Speaker 2: movie Champions recently, which was more of like a Bobby

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Speaker 2: Fairley comedy. So, I you know, good for the actors

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Speaker 2: who got paid in that. I love that for them,

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Speaker 2: But like Freaks was like that, it's imperfect, but for

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Speaker 2: a lot of disabled people, there's a lot to love

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Speaker 2: about it.

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Speaker 1: Or Revenge Film, I think exactly. It's a kind of

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Speaker 1: our great revenge film.

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Speaker 2: Revenge film, and also a film that, even though it

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Speaker 2: was sold on this notion of like, oh, look at

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Speaker 2: the freaky disabled people, it actually humanizes the disabled people.

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Speaker 1: It's from their perspective. From me, take revenge, you.

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Speaker 2: Get it exactly. So you mentioned the Elephant Man.

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Speaker 1: Nineteen eighty Elephant Man, produced by Mel Brooks.

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Speaker 2: Yeah, which he did uncredited so people wouldn't think it

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Speaker 2: was a comedy. And with the Elephant Man, it's another

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Speaker 2: movie where you know, nowadays we have incredible actors like

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Speaker 2: Adam Pearson, who you can currently see in a Different

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Speaker 2: Man with Sebastian Stan, but you know, in the eighties

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Speaker 2: they used John Hutt, they use prosthetics, and it still

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Speaker 2: is a movie that is definitively a humanizing movie about risabilities.

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Speaker 2: And I think that was like a huge moment. But

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Speaker 2: then again, you get the next movie he does is Dune.

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Speaker 2: You know, four years later that's crazy.

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Speaker 1: Well, what's fascinating is so Elephant Man is, along with

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Speaker 1: the straight story, I think his most to your point

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Speaker 1: down the line film. It's a yeah, beginning middle and

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Speaker 1: beginning middle, there are Lynchian things in there. The dreamlike

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00:21:37,800 --> 00:21:40,680
Speaker 1: quality is really pushed to the periphery. If it's there

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Speaker 1: at all, it's there because of the stark and beautifully

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Speaker 1: rich black and white photography. What is very Lynchian is

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Speaker 1: his depiction of cruelty, which is stark in the film.

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Speaker 1: But it's a regular it's a quote unquote normal movie,

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Speaker 1: and I think off of the strength of that comes

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Speaker 1: Dune he is tapped to adapt and direct the adaptation

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Speaker 1: of one of the great sci fi works, with the

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Speaker 1: idea that Dune would become as you know, Return of

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Speaker 1: the Jedi had come out in nineteen eighty three, so

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Speaker 1: the movie industry is thinking, where's our next star wars.

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Speaker 1: Here's a classic sci fi why don't we do that.

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Speaker 1: Let's tap this guy, David Lynch, up and coming filmmaker,

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Speaker 1: young filmmaker in the mold of George Lucas who was

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Speaker 1: also an art film guy. THHX you know is a

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Speaker 1: very strange film, akin to erase her head in its

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Speaker 1: own way. So I think they were thinking, Okay, here's

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Speaker 1: our big chance, and it doesn't quite work out the

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Speaker 1: way either Lynch or the studio on it. Lynch has

396
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Speaker 1: complained that they took his vision away, they took his

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Speaker 1: power away. That said, well, I was saying this before

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Speaker 1: we turn the MIC's onto Joell, I get it. This

399
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Speaker 1: is a big studio picture. Like I remember as a

400
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Speaker 1: young kid that they had Kyle McLaughlin in the full

401
00:22:58,080 --> 00:23:01,760
Speaker 1: still suit get up on fucking a cover on Wheatie's boxes,

402
00:23:01,800 --> 00:23:05,000
Speaker 1: like on cereal boxes, because the idea was that they

403
00:23:05,000 --> 00:23:08,399
Speaker 1: were gonna market this as eighties Star Wars, here's the

404
00:23:08,440 --> 00:23:10,920
Speaker 1: new Star Wars. They were gonna push that this way,

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Speaker 1: and I think in order to do that, you kind

406
00:23:13,520 --> 00:23:15,520
Speaker 1: of do have to take the film from David Lynch,

407
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Speaker 1: who is gonna go fucking crazy.

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Speaker 2: Well, his original cut was like four hours long. Yeah, right,

409
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Speaker 2: and also as well, you've got to understand, though, I

410
00:23:23,760 --> 00:23:27,160
Speaker 2: will for David Lynch, who's coming into this right off

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00:23:27,200 --> 00:23:32,280
Speaker 2: the eight Academy nominations for The Elephant Man and then

412
00:23:32,400 --> 00:23:34,360
Speaker 2: just like an art movie that he did for fun

413
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Speaker 2: for five years, funded by his friends, he's coming into

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Speaker 2: June that's been in production since like nineteen seventy one.

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Speaker 2: Then in nineteen seventy four you get the Joderowski version

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Speaker 2: where him and Dan O'Bannon essentially unintentionally collect all the

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00:23:49,960 --> 00:23:52,200
Speaker 2: creative team that would gone to work with Alien. When

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00:23:52,200 --> 00:23:56,159
Speaker 2: the Joderowski version fails, then in seventy six, and you know,

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00:23:56,320 --> 00:23:59,920
Speaker 2: Delaurentes is trying to do it, and then you know,

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00:24:00,800 --> 00:24:04,040
Speaker 2: and obviously you can watch the Joderarowski student documentary to

421
00:24:04,080 --> 00:24:08,040
Speaker 2: find out about how that happened. But then Dino Dolaurentis

422
00:24:08,119 --> 00:24:10,919
Speaker 2: came in. He hired Ridley Scott and then by the

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00:24:10,960 --> 00:24:14,240
Speaker 2: time that Lynch comes in, they've almost lost the rights.

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Speaker 2: Then they get the rights back, and he is not

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00:24:17,080 --> 00:24:21,040
Speaker 2: necessarily in an ideal situation. Also, hilariously, speaking of Return

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00:24:21,080 --> 00:24:24,080
Speaker 2: of the Jedi, David Lynch actually did turn down the

427
00:24:24,200 --> 00:24:27,320
Speaker 2: chance to direct Return of the Jedi, which is like

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00:24:27,400 --> 00:24:29,840
Speaker 2: still one of my favorite like what if movies of

429
00:24:29,880 --> 00:24:32,440
Speaker 2: all time, and I love Return of the Jedi. But yeah,

430
00:24:32,600 --> 00:24:35,080
Speaker 2: so he was really going through it. The movie came out,

431
00:24:35,520 --> 00:24:38,840
Speaker 2: it was not necessarily seen as some great hit, but

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Speaker 2: as always happened, it is now essentially like it got

433
00:24:44,280 --> 00:24:48,359
Speaker 2: its own colleague following Yeah, one of my colleagues and

434
00:24:48,480 --> 00:24:50,800
Speaker 2: friends that I made from set visits called Max. Every

435
00:24:51,359 --> 00:24:54,159
Speaker 2: he did he wrote actually a book called a Masterpiece

436
00:24:54,160 --> 00:24:58,120
Speaker 2: in Disarray, David Lynch's June and he interviewed David Lynch,

437
00:24:58,160 --> 00:25:01,480
Speaker 2: He interviewed like Kyle, he interviewed bunch of people. He

438
00:25:01,560 --> 00:25:06,160
Speaker 2: also found out that there had kind of been talk

439
00:25:06,280 --> 00:25:10,679
Speaker 2: of Dune Too being made, and that there was kind

440
00:25:10,720 --> 00:25:13,639
Speaker 2: of a screenplay that he had found he'd found like

441
00:25:13,680 --> 00:25:16,080
Speaker 2: a treatment while he was in the archives at California

442
00:25:16,119 --> 00:25:18,640
Speaker 2: State University. So there was meant to be a sequel.

443
00:25:18,880 --> 00:25:21,760
Speaker 2: So I can't. I can imagine that was a tough situation.

444
00:25:22,200 --> 00:25:24,439
Speaker 2: Max also interviewed me for that book, so if you

445
00:25:24,440 --> 00:25:26,080
Speaker 2: want to get a copy of it, he interviewed a

446
00:25:26,080 --> 00:25:29,240
Speaker 2: bunch of different people about their experiences of Doune. But yeah,

447
00:25:29,280 --> 00:25:32,680
Speaker 2: I love that Dune movie. Virginia Madison is great. It's

448
00:25:32,720 --> 00:25:36,600
Speaker 2: super weird. I do think we can say that when

449
00:25:36,600 --> 00:25:39,800
Speaker 2: it comes to the adaptation and the nature of adaptations,

450
00:25:40,080 --> 00:25:44,400
Speaker 2: Denny villanu has like created a Dune that feels much

451
00:25:44,400 --> 00:25:46,879
Speaker 2: more akin to the books. But I think there is

452
00:25:46,960 --> 00:25:52,040
Speaker 2: a lot of love and just absolute skill put into

453
00:25:52,080 --> 00:25:56,080
Speaker 2: these movies and they just are inherently Lynchian in a

454
00:25:56,080 --> 00:25:57,200
Speaker 2: way that's very enjoyable.

455
00:25:57,320 --> 00:25:59,480
Speaker 1: I think that there is first of all, the aesthetic

456
00:26:00,080 --> 00:26:06,040
Speaker 1: look and feel, the still suits, the guild navigators, the

457
00:26:06,080 --> 00:26:11,640
Speaker 1: weirdness of spice and its effects. All of that is

458
00:26:11,680 --> 00:26:16,040
Speaker 1: a foundational stone to the Denny Villeneuve Dune films. Like

459
00:26:16,080 --> 00:26:20,120
Speaker 1: you really could not have the those films without what

460
00:26:20,280 --> 00:26:23,680
Speaker 1: lynch did. You know you could if you watch the

461
00:26:23,760 --> 00:26:27,399
Speaker 1: Generraski movie. Obviously there's a lot of things in there

462
00:26:27,520 --> 00:26:31,800
Speaker 1: too that were influential. But Grasci was like a con man.

463
00:26:32,200 --> 00:26:33,520
Speaker 2: Yeah, he's a fucking sucker.

464
00:26:34,720 --> 00:26:37,160
Speaker 1: Come on, he was never gonna make them. You watch

465
00:26:37,280 --> 00:26:40,200
Speaker 1: that if you really want to want to worry about

466
00:26:40,240 --> 00:26:43,640
Speaker 1: one of the most quixotic cinema like projects of all time.

