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Speaker 1: Too Much Information is a production of iHeartRadio.

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Speaker 2: Hello everyone, and welcome to Too Much Information, the show

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Speaker 2: that gives you the little known, fascinating facts and figures

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Speaker 2: behind your favorite TV shows, movies, music, and more. We

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Speaker 2: are your two guides to the deep dive. I'm Alex

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Speaker 2: Heigel and I'm Jordan Runta. And Jordan I sat in

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Speaker 2: thought for a long time about how I was going

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Speaker 2: to introduce this, but there is no introducing what we're

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Speaker 2: talking about today. There is no introducing David Lynch's Eraserhead,

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Speaker 2: which turned forty five this year. There are two camps

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Speaker 2: to this movie. You have seen it and are haunted

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Speaker 2: by it. And even if you can't stand this film,

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Speaker 2: it will haunt you to some degree. Or you've never

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Speaker 2: seen it and are therefore only biding your time until

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Speaker 2: you become haunted by it.

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Speaker 1: Yeah, they used to sell lapel buttons that just read Eraserhead.

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Speaker 1: I saw it, and that about sums it up. Lynch

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Speaker 1: has repeatedly said that he will never reveal his intended

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Speaker 1: meeting for this what I guess I'll just call a

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Speaker 1: lucid nightmare, saying only that it's a dream of dark

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Speaker 1: and troubling things and you can say that again. Most

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Speaker 1: critics describe it as an abstract meditation on urban isolation, fatherhood,

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Speaker 1: and sexual repression, but Freud called it the feel good

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Speaker 1: film of the year.

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Speaker 2: I will get into this later. I refuse to believe

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Speaker 2: that the beating of this film is as oblique as

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Speaker 2: he would like it to be. It seems pretty straightforward

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Speaker 2: to me. But we're putting the head ahead of the eraser. Now,

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Speaker 2: that was terrible. I apologize for that. Jordan. Are you

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Speaker 2: a David Lynch guy capitol d LG No?

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Speaker 1: I just his daily YouTube weather reports and his guest

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Speaker 1: spots on Louis as the comedy coach. I went to

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Speaker 1: NYU for film, and I think that just kind of

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Speaker 1: spoiled him for me because I knew Lynch people. I

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Speaker 1: knew a guy in class who literally had the words

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Speaker 1: club Celensio from a Holland Drive tattooed on his wrists.

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Speaker 1: So I too much David Lynch in my life. Sure,

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Speaker 1: which is weird because I didn't watch much of it, But.

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Speaker 2: Just well, wait, what have what? What of it? Have

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Speaker 2: you watched Mulholland Drive in school? And really that was it?

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Speaker 2: I know? The worst? No? Oh, I'm so excited for this, Folks.

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Speaker 2: Let it be known that Jordan pitched this, I believe

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Speaker 2: with the intention that I would not take him up

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Speaker 2: on it, and he's regretted ever since.

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Speaker 1: Yeah, I'd never seen it, and then I watched it

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Speaker 1: for the first time about a week ago, and I

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Speaker 1: haven't slept since.

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Speaker 2: But you know, why do you? Yeah, why do you

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Speaker 2: love David Lynch?

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Speaker 1: I have? There are three reasons why I love David Lynch.

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Speaker 1: Like me, he's a massive Beatles fan, and he attended

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Speaker 1: their first ever concert in the United States in Washington,

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Speaker 1: d C.

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Speaker 2: In February of nineteen sixty four, so that's cool.

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Speaker 1: He also spent his fifteenth birthday in front of the

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Speaker 1: US Capitol watching the inauguration of JFK with his Scout

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Speaker 1: troop and heigel like you, he's an Eagle Scout.

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Speaker 2: We don't talk about that.

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Speaker 1: And finally, when he was in college in Boston, he

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Speaker 1: was the roommate of Jay Giles band singer Peter Wolfe

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Speaker 1: aka the guy who sang Centerfold and Freeze Frame, but

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Speaker 1: apparently Lynch kicked him out of the dorm because he

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Speaker 1: was too weird. He was too weird for David Lynch.

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Speaker 2: I love that the popular log line with David Lynch

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Speaker 2: is Jimmy Stewart on acid right, because he's like this

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Speaker 2: midwestern you know, if you will see, if you put

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Speaker 2: me at ease enough, I might bust out the David

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Speaker 2: Lynch impression. Oh woh, but yeah, I would be hard

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Speaker 2: pressed to think of another person so genuinely avant garde

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Speaker 2: and bizarre who has had such an impact on mainstream

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Speaker 2: American cinema in such a short amount of time. I mean,

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Speaker 2: you think about Eraserhead. Eraser Head to Mulholland Drive is

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Speaker 2: like twenty five years in that neighborhood. I'm really bad

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Speaker 2: at that in that neighborhood. Yeah, that's wild. To coming

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Speaker 2: in within spitting distance of an oscar in a quarter

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Speaker 2: century of your career after this, that's nuts.

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Speaker 1: I was shocked about how comparatively little he'd done. I mean,

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Speaker 1: for somebody who has, you know, such a legion of followers.

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Speaker 1: I was just very surprised that his cannon was not Yeah,

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Speaker 1: I was very very surprised by that.

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Speaker 2: I didn't know that. But folks, enough banter. Yeah, we're

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Speaker 2: delaying the inevitable here, Yeah, join us now as we

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Speaker 2: take in the industrial wastelands of both Philadelphia and David

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Speaker 2: Lynch's subconscious pierce the veil of Jack Nance's haircut and

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Speaker 2: attempt on my part at least far too many Gordon

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Speaker 2: Cole impressions. Here's everything you didn't know about eraser Head Jordan.

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Speaker 2: In the late sixties. You might say that David Lynch

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Speaker 2: was at a crossroads. Never get sold every time, but

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Speaker 2: that crossroads was in Philadelphia. He's talked a lot about

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Speaker 2: how he had a very very happy childhood, a very

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Speaker 2: stable and happy childhood. Do we believe that, I kind

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Speaker 2: of do. I mean, we'll get into mel Brooks's what

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Speaker 2: mel Brooks thought of David Lynch later, but yeah, so's.

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Speaker 2: He bounced around the US a good bit. His dad

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Speaker 2: was in the USDA, and by the late sixties he's

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Speaker 2: been enrolled at the Pennsylvania Academy of Fine Arts in

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Speaker 2: Philadelphia to study painting. Have you seen his paintings? His cartoons? Oh, well,

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Speaker 2: his cartoon.

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Speaker 1: He had a cartoon in The Angriest Dog in the World, Yes,

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Speaker 1: the Los Angeles Daily Reader for like a decade, and

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Speaker 1: it's just still images of this dog, and it's always

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Speaker 1: prefaced by this thing. It's like this dog is so

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Speaker 1: angry that he can't move, he can't speak, he can't eat,

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Speaker 1: rigor mortis has set in, and it's just this still

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Speaker 1: images of this dog with like morbid thoughts, like what

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Speaker 1: if this is as good as it gets? It's pretty amazing.

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Speaker 1: So yes, I have seen that. Then his paintings. His

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Speaker 1: paintings are like Francis Bacon meets John Wayne Gacy.

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Speaker 2: Oh boy, I'm loving this already. Anyway, So he's there

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Speaker 2: to work on that aesthetic, and he marries a fellow student,

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Speaker 2: Peggy Reve in nineteen sixty seven, and she's the mother

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Speaker 2: of their daughter, Jennifer. Jennifer was born in nineteen sixty

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Speaker 2: eight and would go on to direct Boxing Helena, which

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Speaker 2: is a really bad movie. Anyway. This little nuclear family

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Speaker 2: is living in a North Philadelphia neighborhood called Fairmont, which

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Speaker 2: was not a great place to live at the time.

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Speaker 2: David Lynch's quotes about Philadelphia are their own art form.

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Speaker 2: I want to do a David Lynch style surrealist podcast

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Speaker 2: that's just me reading his quotes about Philadelphia. We lived cheap,

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Speaker 2: but the city was full of fear, he told Chris

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Speaker 2: Radley in a book called Lynch. On Lynch, a kid

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Speaker 2: was shot to death down the street. We were robbed twice,

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Speaker 2: had windows shot out, and a car stolen. The house

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Speaker 2: was first broken into only three days after we moved in,

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Speaker 2: and according to another Lynch site by Mike Hartman, called

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Speaker 2: the City of Absurdity, Lynch said that Erase Herhead was

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Speaker 2: born in Philadelphia, and my favorite quote, I had my

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Speaker 2: first thrilling thought in Philadelphia, which sounds like a Paul

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Speaker 2: Anka song.

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Speaker 1: The less successful follow up till I left my heart

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Speaker 1: in San Francisco. I had my first thrilling thought in

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Speaker 1: Philadelphia talking about a racerhead. In later years, I think

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Speaker 1: it might have been in the Lynch and Lynch book,

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Speaker 1: he said. I call it my Philadelphia story. It just

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Speaker 1: doesn't have Jimmy Stewart in it.

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Speaker 2: And that's for damn sure, I'm gonna get into it.

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Speaker 2: I lived at fourteenth and would right Kitty corner from

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Speaker 2: the Morgue. That's real industrial. There's my first Lynch. That

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Speaker 2: was good. That was really good. Thank you. It's a

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Speaker 2: tough one to nail too. I'm impressed you very flat

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Speaker 2: for that. It's very Western. You gotta unless it was

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Speaker 2: at five o'clock. There's nobody in that neighborhood, No one

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Speaker 2: lives there, And he says, I really do like that.

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Speaker 2: It's beautiful if you see it in the right way,

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Speaker 2: which is such a great thesis for so much of

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Speaker 2: his work with this industrial stuff. And it's beautiful if

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Speaker 2: you look at it in the right way. His roommate

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Speaker 2: at the time, a childhood friend named Jack Fisk, told

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Speaker 2: The New York Times in nineteen ninety that David would

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Speaker 2: dress up to visit the Morgue. Oh, I love it.

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Speaker 2: He was fascinated, and he would always wear at least

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Speaker 2: two ties, one for luck. Have you seen the set

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Speaker 2: photos of him around this time when he's wearing like

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Speaker 2: the big wide brimmed hat and like and three times

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Speaker 2: neck ties. Yeah. I saw a woman in the backyard

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Speaker 2: squawking like a chicken. No, it's going, it's getting away

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Speaker 2: from me. I saw a spopping that chicken. I saw

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Speaker 2: a grown woman grab her breast and speak like a baby,

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Speaker 2: complaining her nipples hurt. This kind of thing will set

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Speaker 2: you back. And hey, so we're hearing about it, all right,

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Speaker 2: We're gonna I gotta stop. I got a sub subjected

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Speaker 2: you to David Lynch quotes about Philadelphia. One time I

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Speaker 2: was walking around with it at night with a stick

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Speaker 2: with nails driven through it, and a squad car pulls

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Speaker 2: up alongside of me and he says, what have you

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Speaker 2: got there? And I showed this stick with nails driven

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Speaker 2: through it. He said, good for you, Bud, and took

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Speaker 2: off Jesus. So, now that we have the set and

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Speaker 2: setting of a raiser Head, it's important to know that

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Speaker 2: it was not his first choice for a project, based

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Speaker 2: on the strength of some early shorts that he did.

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Speaker 2: Around this time, Lynch had been accepted into the American

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Speaker 2: Film Institutes Center for Advanced Film Studies in nineteen seventy

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Speaker 2: in Beverly Hills, and while he was there, he studied

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Speaker 2: with the Czechoslovakian filmmaker named Frank Daniel.

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Speaker 1: Yeah, and you know, not a lot of people know this,

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Speaker 1: but Lynch actually moved to la after getting into a

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Speaker 1: fight on the basketball court with two guys who were

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Speaker 1: up to no good making trouble in his neighborhood. So

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Speaker 1: he went to live with some family members in bel Air.

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Speaker 1: He didn't I'm sure I'll cut that out if I

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Speaker 1: really committed to it.

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Speaker 2: Something had come but No, this is gets into like

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Speaker 2: David Lynch's thing about being like, that's not what the

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Speaker 2: movie's about, but it's like, obviously what the movies about.

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Speaker 2: He had a script for a film called Garden Back,

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Speaker 2: which is really bizarre obviously, but it's about infidelity because

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Speaker 2: he had cheated on Peggy, I believe repeatedly. But yeah,

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Speaker 2: tell us about garden Back. Yeah.

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Speaker 1: A lot of these characters were inspired by characters in

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Speaker 1: his paintings, which we touched on earlier. Is that before

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Speaker 1: he was at the Pennsylvania Academy of Fine Arts, he

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Speaker 1: studied in Boston at the School of the Museum of

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Speaker 1: Fine Arts. So he's very accomplished painter and musician. Like

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Speaker 1: he almost sat during breaks of filming.

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Speaker 2: He used to like play trumpet, just like for the

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Speaker 2: heck of it with Have you heard his record Crazy

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Speaker 2: Clown Time? I haven't it? Is it what I imagine?

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Speaker 2: It's weird, it's weird, imagine it's just weird. A lot

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Speaker 2: of the quotes were taken from this come from Eraserhead

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Speaker 2: comma The David Lynch Files, Volume one, the full story

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Speaker 2: of one of the strangest films ever made by a

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Speaker 2: guy named Kenneth George Godwin, really incredible book. But it's

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Speaker 2: funny given that Lynch became such an iconoclass because there

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Speaker 2: was a lot of interest in him at Afi at

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Speaker 2: the time. Cinematographer Caleb Deschanel, who is Yes, Zoe's dad

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Speaker 2: and her mom is in Twin Peaks. She's Mama Heyward.

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Speaker 2: She's Doc Heyward's wife who's in the wheelchair. So Caleb

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Speaker 2: introduces Lynch to a twentieth century Fox producer who wanted

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Speaker 2: to option Garden Back from a short into a feature,

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Speaker 2: and the process of doing this, and these negotiations and

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Speaker 2: talks exasperated Lynch so much that he quit. I mean,

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Speaker 2: he has in various interviews he talks about basically the

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Speaker 2: storming into the Dean's office. Yeah, I'd be like, I'm

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Speaker 2: done with this, and then getting home and Peggy being

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Speaker 2: like they can call and non stop. Yeah, like he was.

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Speaker 2: He was, they really wanted him, and she's crazy.

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Speaker 1: I mean, but I cannot imagine a film institution doing

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Speaker 1: that now. Apparently the deed even said to him, Hey,

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Speaker 1: if you're this unhappy, we're doing something wrong here.

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Speaker 2: What do you want? What's wrong?

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Speaker 1: Which is I cannot imagine getting a vote of confidence

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Speaker 1: like that. It's really artistic institution. Now there's something that

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Speaker 1: I mean, you know you.

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Speaker 2: Alluded to this with the weather reports, but there is

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Speaker 2: something magnetic about him. Yeah. The fact that he was

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Speaker 2: able to get people on board with this his ridiculous

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Speaker 2: ideas is really a testament to his charisma. I don't know,

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Speaker 2: powers of persuasion anyway. Garden Back crashes and burns, Lynch

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Speaker 2: almost quits the afi and Daniels is like, whatever we

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Speaker 2: got to do, let's do it. And that turns out

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Speaker 2: to be Eraserhead twenty one page shooting script is where

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Speaker 2: this comes from. And there's a great documentary from two

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Speaker 2: thousand and one that is called eraser Head Stories. It's

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Speaker 2: just him talking into a mic, pretty tight close up

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Speaker 2: on his shoulders and head, and at one point the

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Speaker 2: log lady Catherine Colson, who is part of this film,

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Speaker 2: we'll talk about her. She's like conference called in and

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Speaker 2: half of it is just him like yelling at her,

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Speaker 2: like on speakerphone off the mic, like yeah, yeah, you

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Speaker 2: did cut his hair for that, didn't you. How many

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Speaker 2: years were you on this, Kathy? Yeahh oh oh, I

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Speaker 2: don't remember that.

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Speaker 1: Oh, and I can't he in like very big text.

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Speaker 1: At the beginning of it, it said that this is documentary's

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Speaker 1: directed by him as well, which I think is hilarious

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Speaker 1: that it's just a tideshot of him and an old

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Speaker 1: nineties speakerphone.

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Speaker 2: What. I can't remember when I got the idea, when

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Speaker 2: the word eraser Head or any part of the idea

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Speaker 2: came to me first, He says, I can't remember if

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Speaker 2: it was in Philadelphia or when I came to California.

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Speaker 2: Don't remember writing the script, and don't remember the ideas

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Speaker 2: coming in. It all came from Philadelphia, but I don't

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Speaker 2: remember when. And it's I mean, not only was he

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Speaker 2: at a crossroads, but he was at a low point

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Speaker 2: when he started filming this in seventy two with a

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Speaker 2: projected runtime of forty two minutes. Dorian Small, who's Eraserheads

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Speaker 2: production manager, there's a theme in David Lynch's movies in

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Speaker 2: which he has affairs with the women he's working on.

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Speaker 2: Isabella Rossellini in Blue Velvet was one of them, and

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Speaker 2: so he split from Peggy around this time because he

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Speaker 2: was having an affair with Dorian Small. And Jennifer was

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Speaker 2: born with clubbed feet, which is a deformity that I

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Speaker 2: guess was a lot more common back then, and you

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Speaker 2: had to wear like corrective footwear. I don't know where

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Speaker 2: I'm going with this. The point is is that this

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Speaker 2: movie is almost certainly about the dissolution of his relationship

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Speaker 2: and having a daughter who had medical challenges when she

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Speaker 2: was born, and his complete uninterest in being a father, disinterest,

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Speaker 2: lack of interest, I don't know, but he's you know,

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Speaker 2: if you're listening to him or Jennifer. Apparently that is

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Speaker 2: not what it's about, because she said I don't think

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Speaker 2: David credits that directly as where eraser Head comes from.

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Speaker 2: But then she says, it's not just that, it's a

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Speaker 2: million other things.

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Speaker 1: So I just think that the fact that she calls

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Speaker 1: her dad David is very interesting. Yeah, I mean, I imagine,

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Speaker 1: despite what he says, that fatherhood and the anxieties surrounding

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Speaker 1: it was a major inspiration. But I've also read that

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Speaker 1: some of these other things that they mentioned could include

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Speaker 1: the Kafka novel Metamorphosis, for which I think he actually

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Speaker 1: wrote a script adaptation, and the Goggle short story from

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Speaker 1: eighteen thirty six, The Nose. Both of those may have

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Speaker 1: helped sow the seeds of this idea for eraser Head.

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Speaker 1: The Kapka influence is really apparent in the character of Henry,

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Speaker 1: who is just like so many of Kafka's characters, just

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Speaker 1: simultaneously bemused by the world and terrified of it and

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Speaker 1: extremely paranoid. And Lynch himself is copped to the Kafka thing,

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Speaker 1: and he said that in I think it was in

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Speaker 1: Lynch on Lynch that he's quote the one artist I

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Speaker 1: feel could be my brother.

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Speaker 2: Yeah, And so many of these characters are just like

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Speaker 2: caught up in institutions and machinery bigger than them. That's

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Speaker 2: actually really interesting because like so much of you think about,

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Speaker 2: like the Trial and like a lot of the other

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Speaker 2: Kofka stuff, that's just about like being stuck in some

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Speaker 2: kind of institutional machine that is far bigger than you.

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Speaker 2: And David Lynch literalizes it with people actually stuck in machine. Well,

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Speaker 2: I mean just.

