Episode 16 - Blue Velvet

[00:00:09] Speaker A: She wore blue [00:00:13] Speaker B: velvet. All right, let's get started. Hi, everybody. Welcome to watch this. I am your host, Paul Klein. Sitting across from me is our host, step, Stephanie Gablano. Sitting next to me on my left. I'm sorry, that. That annunciation really got to me. Sitting to my left is our host, Alex Bello. And we are excited to welcome our special guest, Herman. What's that? [00:00:39] Speaker C: Pronunciation? [00:00:41] Speaker B: Thanks for introducing me. [00:00:43] Speaker C: Let him say his own name. [00:00:45] Speaker B: Please say your own name. [00:00:46] Speaker A: German Lopez. [00:00:49] Speaker B: Yay. We are happy to have you here. A fellow film aficionado, I think it's fair to say, say, who has been dipping his toe in blue velvet. And well, actually I want to say into David Lynch's films in general. Now, German and Stephanie brought their cat Shinji, who is running around the podcast room. So every once in a while we're gonna go, aren't you cute? Aren't you so cute? And. But between those bouts of cute anxiety. Not cute anxiety, but what is it? [00:01:22] Speaker D: Aggression. [00:01:22] Speaker B: Cute aggression. We will be discussing Blue Velvet today. I'm not sure if I mentioned what this podcast is, by the way. I just jumped right into my name like a lame O. This is a movie review and discussion podcast. And so with that in mind, we are going to be Discussing Blue Velvet, 1986, directed by David Lynch. German, do you want to set up the story for us? [00:01:46] Speaker C: No, no. I was getting so ready, honestly. Real. That was real. I respect that. You. Yeah. [00:01:55] Speaker B: Okay, so we have. Let me. Actually, can somebody remind me of the characters names because we have Kyle McLaughlin. We have what? [00:02:05] Speaker C: Sandy. Sandy. [00:02:07] Speaker A: Sandy is Laura Dern. [00:02:08] Speaker D: Oh, yeah. [00:02:09] Speaker C: Dorothy Valens. [00:02:10] Speaker A: Yes. Dorothy Valens is Isabella Rossellini. Rossellini. And then we have Frank Dennis Hopper. [00:02:18] Speaker B: Yes, sort of. That's kind of like our big main cast. And but what was the. What was Colin McLaughlin's character's name? [00:02:25] Speaker C: Jeffrey. [00:02:25] Speaker A: Jeffrey. [00:02:26] Speaker B: Jeffrey, that's right. Jeffrey Beaumont. So this is the fourth movie from David lynch and it was the movie he made after coming off of the huge, huge, huge flop Dune. [00:02:40] Speaker C: Yeah. [00:02:42] Speaker B: It's interesting because his first two movies are like these kind of raw black and white freakouts. Good. [00:02:48] Speaker C: So it was Elephant man and then. [00:02:50] Speaker B: So the first one was Eraser had Elephant man and Dune. [00:02:52] Speaker C: Okay. [00:02:52] Speaker B: And then this one actually, before he did, Lucas tried to convince him to direct Return of the Jedi. And there's like a whole story where he's like talking about, like he called his agent and I don't know if you guys have heard how David lynch sounds when he talks, but he's like, the way he was saying. He was like, jeffrey, get me out of here. He's like, they're showing me these teddy bears. It's giving me a headache. So he was gonna do Return of Jedi, but, like, they're like. He's like, no. So but then he did Dune instead, which some people actually have. I never realized this until recently, but basically some people claim that Star wars is just a ripoff of Dune, which I guess if you kind of get down to, like, the basics of it, [00:03:35] Speaker C: how you have the hero's journey. [00:03:37] Speaker B: Well, like, also, like, you have this religion. Like, they have the Jedis and they have the. [00:03:41] Speaker A: The. [00:03:42] Speaker B: What are the Fremen? Yeah, not the Fremen. Fremen. [00:03:44] Speaker A: The. [00:03:47] Speaker C: Where? Where? [00:03:48] Speaker B: The chicks. Who are the chicks? [00:03:50] Speaker C: Oh, the bend. Jesser. [00:03:51] Speaker B: Yeah, there you go. [00:03:52] Speaker C: The chicks. [00:03:54] Speaker B: Yeah. And it takes place on a desert planet. Tatooine. You have an emperor. You have an emperor here? Kind of things like that. Yeah, yeah, yeah, yeah. Young hero. Anyway, not important. We're not here to talk about Dune. We're here to talk about Blue Velvet. So Blue Velvet was his follow up to Dune. And I. It's really weird, as I get older, I forget what movies I've watched. And I was convinced I'd seen Blue Velvet and. Hi, Shinji. Are you my podcast buddy? There you are. You're so cute. He's leaving me. He doesn't. [00:04:23] Speaker C: He left once you start baby talk was enough. [00:04:26] Speaker D: He's like, I'm a grown man. [00:04:28] Speaker B: He's like, I'm a fan of David Lynch. That's what I'm here for. So where was I? [00:04:35] Speaker C: You were saying how. [00:04:38] Speaker B: Yeah, yeah, I'm glad I'm so interesting. What, that I forget what movies I've seen. And so when I was watching the movie, like, the first quarter, I was like, yeah, I saw this. And then, like, something happened. And