467
00:26:43,720 --> 00:26:47,119
Speaker 1: That said, I think Lynch's I think you're right, Lynch's

468
00:26:47,440 --> 00:26:51,000
Speaker 1: Dune is iconic in its own way. Even the things

469
00:26:51,040 --> 00:26:53,760
Speaker 1: that were changed, which as a person who loves the

470
00:26:53,760 --> 00:26:57,879
Speaker 1: books and thinks the film news adaptations are wonderful, I

471
00:26:57,880 --> 00:27:00,359
Speaker 1: don't love, for instance, the voice and the way the

472
00:27:00,440 --> 00:27:04,800
Speaker 1: voice is basically the force in Lynch's version. And that said, like,

473
00:27:04,840 --> 00:27:09,200
Speaker 1: there's a scene in which they're training like the Fremen

474
00:27:09,240 --> 00:27:10,720
Speaker 1: and the use of the voice, and I think that's

475
00:27:10,760 --> 00:27:13,560
Speaker 1: one of the most compelling scenes in the film. Like,

476
00:27:13,640 --> 00:27:15,560
Speaker 1: even like the stuff that I didn't like was like

477
00:27:15,640 --> 00:27:19,239
Speaker 1: really done in a weird and interesting way. It was

478
00:27:19,320 --> 00:27:24,959
Speaker 1: not the franchise starter that people were thinking. And then

479
00:27:25,080 --> 00:27:28,720
Speaker 1: two years later Lynch emerges with Blue Velvet, which I

480
00:27:28,760 --> 00:27:32,440
Speaker 1: didn't see until college, but is I think the purest

481
00:27:32,560 --> 00:27:35,600
Speaker 1: distillation of the things that Lynch wants to do with

482
00:27:35,720 --> 00:27:41,360
Speaker 1: film that he's interested in, and a way to kind

483
00:27:41,400 --> 00:27:44,880
Speaker 1: of process a lot of the things that he's been

484
00:27:44,960 --> 00:27:48,840
Speaker 1: working on through art in various mediums, painting and sculpture

485
00:27:49,040 --> 00:27:53,600
Speaker 1: since childhood. And it's I mean, the story is about

486
00:27:53,840 --> 00:27:58,040
Speaker 1: a college student who comes back to the suburbs and

487
00:27:58,080 --> 00:28:02,000
Speaker 1: discovers a world of darkness and violence just there below

488
00:28:02,000 --> 00:28:04,920
Speaker 1: the surface. And I think that if there's one thing

489
00:28:04,960 --> 00:28:07,160
Speaker 1: that Lynch is interested in more than anything else, it's

490
00:28:07,240 --> 00:28:10,639
Speaker 1: that idea that if you scratch the surface of any

491
00:28:10,760 --> 00:28:16,000
Speaker 1: idyllic town that looks perfect Norman Rockwell perfect, there's something

492
00:28:16,040 --> 00:28:20,840
Speaker 1: really dark there. He says in David Lynch, A Life

493
00:28:20,880 --> 00:28:23,520
Speaker 1: of Art, there's a documentary on David Lynch on Max.

494
00:28:24,080 --> 00:28:26,240
Speaker 1: He tells this story about when he was a kid

495
00:28:26,280 --> 00:28:29,800
Speaker 1: playing with his brother and they're playing in the woods

496
00:28:30,359 --> 00:28:32,720
Speaker 1: and a naked woman comes out of the woods and

497
00:28:32,760 --> 00:28:37,159
Speaker 1: this is clearly the product of a violent attack that

498
00:28:37,200 --> 00:28:40,120
Speaker 1: had happened. She comes staggering out of the woods and

499
00:28:40,200 --> 00:28:44,080
Speaker 1: it was very strange and scary, and his brother started crying.

500
00:28:44,120 --> 00:28:47,000
Speaker 1: And he talks a lot about what he was feeling

501
00:28:47,040 --> 00:28:48,400
Speaker 1: at the time, how he wanted to help, but he

502
00:28:48,400 --> 00:28:49,880
Speaker 1: didn't know what to do because he was a kid.

503
00:28:50,320 --> 00:28:53,600
Speaker 1: And he says, after this, we were in this small town,

504
00:28:53,640 --> 00:28:55,960
Speaker 1: living in this tiny town with like two streets but

505
00:28:56,120 --> 00:29:00,960
Speaker 1: everything was there, all the worst things, all the best things,

506
00:29:01,480 --> 00:29:03,200
Speaker 1: all that. There was like a million little worlds in

507
00:29:03,240 --> 00:29:05,400
Speaker 1: this little town. And that's really what this movie is about.

508
00:29:06,160 --> 00:29:11,160
Speaker 1: And it has some of the most jarring and troubling

509
00:29:11,360 --> 00:29:18,960
Speaker 1: scenes of insane, unhinged violence. Yeah, and particularly violence against women,

510
00:29:19,000 --> 00:29:23,720
Speaker 1: which I think is something that Lynch wanted to show

511
00:29:23,760 --> 00:29:26,480
Speaker 1: people in a way that said, look.

512
00:29:26,320 --> 00:29:31,680
Speaker 2: At this, this happens, This happens, Yeah, don't don't look away.

513
00:29:31,720 --> 00:29:35,040
Speaker 2: And that's something throughout all of his work, All of

514
00:29:35,720 --> 00:29:36,520
Speaker 2: this happens.

515
00:29:36,840 --> 00:29:37,080
Speaker 1: Yes.

516
00:29:37,240 --> 00:29:40,760
Speaker 2: Yeah, And I would also say, like, it's really interesting

517
00:29:40,760 --> 00:29:43,360
Speaker 2: because Dune, as much as it is beloved now, it

518
00:29:43,440 --> 00:29:46,240
Speaker 2: was like a commercial failure and it was it was

519
00:29:46,320 --> 00:29:49,080
Speaker 2: didn't make enough money. It was seen. I think it

520
00:29:49,120 --> 00:29:51,880
Speaker 2: was named the worst movie of nineteen eighty four, so

521
00:29:51,920 --> 00:29:55,640
Speaker 2: he was coming off faster. Yeah, very UNFAIRM sure there

522
00:29:55,680 --> 00:29:58,920
Speaker 2: was much worse movies. But then this movie had kind

523
00:29:58,960 --> 00:30:01,600
Speaker 2: of been being passed throughund the screenplay for it. It

524
00:30:01,640 --> 00:30:04,600
Speaker 2: was really violent, really sexual. People didn't want to make it.

525
00:30:04,600 --> 00:30:07,120
Speaker 2: But then Dino di Laurentis, who came in, he was like, okay,

526
00:30:07,160 --> 00:30:09,280
Speaker 2: you did do and like, let's make this movie. And

527
00:30:09,360 --> 00:30:14,160
Speaker 2: I love that again, that huge scope of Dune gets

528
00:30:14,400 --> 00:30:19,920
Speaker 2: you know, focused into this tiny, very personal project and

529
00:30:19,960 --> 00:30:24,000
Speaker 2: also sparks that conversation and in American cinema about what

530
00:30:24,240 --> 00:30:28,960
Speaker 2: is the necessity of violence in cinema? Is it necessary?

531
00:30:29,200 --> 00:30:32,360
Speaker 2: Is it too much? Is there a point to even

532
00:30:32,400 --> 00:30:34,920
Speaker 2: have the conversation? Should some things just be allowed to

533
00:30:34,960 --> 00:30:37,640
Speaker 2: be violent? And now, obviously this scene is like one

534
00:30:37,680 --> 00:30:40,760
Speaker 2: of the greatest American movies of all time. I think

535
00:30:41,160 --> 00:30:44,880
Speaker 2: Cite and Sound Time, Entertainment Weekly, BBC Magazine, in American

536
00:30:44,920 --> 00:30:47,360
Speaker 2: Film Institute, they've all ranked it as one of the

537
00:30:47,960 --> 00:30:51,640
Speaker 2: greatest American films. And it does, I think, set a

538
00:30:51,680 --> 00:30:53,800
Speaker 2: new bar for what Lynch is going to do after this.

539
00:30:54,040 --> 00:30:57,880
Speaker 2: The surrealism of a rais Ahead, the humanity of Elephant Man,

540
00:30:58,160 --> 00:31:01,840
Speaker 2: the weirdness of June, they all get channeled from here

541
00:31:01,920 --> 00:31:04,920
Speaker 2: on out into this kind of exploration of the American

542
00:31:05,040 --> 00:31:08,920
Speaker 2: dream and the American suburbs and the reality of what

543
00:31:08,960 --> 00:31:11,920
Speaker 2: it looks like to live in America, to be sane

544
00:31:11,960 --> 00:31:15,400
Speaker 2: in America, to be crazy in America. Yeah, and this

545
00:31:15,520 --> 00:31:18,239
Speaker 2: is also I just have some incredibly beautiful movie and

546
00:31:18,400 --> 00:31:22,720
Speaker 2: huge moment here because the music is by Angelo bad Lamente,

547
00:31:22,760 --> 00:31:24,760
Speaker 2: who had gone to do the Twin Peaks music, which

548
00:31:24,800 --> 00:31:26,920
Speaker 2: is some of the best music that's ever been made

549
00:31:27,000 --> 00:31:30,280
Speaker 2: for TV or film. So yeah, Blue Velvet, I would say,

550
00:31:30,720 --> 00:31:33,320
Speaker 2: if you are somebody you watch a lot of the

551
00:31:33,360 --> 00:31:35,880
Speaker 2: stuff we watch, you watch Game of Thrones, Blue Velvet

552
00:31:35,920 --> 00:31:38,440
Speaker 2: will seem relatively tame to you now, though it may

553
00:31:38,480 --> 00:31:40,960
Speaker 2: still manage to shock you. But I would say this

554
00:31:41,000 --> 00:31:43,240
Speaker 2: is a great place to start and see whether you

555
00:31:43,280 --> 00:31:47,400
Speaker 2: would like Lynch as his general work. But I would

556
00:31:47,400 --> 00:31:50,720
Speaker 2: also say, at the same time, he has almost a

557
00:31:50,760 --> 00:31:54,040
Speaker 2: film for everyone, which I think is really interesting.

558
00:31:55,280 --> 00:31:58,320
Speaker 1: This movie starts with a scene that I didn't understand

559
00:31:58,360 --> 00:32:01,160
Speaker 1: when I was first saw it, but that I get

560
00:32:01,280 --> 00:32:03,840
Speaker 1: now as an encapsulation of, to me, the main thing

561
00:32:03,840 --> 00:32:07,080
Speaker 1: that Lynch was interested in. So the camera travels to

562
00:32:07,200 --> 00:32:11,680
Speaker 1: this you know, sleepy suburban, you know, idyllic everywhere kind

563
00:32:11,720 --> 00:32:15,240
Speaker 1: of town, and it goes down the sunny streets of

564
00:32:15,320 --> 00:32:19,040
Speaker 1: these beautiful like clapboard houses with the white picket fences,

565
00:32:19,080 --> 00:32:22,240
Speaker 1: and then it goes past like laundry, and then it

566
00:32:22,280 --> 00:32:24,880
Speaker 1: goes down and it looks at like a lawn, like

567
00:32:24,920 --> 00:32:27,040
Speaker 1: a beautiful green lawn, and it goes into the lawn

568
00:32:27,120 --> 00:32:29,800
Speaker 1: and down through the lawn, and then underneath the surface

569
00:32:29,800 --> 00:32:32,320
Speaker 1: of the lawn there's like all these insects and worms

570
00:32:32,360 --> 00:32:35,959
Speaker 1: and things and they're all churning and there's this sound

571
00:32:36,040 --> 00:32:39,640
Speaker 1: of like whoa. And really that was what Lynch was

572
00:32:39,680 --> 00:32:42,480
Speaker 1: getting at all the time. Yeah, like just below the

573
00:32:42,520 --> 00:32:45,520
Speaker 1: surface there is this and that brings us to his

574
00:32:46,040 --> 00:32:49,200
Speaker 1: I think, yeah, the magna. You're absolutely right. This is

575
00:32:49,240 --> 00:32:54,640
Speaker 1: his kind of like breakthrough work. Twin Peaks, the television

576
00:32:54,760 --> 00:32:58,280
Speaker 1: show that is ostensibly a murder mystery that aired on

577
00:32:58,480 --> 00:33:05,960
Speaker 1: ABC from which is just absolutely bonkers. This was I

578
00:33:06,000 --> 00:33:08,400
Speaker 1: recall dimly a sensation.

579
00:33:08,800 --> 00:33:12,440
Speaker 2: Yes, even in England, we were guessing kind of this

580
00:33:12,640 --> 00:33:16,880
Speaker 2: idea of like, oh, it's this American soap opera, it's

581
00:33:16,960 --> 00:33:19,920
Speaker 2: this new kind of and then suddenly people are like,

582
00:33:19,920 --> 00:33:23,240
Speaker 2: oh wait a minute, it's like much weirder and stranger.