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Speaker 1: Even the famous picture of Henry, the main character in

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Speaker 1: eraser Head, that's you know, on T shirts and posters

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Speaker 1: and dorm rooms across the globe, just that look on

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Speaker 1: his face that's completely unidentifiable. Is that mix of amusement

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Speaker 1: and paranoia and terror, which is I just think is

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Speaker 1: interesting because that's such a hallmark of Kafka's work. I mean,

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Speaker 1: that's not an especially groundbreaking thought for you know, you know,

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Speaker 1: for either of Lynch scholar but or a Kafa scholar,

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Speaker 1: neither of I. I was an English major, so theoretically

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Speaker 1: I should have closer I should be closer to it

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Speaker 1: than you, and I am not. David Foster Wallace was

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Speaker 1: a big David Lynch fan, and he yeah, he read

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Speaker 1: about I remember on of the first things I read

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Speaker 1: from him as that essay about Lost Highway. Yeah, and

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Speaker 1: I think he described Lynchi and as the unbelievably grotesque

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Speaker 1: existing in a kind of union with the unbelievably banal.

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Speaker 2: There it is speaking of Jack Nance, David went through

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Speaker 2: his spiritual crisis when he was making Eraser head Nance

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Speaker 2: told the New York Times for that article we cited

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Speaker 2: earlier from nineteen ninety and Lynch has it's become a

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Speaker 2: meme at this point of David Lynch, the thing that says,

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Speaker 2: believe it or not, Eraser is my most spiritual work.

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Speaker 2: And somebody that the interviewer says, elaborate on that, and he says, no.

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Speaker 1: I don't talk about that is the thing that he

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Speaker 1: usually says in these interviews that I've seen, I don't

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Speaker 1: talk about that.

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Speaker 2: The other thing that I heard is that he opened

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Speaker 2: a Bible randomly and was inspired by a Biblical verse,

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Speaker 2: but he says he doesn't remember which one, or even

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Speaker 2: if it was the Old or New Testament. So you know,

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Speaker 2: we've had a lot of unreliable narrators on here. I

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Speaker 2: don't think Lynch is up there with Neil Young or

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Speaker 2: Jimmy Page, who are very interested in or Robert Planet even,

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Speaker 2: who are all very interested in their own hagiography. But

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Speaker 2: Lynch just does not seem to remember things or wants

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Speaker 2: to consciously obfuse skate anyway. The shoestring this thing is

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Speaker 2: made on is so fascinating to me. AFI gave him

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Speaker 2: ten thousand dollars to make this, but everything else on

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Speaker 2: this was done so close to the bone. He was

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Speaker 2: living at a property in Beverly Hills called Graystone Mansion

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Speaker 2: that was owned by the AFI and this this place

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Speaker 2: is its own weird vibe. It was built by the

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Speaker 2: oil tycoon Edward Doeny or Doheiney, I don't know. He

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Speaker 2: was the inspiration from Daniel Plainview in there will be blood,

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Speaker 2: and he gave it to his son ned who in

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Speaker 2: nineteen twenty nine died in a guest bedroom in a

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Speaker 2: murder suicide alongside his secretary Hugh Plunkett. And this thing

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Speaker 2: has been in everything. It would take less time for

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Speaker 2: us to name what it hasn't been in.

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Speaker 1: I preferred to zero in on two in particular, that

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Speaker 1: this property has been featured in It's in The Big Lebowski.

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Speaker 2: It's the other Jeffrey Lebowski's house. Mistere Lebowski is in

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Speaker 2: seclusion in the in the in the West Wings.

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Speaker 1: I think all the interiors were filmed there for that,

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Speaker 1: and it was also used in the video for meatloafs.

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Speaker 1: I would do anything for love. I just love the

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Speaker 1: fact that David Lynch lived at this place. It costs

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Speaker 1: the equivalent of sixty three million dollars when it was built,

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Speaker 1: making it the most expensive home in California at the time,

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Speaker 1: and certainly one of the biggest. It's forty six thousand

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Speaker 1: square feet fifty five rooms. Thinking about where Lynch was

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Speaker 1: living in Philadelphia, and it's just an insane jump, but

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Speaker 1: you know, predicting the stinky cologne of death that would

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Speaker 1: follow this film for the next few years. Several people

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Speaker 1: associated with the eraser Head production, including star Jack Nance,

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Speaker 1: claimed to have seen the ghost of Ned Doheny while

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Speaker 1: they were filming. I think it's Doheny because I think

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Speaker 1: Doheiny the street in la is named.

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Speaker 2: After him or to the family. I think, you know,

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Speaker 2: this is a crazy connection. My mind just made. David

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Speaker 2: Lynch loves milkshakes. What's the famous line from there will be?

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Speaker 1: Oh my god, I drink your milk tree, Wow, drink

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Speaker 1: it run and I have a straw that reaches all.

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Speaker 2: God. I love that movie. When he says this is

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Speaker 2: gonna be my gravestone when he goes, I don't know

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Speaker 2: how much longer I can keep doing it with these people.

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Speaker 2: He puts people. You hear the verbal air quotes around people.

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Speaker 2: I love it so much. It's bad. I see myself

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Speaker 2: and all these terrible characters, isn't it, Jordan, I'm the dad.

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Speaker 2: I'm the dad in a racer head. We don't talk

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Speaker 2: too much about the dinner scene, but I this is

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Speaker 2: the thing about this movie. Man. People were like, oh,

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Speaker 2: it's a surrealis well, it's a comedy, so much of

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Speaker 2: it until it gets really horrifying, and the baby. The

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Speaker 2: baby is the only thing that undercuts the comedy. But

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Speaker 2: that dinner scene is so funny. It's like Alish comedy

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Speaker 2: of manners or something. She has that weird seizure and

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Speaker 2: runs out of the room and he goes, she'll be

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Speaker 2: fine in a minute. It's very English. It's very like

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Speaker 2: a Joe Orton player or something. Yeah, all right, anyway,

391
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Speaker 2: so David Lynch is living in though there will be bloodhouse,

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Speaker 2: he's squatting, essentially, their blankets taped over the windows, and

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Speaker 2: it's this extended sort of subterranean part of the property

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Speaker 2: that stables, garages, staffed quarters, a hayloft, a greenhouse, and

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Speaker 2: he kind of commandeered it. He said, we had about

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Speaker 2: five or six rooms in this giant loft where all

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Speaker 2: of the sets were built, a minture soundstage, and a studio.

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Speaker 2: But there are some exteriors on.

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Speaker 1: This Yeah, probably the most famous one at the beginning,

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Speaker 1: when he's kind of walking through this urban, white industrial wasteland.

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Speaker 1: It was filmed in a muddy lot which is now

402
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Speaker 1: the Beverly Center mall in Los Angeles, which is a

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Speaker 1: very very upscale establishment. So it's really funny that it

404
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Speaker 1: has this historical pedigree. It's even funnier considering how cheaply

405
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Speaker 1: this movie was shot. I mean they were literally it

406
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Speaker 1: was like the classic like they were they were wily

407
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Speaker 1: e coyote pulling the track up behind them and putting

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Speaker 1: it down in front of them, only run in reverse.

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Speaker 2: Because they would build this stuff. They would buy equipment,

410
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Speaker 2: tear the sets down, reconfigure the sets into other stuff,

411
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Speaker 2: and then whenever they were done using it, sell it.

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Speaker 2: Like Lynch talked about, he got this what's the big

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Speaker 2: editing bay thing called a movie movieola Moviola. Yeah, you

414
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Speaker 2: got the and then sold it when they were done,

415
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Speaker 2: so much of it. Catherine Colson we talked about this,

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Speaker 2: the log lady from Twin Peaks. She was married to

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Speaker 2: Jack Nance while the star of the movie. Yeah, and

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Speaker 2: she was a production manager on this, and so she

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Speaker 2: had done so much of this logwork or legwork, log work,

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Speaker 2: and she said, all of these rooms with the same

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Speaker 2: space with different sets built in. David really pretty much

422
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Speaker 2: did everything himself.

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Speaker 1: And I guess he would later reuse a lot of

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Speaker 1: the chunks of the set for Twin Peaks in later years,

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Speaker 1: like the zigzag floor in the lobby of Henry's apartment

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Speaker 1: building or hotel, whatever the hell it is was the

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Speaker 1: same set piece that was used for the Red Room

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00:23:00,280 --> 00:23:03,240
Speaker 1: in Twin Peaks. But yeah, Kevin Colson is kind of

429
00:23:03,240 --> 00:23:06,399
Speaker 1: the MVP of this production. In addition to working as

430
00:23:06,440 --> 00:23:08,879
Speaker 1: a waitress, which I think she gave like all of

431
00:23:08,920 --> 00:23:12,520
Speaker 1: her paychecks to the production, she held the mic boom,

432
00:23:12,640 --> 00:23:15,680
Speaker 1: she operated the cameras, she took on set photos, and

433
00:23:15,720 --> 00:23:17,000
Speaker 1: she catered.

434
00:23:17,400 --> 00:23:20,480
Speaker 2: And she cut Jack Nance's hair, and she took over

435
00:23:20,600 --> 00:23:23,320
Speaker 2: David Lynch's paper route for him, which is the most

436
00:23:23,680 --> 00:23:26,720
Speaker 2: you're talking about. Jimmy Stewart on acid, David Lynch driving

437
00:23:26,760 --> 00:23:30,640
Speaker 2: around LA at four in the morning delivering papers. Wait,

438
00:23:30,680 --> 00:23:33,560
Speaker 2: we got more to say on that. Yeah, but I

439
00:23:33,640 --> 00:23:36,320
Speaker 2: love that he insisted on paying the actors. I think

440
00:23:36,320 --> 00:23:37,200
Speaker 2: that's so touching.

441
00:23:37,400 --> 00:23:38,800
Speaker 1: I guess he gave him I think it was twenty

442
00:23:38,840 --> 00:23:40,640
Speaker 1: five dollars a week, and then when he ran out

443
00:23:40,640 --> 00:23:43,119
Speaker 1: of money, he insisted on giving them all a piece

444
00:23:43,160 --> 00:23:45,679
Speaker 1: of the film. And they worked out this deal on

445
00:23:45,800 --> 00:23:48,919
Speaker 1: Napkins during one of their trips to Bob's Big Boys

446
00:23:49,119 --> 00:23:53,520
Speaker 1: Diner from Milkshakes, which has a tie to Austin Powers.

447
00:23:54,400 --> 00:23:59,960
Speaker 1: Oh that previous episodes oh explain, Oh yeah, well explained

448
00:24:00,080 --> 00:24:05,080
Speaker 1: for the listeners. The Bob's Big Boy figurine is what

449
00:24:05,119 --> 00:24:07,359
Speaker 1: it's like a space It's like Doctor Evil spaceship or something.

450
00:24:07,400 --> 00:24:10,359
Speaker 2: No, I'm trying to remember what it was used as. Yeah,

451
00:24:10,359 --> 00:24:13,679
Speaker 2: so they furnished this film. They did wardrobe from you know,

452
00:24:14,160 --> 00:24:17,920
Speaker 2: flea market Swap meets the Salvation Army Goodwill and Jack

453
00:24:18,040 --> 00:24:21,399
Speaker 2: Nansen Catherine Coleson gave their living room furniture up as

454
00:24:21,440 --> 00:24:25,440
Speaker 2: a set, so they went without it for months, five

455
00:24:25,520 --> 00:24:27,640
Speaker 2: years to shoot. Did they just not have living room

456
00:24:27,640 --> 00:24:32,520
Speaker 2: furniture for Yeah, I guess. The warehouse only costs about

457
00:24:32,520 --> 00:24:34,879
Speaker 2: thirty five or fifty dollars to build, but a lot

458
00:24:34,920 --> 00:24:37,680
Speaker 2: of other things cost money. Lynch said, So the front

459
00:24:37,720 --> 00:24:39,879
Speaker 2: of Mister and Missus X House, the which is not

460
00:24:39,920 --> 00:24:42,760
Speaker 2: even in the movie that much. It's like one establishing

461
00:24:42,800 --> 00:24:45,879
Speaker 2: shot of this house. The steps are styrofoam. There is

462
00:24:45,920 --> 00:24:48,679
Speaker 2: no porch at all, and when Henry walks up on that,

463
00:24:48,720 --> 00:24:51,280
Speaker 2: he is standing on a plane. And Lynch said, the

464
00:24:51,320 --> 00:24:53,040
Speaker 2: whole thing was barely held together.

465
00:24:53,520 --> 00:24:55,879
Speaker 1: Yeah, I mean some of the flats, which are like

466
00:24:55,920 --> 00:24:58,760
Speaker 1: the walls that are used in sound stages to construct

467
00:24:58,840 --> 00:25:01,919
Speaker 1: you know, interior rooms. They Lynch would repair them with

468
00:25:02,040 --> 00:25:05,800
Speaker 1: paper mache, using newspapers from his paper root day job,

469
00:25:06,240 --> 00:25:08,480
Speaker 1: and a lot of like the art deco detailing on

470
00:25:08,600 --> 00:25:12,200
Speaker 1: the elevator and in Henry's lobby, like the apartment lobby

471
00:25:12,600 --> 00:25:13,920
Speaker 1: is all made out of wax.

472
00:25:13,920 --> 00:25:16,000
Speaker 2: It's all stuff that David Lynch made out of wax.

473
00:25:16,440 --> 00:25:18,720
Speaker 1: And also that it was really interesting they dip the

474
00:25:18,800 --> 00:25:22,520
Speaker 1: white sheets into tea to make it so that, you know,

475
00:25:22,680 --> 00:25:24,920
Speaker 1: in black and white, it wouldn't be this brilliant white

476
00:25:25,000 --> 00:25:27,560
Speaker 1: on film, but this kind of more dull gray, which

477
00:25:27,720 --> 00:25:29,679
Speaker 1: kind of like what they do with newspapers to make

478
00:25:29,720 --> 00:25:31,760
Speaker 1: it look old, like when you're making treasure maps and stuff.

479
00:25:31,760 --> 00:25:33,239
Speaker 2: They dip it in tea. I was gonna say, all

480
00:25:33,240 --> 00:25:37,440
Speaker 2: my childhood craft books told me to do that. Unsurprisingly,

481
00:25:38,280 --> 00:25:41,880
Speaker 2: his parents, Peggy's parents pitched in. But my favorite part

482
00:25:42,040 --> 00:25:44,879
Speaker 2: about this is his paper route delivering the Wall Street Journal.

483
00:25:45,600 --> 00:25:48,520
Speaker 2: He made forty eight to fifty a week on his

484
00:25:48,640 --> 00:25:52,040
Speaker 2: two hundred and ten paper route. Wow. His very first

485
00:25:52,160 --> 00:25:55,320
Speaker 2: night the run took him six hours, but he eventually

486
00:25:55,440 --> 00:26:01,680
Speaker 2: narrowed it down to an hour. How I've beating Gus

487
00:26:01,960 --> 00:26:04,320
Speaker 2: Catherine Coleson, like we said, took it over at one point,

488
00:26:04,359 --> 00:26:07,680
Speaker 2: because he would do these marathon shoots and then sometimes

489
00:26:07,760 --> 00:26:09,320
Speaker 2: not be left with enough time to do the route,

490
00:26:09,400 --> 00:26:10,960
Speaker 2: so she would dip out and do it for him,

491
00:26:11,240 --> 00:26:13,800
Speaker 2: and she would have these directions that he gave her

492
00:26:13,840 --> 00:26:17,240
Speaker 2: on a tape recorder, so which probably means I was

493
00:26:17,280 --> 00:26:19,520
Speaker 2: gonna say somewhere there's a tape of him being like,

494
00:26:19,680 --> 00:26:23,040
Speaker 2: when you get to the Orange House, turn right, Catherine,

495
00:26:23,320 --> 00:26:25,800
Speaker 2: and you know the angel what we call in the

496
00:26:25,840 --> 00:26:32,760
Speaker 2: stortup culture, an angel investor Lynch's buddies, Jack Fisk's girlfriend

497
00:26:32,920 --> 00:26:35,640
Speaker 2: and eventually wife, Sissy Spasic.

498
00:26:36,320 --> 00:26:38,879
Speaker 1: That is crazy, but also it makes a certain amount

499
00:26:38,920 --> 00:26:41,760
Speaker 1: of spiritual sense because the sight of her in a

500
00:26:41,760 --> 00:26:43,800
Speaker 1: bloody prom dress is probably one of the most haunting

501
00:26:43,800 --> 00:26:46,760
Speaker 1: cinematic images of the seventies, so it does make sense

502
00:26:46,760 --> 00:26:49,359
Speaker 1: that she would be mixed up with something equally disturbing.

503
00:26:50,320 --> 00:26:52,560
Speaker 1: She apparently would come on the set and help out

504
00:26:52,600 --> 00:26:55,639
Speaker 1: and hold the slate when Jack Fisk was in the shot,

505
00:26:55,760 --> 00:26:57,640
Speaker 1: which earned her a thanks in the credits.

506
00:26:58,240 --> 00:27:00,520
Speaker 2: Yeah, I love that she's credited in this. My other

507
00:27:00,560 --> 00:27:04,720
Speaker 2: favorite David Lynch odd job is plumbing. His pool. Quote

508
00:27:04,720 --> 00:27:08,200
Speaker 2: on that is that there's something deeply satisfying about directing

509
00:27:08,240 --> 00:27:11,480
Speaker 2: the flow of water, which you know there is he's

510
00:27:11,520 --> 00:27:12,320
Speaker 2: onto something there.

511
00:27:12,640 --> 00:27:17,520
Speaker 1: You know, Jack Nance had a day job too, delivering flowers.

512
00:27:18,320 --> 00:27:22,680
Speaker 1: Can you imagine it's Mother's Day and the doorbell rings,

513
00:27:23,040 --> 00:27:25,920
Speaker 1: and Henry with the hair because he kept the hair

514
00:27:25,960 --> 00:27:28,919
Speaker 1: for all the years in production, so presumably he looked

515
00:27:28,960 --> 00:27:32,120
Speaker 1: just like the guy on the eraserhead poster answered the door.

516
00:27:32,119 --> 00:27:34,720
Speaker 2: In there he is with a bouquet of flowers. No

517
00:27:35,080 --> 00:27:38,320
Speaker 2: nuts to me, no thank you, just like we don't

518
00:27:38,359 --> 00:27:41,160
Speaker 2: want them they get. He says that we got kicked

519
00:27:41,160 --> 00:27:43,399
Speaker 2: out of AFI after about two or three years of

520
00:27:43,480 --> 00:27:46,760
Speaker 2: being down there, which yes, they were squatting and shooting

521
00:27:46,760 --> 00:27:50,199
Speaker 2: a film more or less illegally there, and so it

522
00:27:50,240 --> 00:27:52,840
Speaker 2: got down to the wire. They finished initial shots on

523
00:27:52,880 --> 00:28:00,480
Speaker 2: this thirty hours straight. They shot huh wow, overnight shoot. Yeah.

524
00:28:00,520 --> 00:28:02,000
Speaker 1: They used to do a lot of shoots at night

525
00:28:02,040 --> 00:28:03,600
Speaker 1: because I guess during the day there were a lot

526
00:28:03,600 --> 00:28:05,760
Speaker 1: of gardeners on the property and it just they made

527
00:28:05,840 --> 00:28:08,480
Speaker 1: too much noise and also probably maybe they didn't want

528
00:28:08,480 --> 00:28:11,240
Speaker 1: the witnesses to all the stuff. They were sure, and

529
00:28:11,280 --> 00:28:13,960
Speaker 1: they would shoot until dawn until the birds came out,

530
00:28:13,960 --> 00:28:16,000
Speaker 1: and I guess there would be this call of birds

531
00:28:16,080 --> 00:28:18,920
Speaker 1: that went around, which was like the unofficial sign.