583
00:33:23,680 --> 00:33:30,720
Speaker 2: Though ironically, poor David Lynch trapped himself because by pitching

584
00:33:30,800 --> 00:33:35,760
Speaker 2: the show as a mystery, the network and the audience

585
00:33:35,840 --> 00:33:41,160
Speaker 2: became obsessed with solving the mystery. There was a phone

586
00:33:41,240 --> 00:33:43,520
Speaker 2: number that you could there was a phone number, and

587
00:33:43,560 --> 00:33:47,680
Speaker 2: then you ended up in a situation where by season

588
00:33:47,720 --> 00:33:51,040
Speaker 2: two you had to solve it. And then it becomes

589
00:33:51,040 --> 00:33:54,000
Speaker 2: a problem because then people don't want to watch it anymore,

590
00:33:54,000 --> 00:33:57,600
Speaker 2: and then the show gets canceled. But then, obviously, twenty

591
00:33:57,600 --> 00:34:00,880
Speaker 2: five years later, which is what Dave Lynch you know,

592
00:34:01,160 --> 00:34:03,400
Speaker 2: had teased at the end of the show, they did

593
00:34:03,440 --> 00:34:07,200
Speaker 2: make season three Twin Peaks. The return, which actually had

594
00:34:07,240 --> 00:34:11,400
Speaker 2: some ended up becoming some of the most iconic moments

595
00:34:11,440 --> 00:34:14,000
Speaker 2: from Twin Peaks, whether it was the Michael Sarah appearance

596
00:34:14,080 --> 00:34:16,600
Speaker 2: or whether it was him telling Denise, you know, the

597
00:34:16,760 --> 00:34:20,080
Speaker 2: trans character that he was like where I told those clowns,

598
00:34:20,120 --> 00:34:22,680
Speaker 2: you know when you became Denise, fix your hearts or die,

599
00:34:22,719 --> 00:34:25,200
Speaker 2: which has become kind of a rallying cry in the

600
00:34:25,239 --> 00:34:28,880
Speaker 2: trans community. I love this show because every time I

601
00:34:28,920 --> 00:34:32,120
Speaker 2: watch it, I'm still like, oh my god, this is

602
00:34:32,160 --> 00:34:35,680
Speaker 2: so weird. Like it's very rare that you can watch

603
00:34:35,800 --> 00:34:39,040
Speaker 2: rewatch something multiple times, because I've seen it multiple times

604
00:34:39,600 --> 00:34:42,520
Speaker 2: and still just be like, whoa, this is so crazy,

605
00:34:42,560 --> 00:34:44,000
Speaker 2: Like how did this get put on TV?

606
00:34:44,320 --> 00:34:47,719
Speaker 1: I too, have seen it multiple times, and I will

607
00:34:47,760 --> 00:34:51,480
Speaker 1: tell you that, sitting here now, I am still not

608
00:34:51,760 --> 00:34:56,799
Speaker 1: entirely sure what happened, you know, especially as down the

609
00:34:56,880 --> 00:34:59,480
Speaker 1: stretch of season one and into season two, it starts

610
00:34:59,520 --> 00:35:03,120
Speaker 1: to get exceedingly dreamlike with the appearance of you know, yeah,

611
00:35:03,360 --> 00:35:06,080
Speaker 1: the Giant and the small Man and the dreams, and

612
00:35:06,120 --> 00:35:08,239
Speaker 1: then and then the Law of the Woman with the

613
00:35:08,320 --> 00:35:14,400
Speaker 1: log Lady. There are many strange things. The appearance of

614
00:35:14,440 --> 00:35:19,080
Speaker 1: Bob the demonic character like it is weird as hell.

615
00:35:20,520 --> 00:35:24,040
Speaker 1: I like it, but definitely if you haven't seen it,

616
00:35:24,320 --> 00:35:29,319
Speaker 1: definitely see it. But also don't expect the solving of

617
00:35:29,360 --> 00:35:30,760
Speaker 1: it to be a straight force.

618
00:35:30,800 --> 00:35:33,600
Speaker 2: The solving of it is not The point was never

619
00:35:33,680 --> 00:35:36,640
Speaker 2: the point and got trapped into that. The point is

620
00:35:37,360 --> 00:35:40,560
Speaker 2: the vibe and the freedom and the budget that Lynch

621
00:35:40,719 --> 00:35:47,000
Speaker 2: was given to make this truly otherworldly American soap op

622
00:35:47,040 --> 00:35:51,640
Speaker 2: fora which is so unique and I mean so unbelievably influential,

623
00:35:51,680 --> 00:35:54,000
Speaker 2: aside from the fact that it's been referenced in everything

624
00:35:54,080 --> 00:35:56,040
Speaker 2: from like Twin Peaks to every late night I mean

625
00:35:56,080 --> 00:35:59,040
Speaker 2: to Simpsons to every late night show to The Family Guy, whatever,

626
00:35:59,400 --> 00:36:02,279
Speaker 2: but also for example, one of my favorite shows, which

627
00:36:02,280 --> 00:36:05,080
Speaker 2: we all know is equally held in high esteme to

628
00:36:05,440 --> 00:36:10,160
Speaker 2: Twin Peaks is Riverdale never exists. Without this show, never exists. Hannibal,

629
00:36:10,520 --> 00:36:14,239
Speaker 2: NBC is never letting Hannibal, which, by the way, if

630
00:36:14,239 --> 00:36:16,120
Speaker 2: you still haven't seen it. One of the most incredibly

631
00:36:16,239 --> 00:36:18,960
Speaker 2: violent and strange broadcast shows to.

632
00:36:18,920 --> 00:36:20,600
Speaker 1: Every one of the TV.

633
00:36:23,840 --> 00:36:29,080
Speaker 2: On NBC every time that no way that exists without this.

634
00:36:29,200 --> 00:36:32,640
Speaker 2: Another Brian Fuller show that everybody loves, Pushing Daisies, deeply

635
00:36:32,719 --> 00:36:36,640
Speaker 2: inspired aesthetically by List launched the careers of sherylyn Fenn.

636
00:36:36,840 --> 00:36:41,840
Speaker 2: Icon put Kyle McLaughlin on that big, big every person

637
00:36:41,880 --> 00:36:44,400
Speaker 2: in America knew who he was and knew who Agent

638
00:36:44,480 --> 00:36:48,200
Speaker 2: Dale Cooper was map outside of the college cinemas and

639
00:36:48,239 --> 00:36:51,480
Speaker 2: the places that were showing Lynch's movies before this. Also

640
00:36:51,560 --> 00:36:55,000
Speaker 2: mad Chinamcheck another one of my favorite actresses who was

641
00:36:55,400 --> 00:36:58,319
Speaker 2: launched from this, and it did lead to one of

642
00:36:58,320 --> 00:37:00,640
Speaker 2: the movies I think is one of the best movies,

643
00:37:00,680 --> 00:37:02,880
Speaker 2: which is Twin Peaks fire Walk with Me, which was

644
00:37:02,960 --> 00:37:05,480
Speaker 2: kind of David Lynch's follow up. And yeah, I mean

645
00:37:05,520 --> 00:37:08,640
Speaker 2: it's it's so hard to try and talk about him

646
00:37:08,800 --> 00:37:11,640
Speaker 2: in a tiny way or a short way because there's

647
00:37:11,760 --> 00:37:15,680
Speaker 2: just so much substance to his work and what it

648
00:37:15,760 --> 00:37:19,760
Speaker 2: has done. But we will talk more about David Lynch

649
00:37:20,160 --> 00:37:37,640
Speaker 2: after a message from us bock am I back.

650
00:37:38,000 --> 00:37:43,359
Speaker 1: After Twin Peaks. Lynch really during Twin Peaks. Kind of

651
00:37:43,360 --> 00:37:46,759
Speaker 1: off the heat of Twin Peaks, Lynch returned to the

652
00:37:46,800 --> 00:37:50,520
Speaker 1: big screen with Wild at Heart, which I would describe

653
00:37:50,800 --> 00:37:57,280
Speaker 1: as if you've seen the movie Badlands by Terrence Malick,

654
00:37:57,360 --> 00:37:57,719
Speaker 1: is one.

655
00:37:57,640 --> 00:37:59,720
Speaker 2: Of the most influential movies of all.

656
00:37:59,560 --> 00:38:03,880
Speaker 1: Time, influential and beautifully shot movies ever, ever, ever, of

657
00:38:03,920 --> 00:38:07,600
Speaker 1: all time about it's basically a Bonnie and Young Bonnie

658
00:38:07,600 --> 00:38:12,600
Speaker 1: and Clyde story. Yeah, these two young ones, yeah, who

659
00:38:12,760 --> 00:38:15,040
Speaker 1: just want to be together, and they reject the world

660
00:38:15,080 --> 00:38:16,759
Speaker 1: and they want to go off and live on their

661
00:38:16,800 --> 00:38:20,160
Speaker 1: own terms, and it all comes to a head in

662
00:38:20,280 --> 00:38:24,239
Speaker 1: a kind of violent showdown. Wild at Heart is like that,

663
00:38:24,880 --> 00:38:27,840
Speaker 1: but it kind of like the flips of the darker

664
00:38:27,960 --> 00:38:32,759
Speaker 1: side of the coin. You have and Sailor. Who are

665
00:38:32,880 --> 00:38:35,120
Speaker 1: these two crazy kids who just want to be together.

666
00:38:35,120 --> 00:38:38,040
Speaker 1: There they're incredibly in love, they can't stop thinking about

667
00:38:38,040 --> 00:38:42,040
Speaker 1: each other each other, but their lives are intertwined with

668
00:38:42,280 --> 00:38:50,840
Speaker 1: various evil, violent, brutal characters, of which I think William

669
00:38:50,880 --> 00:38:55,960
Speaker 1: Dafoe's Bobby Peru is like the most disturbing. And I

670
00:38:56,080 --> 00:38:58,080
Speaker 1: like this film, but I will say I think this

671
00:38:58,160 --> 00:39:00,759
Speaker 1: is the film where I'm like, Okay, that was too

672
00:39:00,800 --> 00:39:01,480
Speaker 1: much violence.

673
00:39:02,000 --> 00:39:03,799
Speaker 2: You were like for Jason, you were like, this is

674
00:39:03,840 --> 00:39:05,680
Speaker 2: too much for me. I mean it does open with

675
00:39:05,800 --> 00:39:09,279
Speaker 2: like a brutal murder just in public, and then just there.

676
00:39:09,320 --> 00:39:12,440
Speaker 2: It's not it's not gotting any I will say I

677
00:39:12,600 --> 00:39:16,000
Speaker 2: love the aesthetic of this movie. I am a big fan,

678
00:39:16,600 --> 00:39:19,840
Speaker 2: probably for many the deep seated reasons. I need to

679
00:39:19,840 --> 00:39:23,080
Speaker 2: talk to my therapist about all these kinds of movies,

680
00:39:23,320 --> 00:39:26,680
Speaker 2: like I love I love bad Lands by Terrorists Malik,

681
00:39:26,800 --> 00:39:30,520
Speaker 2: I love True Romance, the Tony scool when in Tarantino movie.

682
00:39:30,520 --> 00:39:33,120
Speaker 2: It's one of my all time favorite movies. I actually,

683
00:39:33,520 --> 00:39:36,200
Speaker 2: in hindsight, when I was younger, I was a big

684
00:39:36,280 --> 00:39:38,960
Speaker 2: critic of Natural Born Killers, and I felt like it

685
00:39:39,000 --> 00:39:40,799
Speaker 2: was I thought it was cool, but I felt like

686
00:39:40,800 --> 00:39:42,720
Speaker 2: I had a lot of problems. Now as an adult,

687
00:39:42,760 --> 00:39:46,000
Speaker 2: I think it was like unbelievably pressy and fantastic movie.

688
00:39:46,040 --> 00:39:49,160
Speaker 2: And I do really love this movie. In the scale

689
00:39:49,360 --> 00:39:53,000
Speaker 2: of these movies that are essentially the same movie, this

690
00:39:53,160 --> 00:39:55,439
Speaker 2: is low on the scale for me, just because there

691
00:39:55,520 --> 00:39:58,759
Speaker 2: is a little bit the seediness aspect. Yeah, and I

692
00:39:58,800 --> 00:40:02,240
Speaker 2: feel like there's less of the freedom trying to find

693
00:40:02,280 --> 00:40:06,439
Speaker 2: freedom from like the constraints of society. But I love

694
00:40:06,880 --> 00:40:09,400
Speaker 2: the way that it plays out kind of Wizard of Oz,

695
00:40:09,560 --> 00:40:12,680
Speaker 2: Like we even get like an actual Glinda the Goodwitch appearance.

696
00:40:12,719 --> 00:40:17,320
Speaker 2: I think Nick Cage's performance in this is so fantastic.

697
00:40:17,680 --> 00:40:21,680
Speaker 1: It's like a how to describe him. He's like the

698
00:40:21,800 --> 00:40:24,839
Speaker 1: most like like if you took a boy scout and

699
00:40:24,880 --> 00:40:27,920
Speaker 1: you put him in jail. Yeah, same time, and then

700
00:40:28,000 --> 00:40:32,240
Speaker 1: somehow the boy scout like thrived in jail but kept

701
00:40:32,360 --> 00:40:35,960
Speaker 1: that inherent goodness of a boy scout and then is released.

702
00:40:36,160 --> 00:40:38,800
Speaker 1: That is Nicholas Cage's character in this film.

703
00:40:39,280 --> 00:40:44,360
Speaker 2: Yeah, he's he's so just delightfully in love and he

704
00:40:44,520 --> 00:40:47,319
Speaker 2: loves romance. And I will say I really love Laura

705
00:40:47,400 --> 00:40:50,840
Speaker 2: Dunn in this role. She never gets to play roles

706
00:40:50,920 --> 00:40:56,520
Speaker 2: like this. It's it's unabashedly like sexual and sexy and free.

707
00:40:57,040 --> 00:41:00,440
Speaker 2: And I also just like love the car asked. He

708
00:41:00,520 --> 00:41:03,880
Speaker 2: brings together a lot of his favorite players Isabella Ussalini,

709
00:41:03,920 --> 00:41:08,600
Speaker 2: Harry De's Stanton, sheryln Fenn and Will obviously Willem Crispin Glover,

710
00:41:08,800 --> 00:41:13,239
Speaker 2: Diane Laddel, Laura Dunn. I'm a Nicholas. I'm just the

711
00:41:13,440 --> 00:41:16,880
Speaker 2: true Nicholas Cage superstan so anything he's in. I do

712
00:41:17,080 --> 00:41:19,160
Speaker 2: have affinity and a love for it. And he told

713
00:41:19,200 --> 00:41:22,480
Speaker 2: a great story about this movie recently, which was at

714
00:41:22,600 --> 00:41:27,600
Speaker 2: the can Film Festival dinner. The president of the Can

715
00:41:27,840 --> 00:41:32,080
Speaker 2: Jury was obsessed with the scene where Nicholas Cage sings

716
00:41:32,160 --> 00:41:34,279
Speaker 2: love Me Tender, which is like, there's a lot of

717
00:41:34,360 --> 00:41:38,280
Speaker 2: Elvis Presley illusions in here. He's very inspired by Elvis

718
00:41:38,360 --> 00:41:41,239
Speaker 2: and kind of has the swagger of Elvis. And she

719
00:41:41,600 --> 00:41:44,360
Speaker 2: wanted him to sing it, like on this tape in

720
00:41:44,480 --> 00:41:47,640
Speaker 2: this table in front of everyone, and he didn't want

721
00:41:47,640 --> 00:41:50,000
Speaker 2: to do it. And then he said that Lynch like

722
00:41:50,280 --> 00:41:53,920
Speaker 2: started banging on the table and calling him his nickname, Nicksta.

723
00:41:54,239 --> 00:41:57,000
Speaker 2: Get up there and sing it, Nicksta, gone see it?

724
00:41:57,239 --> 00:42:00,800
Speaker 2: And he sung it. And the film run the the

725
00:42:01,000 --> 00:42:03,920
Speaker 2: Palm d'Or can and you know, Nick was like, I

726
00:42:03,960 --> 00:42:06,680
Speaker 2: did my thing. But I love that story. I love

727
00:42:06,960 --> 00:42:11,280
Speaker 2: how David Lynch kind of inspired these places. And again

728
00:42:11,719 --> 00:42:15,120
Speaker 2: this puts both Laura Dunn and Nicholas Cage in a

729
00:42:15,239 --> 00:42:16,200
Speaker 2: whole different.

730
00:42:16,560 --> 00:42:23,560
Speaker 1: Incredible performance by them, incredibly unhinged performance by Willem Dafoe.

731
00:42:23,840 --> 00:42:27,600
Speaker 2: Yeah, setting up a lot of his future performances.

732
00:42:27,880 --> 00:42:31,399
Speaker 1: Yeah, here's your spoiler for the podcast episode, he has

733
00:42:31,920 --> 00:42:34,920
Speaker 1: maybe the gorious death that I've ever seen in a film.

734
00:42:35,400 --> 00:42:37,919
Speaker 2: Yeah, that's not like a distinct like torture porn movie

735
00:42:38,040 --> 00:42:38,399
Speaker 2: or something.

736
00:42:38,560 --> 00:42:43,400
Speaker 1: I mean it is like, oh man, it is graphic

737
00:42:43,560 --> 00:42:47,120
Speaker 1: and crazy. One thing that's notable about this film, which

738
00:42:47,200 --> 00:42:49,879
Speaker 1: is not admit it's not my favorite Lynch. I think

739
00:42:49,920 --> 00:42:52,280
Speaker 1: it's a little too you said it, it's a little too.

740
00:42:52,400 --> 00:42:54,920
Speaker 2: Like leaning into the seediness.

741
00:42:55,320 --> 00:43:01,320
Speaker 1: Yeah, it's a little too celebratory about the violence in

742
00:43:01,360 --> 00:43:03,400
Speaker 1: a way and the sexual violence in a way that

743
00:43:03,480 --> 00:43:06,279
Speaker 1: I think other Lynch films are not quite that.

744
00:43:06,480 --> 00:43:08,839
Speaker 2: You know, I'll say, Lynch, this is something a lot

745
00:43:08,840 --> 00:43:10,560
Speaker 2: of people have been coming to. I saw Gia my

746
00:43:10,640 --> 00:43:12,719
Speaker 2: del Tora talk about this, and I loved it because

747
00:43:12,719 --> 00:43:15,680
Speaker 2: I think it's very true. He is an incredibly sincere

748
00:43:15,880 --> 00:43:19,120
Speaker 2: man and everything he does is sincere. And what that

749
00:43:19,320 --> 00:43:21,920
Speaker 2: means is in a movie like this, it doesn't necessarily

750
00:43:22,040 --> 00:43:27,000
Speaker 2: have like the satirical edge of a natural born Killers,

751
00:43:27,000 --> 00:43:28,600
Speaker 2: which I think when you watch it in an age

752
00:43:28,600 --> 00:43:30,840
Speaker 2: of influences, you are just like, oh my god, this

753
00:43:31,080 --> 00:43:32,800
Speaker 2: was like he was so all of ausd and was

754
00:43:32,840 --> 00:43:36,680
Speaker 2: so ahead of his time with this movie. But so

755
00:43:36,840 --> 00:43:40,520
Speaker 2: with Lynch, everything is much more sincere and as it seems,

756
00:43:40,760 --> 00:43:42,800
Speaker 2: and I think in that case when he goes like

757
00:43:43,120 --> 00:43:47,320
Speaker 2: extra violent or extra sexually violent, you don't there's no

758
00:43:47,440 --> 00:43:49,120
Speaker 2: other way to read it. But it does fit into

759
00:43:49,160 --> 00:43:51,600
Speaker 2: the kind of dream like world that he crafts.

760
00:43:52,280 --> 00:43:55,440
Speaker 1: One thing that is notable from this movie that actually

761
00:43:55,520 --> 00:43:59,640
Speaker 1: I think he started with Dune is his penchant for

762
00:44:00,360 --> 00:44:03,480
Speaker 1: out of left field castings of musicians, So he has

763
00:44:04,480 --> 00:44:08,759
Speaker 1: Sting as Fade Ralpha famously in Dune. In Wild at

764
00:44:08,800 --> 00:44:15,640
Speaker 1: Heart he casts avant garde jazz musician John Lourie as Sparky.

765
00:44:15,960 --> 00:44:18,160
Speaker 2: Yes, one of my all time favorites.

766
00:44:18,280 --> 00:44:23,000
Speaker 1: I'm a great film starring John Lourie. Go see that film,

767
00:44:23,640 --> 00:44:29,719
Speaker 1: and that continues with his next film, Lost Highway, A

768
00:44:30,400 --> 00:44:32,160
Speaker 1: I think like a really cool.

769
00:44:32,760 --> 00:44:35,680
Speaker 2: This is actually one of my favorite dark This is

770
00:44:35,719 --> 00:44:39,400
Speaker 2: one of my noir that I agree.

771
00:44:39,560 --> 00:44:42,120
Speaker 1: This is one of my favorites as well. That casts

772
00:44:42,200 --> 00:44:47,440
Speaker 1: Henry Rollins in the movie and other interesting musician casting,

773
00:44:47,520 --> 00:44:51,080
Speaker 1: and is also notable for having like Robert Blake in

774
00:44:51,200 --> 00:44:54,080
Speaker 1: what is clearly his strangest role before going to prison

775
00:44:54,160 --> 00:44:54,680
Speaker 1: for murder.

776
00:44:55,520 --> 00:44:59,640
Speaker 2: Yeah, I know, and it really is like it feels

777
00:44:59,760 --> 00:45:03,440
Speaker 2: very timely. Also, just like you know what David Lynch

778
00:45:03,560 --> 00:45:06,319
Speaker 2: had aside from the you know, great understanding of music

779
00:45:06,400 --> 00:45:08,960
Speaker 2: as a musician himself. He did all the music originally

780
00:45:09,160 --> 00:45:13,320
Speaker 2: on a rais Ahead, and he would direct many music videos,

781
00:45:14,080 --> 00:45:18,640
Speaker 2: and also Trent Rezna helped with the soundtrack for which

782
00:45:18,680 --> 00:45:23,160
Speaker 2: obviously establishes then you know his great career that he's

783
00:45:23,200 --> 00:45:27,480
Speaker 2: had as a scorer of incredible movie soundtracks. But also

784
00:45:28,239 --> 00:45:32,880
Speaker 2: he understood the great American tradition of the character actor

785
00:45:33,960 --> 00:45:42,440
Speaker 2: Gary Busey movie he knew, and with Willem Dafoe in

786
00:45:43,160 --> 00:45:47,719
Speaker 2: You Know, Wild at Heart, he understood how having an

787
00:45:47,920 --> 00:45:53,120
Speaker 2: unexpectedly brilliant short performance or almost a cameo, even a

788
00:45:53,239 --> 00:45:59,279
Speaker 2: passing performance could just absolutely add so much substance and

789
00:46:00,360 --> 00:46:02,920
Speaker 2: to a movie. I love Lost Highway. We show this

790
00:46:03,000 --> 00:46:04,840
Speaker 2: one a lot in the bar where I worked at

791
00:46:04,880 --> 00:46:08,560
Speaker 2: the cinema. If the FBI is listening, we had permission,

792
00:46:08,680 --> 00:46:13,080
Speaker 2: I guess. But yeah, it's great because I find it's

793
00:46:13,120 --> 00:46:15,640
Speaker 2: funny because at the time people were like, it's very incoherent.