532
00:28:18,720 --> 00:28:21,720
Speaker 2: That the shoot was over for the night. Yeah, I

533
00:28:21,760 --> 00:28:24,680
Speaker 2: mentioned earlier, there's these great on set photos from there.

534
00:28:24,720 --> 00:28:28,520
Speaker 2: So like him in this not in keeping with our

535
00:28:28,680 --> 00:28:32,080
Speaker 2: later image of him. This like wide brimmed hat at

536
00:28:32,080 --> 00:28:36,840
Speaker 2: the three ties we've talked about. He loves coffee, which

537
00:28:36,880 --> 00:28:39,920
Speaker 2: we've talked about. It's obvious from Twin Peaks and everything,

538
00:28:39,960 --> 00:28:42,440
Speaker 2: but like twenty cups a day at some point, right

539
00:28:42,800 --> 00:28:45,400
Speaker 2: shitload of coffee. And he was a chainsmoker when he

540
00:28:45,440 --> 00:28:49,480
Speaker 2: started working on this film, but he took up transcendental meditation,

541
00:28:49,800 --> 00:28:52,840
Speaker 2: which he is a big proponent of. There's a David

542
00:28:52,880 --> 00:28:56,920
Speaker 2: Lynch Transcendental Meditation foundation. He took that up during the

543
00:28:56,920 --> 00:29:00,240
Speaker 2: shoot and went vegetarian. And so he would he talks

544
00:29:00,280 --> 00:29:04,440
Speaker 2: about like it's important, it's important to give yourself a treat. Ah,

545
00:29:05,240 --> 00:29:08,280
Speaker 2: it's getting worse. I know, I disagree. I think, okay,

546
00:29:09,000 --> 00:29:11,840
Speaker 2: commit to them dialing it in. So yeah, he would

547
00:29:11,840 --> 00:29:13,680
Speaker 2: say it's important to get yourself a treat after a

548
00:29:13,680 --> 00:29:16,360
Speaker 2: long day of filming, and it started. His treat started

549
00:29:16,400 --> 00:29:19,240
Speaker 2: as grilled cheese sandwiches. He would go into diners in

550
00:29:19,280 --> 00:29:21,600
Speaker 2: the restaurant where Colson worked in order grilled cheeses in

551
00:29:21,640 --> 00:29:25,720
Speaker 2: the afternoon. But he now his big thing since then

552
00:29:25,760 --> 00:29:30,280
Speaker 2: has been Bob's Big Boy milkshakes, and he talks about like, yeah,

553
00:29:30,280 --> 00:29:31,840
Speaker 2: I just get him and pour sugar into him and

554
00:29:31,880 --> 00:29:33,880
Speaker 2: drink him up and get all kinds of neat ideas.

555
00:29:34,080 --> 00:29:36,160
Speaker 1: And he went there every day for like eight years, right,

556
00:29:36,760 --> 00:29:38,760
Speaker 1: something like that, And then he had to not because

557
00:29:38,800 --> 00:29:41,760
Speaker 1: he was gonna miss like the editing due date to

558
00:29:41,760 --> 00:29:44,640
Speaker 1: get a film submitted to like con or something. And

559
00:29:44,680 --> 00:29:47,400
Speaker 1: he was like, yeah, killed me, like almost killed me

560
00:29:47,480 --> 00:29:49,160
Speaker 1: not to make it.

561
00:29:49,360 --> 00:29:53,320
Speaker 2: Jack Nance real Weirdoh love jack Nance. But you know

562
00:29:53,440 --> 00:29:56,560
Speaker 2: he's the iconic image from the film. He's he's Pete

563
00:29:56,600 --> 00:29:59,920
Speaker 2: in Twin Peaks. He's a just a delight. Lynch called

564
00:30:00,200 --> 00:30:02,720
Speaker 2: one of my best friends to the Criterion collection in

565
00:30:02,720 --> 00:30:06,480
Speaker 2: twenty fourteen, but they did not have a particularly good interview.

566
00:30:06,720 --> 00:30:08,960
Speaker 2: Nance was married to Colson at the time, and I

567
00:30:08,960 --> 00:30:12,400
Speaker 2: think he actually got her involved. But their bonding point,

568
00:30:12,440 --> 00:30:15,360
Speaker 2: which solidified this great friendship for the Ages was David

569
00:30:15,400 --> 00:30:19,040
Speaker 2: Lynch's Volkswagen, which he had jury rigged with a like

570
00:30:19,080 --> 00:30:22,000
Speaker 2: a wooden rack to like a luggage rack kind of

571
00:30:22,040 --> 00:30:27,200
Speaker 2: thing to help him haul crap around, and I guess

572
00:30:27,200 --> 00:30:29,880
Speaker 2: this was out in the parking lot or something. Jack

573
00:30:29,960 --> 00:30:32,120
Speaker 2: Nance looked at it and said, boy, whoever built that

574
00:30:32,160 --> 00:30:35,360
Speaker 2: thing must be on the ball. So David Lynch then said,

575
00:30:35,600 --> 00:30:38,760
Speaker 2: thank you, Jack, I did that, and you're hired. That

576
00:30:38,920 --> 00:30:42,240
Speaker 2: was his audition to get into a Razorhead was complimenting

577
00:30:42,320 --> 00:30:46,720
Speaker 2: his tricked out VW beatalize him. I hope it was

578
00:30:46,760 --> 00:30:48,880
Speaker 2: a Probably it might have been one of their weird

579
00:30:48,920 --> 00:30:51,840
Speaker 2: truck things. But yeah, that thing, I mean, between that

580
00:30:51,880 --> 00:30:54,240
Speaker 2: and the paper rude, that thing did the That was

581
00:30:54,280 --> 00:30:58,600
Speaker 2: the real unsung hero over razor Head, David Lynch's Volkswagen.

582
00:31:00,040 --> 00:31:02,400
Speaker 1: Well, man, you know what they say, flattery will get

583
00:31:02,440 --> 00:31:03,920
Speaker 1: you a mutated calf carcass.

584
00:31:04,680 --> 00:31:06,360
Speaker 2: Oh boy, where do we get to the baby? Oh yeah,

585
00:31:06,360 --> 00:31:08,560
Speaker 2: that's fair. We'll talk about the baby later. I mean, yeah,

586
00:31:08,880 --> 00:31:13,959
Speaker 2: that's Hold your horses, hold your babies, hold your calf fetuses.

587
00:31:14,240 --> 00:31:14,760
Speaker 2: We'll get there.

588
00:31:14,800 --> 00:31:16,560
Speaker 1: I love that we're taping this on Mother's Day. By

589
00:31:16,600 --> 00:31:22,240
Speaker 1: the way, there's something Oh yeah, that's so weird. We're

590
00:31:22,240 --> 00:31:24,280
Speaker 1: going to take a quick break, but we'll be right

591
00:31:24,320 --> 00:31:26,920
Speaker 1: back with more. Too much information in just a moment

592
00:31:37,120 --> 00:31:39,680
Speaker 1: Jack Nance's hair. Where do we begin.

593
00:31:42,720 --> 00:31:45,280
Speaker 2: Jack had a particular type of hair that when you

594
00:31:45,360 --> 00:31:48,480
Speaker 2: tease it and comb it, it just stays. It was

595
00:31:48,520 --> 00:31:51,560
Speaker 2: the most fantastic head of hair. And when we first

596
00:31:51,600 --> 00:31:54,440
Speaker 2: saw what happened for the tall look and how tall

597
00:31:54,480 --> 00:31:57,520
Speaker 2: it was, we were shocked. After a few minutes, I said,

598
00:31:57,600 --> 00:32:01,520
Speaker 2: this is it. He said, he doesn't remember if it

599
00:32:01,560 --> 00:32:03,440
Speaker 2: was Jack Nance who did it the first time, whether

600
00:32:03,480 --> 00:32:05,920
Speaker 2: it was by a woman named Charlotte Stewart or Coulson,

601
00:32:06,240 --> 00:32:10,680
Speaker 2: but Colson wound up dragooned into maintaining it. We mentioned earlier.

602
00:32:10,680 --> 00:32:13,640
Speaker 2: She also cooked because they were feeding everyone on takeout,

603
00:32:13,640 --> 00:32:16,880
Speaker 2: and then they were like, the takeout budget's been slashed, Catherine,

604
00:32:16,920 --> 00:32:20,680
Speaker 2: can you cook egg salad, grilled cheese. Yeah. So she

605
00:32:20,840 --> 00:32:22,560
Speaker 2: ends up the person in charge of doing the hair,

606
00:32:22,600 --> 00:32:26,120
Speaker 2: and she said, I took a kind of maniacal pleasure

607
00:32:26,200 --> 00:32:29,680
Speaker 2: from backcombing his hair, and it apparently made the entire

608
00:32:29,720 --> 00:32:32,480
Speaker 2: crew burst out laughing the first time they saw him.

609
00:32:32,880 --> 00:32:35,040
Speaker 2: And you said earlier that he wore this hairstyle for

610
00:32:35,080 --> 00:32:37,920
Speaker 2: the entire duration of the shoot, which is not strictly

611
00:32:37,920 --> 00:32:41,320
Speaker 2: speaking true. What happened was his hair was on call

612
00:32:41,440 --> 00:32:45,720
Speaker 2: for this, so they would, I know. So I don't

613
00:32:45,720 --> 00:32:48,040
Speaker 2: know if we mentioned this up talk up top five

614
00:32:48,120 --> 00:32:50,200
Speaker 2: years to shoot this, to finish this movie because they

615
00:32:50,200 --> 00:32:50,760
Speaker 2: had no money.

616
00:32:50,760 --> 00:32:52,720
Speaker 1: It was just like like as soon as they had

617
00:32:52,720 --> 00:32:54,760
Speaker 1: a little bit of money to literally just buy like

618
00:32:54,840 --> 00:32:57,040
Speaker 1: film stock, that they would go.

619
00:32:57,120 --> 00:32:57,360
Speaker 2: It was.

620
00:32:57,400 --> 00:32:59,680
Speaker 1: I mean, it wasn't like they were using that to

621
00:32:59,720 --> 00:33:02,920
Speaker 1: build anything, elab it or even necessarily about the end anybody.

622
00:33:02,920 --> 00:33:05,640
Speaker 1: It was literally to get film stock to shoot on,

623
00:33:05,960 --> 00:33:08,800
Speaker 1: and half the time they would get it donated or used.

624
00:33:09,000 --> 00:33:12,959
Speaker 2: Well, because the soundtrack is old film soundstock that had

625
00:33:13,000 --> 00:33:15,360
Speaker 2: been thrown out, they drove his VW there.

626
00:33:15,480 --> 00:33:17,880
Speaker 1: Some of the film stock too, because Peter Bugdanovitch was

627
00:33:17,880 --> 00:33:20,840
Speaker 1: making paper Moon on black and white film, and some

628
00:33:20,880 --> 00:33:23,240
Speaker 1: of the leftover stuff that he didn't use they got

629
00:33:23,320 --> 00:33:24,120
Speaker 1: donated too.

630
00:33:24,720 --> 00:33:27,920
Speaker 2: Oh, Peter Bugdanovitch, I should be wearing a necker chief

631
00:33:28,000 --> 00:33:31,440
Speaker 2: right now. Colson. On jack Nance's hair, she said, when

632
00:33:31,440 --> 00:33:33,360
Speaker 2: he wasn't shooting for a long time, he would let

633
00:33:33,440 --> 00:33:35,840
Speaker 2: it go, but then he would have to have another

634
00:33:35,880 --> 00:33:38,960
Speaker 2: haircut before we started to shoot again. My family didn't

635
00:33:38,960 --> 00:33:41,840
Speaker 2: know him any other way except for that goofy hair.

636
00:33:42,160 --> 00:33:44,680
Speaker 2: We have a lot of family pictures at Christmas time

637
00:33:44,800 --> 00:33:50,040
Speaker 2: with Jack with this haircut, which is amazing because somewhere

638
00:33:50,040 --> 00:33:53,600
Speaker 2: in the world there are Christmas portraits of Jack Nance

639
00:33:54,160 --> 00:33:56,800
Speaker 2: and the log Lady from Twin Peak with his hair

640
00:33:56,840 --> 00:34:01,240
Speaker 2: in the razorhead, and their parents that it was partially

641
00:34:01,280 --> 00:34:04,320
Speaker 2: responsible for them getting divorced, but they also work together

642
00:34:04,360 --> 00:34:08,719
Speaker 2: on Twin Peaks. They remained friends. Nance who is responsible

643
00:34:08,760 --> 00:34:11,439
Speaker 2: for another great bit of the eraser head lore, which

644
00:34:11,480 --> 00:34:14,600
Speaker 2: is that the baby who we're gonna get to, we

645
00:34:14,719 --> 00:34:18,279
Speaker 2: keep teasing this baby. This is like Chekhov's gun. We

646
00:34:18,400 --> 00:34:20,319
Speaker 2: mentioned it in the first act and now someone's gonna

647
00:34:20,320 --> 00:34:21,920
Speaker 2: have to get shot with it. In the third act.

648
00:34:22,400 --> 00:34:27,399
Speaker 2: That baby is named Spike, and someone asked asked Nance

649
00:34:27,400 --> 00:34:28,640
Speaker 2: where he got that, and he said, I think it

650
00:34:28,760 --> 00:34:32,520
Speaker 2: was on the birth certificate. And he has a positively

651
00:34:33,000 --> 00:34:37,279
Speaker 2: kafka esque a bit of what they asked him. Yeah,

652
00:34:37,280 --> 00:34:40,280
Speaker 2: his rider. Essentially it was a room and a chair.

653
00:34:41,440 --> 00:34:44,319
Speaker 1: That's all he wanted for accommodations, for which I mean,

654
00:34:44,760 --> 00:34:46,359
Speaker 1: given the budget and how long this.

655
00:34:46,320 --> 00:34:48,680
Speaker 2: Time, say, that might have been a stretch, they'd probably

656
00:34:48,719 --> 00:34:52,560
Speaker 2: try to argue him down to a stool. All right,

657
00:34:52,600 --> 00:34:55,080
Speaker 2: So we haven't talked about the other side of the family.

658
00:34:55,080 --> 00:34:56,400
Speaker 2: We haven't talked about Mary X.

659
00:34:57,040 --> 00:35:00,800
Speaker 1: Yes, Mary X is Henry's Girlfriend's long stuff forring girlfriend.

660
00:35:00,880 --> 00:35:05,319
Speaker 1: In this She's played by Charlotte Stewart, and I love

661
00:35:05,560 --> 00:35:08,680
Speaker 1: this connection. She would often come to the eraser Head

662
00:35:08,719 --> 00:35:11,680
Speaker 1: set straight from her day job shooting The Little House

663
00:35:11,719 --> 00:35:14,680
Speaker 1: on the Prairie, where she had a starring role as

664
00:35:14,760 --> 00:35:18,480
Speaker 1: Miss Beatle. I just I love that she would go

665
00:35:18,719 --> 00:35:20,280
Speaker 1: from the most Hallmarky show.

666
00:35:20,120 --> 00:35:24,359
Speaker 2: In existence to eraser Head off and on the same day.

667
00:35:24,440 --> 00:35:26,920
Speaker 2: I mean, I can't believe she made it out alive.

668
00:35:27,280 --> 00:35:29,319
Speaker 2: I like the idea of her confusing her lines from

669
00:35:29,360 --> 00:35:32,400
Speaker 2: like sleep deprivation, Like she's on a little House on

670
00:35:32,440 --> 00:35:34,279
Speaker 2: the prairie and she's like, they're not even sure it

671
00:35:34,400 --> 00:35:39,319
Speaker 2: is a baby. This film was only supposed to take

672
00:35:39,600 --> 00:35:45,680
Speaker 2: six weeks. Twenty white pages projected forty two minute runtime. False. No,

673
00:35:45,760 --> 00:35:46,359
Speaker 2: that was long.

674
00:35:46,400 --> 00:35:49,680
Speaker 1: They initially said twenty one the dean if I was

675
00:35:49,719 --> 00:35:52,239
Speaker 1: like twenty one minutes, and it's like it might be

676
00:35:52,280 --> 00:35:56,160
Speaker 1: a hair longer, okay, four because like script pages usually

677
00:35:56,320 --> 00:35:58,960
Speaker 1: equate to one page a minute, so I thought forty

678
00:35:58,960 --> 00:35:59,719
Speaker 1: two minutes max.

679
00:35:59,760 --> 00:36:01,920
Speaker 2: Come on, Like, what are we thinking here? Yeah? I

680
00:36:01,920 --> 00:36:05,440
Speaker 2: mean they yeah, I mean Lynch was who's squatting. He

681
00:36:05,719 --> 00:36:09,279
Speaker 2: lived in Henry's actual room. But yeah, please tell us

682
00:36:09,280 --> 00:36:11,520
Speaker 2: about Lynch's living situation further.

683
00:36:11,760 --> 00:36:13,640
Speaker 1: I mean, because it was illegal, they had to make

684
00:36:13,680 --> 00:36:15,839
Speaker 1: it look like he wasn't there, So he was living

685
00:36:15,880 --> 00:36:21,120
Speaker 1: in Henry's room. That just absolutely claustrophobic, cubby hole that is.

686
00:36:21,360 --> 00:36:24,960
Speaker 1: You know, it's got a great radiator. It's got a

687
00:36:24,960 --> 00:36:27,920
Speaker 1: great radiator, it does. That's where David Lynch actually lived

688
00:36:27,960 --> 00:36:31,200
Speaker 1: for I would assume years during this production. But because

689
00:36:31,239 --> 00:36:32,719
Speaker 1: it was illegal, day to make it look like he

690
00:36:32,760 --> 00:36:36,799
Speaker 1: wasn't there, So they achieved this by bolting him in

691
00:36:37,120 --> 00:36:40,799
Speaker 1: with one door and padlocking the other from the outside

692
00:36:40,880 --> 00:36:43,560
Speaker 1: so as not to arouse suspicion. So he's locked in

693
00:36:43,640 --> 00:36:48,120
Speaker 1: this room, which is which adds a whole other level

694
00:36:48,160 --> 00:36:51,239
Speaker 1: of terrifying. It's also a very Bushwick thing.

695
00:36:51,680 --> 00:36:54,080
Speaker 2: I was gonna say, what's your personal experience with this

696
00:36:54,120 --> 00:36:54,840
Speaker 2: living arrangement?

697
00:36:54,920 --> 00:36:57,279
Speaker 1: Yeah, my dear friend did something similar. He was living

698
00:36:57,320 --> 00:36:59,840
Speaker 1: in the furnace room of his art gallery in Bushwick,

699
00:37:00,200 --> 00:37:03,040
Speaker 1: and the room was hidden behind a movable tool shelf

700
00:37:03,480 --> 00:37:05,799
Speaker 1: that was just on hinges. But you know, when it

701
00:37:05,880 --> 00:37:07,840
Speaker 1: was in place, it looked just like a regular shelf,

702
00:37:08,239 --> 00:37:11,279
Speaker 1: and as a sort of makeshift handle, he bolted a

703
00:37:11,360 --> 00:37:14,239
Speaker 1: shovel that just looked like it was just hanging there,

704
00:37:14,280 --> 00:37:16,040
Speaker 1: but it was just bolted there, didn't go anywhere.

705
00:37:16,120 --> 00:37:21,400
Speaker 2: So yeah, Yeah, Probably the most exemplary part of this

706
00:37:21,520 --> 00:37:25,359
Speaker 2: shooting schedule is there's a shot in this film. There's

707
00:37:25,400 --> 00:37:28,600
Speaker 2: a cut in which the first part of the shot

708
00:37:28,640 --> 00:37:32,400
Speaker 2: and the second part occurred eighteen months apart.