794
00:46:15,719 --> 00:46:17,879
Speaker 2: I find this movie very easy to follow, but it's

795
00:46:18,000 --> 00:46:23,160
Speaker 2: essentially neo noir. Mysterious intercom message Dick Laron is dead,

796
00:46:23,360 --> 00:46:27,080
Speaker 2: and then you start to kind of explore via VHS

797
00:46:27,200 --> 00:46:32,719
Speaker 2: tapes and strange parties, this kind of cee the underbelly

798
00:46:32,800 --> 00:46:36,560
Speaker 2: of Hollywood. That is this really cool, super rad, neo noir.

799
00:46:37,120 --> 00:46:40,399
Speaker 2: I also deeply love Patricia Arquette. And we know there's

800
00:46:40,400 --> 00:46:42,200
Speaker 2: a lot of Bill Pullman fans out there, a lot

801
00:46:42,200 --> 00:46:44,600
Speaker 2: of women who love Bill Pullman. They've never gotten over

802
00:46:44,719 --> 00:46:47,360
Speaker 2: him after his starring role as a dad in Caspar.

803
00:46:48,480 --> 00:46:51,879
Speaker 2: But yeah, I love this movie. I think it's really

804
00:46:51,960 --> 00:46:56,000
Speaker 2: really fun, really strange. I think it streamlines to the

805
00:46:56,440 --> 00:46:59,920
Speaker 2: two versions of David Lynch. It is a really interesting

806
00:47:00,280 --> 00:47:03,400
Speaker 2: story that hooks you, but it is also a dreamlike

807
00:47:03,680 --> 00:47:07,400
Speaker 2: narrative that is totally viby, that makes you question what

808
00:47:07,480 --> 00:47:10,240
Speaker 2: you've seen. But by the end I feel like, oh, okay,

809
00:47:10,440 --> 00:47:12,400
Speaker 2: I understand what's going on. It's kind of like a

810
00:47:12,480 --> 00:47:16,319
Speaker 2: Mobius strip of a movie. Yeah, I really like that one.

811
00:47:16,400 --> 00:47:19,520
Speaker 2: I think it was underrated at the time, but you

812
00:47:19,560 --> 00:47:21,400
Speaker 2: know what, I love that he went from one of

813
00:47:21,440 --> 00:47:25,400
Speaker 2: his weirdest scene at the time as like strangest movies,

814
00:47:25,440 --> 00:47:27,400
Speaker 2: and then he was like, I'm making a straight story, baby,

815
00:47:28,000 --> 00:47:28,600
Speaker 2: it's happening.

816
00:47:29,120 --> 00:47:31,880
Speaker 1: We go right to nineteen ninety Nine's the straight story

817
00:47:31,920 --> 00:47:34,680
Speaker 1: which I think if you wanted to tell if we

818
00:47:34,760 --> 00:47:37,719
Speaker 1: wanted to tell you what film to watch, if you

819
00:47:37,800 --> 00:47:40,840
Speaker 1: wanted to just watch a quote unquote watch.

820
00:47:40,800 --> 00:47:46,960
Speaker 2: Normal with Your Family by Walt Disney, by the way,

821
00:47:47,280 --> 00:47:52,120
Speaker 2: which again huge change of pace after many De Laurenti's

822
00:47:52,280 --> 00:47:54,040
Speaker 2: kind of art house space movies.

823
00:47:54,440 --> 00:47:56,800
Speaker 1: Yeah, this is a movie that feels like this is

824
00:47:56,880 --> 00:48:01,120
Speaker 1: David Lynch doing a Richard Linkletter film. It feels like that,

825
00:48:01,400 --> 00:48:05,319
Speaker 1: a very grounded story about a man who his only

826
00:48:05,480 --> 00:48:10,080
Speaker 1: means of transportation, for various reasons because of his age

827
00:48:10,120 --> 00:48:13,880
Speaker 1: and because of his history, is a riding mower that

828
00:48:14,239 --> 00:48:18,520
Speaker 1: he then dedicates himself to driving some two hundred plus

829
00:48:18,640 --> 00:48:22,040
Speaker 1: miles to see his brother, to see his brother who

830
00:48:22,080 --> 00:48:26,480
Speaker 1: he can't see otherwise. And it's a beautiful, small, very

831
00:48:26,800 --> 00:48:33,480
Speaker 1: sparse story about this man and the way his life

832
00:48:33,600 --> 00:48:37,279
Speaker 1: interconnects with other people. It is an extremely sincere movie

833
00:48:37,719 --> 00:48:42,160
Speaker 1: to your point. And it's a beautiful It's a beautiful,

834
00:48:42,239 --> 00:48:43,040
Speaker 1: wonderful film.

835
00:48:43,560 --> 00:48:46,080
Speaker 2: It really is. And also I love that it was.

836
00:48:46,239 --> 00:48:49,040
Speaker 2: Roger Ebott was like such a huge fan of this movie,

837
00:48:49,160 --> 00:48:51,840
Speaker 2: and he was kind of like even comparing the dialogue

838
00:48:51,840 --> 00:48:56,520
Speaker 2: to Ernest Hemingway, he was like, this is masterful, authentic,

839
00:48:56,800 --> 00:48:59,839
Speaker 2: true dialogue E. But it was like an original Lynch

840
00:49:00,239 --> 00:49:02,480
Speaker 2: because he felt like everything was too violent, everything was

841
00:49:02,520 --> 00:49:05,200
Speaker 2: too over sexualized. So I love that this kind of

842
00:49:05,440 --> 00:49:10,719
Speaker 2: opened up the audience. Once again, there's probably hundreds of

843
00:49:10,800 --> 00:49:13,520
Speaker 2: thousands of people who've watched this movie and had no

844
00:49:13,800 --> 00:49:15,719
Speaker 2: idea that it was directly Oh for sure, you don't know,

845
00:49:15,800 --> 00:49:16,560
Speaker 2: this could be anybody.

846
00:49:16,880 --> 00:49:17,920
Speaker 1: This could be Ron Howard.

847
00:49:19,239 --> 00:49:21,720
Speaker 2: Yeah, it really could be Ron Howard, but it probably

848
00:49:21,760 --> 00:49:24,280
Speaker 2: wouldn't have It still has that little bit of grit,

849
00:49:24,360 --> 00:49:27,440
Speaker 2: and it still has your Harry Dean Stanton, your sissy spacek,

850
00:49:28,000 --> 00:49:31,360
Speaker 2: you know. And I yet I was not a fat obviously.

851
00:49:31,480 --> 00:49:34,279
Speaker 2: I was like a kid when this movie came out,

852
00:49:34,320 --> 00:49:36,560
Speaker 2: and I was very much in the mindset of, like,

853
00:49:37,080 --> 00:49:40,080
Speaker 2: I don't like boring things like Boo Walt Disney. I

854
00:49:40,239 --> 00:49:42,879
Speaker 2: was like twelve, I was very contrarian. But as I've

855
00:49:42,920 --> 00:49:44,839
Speaker 2: grown older, I find this to be like a very

856
00:49:44,920 --> 00:49:48,680
Speaker 2: sweet movie. I love a movie about male friendship. Magic

857
00:49:48,840 --> 00:49:52,000
Speaker 2: like XXL really changed my life because I was like, oh,

858
00:49:52,640 --> 00:49:56,680
Speaker 2: a movie that is sincerely about men just being friends

859
00:49:56,760 --> 00:49:59,080
Speaker 2: and how important it is to have like healthy male

860
00:49:59,160 --> 00:50:03,040
Speaker 2: friendships is like an incredibly powerful thing, And yes I

861
00:50:03,120 --> 00:50:05,560
Speaker 2: am talking about Magic Mike EXXL. The strip of movie

862
00:50:05,680 --> 00:50:08,600
Speaker 2: truly one of the greatest movies ever made, and that

863
00:50:08,840 --> 00:50:11,719
Speaker 2: made me kind of revisit other great male friendship movies.

864
00:50:11,760 --> 00:50:13,200
Speaker 2: And I love this and I think the ending of

865
00:50:13,280 --> 00:50:16,080
Speaker 2: this movie gets me every time, especially now Harry Dean

866
00:50:16,160 --> 00:50:20,040
Speaker 2: Stanton has passed. And yeah, I mean I love that movie.

867
00:50:20,080 --> 00:50:21,360
Speaker 2: It's it's a real sweet.

868
00:50:21,760 --> 00:50:23,719
Speaker 1: Wonderful story about a guy that loves his brother. Hold

869
00:50:23,719 --> 00:50:28,800
Speaker 1: on helicopter going over. Next up two thousand and one's

870
00:50:28,920 --> 00:50:31,120
Speaker 1: mal Holland Drive, which I think is very much in

871
00:50:31,160 --> 00:50:32,440
Speaker 1: the vein of Lost Highway.

872
00:50:32,719 --> 00:50:34,960
Speaker 2: Yeah, it's part of that kind of triptick of movies.

873
00:50:35,040 --> 00:50:39,360
Speaker 2: He did Lost Highway, Mahalan Drive inlands Win Empire, the

874
00:50:39,640 --> 00:50:41,120
Speaker 2: La triptych.

875
00:50:40,840 --> 00:50:44,520
Speaker 1: The La triptick, the kind of constant you know, focusing

876
00:50:44,680 --> 00:50:49,120
Speaker 1: on not even necessarily the underbelly, but like the other

877
00:50:49,360 --> 00:50:53,200
Speaker 1: side of La, that's not cool, that's not seen up

878
00:50:53,239 --> 00:50:55,600
Speaker 1: in the hills, the dark side of the valley.

879
00:50:55,680 --> 00:50:57,799
Speaker 2: What we do rich people do in the hills when

880
00:50:57,840 --> 00:51:00,440
Speaker 2: you can't see them, Like what happens? What are the

881
00:51:00,600 --> 00:51:03,560
Speaker 2: parties that you're not getting invited to? Like, what are

882
00:51:03,600 --> 00:51:05,320
Speaker 2: the strange interactions.

883
00:51:06,080 --> 00:51:11,840
Speaker 1: This film again with the interesting casting of musicians. It

884
00:51:12,680 --> 00:51:17,840
Speaker 1: has a wonderful performance by Billy Ray Cyrus, father of

885
00:51:17,960 --> 00:51:22,880
Speaker 1: Miley Cyrus, country star in his own right. He gets

886
00:51:22,960 --> 00:51:26,239
Speaker 1: to beat the fucking shit out of Justin throw in

887
00:51:26,320 --> 00:51:30,000
Speaker 1: a very I think funny scene. This is another movie

888
00:51:30,080 --> 00:51:33,839
Speaker 1: that it feels very like Lost Highway. People will say, oh,

889
00:51:33,920 --> 00:51:35,920
Speaker 1: it's weird, it's a little confused. This is like one

890
00:51:35,960 --> 00:51:38,160
Speaker 1: of the more again, I think one of the more normal.

891
00:51:38,920 --> 00:51:41,239
Speaker 2: I think, especially if you are someone who's watched a

892
00:51:41,320 --> 00:51:44,480
Speaker 2: lot of movies. Yeah, you understand the kind of the

893
00:51:44,680 --> 00:51:49,239
Speaker 2: context and the things that it's taking from and the

894
00:51:49,440 --> 00:51:52,000
Speaker 2: road that it's going down. And it's very much in

895
00:51:52,160 --> 00:51:55,480
Speaker 2: that kind of persona in mar Bergmann space. It's like

896
00:51:55,840 --> 00:51:58,520
Speaker 2: what does it mean to be a woman? Like? Are

897
00:51:58,719 --> 00:52:01,880
Speaker 2: all women the same? Are women different? Can you just

898
00:52:02,000 --> 00:52:06,000
Speaker 2: become another person? Like? Very interesting, cool stuff. Also extremely

899
00:52:06,120 --> 00:52:09,120
Speaker 2: gay movie. I realize now that me and Donald both gay.