709
00:37:33,480 --> 00:37:36,480
Speaker 1: Yeah, Henry opens up the door to his apartment and

710
00:37:36,640 --> 00:37:39,120
Speaker 1: he's seen entering from the other side, and the next

711
00:37:39,120 --> 00:37:40,480
Speaker 1: shot a year and.

712
00:37:40,400 --> 00:37:46,120
Speaker 2: A half late, he had aged eighteen months. Yeah.

713
00:37:46,120 --> 00:37:48,319
Speaker 1: I mean the filming took so long for this that

714
00:37:48,480 --> 00:37:51,319
Speaker 1: several years in Lynch's own family tried to talk him

715
00:37:51,320 --> 00:37:53,880
Speaker 1: out of the project, and he's talked about this in

716
00:37:53,960 --> 00:37:57,760
Speaker 1: a couple different interviews. Recalled his parents and his younger

717
00:37:57,800 --> 00:37:59,360
Speaker 1: brother saying to him, you know, you've been on this

718
00:37:59,400 --> 00:38:02,440
Speaker 1: erazorhead for many years. You have a wife and a

719
00:38:02,520 --> 00:38:04,759
Speaker 1: daughter to think about. We think it's time you get

720
00:38:04,760 --> 00:38:08,000
Speaker 1: a regular job, take responsibility. And he said this was

721
00:38:08,080 --> 00:38:10,640
Speaker 1: devastating to me, as you know, I assume it would

722
00:38:10,640 --> 00:38:14,439
Speaker 1: be after sinking years into this, And there was even

723
00:38:14,440 --> 00:38:16,920
Speaker 1: a time when he briefly considered finishing the movie with

724
00:38:17,000 --> 00:38:20,279
Speaker 1: an animated Henry to just fill in the gaps in

725
00:38:20,320 --> 00:38:20,800
Speaker 1: the movie.

726
00:38:22,200 --> 00:38:26,880
Speaker 2: I wish for everyone attempting any kind of creative life,

727
00:38:27,000 --> 00:38:31,759
Speaker 2: I wish you the iron will that propelled David Lynch

728
00:38:31,800 --> 00:38:36,520
Speaker 2: to finish your raiser headh Segue. A lot of people died.

729
00:38:39,080 --> 00:38:42,360
Speaker 2: So many people died, not really so many people, but

730
00:38:42,440 --> 00:38:47,640
Speaker 2: we mentioned that enough enough people died to make this movie.

731
00:38:47,760 --> 00:38:51,399
Speaker 2: There's that weird murder suicide of Greystone, so that's ding

732
00:38:51,560 --> 00:38:56,080
Speaker 2: Ding one and two. The film's original director of photography,

733
00:38:56,560 --> 00:38:59,719
Speaker 2: Herbert Cardwell, died in his sleep two months in Ding.

734
00:39:00,320 --> 00:39:03,920
Speaker 2: Peter Ivers, the musician who wrote the film's theme in Heaven,

735
00:39:04,000 --> 00:39:06,840
Speaker 2: which we will talk about later, was found bludgeoned to

736
00:39:06,920 --> 00:39:09,520
Speaker 2: death by a hammer in his apartment in nineteen eighty

737
00:39:09,560 --> 00:39:14,279
Speaker 2: three Ding, a crime that remains unsolved. And lastly, Jack

738
00:39:14,400 --> 00:39:17,360
Speaker 2: Nance got into a fight outside of Winchel's Donuts in

739
00:39:17,440 --> 00:39:20,120
Speaker 2: nineteen ninety six and he told his friends, I guess

740
00:39:20,120 --> 00:39:22,480
Speaker 2: I got what I deserved after that, and then he

741
00:39:22,560 --> 00:39:26,239
Speaker 2: went home and died of a subdural hematoma, which is

742
00:39:26,280 --> 00:39:27,799
Speaker 2: a fairly common way of dying in a fight. You

743
00:39:27,800 --> 00:39:30,319
Speaker 2: get your head knocked, you think you're fine, you go home,

744
00:39:30,360 --> 00:39:33,640
Speaker 2: and you have an internal hemorrhage. Essentially, good Lord.

745
00:39:33,960 --> 00:39:36,400
Speaker 1: For those of you keeping track at home, the subdural

746
00:39:36,440 --> 00:39:40,959
Speaker 1: hemorrhage count in this episode is at one stands at one.

747
00:39:41,680 --> 00:39:44,239
Speaker 2: Uh. It might not seem like it based on the

748
00:39:44,280 --> 00:39:49,320
Speaker 2: finished project, but Eraserhead was tightly rehearsed and shot within

749
00:39:49,360 --> 00:39:52,640
Speaker 2: an inch of its life. Every reaction and every look

750
00:39:52,719 --> 00:39:55,799
Speaker 2: and everything that was happening inside Henry's head. We had

751
00:39:55,840 --> 00:39:59,120
Speaker 2: to get into that in great detail. Nance said, I

752
00:39:59,160 --> 00:40:02,520
Speaker 2: remember one partic shot, a very simple quick shot. I

753
00:40:02,600 --> 00:40:05,279
Speaker 2: was supposed to say no kidding or something like that,

754
00:40:05,400 --> 00:40:07,919
Speaker 2: and turn and walk away. And we worked on take

755
00:40:07,960 --> 00:40:11,080
Speaker 2: after take after take, a whole reel of film, and

756
00:40:11,120 --> 00:40:14,480
Speaker 2: you'll remember they were picking this out of trash cans

757
00:40:14,480 --> 00:40:18,000
Speaker 2: and driving it around La Cardwell, he said, just opened

758
00:40:18,040 --> 00:40:20,840
Speaker 2: up the magazine and started throwing the film out on

759
00:40:20,880 --> 00:40:23,560
Speaker 2: the floor, saying, well, at least we won't have to

760
00:40:23,600 --> 00:40:27,160
Speaker 2: look at that in the screening room, which is just

761
00:40:27,200 --> 00:40:33,719
Speaker 2: what you want your DP to say. Ah. There is

762
00:40:33,800 --> 00:40:36,080
Speaker 2: a period of time when we would rehearse just me

763
00:40:36,160 --> 00:40:38,360
Speaker 2: and Jack in that room, Sorry I'm doing it again,

764
00:40:38,560 --> 00:40:42,080
Speaker 2: and work things out this is David Lynch, obviously, and

765
00:40:42,120 --> 00:40:45,560
Speaker 2: those rehearsals took a long long time. Every little thing

766
00:40:45,600 --> 00:40:51,520
Speaker 2: would be planned. The film's first shot one take, Wow,

767
00:40:51,800 --> 00:40:53,920
Speaker 2: drops Mike Damn.

768
00:40:54,440 --> 00:40:57,720
Speaker 1: And now enough about the visuals, let's talk about the audio.

769
00:40:58,000 --> 00:41:00,799
Speaker 2: Yeah, we now come to the real meat of this episode,

770
00:41:00,840 --> 00:41:04,879
Speaker 2: which is Alan Split, Alan Split everyone. This is kind

771
00:41:04,920 --> 00:41:07,839
Speaker 2: of messed up. Alan Splett, who was also a Philly guy,

772
00:41:07,960 --> 00:41:11,040
Speaker 2: Lynch's long term sound designer. I think we should say

773
00:41:11,200 --> 00:41:13,040
Speaker 2: he has also referred to him as a best friend.

774
00:41:13,360 --> 00:41:16,800
Speaker 2: He famously became a punchline when he was nominated for

775
00:41:16,880 --> 00:41:19,040
Speaker 2: the sound design for Black Stallion at the Oscars, and

776
00:41:19,080 --> 00:41:21,959
Speaker 2: he won, but he was not at the ceremony because

777
00:41:21,960 --> 00:41:24,360
Speaker 2: he was working on Elephant Man in London with Lynch

778
00:41:24,800 --> 00:41:28,400
Speaker 2: and Johnny Carson turned it into a running punchline on

779
00:41:28,440 --> 00:41:31,080
Speaker 2: the show. And you love Johnny Carson, so I want

780
00:41:31,080 --> 00:41:32,120
Speaker 2: you to do this. Yeah.

781
00:41:32,120 --> 00:41:34,279
Speaker 1: He was hosting the Oscars that night and he kept

782
00:41:34,280 --> 00:41:37,680
Speaker 1: doing Alan's split updates because nobody could believe that. Like,

783
00:41:37,920 --> 00:41:39,520
Speaker 1: you know, it's like, this is one thing if you

784
00:41:39,560 --> 00:41:42,480
Speaker 1: have like Marlon Brando or George c. Scott skipping the

785
00:41:42,520 --> 00:41:45,839
Speaker 1: Oscars to make a political point or because they're filming some.

786
00:41:45,800 --> 00:41:46,960
Speaker 2: Other movie or something.

787
00:41:47,160 --> 00:41:49,160
Speaker 1: But this was just, you know, you don't expect the

788
00:41:49,239 --> 00:41:52,120
Speaker 1: kind of anonymous tech guy skip the biggest night in

789
00:41:52,120 --> 00:41:55,120
Speaker 1: the professional live. So he just made this ongoing joke

790
00:41:55,160 --> 00:41:58,400
Speaker 1: about it and kept doing these recurring Alan split updates

791
00:41:58,400 --> 00:42:00,399
Speaker 1: all night and Johnny at him.

792
00:42:00,480 --> 00:42:02,120
Speaker 2: Oh he missed his freeway turn off.

793
00:42:02,440 --> 00:42:05,080
Speaker 1: Oh he's at a gas station with carburetor trouble outside

794
00:42:05,080 --> 00:42:06,239
Speaker 1: a band in California.

795
00:42:06,480 --> 00:42:09,080
Speaker 2: He kept like having like all through the night. It was.

796
00:42:09,280 --> 00:42:14,520
Speaker 1: It was medium funny, but Split totally deserved that Oscar.

797
00:42:14,520 --> 00:42:17,920
Speaker 1: Because for Black Stallion, which was I think his first

798
00:42:17,920 --> 00:42:22,280
Speaker 1: full length feature aside from Eraserhead, he strapped a special

799
00:42:22,320 --> 00:42:25,560
Speaker 1: microphone to the underbelly of a race horse to capture

800
00:42:25,600 --> 00:42:28,800
Speaker 1: the sound of galloping hoof beats, and he also attached

801
00:42:28,800 --> 00:42:31,600
Speaker 1: a mic to the horse's head to catch its breathing

802
00:42:31,600 --> 00:42:33,640
Speaker 1: while it was running. He did all these really innovative

803
00:42:33,640 --> 00:42:37,200
Speaker 1: ways of getting the horse sounds.

804
00:42:38,640 --> 00:42:44,560
Speaker 2: Horse sounds. The lesser loved follow up to pet Sound

805
00:42:44,600 --> 00:42:49,640
Speaker 2: of horse Sounds. Yeah, he really is the other part

806
00:42:49,680 --> 00:42:51,880
Speaker 2: of this movie. I mean, there's been all this stuff

807
00:42:51,880 --> 00:42:54,320
Speaker 2: at Pitchfork and a lot of the music sites about

808
00:42:54,600 --> 00:42:56,960
Speaker 2: how the soundtrack of this movie. The sound of this

809
00:42:57,040 --> 00:42:59,799
Speaker 2: movie is so influential as far as sound design and

810
00:43:00,040 --> 00:43:03,879
Speaker 2: ambient and industrial and all those sort of grimy out

811
00:43:03,880 --> 00:43:08,560
Speaker 2: there music genres. Split was head of AFI's sound department

812
00:43:08,600 --> 00:43:10,799
Speaker 2: at the time, and he is responsible for one of

813
00:43:10,840 --> 00:43:15,480
Speaker 2: the ultimate hallmarks of David Lynch, which is the room tone,

814
00:43:16,280 --> 00:43:20,879
Speaker 2: which is this sort of ambient buzzing of evil, which

815
00:43:20,960 --> 00:43:23,880
Speaker 2: you could, I guess it probably comes from like trying

816
00:43:23,920 --> 00:43:28,200
Speaker 2: to make fluorescent lights sound meaner because it's you think

817
00:43:28,200 --> 00:43:30,000
Speaker 2: of all those shots in twin peaks of like a

818
00:43:30,040 --> 00:43:34,879
Speaker 2: ceiling fan and there's this like thrumbing kind of under it.

819
00:43:34,960 --> 00:43:37,680
Speaker 1: And he's very interested in electricity. He's talked about that

820
00:43:37,800 --> 00:43:41,360
Speaker 1: in a lot of interviews. Electricity working and also failing

821
00:43:41,600 --> 00:43:43,440
Speaker 1: and getting all that like crackling stuff.

822
00:43:43,960 --> 00:43:46,359
Speaker 2: That's always been a hallmark for him. But you know,

823
00:43:46,800 --> 00:43:49,640
Speaker 2: by doing this for pennies a day, they were forced

824
00:43:49,680 --> 00:43:52,319
Speaker 2: to get creative with some of the sound design, and

825
00:43:53,320 --> 00:43:56,680
Speaker 2: they got one of these by they put a big

826
00:43:57,200 --> 00:44:00,920
Speaker 2: gallon water jug in a bathtub and floated it and

827
00:44:00,920 --> 00:44:03,640
Speaker 2: then they put the microphone in that. So there's a

828
00:44:03,680 --> 00:44:08,160
Speaker 2: microphone hanging inside of a big glass gallon jug. Floating

829
00:44:08,160 --> 00:44:11,440
Speaker 2: in a bathtub and it would blow across that microphone.

830
00:44:11,520 --> 00:44:13,719
Speaker 1: I just want to say that it was a Sparklet's

831
00:44:13,800 --> 00:44:17,800
Speaker 1: water jug, which was the same brand that they used

832
00:44:17,840 --> 00:44:21,120
Speaker 1: in pet Sounds to make on Caroline Know that weird?

833
00:44:22,160 --> 00:44:25,480
Speaker 2: That weird. So sorry, just you mentioned pet Sounds earlier.

834
00:44:25,520 --> 00:44:27,439
Speaker 2: I have to throw that back in. That is some

835
00:44:27,560 --> 00:44:30,360
Speaker 2: galaxy brain. Do you know if it's the jug that

836
00:44:30,600 --> 00:44:34,520
Speaker 2: is on the thirteenth floor elevator song that I don't know?

837
00:44:36,320 --> 00:44:40,200
Speaker 2: You know what I'm saying. They amplified jug band. Yeah,

838
00:44:40,400 --> 00:44:42,960
Speaker 2: they worked on the score for this for like nine

839
00:44:43,000 --> 00:44:46,400
Speaker 2: hours a day over the course of two months. Colson.

840
00:44:46,400 --> 00:44:49,439
Speaker 2: Another great Catherine Colson quote, as she said she got

841
00:44:49,440 --> 00:44:51,520
Speaker 2: a call from them. I think it was like in

842
00:44:51,560 --> 00:44:52,880
Speaker 2: the middle of the night and they were like, we

843
00:44:52,920 --> 00:44:56,279
Speaker 2: need we need Catherine, Catherine, we need the sound of

844
00:44:56,320 --> 00:44:59,600
Speaker 2: a radiator. She's like, what do you need? You need

845
00:44:59,640 --> 00:45:03,920
Speaker 2: like he said, no, they wanted the sound of someone

846
00:45:04,080 --> 00:45:08,719
Speaker 2: jumping off the radiator and landing in the room. And yeah,

847
00:45:08,760 --> 00:45:11,040
Speaker 2: we mentioned earlier that they learned that a film studio

848
00:45:11,080 --> 00:45:13,279
Speaker 2: was throwing out soundstock, so they just threw it in

849
00:45:13,320 --> 00:45:16,360
Speaker 2: the back of this jury RIGGEDVW and high tailed it

850
00:45:16,400 --> 00:45:19,040
Speaker 2: on out of there. My favorite Alan split bit other

851
00:45:19,120 --> 00:45:21,799
Speaker 2: than all of this is the uh is the fact

852
00:45:21,840 --> 00:45:24,720
Speaker 2: that apparently he was out of pocket for a while

853
00:45:25,160 --> 00:45:30,640
Speaker 2: because he was in Findhorn in Northern Scotland recording wind,

854
00:45:31,480 --> 00:45:32,560
Speaker 2: recording wind?

855
00:45:34,440 --> 00:45:39,600
Speaker 1: Didn't they also split? Everyone couldn't make the oscars?

856
00:45:40,040 --> 00:45:41,080
Speaker 2: Was recording Wind?

857
00:45:41,960 --> 00:45:45,439
Speaker 1: Speaking of David's sound design, so much has been made

858
00:45:45,440 --> 00:45:48,560
Speaker 1: of his famous room tone, but how about his ringtones?

859
00:45:49,239 --> 00:45:53,479
Speaker 1: Are you aware that in two thousand and six, David

860
00:45:53,560 --> 00:45:56,400
Speaker 1: Lynch debuted his own set of cell phone ring tones

861
00:45:56,920 --> 00:46:00,759
Speaker 1: featuring recorded phrases such as I like to kill deer,

862
00:46:01,520 --> 00:46:05,719
Speaker 1: my teeth are bleeding and what the hell? Damn, what

863
00:46:05,760 --> 00:46:10,600
Speaker 1: the hell they're Unfortunately, sorry, I ruined this whole.

864
00:46:12,080 --> 00:46:16,480
Speaker 2: I'm sorry. This is something that's send me crack up

865
00:46:16,560 --> 00:46:22,120
Speaker 2: the most. Just you segueing from her room tones to

866
00:46:22,360 --> 00:46:29,800
Speaker 2: ring tones and say I want to kill deer. Jordan

867
00:46:29,880 --> 00:46:34,160
Speaker 2: just brought me to tears with his recitation of davidlyn

868
00:46:34,239 --> 00:46:37,879
Speaker 2: She's ringtones. Did we find them? No?

869
00:46:38,200 --> 00:46:42,560
Speaker 1: Well, wait a minute, I there. They're really hard to find.

870
00:46:42,600 --> 00:46:47,240
Speaker 1: They're no longer available for download. There's supposedly on some

871
00:46:47,400 --> 00:46:51,040
Speaker 1: fan websites. I can't tell what I'm hearing because it's

872
00:46:51,040 --> 00:46:53,600
Speaker 1: not him saying them, which kind of makes it not

873
00:46:53,680 --> 00:46:56,839
Speaker 1: as good. But at least the ones I've been able

874
00:46:56,840 --> 00:46:58,839
Speaker 1: to find, but I can't tell fans have made them

875
00:46:59,160 --> 00:47:01,680
Speaker 1: and they're just like right because of it or something.

876
00:47:01,760 --> 00:47:03,719
Speaker 2: Yeah, damn it.

877
00:47:04,000 --> 00:47:06,920
Speaker 1: Well get that last laughter in Heigel goes, We're about

878
00:47:06,960 --> 00:47:08,759
Speaker 1: to go in.

879
00:47:08,040 --> 00:47:10,640
Speaker 2: To a little segment I like to call it's the

880
00:47:10,719 --> 00:47:16,640
Speaker 2: baby Gotta love it. Oh, so we mentioned earlier that

881
00:47:16,719 --> 00:47:20,000
Speaker 2: this show needs tone. In the early part can kind

882
00:47:20,000 --> 00:47:24,400
Speaker 2: of be described as like a surrealistic comedy. There's there's

883
00:47:24,600 --> 00:47:26,279
Speaker 2: that bit where they're in the where they're waiting the

884
00:47:26,320 --> 00:47:29,080
Speaker 2: lobby and the elevator doors are open for like a

885
00:47:29,200 --> 00:47:33,280
Speaker 2: disconcertingly long time and they finally close like the timing

886
00:47:33,360 --> 00:47:35,360
Speaker 2: of this of those cuts, and you compared it to

887
00:47:35,400 --> 00:47:40,040
Speaker 2: British comedy earlier. But it quickly stops being funny when

888
00:47:40,080 --> 00:47:46,520
Speaker 2: that baby shows up. Man, it is the worst thing

889
00:47:46,600 --> 00:47:50,279
Speaker 2: in the world. And you were able to find a

890
00:47:50,320 --> 00:47:54,160
Speaker 2: description of this for listeners who have not seen this movie.

891
00:47:54,400 --> 00:47:58,320
Speaker 1: Yes, the writer Peter Slovinski for writing for Roger Ebert

892
00:47:58,400 --> 00:48:02,400
Speaker 1: dot com. He's basically described it as imagine a cross

893
00:48:02,440 --> 00:48:06,600
Speaker 1: between a fetal version of et and some form of

894
00:48:06,640 --> 00:48:09,719
Speaker 1: a skinned ruminant that has been plagued with an eternal

895
00:48:09,880 --> 00:48:13,560
Speaker 1: cold that causes it to cry, whine, and spit up

896
00:48:13,640 --> 00:48:16,560
Speaker 1: various forms of goo practically around the clock.

897
00:48:17,600 --> 00:48:20,520
Speaker 2: That's as good a description as Anny for audio. Ah,

898
00:48:20,520 --> 00:48:24,520
Speaker 2: oh God, it's disgusting. Lynch has repeatedly denied that the

899
00:48:24,600 --> 00:48:29,479
Speaker 2: film is about his anxieties about fatherhood. But the fact

900
00:48:29,560 --> 00:48:35,319
Speaker 2: that this thing allegedly uses Jennifer's actual cries, his own

901
00:48:35,400 --> 00:48:40,560
Speaker 2: daughter's actual daughter's cries, albeit manipulated in some degree, that

902
00:48:40,719 --> 00:48:43,799
Speaker 2: is horrifying. And it feels like a bit of a

903
00:48:43,880 --> 00:48:46,000
Speaker 2: cheat to hype this thing up so much and then

904
00:48:46,120 --> 00:48:48,160
Speaker 2: not tell people how it's made. But the fact of

905
00:48:48,200 --> 00:48:50,960
Speaker 2: the matter is no one knows. This is like the

906
00:48:51,000 --> 00:48:54,319
Speaker 2: biggest secret around Eraserhead. People have been asking him about

907
00:48:54,320 --> 00:48:58,279
Speaker 2: this for forty five years, and he refuses to talk

908
00:48:58,320 --> 00:49:02,279
Speaker 2: about it. Jennifer knows, but she will not tell her

909
00:49:02,360 --> 00:49:05,479
Speaker 2: own daughter. Her own daughter is apparently mad. She told

910
00:49:05,560 --> 00:49:09,319
Speaker 2: Vice that, And he went so far to disguise what

911
00:49:09,440 --> 00:49:14,279
Speaker 2: this thing is that he blindfolded the projectionist doing dailies

912
00:49:14,320 --> 00:49:18,360
Speaker 2: on this film. For for non industry people, you shoot something,

913
00:49:18,480 --> 00:49:20,440
Speaker 2: you shoot a whole day of film, and then you

914
00:49:20,560 --> 00:49:24,200
Speaker 2: screen that for yourself and your editor and if you're

915
00:49:24,239 --> 00:49:27,799
Speaker 2: really unlucky, the studio heads so that they can give

916
00:49:27,840 --> 00:49:29,319
Speaker 2: feedback on it and you can kind of see how

917
00:49:29,360 --> 00:49:32,600
Speaker 2: the day went. And Lynch blindfolded the guy doing that

918
00:49:32,719 --> 00:49:36,520
Speaker 2: so he wouldn't see He Even the AFI heads came

919
00:49:36,560 --> 00:49:38,680
Speaker 2: there and we're like, what are we spending our money on?

920
00:49:39,440 --> 00:49:47,040
Speaker 2: And they were like, don't worry about it. Yeah, no, yeah.

921
00:49:47,280 --> 00:49:51,759
Speaker 2: The speculation from people who are more invested in this

922
00:49:51,800 --> 00:49:55,400
Speaker 2: than I am is that it's some kind of fetus

923
00:49:55,600 --> 00:50:00,560
Speaker 2: from an anatomy class, like either a sheep cat or

924
00:50:00,600 --> 00:50:03,600
Speaker 2: a cat, and they that they had to take it

925
00:50:03,640 --> 00:50:09,319
Speaker 2: apart and like articulate it. It's you know, probably the

926
00:50:09,320 --> 00:50:13,840
Speaker 2: most stirring argument in favor of that is Lynch himself,

927
00:50:13,840 --> 00:50:17,560
Speaker 2: who has gone on record as confessing that he dissected

928
00:50:17,600 --> 00:50:21,080
Speaker 2: a cat during the course of this film's production, which presumably,

929
00:50:21,160 --> 00:50:24,719
Speaker 2: you know, high school biology classes do that stuff. That's

930
00:50:24,800 --> 00:50:28,920
Speaker 2: probably how he got it. He said. I examined its parts,

931
00:50:29,320 --> 00:50:33,000
Speaker 2: the membranes, the hair, the skin, and there are so

932
00:50:33,080 --> 00:50:36,719
Speaker 2: many textures which may be gross on one side, but

933
00:50:36,800 --> 00:50:40,719
Speaker 2: when you isolate them and consider them more abstractly, they

934
00:50:40,719 --> 00:50:43,960
Speaker 2: are totally beautiful. So think about that, and then think

935
00:50:43,960 --> 00:50:46,560
Speaker 2: about his next quote, which is, I don't know what

936
00:50:46,640 --> 00:50:52,000
Speaker 2: good it did me, really, Jordan talk us through cat dissection.

937
00:50:52,640 --> 00:50:56,000
Speaker 1: David Lynch has waxed poetics so much about dissecting this

938
00:50:56,120 --> 00:50:59,040
Speaker 1: cat that it makes me think that that has actually

939
00:50:59,040 --> 00:51:01,160
Speaker 1: really nothing to do the baby in a racer Head,

940
00:51:01,160 --> 00:51:04,040
Speaker 1: because he wouldn't keep mentioning it. He's talked about it

941
00:51:04,120 --> 00:51:07,400
Speaker 1: so many times in different interviews. In that two thousand

942
00:51:07,400 --> 00:51:10,520
Speaker 1: and one documentary Racerhead Stories that we talked about earlier,

943
00:51:10,560 --> 00:51:16,200
Speaker 1: he discussed it extensively, with an almost ecstatic fervor. He

944
00:51:16,280 --> 00:51:20,480
Speaker 1: compared the organs to the Fellini film Roma, which I'm

945
00:51:20,480 --> 00:51:23,839
Speaker 1: not sure if I follow, but he said it was unbelievable.

946
00:51:23,840 --> 00:51:27,520
Speaker 1: The organs in the cat were brilliant colors, and he

947
00:51:27,640 --> 00:51:30,080
Speaker 1: later buried it in the urban wasteland that we see

948
00:51:30,120 --> 00:51:32,359
Speaker 1: at the start of the film, and I think in

949
00:51:33,320 --> 00:51:37,080
Speaker 1: a deleted scene Henry actually like trips on it or something,

950
00:51:37,880 --> 00:51:41,040
Speaker 1: and he buried it there, and then he excavated it

951
00:51:41,080 --> 00:51:44,640
Speaker 1: some time later, which brought David Lynch even further delights.

952
00:51:44,680 --> 00:51:48,120
Speaker 1: He said it was the perfect marriage of cat and earth,

953
00:51:49,040 --> 00:51:51,719
Speaker 1: before adding that he took a photo of it.

954
00:51:52,880 --> 00:51:55,640
Speaker 2: I genuinely I tend to think of him as a

955
00:51:55,640 --> 00:52:00,880
Speaker 2: pretty innocuous guy, all things considered. But that's that's Stahmer

956
00:52:01,000 --> 00:52:06,800
Speaker 2: level him. Uh yeah. Other unverifiable details about the baby

957
00:52:06,920 --> 00:52:11,440
Speaker 2: Lynch made the cast sign NDA's that were specifically tied

958
00:52:11,480 --> 00:52:14,399
Speaker 2: to how he made the thing. You could not use

959
00:52:14,400 --> 00:52:18,640
Speaker 2: photos of it in promotional efforts for the film. Why

960
00:52:18,760 --> 00:52:23,600
Speaker 2: would you? Yeah, exactly, here's that. Come see this. And

961
00:52:23,680 --> 00:52:26,839
Speaker 2: he buried it when they were done, and they eulogized it.

962
00:52:26,920 --> 00:52:30,640
Speaker 2: The rap party doubled as this thing's funeral. His quotes

963
00:52:30,640 --> 00:52:35,279
Speaker 2: about this have remained admirably consistent. He says, maybe it

964
00:52:35,360 --> 00:52:39,799
Speaker 2: was born nearby, or maybe it was found. God, it's

965
00:52:41,520 --> 00:52:44,359
Speaker 2: buried it. Do some like film freaks like go and

966
00:52:45,080 --> 00:52:49,439
Speaker 2: excavate it. And it was in the Winchell's Donuts. That's

967
00:52:49,440 --> 00:52:52,000
Speaker 2: what jack Nance was there for. That was what he was.

968
00:52:52,040 --> 00:52:55,560
Speaker 2: He's protecting the secret of the Eraser had baby and

969
00:52:55,600 --> 00:53:03,600
Speaker 2: the Illuminati killed him. Wake Up Sheep. The film's production manager,

970
00:53:03,680 --> 00:53:12,359
Speaker 2: Dorian Small, was the hands behind the baby that had Yah.

971
00:53:12,400 --> 00:53:16,000
Speaker 2: That's interesting that she got the honor of Yeah, put

972
00:53:16,040 --> 00:53:21,960
Speaker 2: your hands in this sheep calf Dorane what I don't

973
00:53:22,000 --> 00:53:26,080
Speaker 2: know when you pulleys wires. Oh god, it's so gross.

974
00:53:27,280 --> 00:53:30,960
Speaker 2: But when during scenes when it actually had to do

975
00:53:31,040 --> 00:53:34,759
Speaker 2: a lot more, it was Alan split working it and

976
00:53:34,840 --> 00:53:37,880
Speaker 2: she said, Dorian Small said, because he plays the cello

977
00:53:38,440 --> 00:53:42,520
Speaker 2: and he has a certain kind of touch. Oh, moving

978
00:53:42,600 --> 00:53:44,839
Speaker 2: right on down the line for this weird, gross thing

979
00:53:44,880 --> 00:53:48,040
Speaker 2: that I'm already feeling bad about subjecting. You find people

980
00:53:48,120 --> 00:53:51,160
Speaker 2: so much too. Colson was tasked with its death scene

981
00:53:51,200 --> 00:53:55,439
Speaker 2: and spoilers. Henry gets morbidly curious about what's happening in there,

982
00:53:55,440 --> 00:53:57,520
Speaker 2: and the baby is wrapped up like mummified, and he

983
00:53:57,600 --> 00:54:01,480
Speaker 2: cuts the bandages open and they're they essentially were keeping

984
00:54:01,520 --> 00:54:04,880
Speaker 2: the thing together because it just, oh god, it's so

985
00:54:04,960 --> 00:54:07,200
Speaker 2: messed up. But she I just love this quote. I

986
00:54:07,200 --> 00:54:09,640
Speaker 2: had to put this on there. She talks about special

987
00:54:09,640 --> 00:54:11,600
Speaker 2: effects departments at the time, where like kind of a

988
00:54:11,840 --> 00:54:15,040
Speaker 2: loose community, so different people working on different things kind

989
00:54:15,040 --> 00:54:16,719
Speaker 2: of knew that they could kind of call each other

990
00:54:16,800 --> 00:54:18,440
Speaker 2: and be like, hey, how do you do this? How

991
00:54:18,480 --> 00:54:19,759
Speaker 2: do you do that? I have to shoot such and

992
00:54:19,800 --> 00:54:21,799
Speaker 2: such a scene. What should I do? And she said,

993
00:54:21,800 --> 00:54:24,600
Speaker 2: do you remember calling the special effects department? At Universal

994
00:54:25,440 --> 00:54:28,200
Speaker 2: and saying, do you have any suggestion as to how

995
00:54:28,200 --> 00:54:31,640
Speaker 2: to fill a room full of mush? This is funny.

996
00:54:31,680 --> 00:54:33,440
Speaker 2: My wife and ever watching this and she was like,

997
00:54:33,480 --> 00:54:37,040
Speaker 2: that baby is disgusting and incredible and real. And then

998
00:54:37,080 --> 00:54:39,719
Speaker 2: when the head gets really really big and fills up

999
00:54:39,760 --> 00:54:41,799
Speaker 2: the whole room, she was like, that doesn't look as good.

1000
00:54:42,600 --> 00:54:46,799
Speaker 2: It's not as she goes, it's not as moist. It

1001
00:54:46,840 --> 00:54:49,279
Speaker 2: doesn't so that the baby's head fills up the whole

1002
00:54:49,320 --> 00:54:51,640
Speaker 2: room during the climax, And apparently they had moved to

1003
00:54:51,640 --> 00:54:53,480
Speaker 2: a different neighborhood in LA at this point and they

1004
00:54:53,560 --> 00:54:56,600
Speaker 2: just built it in their backyard. So imagine at some

1005
00:54:56,640 --> 00:54:59,399
Speaker 2: point in the mid seventies in LA, you look out

1006
00:54:59,400 --> 00:55:03,919
Speaker 2: your window, beautiful La day, and there's giant, weird egg

1007
00:55:04,520 --> 00:55:07,120
Speaker 2: baby head in your backyard and you look down and

1008
00:55:07,120 --> 00:55:09,480
Speaker 2: there's David Lynch in three ties and a straw hat

1009
00:55:10,040 --> 00:55:11,000
Speaker 2: and he's waving to you.

1010
00:55:11,719 --> 00:55:13,720
Speaker 1: Oht know, in the mid seventies in LA. That seems

1011
00:55:13,760 --> 00:55:16,319
Speaker 1: just kind of part for the chorus ha ha hey.

1012
00:55:19,280 --> 00:55:21,120
Speaker 2: And having said all that, we'll be right back with

1013
00:55:21,200 --> 00:55:33,520
Speaker 2: more too much information right after this, wow, wow, all

1014
00:55:33,640 --> 00:55:40,279
Speaker 2: right in everything we should get new has Neil Young

1015
00:55:40,360 --> 00:55:42,200
Speaker 2: ever covered that. I was a state of cover versions

1016
00:55:42,200 --> 00:55:44,839
Speaker 2: of this earlier, and the Pixies one, the Black Francis one,

1017
00:55:45,040 --> 00:55:48,160
Speaker 2: is probably the he has the closest to that woman's voice,

1018
00:55:48,200 --> 00:55:51,560
Speaker 2: I think anyway. The Lady and the Radiator the theme

1019
00:55:51,640 --> 00:55:55,120
Speaker 2: song to this movie in Heaven Ah, It's probably the

1020
00:55:55,320 --> 00:55:59,839
Speaker 2: second most famous David Lynch musical cue after the end

1021
00:56:00,040 --> 00:56:04,560
Speaker 2: Low Bottle Lamentee theme song to Twin Peaks or Little

1022
00:56:04,640 --> 00:56:08,560
Speaker 2: Jimmy Scott singing Sycamore Trees from the season two finale.

1023
00:56:09,000 --> 00:56:11,600
Speaker 2: But you differ to me on this well. Also, I'm

1024
00:56:11,640 --> 00:56:13,800
Speaker 2: not a huge lynchhead, but I still love the this

1025
00:56:13,960 --> 00:56:17,000
Speaker 2: is the Girl scene from Maholland Drive with I've told

1026
00:56:17,080 --> 00:56:19,640
Speaker 2: every little star that was always pretty. But I'm also

1027
00:56:19,719 --> 00:56:23,520
Speaker 2: a giant sixties nerd too. But uh yeah, that in

1028
00:56:23,680 --> 00:56:27,480
Speaker 2: Heaven song is haunting, and I know Divo were big

1029
00:56:27,560 --> 00:56:29,200
Speaker 2: fans of it, and they loved it so much that

1030
00:56:29,600 --> 00:56:31,680
Speaker 2: they actually asked David Lynch if they could play it live.

1031
00:56:32,160 --> 00:56:37,239
Speaker 2: But also Bauhaus Comedy two. Yeah, yeah, yeah, yeah, this

1032
00:56:37,480 --> 00:56:39,680
Speaker 2: is nuts. Man. Do you know about Peter Rivers? I

1033
00:56:39,719 --> 00:56:41,759
Speaker 2: know you're like a national lampoon guy. Is this the

1034
00:56:41,800 --> 00:56:44,520
Speaker 2: first year hearing of him. I know Doug Kenny and

1035
00:56:44,560 --> 00:56:46,320
Speaker 2: all the people who's connected to I'd never heard of

1036
00:56:46,400 --> 00:56:49,520
Speaker 2: him though, I again a whole podcast. We could do

1037
00:56:49,560 --> 00:56:51,120
Speaker 2: a whole episode on him, but I'll just give you

1038
00:56:51,200 --> 00:56:54,120
Speaker 2: the even the just the two graphs of his Wikipedia

1039
00:56:54,239 --> 00:56:58,560
Speaker 2: article are insane. His biographer Josh Frank described him as

1040
00:56:58,680 --> 00:57:03,080
Speaker 2: being connected by a second degree to every major pop

1041
00:57:03,200 --> 00:57:07,239
Speaker 2: culture event of the last thirty years. So he was Yeah,

1042
00:57:07,360 --> 00:57:09,640
Speaker 2: I know. He was a musician first and foremost. His

1043
00:57:09,719 --> 00:57:12,960
Speaker 2: first instrument was the harmonica. He played with Muddy Waters

1044
00:57:12,960 --> 00:57:16,120
Speaker 2: at one point, and in nineteen sixty eight, Buddy Waters

1045
00:57:16,200 --> 00:57:19,720
Speaker 2: called him the greatest harp player alive when he was

1046
00:57:19,760 --> 00:57:22,160
Speaker 2: in Laws. I'm just gonna keep saying these with question marks.

1047
00:57:22,200 --> 00:57:25,760
Speaker 2: They're not actually question marks, but it's just insane. In

1048
00:57:26,000 --> 00:57:29,040
Speaker 2: La he was signed to Warner Brothers by Van Dyke,

1049
00:57:29,200 --> 00:57:33,840
Speaker 2: Parks and Lenny Waronker to one hundred grand contract. It's

1050
00:57:33,840 --> 00:57:36,919
Speaker 2: a solo artist back when that made something. Yeah, yeah,

1051
00:57:37,040 --> 00:57:38,600
Speaker 2: well he made it. And then he made his live

1052
00:57:38,760 --> 00:57:42,000
Speaker 2: debut opening for the New York Dolls. He was on

1053
00:57:42,320 --> 00:57:46,040
Speaker 2: bills with Fleetwood, Mac and John Kale. David Lynch asks

1054
00:57:46,120 --> 00:57:48,040
Speaker 2: him to write this song for Razor Ed he does.