900
00:52:09,560 --> 00:52:11,239
Speaker 2: We were like we were went to see this movie

901
00:52:11,280 --> 00:52:13,480
Speaker 2: and we're like wearing like blonde wigs. Afterwards, like oh

902
00:52:13,560 --> 00:52:15,320
Speaker 2: my god, Like we're in more Holland Drive. It's like,

903
00:52:15,360 --> 00:52:18,000
Speaker 2: oh yeah, this is like extreme queer cinema in its

904
00:52:18,080 --> 00:52:20,000
Speaker 2: own way, kind of a way that has been like,

905
00:52:20,600 --> 00:52:25,200
Speaker 2: you know, found love. Also, Angelo bad Lamenti, he's in

906
00:52:25,280 --> 00:52:29,919
Speaker 2: this movie, the the incredible composer. Speaking of great musicians. Yeah,

907
00:52:30,000 --> 00:52:34,560
Speaker 2: I think this is a fantastic movie. I think it's

908
00:52:34,680 --> 00:52:40,080
Speaker 2: a really interesting movie about la I think that Justin

909
00:52:40,480 --> 00:52:43,640
Speaker 2: Thureau is like probably not the actor he is if

910
00:52:43,680 --> 00:52:46,600
Speaker 2: he doesn't have this experience, because he's another person as

911
00:52:46,640 --> 00:52:50,040
Speaker 2: a writer and actor who shows up in really unexpected places.

912
00:52:50,280 --> 00:52:53,120
Speaker 1: And I think it's a fun role for him too,

913
00:52:53,200 --> 00:52:57,440
Speaker 1: because he's I think a striking looking guy, a great

914
00:52:57,520 --> 00:53:01,319
Speaker 1: looking guy, the kind of person that you would think, oh,

915
00:53:01,440 --> 00:53:03,719
Speaker 1: that's a star of like a soap opera or the

916
00:53:03,880 --> 00:53:11,120
Speaker 1: lead of a of a network television drama. And he's

917
00:53:11,239 --> 00:53:15,560
Speaker 1: just like getting bamboozled and slapped around.

918
00:53:15,840 --> 00:53:17,000
Speaker 2: Yeah, exactly, and.

919
00:53:18,960 --> 00:53:23,480
Speaker 1: Willing to do it. And to your point, it is

920
00:53:23,719 --> 00:53:29,359
Speaker 1: really very much about what weird and mundane things are

921
00:53:29,440 --> 00:53:32,160
Speaker 1: the rich people up to up there in the hills

922
00:53:32,680 --> 00:53:37,239
Speaker 1: where no one can see them. They're they're having scuffles

923
00:53:37,320 --> 00:53:41,400
Speaker 1: in their driveway, They're having like weird arguments. They're talking

924
00:53:41,480 --> 00:53:46,040
Speaker 1: about things in boardrooms where you can't have access to. Yeah,

925
00:53:46,080 --> 00:53:47,480
Speaker 1: and it's very much about that.

926
00:53:47,880 --> 00:53:48,040
Speaker 3: I A.

927
00:53:48,160 --> 00:53:50,759
Speaker 2: So this is like a pre reality TV time as

928
00:53:50,840 --> 00:53:52,920
Speaker 2: well as you think about it. So it's like now

929
00:53:53,000 --> 00:53:55,640
Speaker 2: a lot of that mystique has gone selling Sunset you're

930
00:53:55,640 --> 00:53:58,520
Speaker 2: seeing inside the houses or whatever, But back then it

931
00:53:58,680 --> 00:54:01,799
Speaker 2: was definitely played in to this mystique, and I yeah,

932
00:54:01,840 --> 00:54:03,800
Speaker 2: I loved that. I remember thinking it was like so

933
00:54:04,880 --> 00:54:08,759
Speaker 2: enigmatic and brilliant. And also I love that all the

934
00:54:08,800 --> 00:54:12,480
Speaker 2: people in this movie, from Naomi Watts to Justin Throw,

935
00:54:12,800 --> 00:54:15,680
Speaker 2: they all have like completely different versions of what they

936
00:54:15,760 --> 00:54:18,200
Speaker 2: think this movie is about, which I think is just

937
00:54:18,360 --> 00:54:20,719
Speaker 2: so good. I'm like, that's how you know you made

938
00:54:20,840 --> 00:54:23,520
Speaker 2: like a super weird and fantastic movie.

939
00:54:23,920 --> 00:54:27,439
Speaker 1: And then finally, his final film, two thousand and six

940
00:54:27,800 --> 00:54:34,440
Speaker 1: is Inland Empire. Very different movie structurally, but also like

941
00:54:34,600 --> 00:54:38,440
Speaker 1: the other two movies in this La Trio is kind

942
00:54:38,560 --> 00:54:43,759
Speaker 1: of based around a crime mystery. That's the hook that

943
00:54:43,960 --> 00:54:44,840
Speaker 1: gets you into it.

944
00:54:45,239 --> 00:54:49,880
Speaker 2: He was very good at hooking people with a simplistic notion,

945
00:54:50,719 --> 00:54:54,000
Speaker 2: right of like there's a woman and something bad is

946
00:54:54,080 --> 00:54:56,360
Speaker 2: gonna happen to her. But I think it has a

947
00:54:56,520 --> 00:55:00,160
Speaker 2: very similar vibe to Mulholland Drive when it comes to

948
00:55:00,239 --> 00:55:04,040
Speaker 2: the themes of like becoming a different person and like

949
00:55:04,280 --> 00:55:08,759
Speaker 2: can a movie change your life and make you completely

950
00:55:09,040 --> 00:55:12,680
Speaker 2: disassociate and reimagine who you are. And this is also

951
00:55:13,120 --> 00:55:16,040
Speaker 2: his one movie about making movies, Yeah, which I always

952
00:55:16,080 --> 00:55:17,480
Speaker 2: think is really really interesting.

953
00:55:17,600 --> 00:55:19,719
Speaker 1: Yeah, this is the first time he's really I mean,

954
00:55:19,760 --> 00:55:23,320
Speaker 1: it's it's it's in Lost Highway, It's yeah, yeah, it

955
00:55:23,480 --> 00:55:26,240
Speaker 1: kind of intersects a little bit, but this is really

956
00:55:26,360 --> 00:55:29,880
Speaker 1: the film that is I mean, and it's in Mulholland

957
00:55:29,960 --> 00:55:33,759
Speaker 1: Drive too, But this is really the film that is

958
00:55:33,880 --> 00:55:38,719
Speaker 1: about what the artist has to do to try and

959
00:55:38,840 --> 00:55:43,400
Speaker 1: make a piece of art in m m a Hollywood

960
00:55:43,480 --> 00:55:48,239
Speaker 1: type of system that is in many cases set against him.

961
00:55:49,160 --> 00:55:52,080
Speaker 2: And also just like how exploit it of the Hollywood

962
00:55:52,120 --> 00:55:54,600
Speaker 2: system can be. I feel like, I'm not this feels

963
00:55:54,680 --> 00:55:57,280
Speaker 2: like a final movie, you know. It feels like somebody

964
00:55:57,320 --> 00:55:59,840
Speaker 2: who maybe needs to think about what he's going to do.

965
00:56:00,400 --> 00:56:02,919
Speaker 2: Then he did a lot of incredible stuff. He also

966
00:56:03,040 --> 00:56:07,080
Speaker 2: was getting very into, like or at least publicly, transcendental meditation,

967
00:56:07,560 --> 00:56:10,520
Speaker 2: which I learned he introduced Shaka Khan to I mean,

968
00:56:10,600 --> 00:56:14,239
Speaker 2: what a duo like very legendary. But yeah, this is

969
00:56:14,320 --> 00:56:17,359
Speaker 2: a really interesting movie, quite a somber movie, I would

970
00:56:17,400 --> 00:56:18,960
Speaker 2: say as well, not that many of his are like

971
00:56:19,080 --> 00:56:21,440
Speaker 2: full of laughs, but like you said, there are it

972
00:56:21,560 --> 00:56:24,160
Speaker 2: feels like a good humor, but this feels, yeah, it's

973
00:56:24,200 --> 00:56:27,759
Speaker 2: it's very somber. And after this break, we're going to

974
00:56:27,840 --> 00:56:30,440
Speaker 2: do a speed run of quick questions about Lynch and

975
00:56:30,520 --> 00:56:47,839
Speaker 2: our recommendations for where you should start, and we're back.

976
00:56:49,000 --> 00:56:53,520
Speaker 1: Okay, first question, what makes Lynch unique in the world

977
00:56:53,640 --> 00:56:54,960
Speaker 1: of cinema.

978
00:56:54,760 --> 00:56:58,200
Speaker 2: To you, Rosie, I am gonna say it is that sincerity,

979
00:56:58,560 --> 00:57:02,000
Speaker 2: whether it's on screen, and he's just really believes that

980
00:57:02,080 --> 00:57:05,080
Speaker 2: every single thing that he's putting on screen is really important.

981
00:57:05,160 --> 00:57:09,279
Speaker 2: It's not ironic, it's not purposefully campy. These are things

982
00:57:09,320 --> 00:57:11,520
Speaker 2: he thinks are important to be a part of the story.

983
00:57:11,880 --> 00:57:14,200
Speaker 2: And also off screen, I think a lot. And I

984
00:57:14,320 --> 00:57:17,400
Speaker 2: relate deeply to a story that he told, which was

985
00:57:17,440 --> 00:57:19,400
Speaker 2: about how he was driving down the side of like

986
00:57:19,480 --> 00:57:24,480
Speaker 2: a highway and he saw these five woody woodpecker stuffed

987
00:57:24,600 --> 00:57:26,959
Speaker 2: toys like hanging up at the side of a shop

988
00:57:27,040 --> 00:57:28,920
Speaker 2: and he felt like he needed to save them and

989
00:57:29,000 --> 00:57:31,040
Speaker 2: bring them into his life. And then, of course, in

990
00:57:31,080 --> 00:57:33,520
Speaker 2: a classic Lynch turn, he was like, and then they

991
00:57:33,600 --> 00:57:36,840
Speaker 2: became like, you know, too powerful and I had to

992
00:57:36,920 --> 00:57:40,480
Speaker 2: let them go or whatever. But that sincerity of you know,

993
00:57:40,600 --> 00:57:43,360
Speaker 2: I remember being that person who like sees a plush

994
00:57:43,520 --> 00:57:45,920
Speaker 2: toy in like a CBS looking sad and being like,

995
00:57:46,400 --> 00:57:49,280
Speaker 2: I don't want but for some reason this is connecting

996
00:57:49,320 --> 00:57:50,720
Speaker 2: with me, and I need to take it home because

997
00:57:50,720 --> 00:57:53,800
Speaker 2: otherwise I'm gonna feel guilty that I like that sincerity.

998
00:57:53,920 --> 00:57:57,080
Speaker 2: I like his love of cinema. I think his love

999
00:57:57,200 --> 00:57:59,920
Speaker 2: for making stuff and the sincerity with which he does

1000
00:58:00,160 --> 00:58:02,040
Speaker 2: to me is very unique. What about you any Yeah?