1055
00:57:48,680 --> 00:57:51,240
Speaker 2: Then he goes on to score a Ron Howard movie,

1056
00:57:51,400 --> 00:57:55,400
Speaker 2: Grand Theft Auto, and then an episode of BJ the Bear,

1057
00:57:57,040 --> 00:58:00,760
Speaker 2: and then he becomes a ghost raw songwright. He wrote

1058
00:58:00,920 --> 00:58:05,280
Speaker 2: songs for the Pointer Sisters, Jefferson Airplanes, Marty Ballen, Balen

1059
00:58:05,400 --> 00:58:10,520
Speaker 2: on his solo career, Diana Ross, and as you mentioned,

1060
00:58:11,000 --> 00:58:14,360
Speaker 2: you know about Doug Kenny, who founded the National Lampoon

1061
00:58:14,800 --> 00:58:17,680
Speaker 2: that was Peter Ivers's best friend. We are also not

1062
00:58:17,800 --> 00:58:21,080
Speaker 2: even talking about the Los Angeles area UAHF show that

1063
00:58:21,160 --> 00:58:24,920
Speaker 2: he hosted called New Wave Theater, which was this early

1064
00:58:25,080 --> 00:58:29,440
Speaker 2: day's not quite public access, but for yeah, they were

1065
00:58:29,480 --> 00:58:33,560
Speaker 2: responsible for bringing huge parts of the La punk subculture

1066
00:58:33,640 --> 00:58:36,840
Speaker 2: into the mainstream or as mainstream as a UAHF channel, Cockpit,

1067
00:58:37,640 --> 00:58:42,480
Speaker 2: Bad Religion, Fear the Dead, Kennedy's The Circle Jerks. Guests

1068
00:58:42,560 --> 00:58:47,640
Speaker 2: on this show included Deborah Winger, Beverly di'angelo from National

1069
00:58:47,720 --> 00:58:54,040
Speaker 2: Lampion's Vacation, and Elvira and So. In that Pitchfork interview

1070
00:58:54,080 --> 00:58:57,000
Speaker 2: from twenty twelve, Lynch said, I don't know how I

1071
00:58:57,120 --> 00:59:01,120
Speaker 2: heard about Petere RVers, but this I love this story

1072
00:59:01,240 --> 00:59:03,920
Speaker 2: so much. Alan and I went up to Pete's house

1073
00:59:04,080 --> 00:59:05,880
Speaker 2: and we asked him if he could write the music

1074
00:59:06,000 --> 00:59:08,680
Speaker 2: and sing these lyrics in the Spirits of Fats Waller.

1075
00:59:09,520 --> 00:59:14,240
Speaker 2: Alan Split had played David Lynch these Fats Waller recordings

1076
00:59:14,280 --> 00:59:18,360
Speaker 2: of Fats Waller playing pipe organ and he had gotten

1077
00:59:18,400 --> 00:59:20,960
Speaker 2: them off an out of print LP. So he was

1078
00:59:21,000 --> 00:59:23,480
Speaker 2: playing them to David Lynch on two inch tape or

1079
00:59:23,560 --> 00:59:27,800
Speaker 2: quarter inch tape, excuse me, and so he said, David, like,

1080
00:59:27,960 --> 00:59:30,520
Speaker 2: this album is out of print. All I have are

1081
00:59:30,520 --> 00:59:33,480
Speaker 2: these bootleg tapes. And so they went to Peter Iver's

1082
00:59:33,560 --> 00:59:36,280
Speaker 2: house and said, hey, can you play us like a

1083
00:59:36,400 --> 00:59:40,720
Speaker 2: facsimile of these bootleg Fats Waller recordings? And Peter Ivers

1084
00:59:40,840 --> 00:59:43,600
Speaker 2: goes over to his album stack and pulls out the

1085
00:59:43,720 --> 00:59:46,120
Speaker 2: out of print Fats Waller album is like, you mean

1086
00:59:46,200 --> 00:59:50,320
Speaker 2: this one? And he does it. He records the organ part.

1087
00:59:50,480 --> 00:59:54,200
Speaker 2: It's like the only non ambient industrial stuff on the soundtrack.

1088
00:59:54,560 --> 00:59:57,280
Speaker 2: And so David Lynch has the lyrics in heaven does

1089
00:59:57,360 --> 00:59:59,360
Speaker 2: he write the lyrics? He write that? Yeah, David Lynch

1090
00:59:59,360 --> 01:00:02,240
Speaker 2: wrote the lyrics and he took them over to Ivers

1091
01:00:02,360 --> 01:00:05,480
Speaker 2: house and he said he's been laying on this Chez

1092
01:00:05,560 --> 01:00:08,640
Speaker 2: lounge and he's got a microphone dangling over him. And

1093
01:00:08,760 --> 01:00:11,400
Speaker 2: he sang it right in front of me, sang the

1094
01:00:11,480 --> 01:00:13,600
Speaker 2: whole song that was used in this film, in this

1095
01:00:13,960 --> 01:00:17,040
Speaker 2: falsetto voice, and he loved the lyrics, which made me

1096
01:00:17,120 --> 01:00:19,800
Speaker 2: feel really good. And Fats Waller actually does appear in

1097
01:00:19,840 --> 01:00:21,840
Speaker 2: the film because when Henry goes in and puts his

1098
01:00:22,000 --> 01:00:25,919
Speaker 2: turntable on, that's the Fats Waller record. And David Lynch

1099
01:00:26,040 --> 01:00:29,400
Speaker 2: has confirmed that Henry is a Fats Waller fan, says

1100
01:00:29,400 --> 01:00:33,400
Speaker 2: he loves him. While we're on the topic of radiators, Segue, I.

1101
01:00:33,440 --> 01:00:35,960
Speaker 1: Just want to say that Heigel titled this section what

1102
01:00:36,080 --> 01:00:38,200
Speaker 1: we talk about when we talk about radiators.

1103
01:00:41,200 --> 01:00:44,640
Speaker 2: You're welcome, Thank you. Mentioned earlier, David Lynch has a

1104
01:00:44,680 --> 01:00:47,760
Speaker 2: thing about light bulbs, the sound of electricity, the kind

1105
01:00:47,760 --> 01:00:52,440
Speaker 2: of ambient tones in a room that machinery generates, radiators

1106
01:00:53,000 --> 01:00:56,160
Speaker 2: big thing split. Talking to Terry Gross in nineteen ninety

1107
01:00:56,160 --> 01:00:58,960
Speaker 2: four on Fresh Air, he says, we had a big

1108
01:00:59,280 --> 01:01:01,880
Speaker 2: gas heater in the editing room where I was working,

1109
01:01:02,240 --> 01:01:04,560
Speaker 2: which had a big metal case on it, and so

1110
01:01:04,680 --> 01:01:07,640
Speaker 2: one day we stuck a tiny little microphone in the

1111
01:01:07,720 --> 01:01:10,040
Speaker 2: bottom of this thing, and David was blowing on the

1112
01:01:10,120 --> 01:01:11,400
Speaker 2: top of it, and we got a lot of sounds

1113
01:01:11,440 --> 01:01:16,320
Speaker 2: this way, so that's bing radiator number one. The lady

1114
01:01:16,360 --> 01:01:19,000
Speaker 2: in the Radiator wasn't even in the film's original draft.

1115
01:01:19,280 --> 01:01:22,280
Speaker 2: In another interview from nineteen seventy nine, Lynch said, we'd

1116
01:01:22,360 --> 01:01:25,080
Speaker 2: already shot scenes of the radiator, so he was already

1117
01:01:25,160 --> 01:01:28,560
Speaker 2: using establishing shots of this radiator. And he said it

1118
01:01:28,640 --> 01:01:31,760
Speaker 2: was just natural. But it was a certain kind of

1119
01:01:32,280 --> 01:01:35,440
Speaker 2: radiator that had a little compartment in there. And I

1120
01:01:35,520 --> 01:01:38,360
Speaker 2: had done a little drawing of a lady and I

1121
01:01:38,440 --> 01:01:41,160
Speaker 2: looked at this drawing and an idea came in. I

1122
01:01:41,280 --> 01:01:44,040
Speaker 2: felt this lady lived in the radiator, and I thought,

1123
01:01:44,400 --> 01:01:46,360
Speaker 2: is that a place where she could live? And I

1124
01:01:46,440 --> 01:01:49,080
Speaker 2: went running into Henry's room and looked at the radiator.

1125
01:01:49,520 --> 01:01:51,840
Speaker 2: And I got this radiator from an old studio that

1126
01:01:51,960 --> 01:01:54,680
Speaker 2: was closing, and this particular radiator had a little place

1127
01:01:54,760 --> 01:01:56,720
Speaker 2: that she could live in. You got to just do

1128
01:01:56,800 --> 01:01:58,840
Speaker 2: a sound effect for every time I say radiator in there.

1129
01:02:00,000 --> 01:02:01,840
Speaker 2: I love it. I mean, I'm I find it touching

1130
01:02:01,960 --> 01:02:03,840
Speaker 2: how concerned he is that there's a place for this

1131
01:02:04,160 --> 01:02:07,479
Speaker 2: fictitious figure to live in the radiator, despite the fact

1132
01:02:07,520 --> 01:02:10,040
Speaker 2: that you would have to be two inches tall and

1133
01:02:10,440 --> 01:02:12,640
Speaker 2: not get burned up by the heat and the radiator.

1134
01:02:12,680 --> 01:02:16,440
Speaker 2: He's really like concerned that there's not like a little box. Again,

1135
01:02:16,520 --> 01:02:19,520
Speaker 2: I'm not a Lynch guy, but I love the love

1136
01:02:19,640 --> 01:02:24,400
Speaker 2: that he has for these terrible, weird characters. Yeah, you know,

1137
01:02:24,640 --> 01:02:27,840
Speaker 2: he has like a genuine empathy and affection for these people.

1138
01:02:28,640 --> 01:02:30,880
Speaker 2: And then the characters that he creates, there's never like

1139
01:02:30,960 --> 01:02:34,040
Speaker 2: a contempt with any of them. You know. It's a

1140
01:02:34,120 --> 01:02:36,840
Speaker 2: good point. Yeah, even like the villains in Twin Peaks,

1141
01:02:36,920 --> 01:02:40,720
Speaker 2: ostensibly he still like finds fascinating and gives them space.

1142
01:02:40,800 --> 01:02:42,760
Speaker 2: And anyway, you're gonna have to cut out all my

1143
01:02:42,840 --> 01:02:47,560
Speaker 2: David Lynch guy stuff. In twenty fourteen, he gave an

1144
01:02:47,560 --> 01:02:51,240
Speaker 2: interviewed A Vulture where he says she first came along

1145
01:02:51,280 --> 01:02:53,680
Speaker 2: as a drawing, but then in that same interview, he

1146
01:02:53,760 --> 01:02:56,400
Speaker 2: says that she came along about a year after they

1147
01:02:56,440 --> 01:02:59,720
Speaker 2: started shooting, when he started doing transcendental meditation. Have you

1148
01:02:59,800 --> 01:03:04,160
Speaker 2: ever heard of his book Catching the Big Fish. It's

1149
01:03:04,200 --> 01:03:07,480
Speaker 2: this whole book about transitant meditation. He talks about the

1150
01:03:07,560 --> 01:03:10,920
Speaker 2: idea that ideas are like fish, and your mind is

1151
01:03:11,040 --> 01:03:13,760
Speaker 2: like a thing that you fish in, and so for

1152
01:03:14,160 --> 01:03:16,680
Speaker 2: the small ideas come when you're fishing in the shallow

1153
01:03:16,760 --> 01:03:20,320
Speaker 2: water and the big fish come from the deeper water

1154
01:03:20,520 --> 01:03:23,320
Speaker 2: and transit meditation lets you get really deep into your subconscious.

1155
01:03:23,360 --> 01:03:26,360
Speaker 2: It's really interesting because he talks about doing this. Is

1156
01:03:26,440 --> 01:03:30,720
Speaker 2: it Mulholland Dry or Lost Highway with the jump scare

1157
01:03:30,840 --> 01:03:33,120
Speaker 2: the thing that comes out of the domsty. Yeah, I

1158
01:03:33,480 --> 01:03:36,600
Speaker 2: think it's either that or something in Mulholland Dry that

1159
01:03:36,680 --> 01:03:40,520
Speaker 2: he talks about in that book. He was like meditating

1160
01:03:40,560 --> 01:03:46,040
Speaker 2: in his trailer and he walked outside and it's afternoon

1161
01:03:46,120 --> 01:03:48,680
Speaker 2: in La and he puts his hand on the hood

1162
01:03:48,720 --> 01:03:53,160
Speaker 2: of a car and the car is really hot, and

1163
01:03:53,440 --> 01:03:56,080
Speaker 2: the shock when he pulled his hand off. He says,

1164
01:03:56,120 --> 01:04:01,120
Speaker 2: that entire sequence suddenly came to him. Wow, it's so interesting, right,

1165
01:04:01,200 --> 01:04:03,720
Speaker 2: Like Yeah, when you think about all of his stuff,

1166
01:04:03,760 --> 01:04:06,120
Speaker 2: people are like, ah, he's completely random and he does

1167
01:04:06,200 --> 01:04:08,400
Speaker 2: these like you know, it's the Simpsons bit or the

1168
01:04:08,680 --> 01:04:10,800
Speaker 2: Saturday Night Live bit making fun of twin Peaks, where

1169
01:04:10,800 --> 01:04:13,320
Speaker 2: it's like, I have no idea, brilliant, I have no

1170
01:04:13,400 --> 01:04:15,200
Speaker 2: idea what this means. If you just think about all

1171
01:04:15,240 --> 01:04:20,160
Speaker 2: of these visuals as just like the dross and detritus

1172
01:04:20,240 --> 01:04:23,800
Speaker 2: of your subconscious or your dream world, that gets dredged up,

1173
01:04:24,400 --> 01:04:28,320
Speaker 2: it suddenly becomes like I don't know a lot clearer anyway.

1174
01:04:29,800 --> 01:04:32,160
Speaker 2: So the woman who played the Lady in The Radiator,

1175
01:04:32,280 --> 01:04:35,000
Speaker 2: Laurel Near, she was in a singing trio with her

1176
01:04:35,080 --> 01:04:38,000
Speaker 2: two sisters, one of whom was a friend of Catherine Colson's,

1177
01:04:38,240 --> 01:04:39,720
Speaker 2: and that was how she got pulled into the film.

1178
01:04:39,800 --> 01:04:41,640
Speaker 2: She'd never worked in a film before. I don't think

1179
01:04:41,680 --> 01:04:43,840
Speaker 2: she has since. I think this is like one of

1180
01:04:43,920 --> 01:04:47,400
Speaker 2: her two IMDb credits. And she just said, David Lynch

1181
01:04:47,640 --> 01:04:50,840
Speaker 2: liked my smile. I thought I was going to just

1182
01:04:50,920 --> 01:04:53,600
Speaker 2: go and dance across the stage, she said. And in

1183
01:04:53,720 --> 01:04:57,360
Speaker 2: a rare lack of foresight, they built the stage for

1184
01:04:57,520 --> 01:05:00,120
Speaker 2: her months before they shot it, and I guess that

1185
01:05:00,240 --> 01:05:02,200
Speaker 2: just sat around one of the few things they didn't

1186
01:05:02,760 --> 01:05:07,920
Speaker 2: tear down and sell. And she talks about those cheek,

1187
01:05:08,040 --> 01:05:11,040
Speaker 2: the chipmunk cheek makeup that they had to do for her,

1188
01:05:11,120 --> 01:05:13,480
Speaker 2: and she said it kind of peeled your skin off

1189
01:05:13,560 --> 01:05:17,000
Speaker 2: when they took it off. And David Lynch has said

1190
01:05:17,320 --> 01:05:19,960
Speaker 2: to me, the Lady in the Radiator is sort of

1191
01:05:20,040 --> 01:05:24,080
Speaker 2: a beacon of light. Henry's world was really dark without her,

1192
01:05:24,240 --> 01:05:27,800
Speaker 2: and she represents some hope there for old Henry. She's

1193
01:05:27,840 --> 01:05:30,960
Speaker 2: a very strange looking woman. For sure. She's got skin

1194
01:05:31,120 --> 01:05:34,160
Speaker 2: problems that she's trying to cover up with pancake makeup.

1195
01:05:36,160 --> 01:05:38,840
Speaker 1: And that song in Heaven is available on the soundtrack

1196
01:05:38,920 --> 01:05:43,080
Speaker 1: that was released on the Dead Kennedy's record label, Alternative Tentacles.

1197
01:05:43,840 --> 01:05:45,680
Speaker 1: And the funny part to me is that the whole

1198
01:05:45,760 --> 01:05:49,439
Speaker 1: record is mostly clanks and rumbles and room tone.

1199
01:05:49,680 --> 01:05:52,360
Speaker 2: Yeah, room tone. It's basically like a John Cage or

1200
01:05:52,440 --> 01:05:58,680
Speaker 2: Stockhausen album. I listened to it a lot. I'm going

1201
01:05:58,760 --> 01:05:59,200
Speaker 2: to get back.

1202
01:05:59,080 --> 01:06:00,640
Speaker 1: To something you said earlier about just like sort of

1203
01:06:01,520 --> 01:06:07,040
Speaker 1: Lynch's scenes being you know, the detritus of your subconscious

1204
01:06:07,040 --> 01:06:09,200
Speaker 1: I mean something. One of the shows I host is

1205
01:06:09,280 --> 01:06:13,520
Speaker 1: a show where I interview musicians, and I'm somebody who

1206
01:06:13,600 --> 01:06:15,240
Speaker 1: loves music with all of his heart but has never

1207
01:06:15,280 --> 01:06:16,080
Speaker 1: been able to write.

1208
01:06:15,880 --> 01:06:16,480
Speaker 2: A song ever.

1209
01:06:17,280 --> 01:06:20,600
Speaker 1: And I'm so curious about what compels people to do.

1210
01:06:20,760 --> 01:06:23,680
Speaker 1: So one of my favorite questions to ask people is

1211
01:06:24,080 --> 01:06:27,400
Speaker 1: do you ever listen to your songs back and learn

1212
01:06:27,480 --> 01:06:30,600
Speaker 1: something about yourself? Almost like a dream reading, you know,

1213
01:06:31,000 --> 01:06:33,760
Speaker 1: you hear it back and you know, were able to

1214
01:06:33,800 --> 01:06:35,680
Speaker 1: get some kind of perspective on it. Or parse it

1215
01:06:35,760 --> 01:06:38,320
Speaker 1: apart like you do when you dissect the dream. And

1216
01:06:38,600 --> 01:06:41,160
Speaker 1: I don't know, I think that's interesting, just and I

1217
01:06:41,240 --> 01:06:43,120
Speaker 1: want to hear more about you know, what you have

1218
01:06:43,240 --> 01:06:43,840
Speaker 1: to say about?

1219
01:06:45,280 --> 01:06:50,320
Speaker 2: Well, what if people said very different? Some people say no,

1220
01:06:50,640 --> 01:06:51,120
Speaker 2: not at all.

1221
01:06:52,920 --> 01:06:56,680
Speaker 1: Sometimes people usually from the vantage point of several years

1222
01:06:56,760 --> 01:06:59,880
Speaker 1: on when they're singing, like you know, for their big hits,

1223
01:07:00,040 --> 01:07:02,000
Speaker 1: for example, it's been a couple of years later, and

1224
01:07:02,080 --> 01:07:04,880
Speaker 1: they kind of have to keep revisiting them. They say like, oh, yeah,

1225
01:07:04,920 --> 01:07:07,480
Speaker 1: I see what I was doing at that time a

1226
01:07:07,520 --> 01:07:11,720
Speaker 1: lot more clearly than I did at the time. All Right, So, folks,

1227
01:07:11,800 --> 01:07:13,720
Speaker 1: we just cut about fifteen minutes of Jordan and I

1228
01:07:13,840 --> 01:07:19,000
Speaker 1: talking about our dreams and our childhood traumas Lynch cut

1229
01:07:19,000 --> 01:07:22,000
Speaker 1: about twenty minutes worth of this film from the final footage.