1001
00:58:02,480 --> 00:58:08,520
Speaker 1: For me, it's his dedication to art as a and

1002
00:58:08,640 --> 00:58:15,000
Speaker 1: the idea of creativity in the context of film and television,

1003
00:58:15,080 --> 00:58:17,880
Speaker 1: and the way he was able to bring a lot

1004
00:58:18,000 --> 00:58:23,560
Speaker 1: of these different things into a mainstream context in ways

1005
00:58:23,640 --> 00:58:28,240
Speaker 1: that still seem crazy that they were successful. The intertextuality,

1006
00:58:28,440 --> 00:58:31,720
Speaker 1: the different ways to tell stories, the hidden meanings, the

1007
00:58:31,880 --> 00:58:34,720
Speaker 1: dream within a dream, the plot within a plot. Are

1008
00:58:34,800 --> 00:58:37,480
Speaker 1: we watching a story that is about someone's dream of

1009
00:58:37,560 --> 00:58:40,160
Speaker 1: what happened? Has everybody already died?

1010
00:58:40,800 --> 00:58:41,000
Speaker 2: You know?

1011
00:58:41,640 --> 00:58:46,080
Speaker 1: All of these things are valid questions when watching a

1012
00:58:46,160 --> 00:58:51,840
Speaker 1: lot of Lynch's work, and as navel gazing and annoying

1013
00:58:52,040 --> 00:58:56,720
Speaker 1: is some as stuff like that can be. His doesn't

1014
00:58:56,840 --> 00:59:03,160
Speaker 1: feel like that. It feels like a situation in which

1015
00:59:04,000 --> 00:59:09,440
Speaker 1: the whole is more important than any one piece of

1016
00:59:10,000 --> 00:59:14,400
Speaker 1: whatever the story he's creating us. It's the entire vibe,

1017
00:59:14,480 --> 00:59:18,240
Speaker 1: the photography, the performances he has. His films have this

1018
00:59:18,360 --> 00:59:20,360
Speaker 1: like glossy look like they just put a lot of

1019
00:59:20,480 --> 00:59:21,360
Speaker 1: like vasoline on.

1020
00:59:21,360 --> 00:59:25,280
Speaker 2: The lens, old school thing that he loves to do.

1021
00:59:26,000 --> 00:59:30,040
Speaker 1: All of that together, the violence, juxtaposed with the beauty,

1022
00:59:30,200 --> 00:59:34,040
Speaker 1: juxtaposed with the sincerity, juxtaposed with the lying, the evil,

1023
00:59:34,240 --> 00:59:38,560
Speaker 1: maniacal faces, all of that together creates a feeling that

1024
00:59:38,720 --> 00:59:44,680
Speaker 1: I think is is really unique. And it's about creating

1025
00:59:44,800 --> 00:59:51,840
Speaker 1: these emotions and feelings and vibes within the viewer that

1026
00:59:53,040 --> 00:59:56,880
Speaker 1: leave you thinking where even if you don't quite understand

1027
00:59:56,960 --> 01:00:01,880
Speaker 1: the movie or the TV show what have you, you're

1028
01:00:01,960 --> 01:00:03,800
Speaker 1: thinking about it, you know, And I think that's a

1029
01:00:03,880 --> 01:00:06,240
Speaker 1: hard thing to do. It's like Donnie Darko was a

1030
01:00:06,360 --> 01:00:09,840
Speaker 1: movie that it had an incredible moment in time and

1031
01:00:10,320 --> 01:00:13,560
Speaker 1: I didn't know what was going on, but then I

1032
01:00:13,760 --> 01:00:16,680
Speaker 1: heard the directors talking about what actually goes on in

1033
01:00:16,760 --> 01:00:18,919
Speaker 1: the movie, and then I never thought about that movie. Again.

1034
01:00:19,320 --> 01:00:22,000
Speaker 1: Lynch's movies are not like that where you know, it's

1035
01:00:22,120 --> 01:00:24,760
Speaker 1: like you're still trying to figure out and you'll ask

1036
01:00:25,000 --> 01:00:27,360
Speaker 1: other people who have seen stuff. But what do you

1037
01:00:27,480 --> 01:00:27,800
Speaker 1: think is.

1038
01:00:27,800 --> 01:00:31,439
Speaker 2: Happy conversations people are still going to be writing about.

1039
01:00:31,480 --> 01:00:33,360
Speaker 2: I mean, that's our next question is, like, how do

1040
01:00:33,440 --> 01:00:36,400
Speaker 2: you think his legacy will endure? I do think he

1041
01:00:36,600 --> 01:00:39,560
Speaker 2: will now be seen as one of the great American directors,

1042
01:00:40,000 --> 01:00:42,840
Speaker 2: which I think was not necessarily set in stone. But

1043
01:00:42,920 --> 01:00:46,000
Speaker 2: I do think the odd generation, this generation of critics

1044
01:00:46,040 --> 01:00:50,120
Speaker 2: of filmmakers, was so impacted by him and by his presence.

1045
01:00:50,240 --> 01:00:51,560
Speaker 2: I think he's going to be seen as one of

1046
01:00:51,640 --> 01:00:55,480
Speaker 2: the great Los Angeles filmmakers. And I also think you're right.

1047
01:00:55,560 --> 01:00:58,520
Speaker 2: I think the best thing about Lynch and his legacy

1048
01:00:58,600 --> 01:01:00,880
Speaker 2: and how it's going to keep going is because people

1049
01:01:00,880 --> 01:01:03,600
Speaker 2: are going to keep having those conversations. Film students are

1050
01:01:03,640 --> 01:01:05,840
Speaker 2: going to keep writing about these movies. People are going

1051
01:01:05,920 --> 01:01:10,439
Speaker 2: to keep discovering new things or exploring new spaces within

1052
01:01:10,520 --> 01:01:12,760
Speaker 2: his work or new ways it makes them feel. And

1053
01:01:12,880 --> 01:01:15,880
Speaker 2: I think that that is really really exciting. What do

1054
01:01:16,080 --> 01:01:18,600
Speaker 2: you think his most significant work is.

1055
01:01:19,240 --> 01:01:21,400
Speaker 1: I mean, I'm just gonna say what I think. For me,

1056
01:01:21,840 --> 01:01:32,880
Speaker 1: it personally, it's blue Velvet because it's shocking, it's visually compelling.

1057
01:01:33,920 --> 01:01:42,440
Speaker 1: The performances are incredibly powerful and stark, and I think

1058
01:01:42,480 --> 01:01:44,280
Speaker 1: it's shot beautifully.

1059
01:01:43,920 --> 01:01:46,160
Speaker 2: Like The Early is a stunning movie.

1060
01:01:46,400 --> 01:01:51,080
Speaker 1: Wat just shot so well with the deep shadows and

1061
01:01:51,800 --> 01:01:56,680
Speaker 1: when he was using color, the rich colors, and I

1062
01:01:56,880 --> 01:02:01,160
Speaker 1: just think that that movie is just during amazing.

1063
01:02:02,080 --> 01:02:07,000
Speaker 2: Sl brings Isabella Rossalini to her acting phase and she's

1064
01:02:07,160 --> 01:02:09,520
Speaker 2: just so absolutely fantastic.

1065
01:02:09,840 --> 01:02:13,479
Speaker 1: Just amazing film that for me is the is the one.

1066
01:02:14,040 --> 01:02:16,080
Speaker 1: If I was to tell if someone was asking me

1067
01:02:16,120 --> 01:02:18,760
Speaker 1: if I had to see one Lynch thing, I'd be like,

1068
01:02:18,920 --> 01:02:19,800
Speaker 1: see blue Velvet.

1069
01:02:21,160 --> 01:02:23,560
Speaker 2: Yeah, I was gonna say, that's actually perfect because my

1070
01:02:24,040 --> 01:02:26,600
Speaker 2: if I was mine is I'm going to double them too.

1071
01:02:27,200 --> 01:02:29,280
Speaker 2: What is his most significant work and what would I

1072
01:02:29,320 --> 01:02:31,560
Speaker 2: tell somebody to watch. I'm going to go with Twin

1073
01:02:31,640 --> 01:02:36,280
Speaker 2: Peaks because I think it's even though it is inaccessible

1074
01:02:37,760 --> 01:02:40,800
Speaker 2: on the first watch of like trying to understand what

1075
01:02:41,040 --> 01:02:43,920
Speaker 2: Lynch might have been doing or the strangeness. I think

1076
01:02:44,720 --> 01:02:47,919
Speaker 2: you are experiencing it as it was meant to be experienced,

1077
01:02:47,960 --> 01:02:50,920
Speaker 2: which is just a random viewer on TV watching it.

1078
01:02:51,120 --> 01:02:53,400
Speaker 2: So if you are a newbie, you are the audience

1079
01:02:53,440 --> 01:02:56,600
Speaker 2: that was intended for. And I think that you will

1080
01:02:56,800 --> 01:03:00,760
Speaker 2: very quickly be able to understand whether or not you

1081
01:03:01,040 --> 01:03:06,160
Speaker 2: enjoy Lynch's work, his themes, his vibes, the strangeness, the

1082
01:03:06,320 --> 01:03:10,280
Speaker 2: unsettling nature, the gorgeous production design. Are you somebody who

1083
01:03:10,400 --> 01:03:13,080
Speaker 2: values narrative over vibes, maybe it won't be for you.

1084
01:03:13,280 --> 01:03:15,160
Speaker 2: Or are you someone who can get hooked into a

1085
01:03:15,280 --> 01:03:17,960
Speaker 2: character and follow them down the rabbit hole? So I

1086
01:03:18,040 --> 01:03:21,400
Speaker 2: think that both of those are I think that one

1087
01:03:21,440 --> 01:03:23,600
Speaker 2: answers both of those. I think Twin Peaks is his

1088
01:03:23,720 --> 01:03:26,560
Speaker 2: most significant work in my opinion, and I also do

1089
01:03:26,760 --> 01:03:28,760
Speaker 2: think it's a good place to start if you are

1090
01:03:28,800 --> 01:03:31,880
Speaker 2: a newbie for Twin Peaks. This is something we didn't

1091
01:03:31,920 --> 01:03:34,360
Speaker 2: touch on very much, but let's quickly talk about what's

1092
01:03:34,400 --> 01:03:37,080
Speaker 2: your favorite Lynch advertisement? Because he did a lot of

1093
01:03:37,160 --> 01:03:37,800
Speaker 2: weird ads.

1094
01:03:38,280 --> 01:03:43,000
Speaker 1: So this is a thing that many directors, you know,

1095
01:03:43,120 --> 01:03:48,320
Speaker 1: directors name directors Spike Lee, Wes, David Lynch, et cetera.

1096
01:03:49,240 --> 01:03:52,080
Speaker 1: You look at their Fike Jephy, Spike Jones, You look

1097
01:03:52,120 --> 01:03:54,280
Speaker 1: at their Spike Lee Spike Jones. You look at their

1098
01:03:54,920 --> 01:03:58,080
Speaker 1: filmography and it's like they really smoothe every five years.

1099
01:03:58,600 --> 01:03:59,520
Speaker 2: How do they make the money.