1230
01:07:22,360 --> 01:07:24,560
Speaker 2: So there you go. That's a great segue. That's a

1231
01:07:24,640 --> 01:07:30,440
Speaker 2: great segue. Just as we cut moments of oversharing between

1232
01:07:30,520 --> 01:07:34,000
Speaker 2: two dear friends, Lynch cut twenty minutes worth of footage

1233
01:07:34,040 --> 01:07:36,360
Speaker 2: from this film. Jordan, why don't you tell us about that?

1234
01:07:37,360 --> 01:07:40,919
Speaker 2: And also your fears? Yes.

1235
01:07:41,080 --> 01:07:45,360
Speaker 1: These lost scenes include a sequence of Catherine Colson finally

1236
01:07:45,440 --> 01:07:46,959
Speaker 1: getting her part in this movie.

1237
01:07:47,040 --> 01:07:48,080
Speaker 2: But it was ultimately cut.

1238
01:07:48,480 --> 01:07:53,720
Speaker 1: She's playing the baby's midwife. There's a scene of Henry

1239
01:07:53,800 --> 01:07:57,440
Speaker 1: playing with the with David Lynch's beloved dead cat, and

1240
01:07:57,600 --> 01:08:01,160
Speaker 1: then there's another scene of a man abusing two women

1241
01:08:01,360 --> 01:08:04,080
Speaker 1: in strapped to a bed with a car battery, which

1242
01:08:04,240 --> 01:08:09,160
Speaker 1: David Lynch has said he cut because it was too disturbing, which, yeah,

1243
01:08:09,720 --> 01:08:12,080
Speaker 1: given what he felt was totally fine for us to.

1244
01:08:12,160 --> 01:08:17,320
Speaker 2: See Wolf, Yeah, well you don't want to see the stuff.

1245
01:08:17,479 --> 01:08:19,519
Speaker 2: Lynch is like, that was a bridge too far.

1246
01:08:20,080 --> 01:08:23,360
Speaker 1: Yeah, And he's later said I loved them as little scenes,

1247
01:08:23,400 --> 01:08:26,000
Speaker 1: but they didn't belong in the film, and he cut

1248
01:08:26,080 --> 01:08:28,519
Speaker 1: them from the composite print, which is like the master

1249
01:08:28,680 --> 01:08:31,920
Speaker 1: version of the film, And Catherine Colson is quoted as saying,

1250
01:08:32,040 --> 01:08:34,040
Speaker 1: we didn't have any money to cut negatives, so we

1251
01:08:34,200 --> 01:08:37,840
Speaker 1: just cut the entire scenes from this master version. That

1252
01:08:38,120 --> 01:08:40,000
Speaker 1: was what happened to my scene when I'm tied to

1253
01:08:40,120 --> 01:08:44,160
Speaker 1: the bed with pattery cables. That's probably in a landfill somewhere.

1254
01:08:44,880 --> 01:08:47,479
Speaker 1: And many fans of Hope that they, you know, include

1255
01:08:47,520 --> 01:08:50,439
Speaker 1: these deleted scenes and the criterion release or some kind

1256
01:08:50,439 --> 01:08:53,280
Speaker 1: of expanded version, but it really seems like these scenes

1257
01:08:53,320 --> 01:08:57,920
Speaker 1: are lost forever. And in the documentary we've mentioned many

1258
01:08:57,960 --> 01:09:01,800
Speaker 1: times so far Racer heead stories, Lynch gets weirdly emotional

1259
01:09:02,000 --> 01:09:04,320
Speaker 1: talking about all this stuff that he wished he'd saved

1260
01:09:04,360 --> 01:09:07,600
Speaker 1: from the production, which is kind of weirdly touching. And

1261
01:09:07,880 --> 01:09:11,240
Speaker 1: all this left of these scenes are the memories of

1262
01:09:11,320 --> 01:09:15,200
Speaker 1: the cast that were in them and a few production photos.

1263
01:09:15,200 --> 01:09:17,920
Speaker 1: There's a scene of these people strapped to the bed

1264
01:09:18,080 --> 01:09:22,720
Speaker 1: with a car battery a jumper cables nearby, and that's it.

1265
01:09:23,520 --> 01:09:25,160
Speaker 2: It just goes back to what I was saying, man, Like,

1266
01:09:25,560 --> 01:09:31,960
Speaker 2: even the grotesque, messed up stuff in his movies he cherishes. Yeah. Yeah,

1267
01:09:32,800 --> 01:09:35,479
Speaker 2: because it's there, you know, because it's he made it.

1268
01:09:35,600 --> 01:09:38,519
Speaker 2: I really, it's in all of us. Yeah, Man, I

1269
01:09:38,560 --> 01:09:40,800
Speaker 2: don't know I got him. I had David Lynch guy.

1270
01:09:40,880 --> 01:09:43,120
Speaker 2: Is that the sad realization I'm coming to with this?

1271
01:09:43,479 --> 01:09:52,160
Speaker 2: Are we all are David Lynch guys? Really? If you're

1272
01:09:52,280 --> 01:09:54,679
Speaker 2: texted or if you tweeted us with a hashtag jack

1273
01:09:54,800 --> 01:09:57,880
Speaker 2: Nance's Winchles Donuts order, we will send you an hour

1274
01:09:57,920 --> 01:10:01,679
Speaker 2: and a half of Alex doing David Lynch room tones

1275
01:10:01,840 --> 01:10:06,000
Speaker 2: into the microphone and our twenty minutes of dream analysis. Yeah,

1276
01:10:06,120 --> 01:10:08,520
Speaker 2: that's another bonus feature Patreon.

1277
01:10:09,080 --> 01:10:12,439
Speaker 1: Yep, all right, so he cut these scenes out after

1278
01:10:12,600 --> 01:10:15,920
Speaker 1: the first couple screenings of eraser Head, the very first,

1279
01:10:16,080 --> 01:10:18,559
Speaker 1: I think the premiere of Eraserhead, well you can't really

1280
01:10:18,600 --> 01:10:21,320
Speaker 1: call it that, but the earliest screening of Eraserhead was

1281
01:10:21,400 --> 01:10:25,000
Speaker 1: held at the screening room at the AFI Graystone Mansion

1282
01:10:25,040 --> 01:10:28,840
Speaker 1: where it was filmed, and Lynch invited his parents, which

1283
01:10:29,000 --> 01:10:32,280
Speaker 1: is amazing, And when it was over, someone seated next to.

1284
01:10:32,360 --> 01:10:35,680
Speaker 2: His mom overheard her say, Oh, I wouldn't want to

1285
01:10:35,720 --> 01:10:40,960
Speaker 2: have a dream like that, which makes you wonder how

1286
01:10:41,040 --> 01:10:42,760
Speaker 2: he sold Like what are we son, what are we

1287
01:10:42,840 --> 01:10:44,479
Speaker 2: giving this money to? And he's like, oh, it's a

1288
01:10:44,560 --> 01:10:45,680
Speaker 2: movie about a dream I had.

1289
01:10:46,600 --> 01:10:50,639
Speaker 1: Yeah, it's cute though he Lynch later paid his father

1290
01:10:50,800 --> 01:10:53,720
Speaker 1: back all the money that he kept, like meticulous log

1291
01:10:53,800 --> 01:10:55,439
Speaker 1: of how much money his father gave him, and then

1292
01:10:55,439 --> 01:10:57,880
Speaker 1: when he was successful, he paid it all back and

1293
01:10:58,320 --> 01:11:00,719
Speaker 1: which he said was a totally on this necessary jester.

1294
01:11:00,840 --> 01:11:03,200
Speaker 1: His dad did not expect to get it back, but

1295
01:11:03,560 --> 01:11:05,000
Speaker 1: he paid him, and Lynch said that was one of

1296
01:11:05,040 --> 01:11:07,840
Speaker 1: the happiest days was life. So even if they didn't

1297
01:11:07,920 --> 01:11:10,799
Speaker 1: get his movies, they lived to see him reap the rewards.

1298
01:11:10,840 --> 01:11:14,000
Speaker 2: Which is sweet. What a sweet boy he is. Yeah,

1299
01:11:14,760 --> 01:11:21,000
Speaker 2: Ugh Eraserhead was perhaps needless to say Erassahead was ejected

1300
01:11:21,080 --> 01:11:24,240
Speaker 2: from Can. Rejected from Can, although they've put like Lars

1301
01:11:24,320 --> 01:11:27,600
Speaker 2: von Trier and on Can. So he think he just

1302
01:11:27,720 --> 01:11:30,679
Speaker 2: missed it. I think he just missed the entry probably

1303
01:11:31,439 --> 01:11:33,840
Speaker 2: and the New York Film Festival, although he's said he

1304
01:11:33,960 --> 01:11:37,160
Speaker 2: was rejected from Yeah, he says he brought all twenty

1305
01:11:37,240 --> 01:11:39,960
Speaker 2: four reels of the film to the New York Film

1306
01:11:40,040 --> 01:11:42,720
Speaker 2: Festival in a shopping cart that he took from his

1307
01:11:42,840 --> 01:11:47,559
Speaker 2: nearby farmer's market and the third third Times a charm Baby.

1308
01:11:47,800 --> 01:11:51,080
Speaker 2: He was accepted into the Los Angeles International Film Exposition

1309
01:11:51,240 --> 01:11:54,559
Speaker 2: aka film X in nineteen seventy seven.

1310
01:11:55,000 --> 01:11:58,120
Speaker 1: And in anticipation of the years of midnight screenings that

1311
01:11:58,160 --> 01:12:01,759
Speaker 1: would ultimately bolster the film's repe this Film XS premiere

1312
01:12:01,880 --> 01:12:05,120
Speaker 1: did indeed take place at midnight, very fitting, and the

1313
01:12:05,200 --> 01:12:08,360
Speaker 1: writer Danny Lee wrote a great piece about Eraserhead's premiere

1314
01:12:08,400 --> 01:12:10,839
Speaker 1: for The Guardian a few years back, and he features

1315
01:12:10,880 --> 01:12:14,720
Speaker 1: this amazing lead. On March nineteenth, nineteen seventy seven, the

1316
01:12:14,840 --> 01:12:18,800
Speaker 1: world changed, after which there was a long, uncomfortable silence.

1317
01:12:20,120 --> 01:12:23,600
Speaker 1: The occasion was the first public screening of Eraserhead, the

1318
01:12:23,720 --> 01:12:26,360
Speaker 1: feature debut of David Lynch, at the Film X Festival

1319
01:12:26,400 --> 01:12:27,200
Speaker 1: in Los Angeles.

1320
01:12:27,760 --> 01:12:29,000
Speaker 2: It was not a hot ticket.

1321
01:12:29,479 --> 01:12:32,400
Speaker 1: The film arrived with little advanced publicity at the only

1322
01:12:32,520 --> 01:12:35,400
Speaker 1: festival to accept it. The screening took place at midnight,

1323
01:12:35,600 --> 01:12:38,240
Speaker 1: drawing a modest crowd who dutifully watched for the next

1324
01:12:38,280 --> 01:12:40,720
Speaker 1: two hours. The film was then longer than the eighty

1325
01:12:40,800 --> 01:12:44,240
Speaker 1: nine minutes it became. When it ended, nothing but no

1326
01:12:44,320 --> 01:12:50,080
Speaker 1: one left either, just silence, then finally applause en scene.

1327
01:12:50,840 --> 01:12:54,200
Speaker 2: Yeah exactly, but so someone who is there passed word

1328
01:12:54,240 --> 01:12:57,800
Speaker 2: of the film along to Ben Barrenholtz of New York's

1329
01:12:58,040 --> 01:13:02,599
Speaker 2: Libra Films. This guy is probably one of the most

1330
01:13:02,760 --> 01:13:08,439
Speaker 2: influential figures in twentieth century cinema. I own the song, certainly,

1331
01:13:09,000 --> 01:13:11,560
Speaker 2: yeah exactly, just not a name, but you know, he

1332
01:13:12,720 --> 01:13:15,840
Speaker 2: basically pioneered the concept of a midnight movie at his theater,

1333
01:13:15,920 --> 01:13:18,439
Speaker 2: which is the Elgin in Chelsea and New York and

1334
01:13:19,040 --> 01:13:24,040
Speaker 2: stuff like Pink Flamingos El Topo by yor Rowski, The

1335
01:13:24,160 --> 01:13:27,879
Speaker 2: Harder They Come, the Jimmy Cliff film, and he slotted

1336
01:13:27,920 --> 01:13:28,679
Speaker 2: eraser Head.

1337
01:13:28,560 --> 01:13:32,759
Speaker 1: In, and his invitation to it was priceless and keeping

1338
01:13:32,800 --> 01:13:35,080
Speaker 1: with the whole baby theme, he made it look like

1339
01:13:35,120 --> 01:13:37,800
Speaker 1: a birth announcement, which read We'd like you to meet

1340
01:13:37,840 --> 01:13:40,560
Speaker 1: the sweet little girl who has brought so much sunshine

1341
01:13:40,640 --> 01:13:47,160
Speaker 1: and joy to our world. Name Eraserhead, Birthday, Midnight weight, heavy,

1342
01:13:47,479 --> 01:13:51,719
Speaker 1: dot dot dot in quotation marks parents David k Lynch,

1343
01:13:52,680 --> 01:13:53,080
Speaker 1: I love that.

1344
01:13:53,800 --> 01:13:57,040
Speaker 2: Imagine being on top of the world in nineteen eighty

1345
01:13:57,400 --> 01:14:01,200
Speaker 2: and just it world is your oyster and you're like, oh,

1346
01:14:01,280 --> 01:14:05,120
Speaker 2: let's go to a midnight movie and you markey horrors

1347
01:14:05,200 --> 01:14:07,520
Speaker 2: last week. Let's see what Yeah, what a fun whimsical

1348
01:14:07,600 --> 01:14:09,800
Speaker 2: time that was, Like let's go to let's get a

1349
01:14:09,840 --> 01:14:13,240
Speaker 2: little zouited or whatever, and Saturday Night Fever has just

1350
01:14:13,320 --> 01:14:16,960
Speaker 2: come out. There's nowhere to go but up, let's go

1351
01:14:17,160 --> 01:14:20,360
Speaker 2: see I don't know, Eraserhead. This looks fun anyway. This

1352
01:14:20,520 --> 01:14:24,400
Speaker 2: movie unsurprisingly in retrospect, but got a lot of really

1353
01:14:24,479 --> 01:14:29,280
Speaker 2: heavy endorsements, one of whom John Waters. Desperate Living was

1354
01:14:29,360 --> 01:14:31,679
Speaker 2: screening in New York around the same time, and John

1355
01:14:31,720 --> 01:14:34,559
Speaker 2: Waters called Eraserhead his favorite moving at a press event

1356
01:14:34,680 --> 01:14:38,280
Speaker 2: for his own film and encouraged everyone in the audience

1357
01:14:38,360 --> 01:14:41,719
Speaker 2: to see it. Stanley Kubrick, while he was making the shining.

1358
01:14:41,840 --> 01:14:44,840
Speaker 2: A few years later, he screened Eraserhead to his cast

1359
01:14:44,920 --> 01:14:48,600
Speaker 2: and crew, which makes a lot of sense. All of

1360
01:14:48,680 --> 01:14:52,479
Speaker 2: those eerie shots of the hallways at God. I don't

1361
01:14:52,479 --> 01:14:53,840
Speaker 2: really think I ever thought of this before.

1362
01:14:53,920 --> 01:14:58,479
Speaker 1: But even the floor isn't there like the crazy pattern? Yeah,

1363
01:14:58,520 --> 01:15:01,080
Speaker 1: and then the lobby and eraser He's got tho zigzag.

1364
01:15:01,200 --> 01:15:04,360
Speaker 2: Wow. I never thought of that. And as you mentioned,

1365
01:15:05,280 --> 01:15:08,920
Speaker 2: Lynch screened Billy Wilder's Sunset Boulevard.

1366
01:15:09,479 --> 01:15:15,000
Speaker 1: Oh yeah, but when they first started filming Eraserhead seventy

1367
01:15:15,160 --> 01:15:19,240
Speaker 1: years before. Yeah, he sat down and watched Sunset Boulevard

1368
01:15:19,360 --> 01:15:22,200
Speaker 1: with the cast and crew, clearly trying to evoke some

1369
01:15:22,439 --> 01:15:24,679
Speaker 1: kind of haunting presence of some kind.

1370
01:15:24,760 --> 01:15:29,840
Speaker 2: Because that's interesting. Yeah, such an interesting through line of

1371
01:15:29,920 --> 01:15:34,600
Speaker 2: the whole thread of Hollywood history is this movie. I

1372
01:15:35,000 --> 01:15:36,880
Speaker 2: this is one of those things that gets passed around

1373
01:15:37,120 --> 01:15:38,880
Speaker 2: on the internet. I have not been able to find

1374
01:15:38,920 --> 01:15:46,040
Speaker 2: this original interview, but Charles Bukowski of being Head Fame

1375
01:15:47,479 --> 01:15:51,360
Speaker 2: just one of the most simultaneously influential authors, poets, and

1376
01:15:51,520 --> 01:15:54,320
Speaker 2: worst people in the world. He claimed it the first

1377
01:15:54,400 --> 01:15:57,760
Speaker 2: thing he ever saw when he got cable was Eraserhead,

1378
01:15:58,160 --> 01:16:03,000
Speaker 2: which subsequently ruined all other television for him. Lastly, mel

1379
01:16:03,080 --> 01:16:05,880
Speaker 2: Brooks we mentioned earlier mel Brooks, of all people, was

1380
01:16:05,920 --> 01:16:09,719
Speaker 2: a fan of this film and got Lynch. Basically launched

1381
01:16:09,800 --> 01:16:11,960
Speaker 2: Lynch's career because this is not a student film, but

1382
01:16:12,040 --> 01:16:15,160
Speaker 2: this is more or less a student film. Mel Brooks

1383
01:16:15,200 --> 01:16:19,200
Speaker 2: sees it and he's producing Elephant. Man. He's he's already

1384
01:16:19,320 --> 01:16:21,880
Speaker 2: in pre pro for this movie and pushes Lynch to

1385
01:16:22,120 --> 01:16:24,800
Speaker 2: work on it, and that launches, you know, from there,

1386
01:16:24,840 --> 01:16:28,920
Speaker 2: he does Dune. He famously turned down Return of the

1387
01:16:29,040 --> 01:16:32,360
Speaker 2: Jedi around this time. And then it's a short hop

1388
01:16:32,400 --> 01:16:36,320
Speaker 2: skimp at a jump to blue velvet, twin peaks and

1389
01:16:36,400 --> 01:16:41,320
Speaker 2: mahalland drive. So mel Brooks, man, I love it. He

1390
01:16:41,600 --> 01:16:43,960
Speaker 2: hadn't heard of Lynch before. He hadn't heard it. Well,

1391
01:16:44,000 --> 01:16:47,320
Speaker 2: who would have? Yeah, he goes to see a Razorhead

1392
01:16:47,320 --> 01:16:49,880
Speaker 2: and he comes out of the screening yelling at David's there.

1393
01:16:49,920 --> 01:16:51,680
Speaker 2: He says, you're a mad man. I love you. You're

1394
01:16:51,760 --> 01:16:55,920
Speaker 2: in and this is my favorite like the producers, Yeah, exactly.