1100
01:03:59,600 --> 01:04:04,480
Speaker 1: How do they make money? The answer is they to

1101
01:04:04,520 --> 01:04:08,560
Speaker 1: their film commercials, and many of them are wonderful. David Fincher,

1102
01:04:09,240 --> 01:04:13,440
Speaker 1: Michael Bay. You know, commercials and videos is how a

1103
01:04:13,520 --> 01:04:16,080
Speaker 1: certain generation got their start, and it's how an older

1104
01:04:16,160 --> 01:04:21,200
Speaker 1: generation kept the lights on, really and you know, a

1105
01:04:21,320 --> 01:04:24,680
Speaker 1: lot of them are really interesting. I think there's one

1106
01:04:25,160 --> 01:04:29,320
Speaker 1: from Adidas which I forget the name of, but it's

1107
01:04:29,760 --> 01:04:35,880
Speaker 1: Adidas the Wall in which a runner. They were promoting

1108
01:04:35,960 --> 01:04:39,560
Speaker 1: like a new soul tech cushioning technology at the time,

1109
01:04:39,600 --> 01:04:41,160
Speaker 1: and this is an issue for runners, and you just

1110
01:04:41,200 --> 01:04:43,800
Speaker 1: see like this man like run up into the clouds,

1111
01:04:43,920 --> 01:04:46,560
Speaker 1: these kind of red tinged clouds. I also think his

1112
01:04:46,840 --> 01:04:53,000
Speaker 1: like His Obsession by Calvin Klein commercials are kind of iconic,

1113
01:04:53,280 --> 01:04:59,439
Speaker 1: like for the era, those were always on beautiful black

1114
01:04:59,520 --> 01:05:02,200
Speaker 1: and white and it would have that tagline an obsession.

1115
01:05:02,840 --> 01:05:06,400
Speaker 2: Yeah. Mine that I always think about are the PlayStation two,

1116
01:05:06,520 --> 01:05:09,920
Speaker 2: ads Heed It, the Third Space and the idea is

1117
01:05:09,960 --> 01:05:12,360
Speaker 2: it was meant to be like when you're an early

1118
01:05:12,440 --> 01:05:15,640
Speaker 2: adopter of technology, you see the world differently. But they're

1119
01:05:15,720 --> 01:05:19,680
Speaker 2: just super weird, very very erase ahead esthetic. Yes, lots

1120
01:05:19,720 --> 01:05:23,400
Speaker 2: of black and whites, heavy shadows. I always remember watching

1121
01:05:23,440 --> 01:05:25,480
Speaker 2: those and just thinking like, how cool that they got

1122
01:05:25,560 --> 01:05:27,680
Speaker 2: David Lynch to do that, which I kind of never

1123
01:05:27,800 --> 01:05:30,840
Speaker 2: really realized is also part of bringing a director on,

1124
01:05:31,240 --> 01:05:33,080
Speaker 2: you know, is to be you get to promote it

1125
01:05:33,160 --> 01:05:35,240
Speaker 2: and say, hey, look at our adverts for our adverts.

1126
01:05:35,280 --> 01:05:38,000
Speaker 2: It's part of the pr game. But yeah, those always

1127
01:05:38,000 --> 01:05:40,640
Speaker 2: stood out to me. Okay, what is your favorite random

1128
01:05:40,680 --> 01:05:43,440
Speaker 2: place that David Lynch shows up in another project?

1129
01:05:44,240 --> 01:05:46,920
Speaker 1: I mean, you mentioned it earlier, we talked about it earlier,

1130
01:05:47,040 --> 01:05:51,000
Speaker 1: but I do think part of the reason that Lynch

1131
01:05:51,920 --> 01:05:54,320
Speaker 1: I think one of the most important recent co signs

1132
01:05:54,320 --> 01:05:58,000
Speaker 1: of Lynch was Lynch his cameo in The Fableman's I

1133
01:05:58,120 --> 01:06:04,120
Speaker 1: think that that was its signalled Hey Spielberg, who is

1134
01:06:04,240 --> 01:06:10,960
Speaker 1: like the biggest exactly? That's that great box office mainstream

1135
01:06:12,080 --> 01:06:17,320
Speaker 1: like Titan of a Our Hitchcock r like john Ford.

1136
01:06:17,880 --> 01:06:22,760
Speaker 1: You know, he co signed Lynch with that cameo. Not

1137
01:06:22,920 --> 01:06:24,880
Speaker 1: that he needed it, but I do think that there's

1138
01:06:24,960 --> 01:06:29,560
Speaker 1: a certain like segment of the pop culture audience that

1139
01:06:29,720 --> 01:06:32,520
Speaker 1: was like, oh, I guess David Lynch is not just

1140
01:06:32,640 --> 01:06:36,240
Speaker 1: a weirdo like he's and so that one is my favorite.

1141
01:06:36,400 --> 01:06:38,720
Speaker 2: Yeah, He's not just a weirdo. Now he's like in

1142
01:06:38,880 --> 01:06:42,560
Speaker 2: this space where also he's playing a character. Yeah, I

1143
01:06:42,680 --> 01:06:44,840
Speaker 2: love that one. I think that's a great pick. I'm

1144
01:06:44,880 --> 01:06:47,200
Speaker 2: gonna pick the opposite end of the spectrum, which is

1145
01:06:47,400 --> 01:06:49,720
Speaker 2: in a show that I don't particularly like love or watch,

1146
01:06:49,800 --> 01:06:52,040
Speaker 2: but I love that it happened when somebody was just

1147
01:06:52,120 --> 01:06:53,640
Speaker 2: like called him and was like, hey, do you want

1148
01:06:53,680 --> 01:06:56,080
Speaker 2: to be in the Cleveland Show? And he was like, yuh.

1149
01:06:57,040 --> 01:06:59,919
Speaker 2: That to me is like the peak of David Lynch

1150
01:07:00,120 --> 01:07:02,800
Speaker 2: and why his weirdness is not just like an affectation.

1151
01:07:03,600 --> 01:07:06,439
Speaker 2: It is also like just that he's a true stone

1152
01:07:06,440 --> 01:07:08,560
Speaker 2: called Widow. And I love him and Jason as the

1153
01:07:08,920 --> 01:07:11,560
Speaker 2: musician in our well one of them, because we also

1154
01:07:11,600 --> 01:07:15,240
Speaker 2: have Aaron Now who's a truly fantastic musician. But what

1155
01:07:15,440 --> 01:07:17,880
Speaker 2: is your favorite piece of Lynch's work with music, whether

1156
01:07:18,000 --> 01:07:22,520
Speaker 2: like a music video or the work that he's done himself, Like,

1157
01:07:22,680 --> 01:07:25,200
Speaker 2: what what is it for you that stands out on

1158
01:07:25,240 --> 01:07:26,200
Speaker 2: the side of things?

1159
01:07:27,080 --> 01:07:29,040
Speaker 1: I think Chrisiazik's Wicked Game.

1160
01:07:29,360 --> 01:07:32,520
Speaker 2: Yeah. I love that song so much and that video

1161
01:07:32,680 --> 01:07:35,280
Speaker 2: is so iconic. I'll I watch it.

1162
01:07:35,440 --> 01:07:41,320
Speaker 1: Infinitely, absolutely, And at the time it was the song

1163
01:07:41,440 --> 01:07:46,720
Speaker 1: of like mm hmmm, it like erotically charged, like Moms

1164
01:07:46,800 --> 01:07:48,200
Speaker 1: in the Suburbs.

1165
01:07:47,960 --> 01:07:52,800
Speaker 2: Was like very they were getting off to it. And

1166
01:07:52,920 --> 01:07:55,720
Speaker 2: I think that is another thing that people don't understand

1167
01:07:55,760 --> 01:07:58,440
Speaker 2: about Lynch, is like it can often be seen as

1168
01:07:58,560 --> 01:08:01,040
Speaker 2: like violence against women, this, that, But there is a

1169
01:08:01,160 --> 01:08:04,480
Speaker 2: huge female fandom for David Lynch who find the work sexy,

1170
01:08:04,520 --> 01:08:06,040
Speaker 2: you who find it cool, And I think that's what

1171
01:08:06,160 --> 01:08:08,640
Speaker 2: he was able to direct into.

1172
01:08:09,240 --> 01:08:13,560
Speaker 1: And so that's that clearly his most iconic video work,

1173
01:08:13,720 --> 01:08:17,400
Speaker 1: right And also definitely it is the thing that makes

1174
01:08:17,479 --> 01:08:22,280
Speaker 1: me think, along with those Calvin Klein ads in this

1175
01:08:22,360 --> 01:08:25,280
Speaker 1: beautiful black and white, that I wish he would have

1176
01:08:25,360 --> 01:08:29,519
Speaker 1: done more black and white after Elephant Man in eraser Head.

1177
01:08:29,560 --> 01:08:32,920
Speaker 1: But it was also clearly a thing where like we're

1178
01:08:32,960 --> 01:08:35,240
Speaker 1: not giving you money if you want to make this fi. Yeah,

1179
01:08:35,800 --> 01:08:38,680
Speaker 1: but I but I wish that he had made more

1180
01:08:38,720 --> 01:08:40,600
Speaker 1: black and white pictures because I think his black and

1181
01:08:40,600 --> 01:08:43,599
Speaker 1: white photography is beautiful, gorgeous.

1182
01:08:44,000 --> 01:08:46,519
Speaker 2: Yeah, I agree, that's my favorite. I will again give

1183
01:08:46,560 --> 01:08:50,200
Speaker 2: that shout out to Trent Rezna working on Lost Highway soundtrack,

1184
01:08:50,280 --> 01:08:54,360
Speaker 2: because like that man has gone on to soundtrack some

1185
01:08:54,479 --> 01:08:57,840
Speaker 2: of the greatest movies, like especially if you like Electronic

1186
01:08:57,920 --> 01:09:00,960
Speaker 2: a weird movie soundtracks. The Girl with the Dragon Tatto,

1187
01:09:01,080 --> 01:09:05,479
Speaker 2: the American remake version has such a fantastic score. So yeah, Jason,

1188
01:09:05,560 --> 01:09:07,439
Speaker 2: I'm so glad we got to talk about David Lynch.

1189
01:09:07,560 --> 01:09:10,080
Speaker 2: This is so nice to just swing in to create

1190
01:09:10,160 --> 01:09:12,240
Speaker 2: as well and just chat to you about it. Well.

1191
01:09:12,320 --> 01:09:15,320
Speaker 1: Coming up next we're swinging into your friendly neighborhood Spider Man,

1192
01:09:15,360 --> 01:09:19,439
Speaker 1: and next week the Brave New World kicks off. The

1193
01:09:19,520 --> 01:09:24,400
Speaker 1: President is the Hulk already on the hot one, I

1194
01:09:24,479 --> 01:09:30,120
Speaker 1: mean not hot one, but you know, by te not sexy,

1195
01:09:30,280 --> 01:09:34,400
Speaker 1: not saying that sexy, but by temperature. We'll say more.

1196
01:09:34,280 --> 01:09:34,640
Speaker 2: About the.

1197
01:09:37,320 --> 01:09:39,080
Speaker 1: That's it for this episode. Thanks for listening.

1198
01:09:39,360 --> 01:09:39,639
Speaker 2: Bye.

1199
01:09:41,120 --> 01:09:43,759
Speaker 1: X ray Vision is hosted by Jason Concepcion and Rosie

1200
01:09:43,800 --> 01:09:45,799
Speaker 1: Knight and is a production of iHeart Podcast.

1201
01:09:46,200 --> 01:09:49,799
Speaker 2: Our executive producers are Joel Monique and Aaron Cortman.

1202
01:09:50,040 --> 01:09:52,080
Speaker 1: Our supervising producer is Abuzafar.

1203
01:09:52,479 --> 01:09:56,400
Speaker 2: Our producers are Common Laurent Dean Jonathan and Bay Wag.

1204
01:09:56,560 --> 01:09:59,280
Speaker 1: A theme song is by Brian Vasquez, with alternate theme

1205
01:09:59,360 --> 01:10:00,639
Speaker 1: songs by Aaron Kaufman.

1206
01:10:00,800 --> 01:10:04,120
Speaker 2: Special thanks to Soul Rubin, Chris Lord, Kenny Goodman, and

1207
01:10:04,280 --> 01:10:09,479
Speaker 2: Heidi Our discord moderator M.