1395
01:16:56,560 --> 01:16:58,679
Speaker 2: Maybe that's what he thought, that they would lose money

1396
01:16:58,760 --> 01:17:03,920
Speaker 2: on Elephant instead of winning Oscars. Oh, man, I gotta

1397
01:17:03,960 --> 01:17:07,240
Speaker 2: bust out my John hurt for you at some point. Hi,

1398
01:17:07,600 --> 01:17:13,599
Speaker 2: I'm not hold at them all. Hi. How a human? Uh?

1399
01:17:14,840 --> 01:17:18,479
Speaker 2: That was all right and a half, he said, despite

1400
01:17:18,720 --> 01:17:23,080
Speaker 2: expecting Lynch to be quote a grotesque, a fat little

1401
01:17:23,200 --> 01:17:27,840
Speaker 2: german with fat stains running down his chin, just eating pork.

1402
01:17:30,160 --> 01:17:34,440
Speaker 2: But he thought, he said, he was flabbergasted by an Eraserhead.

1403
01:17:34,760 --> 01:17:38,880
Speaker 2: It's beautiful and it's very clear. It's like Beckett, which

1404
01:17:38,920 --> 01:17:42,719
Speaker 2: I get, Samuel Beckett. It's like ion Esco, not a reference.

1405
01:17:42,760 --> 01:17:48,160
Speaker 2: I understand you're a film student anything anything. He's like

1406
01:17:48,240 --> 01:17:53,559
Speaker 2: a he's like a theater of the absurd type. Yes, oh, okay,

1407
01:17:53,960 --> 01:17:57,400
Speaker 2: all right, Well you pulled some reviews for this, which

1408
01:17:57,479 --> 01:18:00,559
Speaker 2: I think are great. Yeah. I mean, and it's kind

1409
01:18:00,560 --> 01:18:02,880
Speaker 2: of a theme in pretty much every movie that we've

1410
01:18:02,960 --> 01:18:04,800
Speaker 2: talked about on here that went on to.

1411
01:18:04,800 --> 01:18:08,120
Speaker 1: Become a beloved classic. Not loved at the time, but

1412
01:18:08,960 --> 01:18:14,160
Speaker 1: doubly so in this case. Variety called Eraserhead a sickening,

1413
01:18:14,320 --> 01:18:18,360
Speaker 1: bad taste exercise, and Tom Buckley at the New York

1414
01:18:18,439 --> 01:18:21,120
Speaker 1: Times I think in nineteen eighty so, a few years

1415
01:18:21,160 --> 01:18:23,960
Speaker 1: after this had been making the rounds in the midnight

1416
01:18:24,040 --> 01:18:28,680
Speaker 1: movie circuit called it a murkily potentious shocker with an

1417
01:18:28,760 --> 01:18:30,559
Speaker 1: excruciatingly slow pace.

1418
01:18:33,240 --> 01:18:38,640
Speaker 2: I mean great. Yeah, we mentioned before this movie was

1419
01:18:38,680 --> 01:18:41,400
Speaker 2: made for like, I don't know, ten thousand from a

1420
01:18:41,560 --> 01:18:45,840
Speaker 2: five plus, Like what do you thinking of David Lynch's dad? Yeah,

1421
01:18:45,880 --> 01:18:51,599
Speaker 2: another ten fifteen from friends and family if that? Yeah, yeah,

1422
01:18:51,760 --> 01:18:58,040
Speaker 2: I'm seeing figures seven million groast with re releases.

1423
01:18:58,200 --> 01:19:01,200
Speaker 1: And Catherine Colson would later say that the percentage points

1424
01:19:01,280 --> 01:19:04,559
Speaker 1: she got on this movie h put her daughter through college.

1425
01:19:05,160 --> 01:19:08,800
Speaker 2: So I mean it made something good? Lord, Yeah, I

1426
01:19:08,880 --> 01:19:13,519
Speaker 2: mean is this is probably Halloween. Halloween for a long

1427
01:19:13,600 --> 01:19:16,519
Speaker 2: time was the most profitable independent film of all time.

1428
01:19:16,720 --> 01:19:18,560
Speaker 2: It's gonna be up there with blair Witch, right in

1429
01:19:18,680 --> 01:19:21,000
Speaker 2: terms of like, hey, well it was Halloween until was

1430
01:19:21,040 --> 01:19:23,800
Speaker 2: blair Witch. Oh okay, and then I mean just a

1431
01:19:23,920 --> 01:19:24,559
Speaker 2: total likecase.

1432
01:19:25,040 --> 01:19:29,200
Speaker 1: Probably for inflation, blair Witch and Eraser had probably around

1433
01:19:29,280 --> 01:19:31,840
Speaker 1: the same amount. How little it was, I think you

1434
01:19:31,880 --> 01:19:33,720
Speaker 1: know what it was is probably the special effects on

1435
01:19:34,720 --> 01:19:37,680
Speaker 1: the Eraser head that made it less profitable. I mean,

1436
01:19:37,720 --> 01:19:40,759
Speaker 1: you think about the actual VFX in that movie, heavy

1437
01:19:40,840 --> 01:19:44,800
Speaker 1: quotation marks vfx. We didn't get into this, but the

1438
01:19:44,920 --> 01:19:48,040
Speaker 1: lady across the hall, who's like the prostitute character or whatever,

1439
01:19:48,720 --> 01:19:50,800
Speaker 1: you know, the last place she popped up in is

1440
01:19:51,720 --> 01:19:52,759
Speaker 1: Orange is the New Black?

1441
01:19:53,880 --> 01:19:56,720
Speaker 2: Oh, that's Russian. She's one of the like Russia, like

1442
01:19:56,800 --> 01:20:01,559
Speaker 2: the old woman that's kind of like peripherally in Red's circle.

1443
01:20:02,160 --> 01:20:04,880
Speaker 2: She's got like white hair down to her shoulders, but

1444
01:20:05,000 --> 01:20:11,160
Speaker 2: she's got that same very She's super cool again. Yeah, yeah, man,

1445
01:20:11,320 --> 01:20:13,120
Speaker 2: I thought it was an Bancroft when she first came

1446
01:20:13,160 --> 01:20:16,040
Speaker 2: on the screen. Speaking of mel Brooks, Oh yeah, that

1447
01:20:16,120 --> 01:20:19,960
Speaker 2: would have been great. Maybe that's why he liked it.

1448
01:20:20,920 --> 01:20:24,599
Speaker 2: He was was Mary Dan Bancroft. For anyone who doesn't

1449
01:20:24,680 --> 01:20:27,960
Speaker 2: have Mail Brooks's personal history on lock, for some reason,

1450
01:20:28,880 --> 01:20:30,840
Speaker 2: I want to do. I mean, I wonder if Orson

1451
01:20:31,000 --> 01:20:33,200
Speaker 2: we watched all those orson Wales interviews. I wanted to

1452
01:20:33,280 --> 01:20:36,599
Speaker 2: find if Orson Welles ever said anything about David Lynch, Well,

1453
01:20:36,640 --> 01:20:39,880
Speaker 2: did you watch the Dick Habot ones? It was in

1454
01:20:40,000 --> 01:20:44,120
Speaker 2: that Twitter threat I send you to him insulting various people.

1455
01:20:44,920 --> 01:20:47,920
Speaker 1: He he was on Dick Habot at least twice, if

1456
01:20:48,000 --> 01:20:50,680
Speaker 1: not three times, and they're on Prime and maybe even

1457
01:20:50,760 --> 01:20:53,760
Speaker 1: just on YouTube and they're so good. Actually, speaking of

1458
01:20:53,920 --> 01:20:56,320
Speaker 1: I looked up because I imagine that you know, the

1459
01:20:56,439 --> 01:21:00,559
Speaker 1: five year filming period, production period of Eraserhead must certainly

1460
01:21:00,680 --> 01:21:03,559
Speaker 1: make it on a list of movies it's the longest

1461
01:21:03,560 --> 01:21:05,680
Speaker 1: time to produce, Oh sure. And there is a Wikipedia

1462
01:21:05,720 --> 01:21:07,840
Speaker 1: list and the top of the list is the Orson

1463
01:21:07,880 --> 01:21:10,800
Speaker 1: Wells movie that just came out, was finished off a

1464
01:21:10,880 --> 01:21:11,599
Speaker 1: few years ago.

1465
01:21:12,240 --> 01:21:14,479
Speaker 2: Oh, he's a great unfinished thing. Yeah.

1466
01:21:14,960 --> 01:21:17,240
Speaker 1: What was it, The The Other Side of the Wind

1467
01:21:18,040 --> 01:21:21,120
Speaker 1: that came out in twenty eighteen. I think he started

1468
01:21:21,160 --> 01:21:23,920
Speaker 1: producing it in nineteen seventy. Yeah, so it's a forty

1469
01:21:23,960 --> 01:21:27,599
Speaker 1: eight year production period, although I don't know, I feel

1470
01:21:27,680 --> 01:21:30,920
Speaker 1: weird counting that. Considering yeah, I'm sure for a good

1471
01:21:31,000 --> 01:21:33,880
Speaker 1: thirty years nothing was done. But still, but at the

1472
01:21:34,000 --> 01:21:35,519
Speaker 1: end of the day, what the hell else do you

1473
01:21:35,560 --> 01:21:39,240
Speaker 1: say about Eraserhead? I mean I mentioned earlier, I cannot

1474
01:21:39,320 --> 01:21:42,760
Speaker 1: think of another filmmaker, and I'm sure film Twitter or

1475
01:21:42,880 --> 01:21:45,280
Speaker 1: David Lynch Twitter will get after me with this. I

1476
01:21:45,360 --> 01:21:48,760
Speaker 1: can't think of another filmmaker who, in twenty five years,

1477
01:21:48,760 --> 01:21:50,840
Speaker 1: which is not a big span of time for a

1478
01:21:50,960 --> 01:21:54,560
Speaker 1: director's career, twenty five years, went from making something like

1479
01:21:54,800 --> 01:21:58,719
Speaker 1: Eraserhead to coming within a hair's distance of an oscar

1480
01:21:58,920 --> 01:22:01,439
Speaker 1: from a hall in drive. You know, he did Elephant

1481
01:22:01,479 --> 01:22:04,320
Speaker 1: Man after Eraserhead, and then he turned down Return of

1482
01:22:04,360 --> 01:22:07,720
Speaker 1: the Jedi, and with the exception of Dune, which is

1483
01:22:07,800 --> 01:22:12,960
Speaker 1: the movie why largely thanks to Dilarentis, he has final cut.

1484
01:22:12,840 --> 01:22:15,479
Speaker 2: On all of his stuff. So then I said this before,

1485
01:22:15,560 --> 01:22:18,559
Speaker 2: but Blue Velvet, twin Peaks, mullholland drive boom boom boom.

1486
01:22:18,800 --> 01:22:20,760
Speaker 2: I love that story about him turning down Return of

1487
01:22:20,800 --> 01:22:23,639
Speaker 2: the Jedi. Apparently he was personally asked by George Lucas

1488
01:22:23,720 --> 01:22:26,920
Speaker 2: but turned him down in part because he hated the Wookies,

1489
01:22:28,240 --> 01:22:31,120
Speaker 2: which I mean, to be fair, is probably the least

1490
01:22:31,240 --> 01:22:34,560
Speaker 2: Lynchian creature to ever exist. Wookies are the ewoks or

1491
01:22:34,640 --> 01:22:36,960
Speaker 2: sorry the ewoks? Yes, the ewoks.

1492
01:22:38,120 --> 01:22:40,400
Speaker 1: And he was quoted as saying, I had next door

1493
01:22:40,520 --> 01:22:43,560
Speaker 1: to zero interest in doing Return of the Jedi, but

1494
01:22:43,640 --> 01:22:46,479
Speaker 1: I've always admired George. George is a guy who does

1495
01:22:46,520 --> 01:22:48,800
Speaker 1: what he loves and I do what I love. The

1496
01:22:48,880 --> 01:22:52,719
Speaker 1: differences what George does makes hundreds of billions of dollars.

1497
01:22:53,200 --> 01:22:54,160
Speaker 2: Ain't that the truth?

1498
01:22:54,240 --> 01:22:54,400
Speaker 1: Man?

1499
01:22:54,920 --> 01:22:57,800
Speaker 2: That's what I'm saying again, Like, oh man, I don't know.

1500
01:22:58,160 --> 01:23:01,680
Speaker 2: I think I'm a David Lynch guy. Jordan, what does

1501
01:23:01,720 --> 01:23:03,639
Speaker 2: the razorhead mean? What does it all mean.

1502
01:23:04,560 --> 01:23:08,120
Speaker 1: As with the infant prop David Lynch has remained extremely

1503
01:23:08,200 --> 01:23:11,479
Speaker 1: tight lipped about the actual meaning of a raserhead. He

1504
01:23:11,600 --> 01:23:14,320
Speaker 1: gave the opposite of an answer when speaking the Vulture

1505
01:23:14,320 --> 01:23:17,600
Speaker 1: a few years ago. This doesn't answer the question, but

1506
01:23:17,680 --> 01:23:20,799
Speaker 1: it's an interesting take. Nonetheless, he said, every viewer is different.

1507
01:23:21,280 --> 01:23:23,720
Speaker 1: People go into a world and they have an experience,

1508
01:23:23,800 --> 01:23:25,920
Speaker 1: and they bring so much of what makes them react.

1509
01:23:26,160 --> 01:23:29,120
Speaker 1: It's already inside of them. Each viewer gets a different

1510
01:23:29,200 --> 01:23:31,760
Speaker 1: thing from every film. So there are some people where

1511
01:23:31,760 --> 01:23:34,320
Speaker 1: a racerhead speaks to them, and others it doesn't speak

1512
01:23:34,360 --> 01:23:36,160
Speaker 1: to them at all. It's just the way it goes.

1513
01:23:36,880 --> 01:23:39,280
Speaker 1: But no one, to my knowledge, has ever seen the

1514
01:23:39,360 --> 01:23:41,800
Speaker 1: film the way I see it. The interpretation of what

1515
01:23:41,880 --> 01:23:45,920
Speaker 1: it's all about has never been my interpretation. So, as

1516
01:23:46,000 --> 01:23:48,800
Speaker 1: with most art, perhaps it's best to not seek a

1517
01:23:48,880 --> 01:23:54,240
Speaker 1: literal answer. Getting back to Subsinski's piece for Rogeribert dot

1518
01:23:54,320 --> 01:23:57,920
Speaker 1: Com that I mentioned earlier, he wrote to quote explain,

1519
01:23:58,080 --> 01:24:01,160
Speaker 1: a raserhead would be like cut a drum open to

1520
01:24:01,240 --> 01:24:04,160
Speaker 1: see what makes the noise. You may get your answer,

1521
01:24:04,680 --> 01:24:06,919
Speaker 1: but you tend to ruin the drum in the process.

1522
01:24:07,439 --> 01:24:08,439
Speaker 1: That's a cool analogy.

1523
01:24:09,120 --> 01:24:13,880
Speaker 2: Similarly, Yeah, I two thousand and four. It goes into

1524
01:24:13,920 --> 01:24:18,360
Speaker 2: the Library of Congress. I again filmed. Man, I'm making

1525
01:24:18,520 --> 01:24:20,160
Speaker 2: enemies out of film Twitter. I think this is the

1526
01:24:20,200 --> 01:24:25,120
Speaker 2: most influential surrealist film of all time, regardless of whatever

1527
01:24:25,320 --> 01:24:29,200
Speaker 2: film Twitter thinks. I'm calling it easily the most liked.

1528
01:24:29,320 --> 01:24:32,200
Speaker 2: We talked about seven million. I couldn't verify that with

1529
01:24:32,320 --> 01:24:35,840
Speaker 2: any real hard data, but on aw we said it

1530
01:24:35,960 --> 01:24:38,360
Speaker 2: was twenty five thousand, probably ten thousand from a five

1531
01:24:38,400 --> 01:24:41,680
Speaker 2: plus whatever he was able to finagle. That's more than

1532
01:24:41,720 --> 01:24:46,760
Speaker 2: it deserves. Yeah, and I mean that in the nicest way.

1533
01:24:47,280 --> 01:24:49,680
Speaker 2: But yeah, man, it hasn't eighty from again for a

1534
01:24:49,760 --> 01:24:52,760
Speaker 2: movie like this, for something this bizarre, hasn't eighty seven

1535
01:24:52,840 --> 01:24:57,040
Speaker 2: on Metacritic, has a ninety and rotten Tomatoes. Wow, that's wild,

1536
01:24:57,280 --> 01:25:00,880
Speaker 2: even taking in every Tom Dick and hair. I don't

1537
01:25:00,880 --> 01:25:01,960
Speaker 2: know what it is in letter but I'm not on

1538
01:25:02,000 --> 01:25:04,880
Speaker 2: a letterbox yet, but even taking in every guy who

1539
01:25:05,160 --> 01:25:07,400
Speaker 2: just hears this is a good movie to like, rip

1540
01:25:07,439 --> 01:25:10,519
Speaker 2: a bong to and watch it. That is an astoundingly

1541
01:25:10,640 --> 01:25:12,920
Speaker 2: good record. I mean, how much of it you think

1542
01:25:12,960 --> 01:25:15,160
Speaker 2: It's like an Emperor's New Clothes kind of thing, too. Though,

1543
01:25:15,200 --> 01:25:17,960
Speaker 2: after so many years of I Kubrick's favorite movie, yeah,

1544
01:25:18,000 --> 01:25:20,800
Speaker 2: people be unwilling to call it out. I don't know.

1545
01:25:20,880 --> 01:25:23,240
Speaker 2: Maybe you're signing the trumpet on a new charge, a

1546
01:25:23,320 --> 01:25:25,640
Speaker 2: new dawn on of calling out a racer heead for

1547
01:25:25,760 --> 01:25:31,080
Speaker 2: being orsh. You know, Jordan, As the song goes in heaven,

1548
01:25:32,160 --> 01:25:36,160
Speaker 2: everything is fine. You've got your good thing and I've

1549
01:25:36,200 --> 01:25:39,519
Speaker 2: got mine. You're a good thing is a racer head,

1550
01:25:39,560 --> 01:25:46,439
Speaker 2: and mine is in like Flint, Austin Power's favorite movie. Folks.

1551
01:25:46,640 --> 01:25:49,080
Speaker 2: As always, thank you for listening. This has been too

1552
01:25:49,160 --> 01:25:51,559
Speaker 2: much information. I'm Alex Heigel and.

1553
01:25:51,600 --> 01:25:53,800
Speaker 1: I'm Jordan run Tagg. Thanks so much for spending this

1554
01:25:53,880 --> 01:26:03,879
Speaker 1: time with us, you poor pastors. What too much Information

1555
01:26:04,040 --> 01:26:07,200
Speaker 1: was a production of iHeartRadio. The show's executive.

1556
01:26:06,760 --> 01:26:10,280
Speaker 2: Producers are Noel Brown and Jordan Runtalk. The supervising producer

1557
01:26:10,360 --> 01:26:13,400
Speaker 2: is Mike Johns. The show was researched, written and hosted

1558
01:26:13,479 --> 01:26:15,600
Speaker 2: by Jordan Runtalk and Alex Heigel.

1559
01:26:15,560 --> 01:26:18,639
Speaker 1: With original music by Seth Applebaum and the Ghost Funk Orchestra.

1560
01:26:19,160 --> 01:26:21,320
Speaker 1: If you like what you heard, please subscribe.

1561
01:26:20,920 --> 01:26:21,719
Speaker 2: And leave us a review.

1562
01:26:22,000 --> 01:26:26,320
Speaker 1: For more podcasts on iHeartRadio, visit the iHeartRadio app, Apple podcasts,

1563
01:26:26,560 --> 01:26:28,240
Speaker 1: or wherever you listen to your favorite shows.