I go, wait, I don't know what happens now. So I must have seen like. Like a. Like the quarter of it, like in film school, but I guess I never finished it. [00:04:59] Speaker C: You didn't show up the class that day. [00:05:00] Speaker B: No, I did. He just showed us the clips, I think, from it. And so it was so familiar to me. And Shinji's rubbing against my leg, and that means I'm here for it. [00:05:08] Speaker A: He's ready for the podcast. [00:05:09] Speaker B: Yeah, the. And so when I was watching it, I was like, oh, wait, I don't know where this is going. Which is a nice surprise for me. So the reason kind of bring it up is that there were a lot of things that surprised me about the movie. I think I'm used to later lynch, where he becomes a lot more fractured and like impressionistic, you know, where you really, like the plots kind of go off. Like it's hard to even kind of tell what the plot is. You kind of have to pull back completely, go, oh, like Mulholland Drive. You know, you're like, okay. Thematically, I understand what's going on here. And Lost highway to me was just a huge fucking mess. But watching Blue Velvet, I was like, oh, this is kind of like a very straightforward plot. You know, like one thing happens, it leads to this, it leads to this, leads to that. And then there's, there's his typical kind of weirdnesses kind of folded in. But it doesn't necessarily take over the movie. It'll lean into it a little bit more here and there, but it doesn't necessarily take over the movie. So I was very fascinated by that. And it's been six minutes that we've been podcasting. I have been talking the whole time. [00:06:08] Speaker C: You're setting it up. You're setting it up. [00:06:10] Speaker B: Yeah. So let's. Okay, Alex, I'm going to head it over to you. [00:06:15] Speaker D: Okay. [00:06:15] Speaker B: Set up the story for us. [00:06:16] Speaker C: Okay, so the story. Oh, hey, Shinji, what's up, buddy? The story is set in Lumberton, which is like this made up town. [00:06:27] Speaker B: It's a lumber town. [00:06:28] Speaker C: It's a lumber town. And we're following Jeffrey Beaumont, who's just come home from college because. [00:06:35] Speaker B: Because his dad is. Yeah. Sick. [00:06:37] Speaker C: Yeah. Which we don't see his dad until what, like the end of the movie? [00:06:40] Speaker B: No, no, the opening scene. The guy who, who has. [00:06:42] Speaker C: Oh, that's right, he sees him in the hospital. [00:06:43] Speaker B: No, no, the guy watering the grass. That's his dad. [00:06:47] Speaker C: Yeah, but then doesn't he go visit him? Okay, okay, sorry. [00:06:49] Speaker B: But the whole thing where you see the idyllic town. Yeah, yeah. And then, and then suddenly something dark happens which is him having his stroke, basically. And then, and then. Did you watch this movie twice? You said you watched this? [00:07:00] Speaker C: No, no, I, I'm sorry, I'm like cracked out on this right now, so my head is not here. [00:07:04] Speaker B: Just so you know, we're all drinking Blue Monster in. In honor of Blue Velvet. [00:07:09] Speaker D: Yeah, we're not doing crack. [00:07:10] Speaker B: We're not doing crack. Alex is very much affected because he's, he's one of the smart people who doesn't drink monster drinks on energy drinks on a regular basis. And so I think he's sipping on it now. And it's like his gin and juice. He's going a little crazy. Yeah. So, you know. So, yeah, I mean, the opening is. Is this idyllic town, like 1950s. Right. Like Norman Rockwell painting. And then you have an older man watering his garden, and he suddenly has, like, what seems to be a stroke, which then leads again to, like. There are these, like, funny bits throughout the movie. I. I think it would be fair. Kind of like Eddington. Like, it's a comedy like Eddington, where it's not obviously comedy, but there are obviously jokes put in there. [00:07:49] Speaker C: Oh, no, the movie's hilarious, right? [00:07:50] Speaker B: Yeah. So when he falls over, like, and the water's spraying in the air and the dog is jumping, he's like. He's trying to eat the water is pretty funny. And then, of course, they have the famous. The. The camera kind of p. The underground, the dark belly in a sense of that grass. And you have all these bugs kind of like, crawling over each other in this horrible sound effects. And he's very clearly trying to tell us something, that we were going to be going underneath the surface of these perfect places and going onto a darker journey, is the way I read it. I think that's pretty straightforward, which something [00:08:24] Speaker D: I found interesting is he kind of literally does that with the saturation in the movie. [00:08:28] Speaker C: Oh, yeah. [00:08:28] Speaker D: Like, at the very beginning, the saturation is so, so goddamn high that everything is just intensely bright. And then once the movie starts getting darker, like in the plot line, the saturation kind of goes down. And then at the end of the movie, you know, we'll get there. The saturation goes, like, all the way back up. [00:08:47] Speaker B: Well, it literally gets. [00:08:48] Speaker D: Yeah, yeah. [00:08:49] Speaker B: Well, yeah, we'll get to that. Continue. [00:08:51] Speaker C: And I was just. I was just rewatching the documentary about him on HBO Max that's called the Art Life. And he was talking about, like, growing up in, like, that kind of town. Like, his. His youth was basically like white picket fences in, like, the Northwest and just, like, basically Lumberton. Yeah. [00:09:10] Speaker B: Okay. And so his father. So this is. So Jeffrey Beaumont is the lead. His father has the stroke, and so he. So Jeffrey comes back into town from college and. Oh, yeah, on his way back from. From visiting his dad in the hospital, he happens to find behind his house, or on a walk, on a path behind his house. What does he find? Yeah, just like. I mean, it's what we find all the time. German. What does he find? [00:09:37] Speaker A: He's just walking, and then he just looks down on the ground. He sees an ear. Yeah, just a straight up ear. [00:09:42] Speaker B: His severed ear. [00:09:44] Speaker C: And why the fuck. [00:09:47] Speaker B: I know what you're gonna say. [00:09:48] Speaker C: Why does he pick it up? [00:09:49] Speaker B: No, but he touches it. [00:09:50] Speaker C: He touches it, and then he picks it up with, like, a. Like a brown paper bag. [00:09:53] Speaker B: Yeah, he puts it in a brown paper bag, but he touches it. And, like. And then he goes to the police afterwards and he shakes the guy's hand. And I was like, you just touched it. You just touched severed ear. And it was like a molding severed ear, too. Like, there were little mold spots on it. So disgusting. And so I think just for the purposes of this podcast, just to kind of get things going, he kind of goes down in. Some might say, I will say literally down a rabbit hole. As he investigates where the severed ear came from, he comes across a myriad of underbelly characters. One of them, as we mentioned, was played by Isabella Rossellini, who has nefarious ties, not of her own doing necessarily, with one Frank Booth, as we said, as Dennis Hopper, who is in full psychopath mode. [00:10:36] Speaker A: Absolutely insane. [00:10:37] Speaker B: Absolutely insane. And that's kind of the setup right there. Right. And so you kind of go on this dark journey. Where do we want to start with this movie, huh? [00:10:51] Speaker C: Okay. I think in order to really get Blue Velvet, which it's not that hard to understand, but there's so many level. [00:10:59] Speaker B: It's pretty straightforward. [00:10:59] Speaker C: Yeah, it's pretty straightforward. In comparison to all his movies, he does that. That thing that he always talks about where, like, when he's writing a movie, he takes 70 flashcards and writes a scene on each flashcard. [00:11:09] Speaker B: Okay. [00:11:09] Speaker C: He's like, once you can do that, then you have a movie. And so that's why a lot of his movies as, like, his career kind of goes on, kind of get a little bit wackier, because you can imagine if you just have, like, 70 random flashcards. Yeah. [00:11:18] Speaker B: It feels like he just, like. Like, reshuffled them randomly. [00:11:21] Speaker C: It feels like. Just like random scenes that somehow are connected. Like. But I think what really makes his movie stand out is that he's not just a director, but he's also an artist. Like, he's a painter, and that comes through in all of his movies. And he has, like, this really, like, a sort of absurdist take on life. [00:11:36] Speaker B: Yes. [00:11:36] Speaker C: But it's so lovable. Like, for me, he's like. He's not just like a director, but also like a. Like a. Like a. Not like. Like a role model almost. I love. I love, like, watching his videos of him talking, and he's, like, just giving life. [00:11:50] Speaker B: He's a lot of fun. [00:11:51] Speaker C: And he's so, like, positive, even though his movies are so dark. [00:11:54] Speaker B: Yeah. And that's. There is a certain positive, like. Well, at least the way the movie ends up. [00:12:00] Speaker C: Yeah. [00:12:01] Speaker B: Is. Is supremely positive. That I didn't realize, at least on the surface. I think we're going to discuss it as we get to it, you know, Is that for real? Is that. Is that all he's trying to say at the end? But. But yeah, he himself is just such an entertaining person and kind of like. Yeah. Kind of like a light. [00:12:17] Speaker A: Yeah. [00:12:17] Speaker B: You know, he's like. [00:12:18] Speaker C: Like a character. I don't know him and him and Anthony Bourdain are really similar for me. They're kind of in the same school, people, and I look up to them both in the same way. [00:12:25] Speaker A: I definitely agree with the fact that he's a role model I've been seeing. Sucks that he died. [00:12:31] Speaker B: Yes. [00:12:32] Speaker A: I am very upset about his passing. I wish I could have at least met him once. But watching more and more, especially on Tik Tok, and especially him behind the scenes, the way he guides his characters. Absolutely. The way I want to be. Just like that. [00:12:49] Speaker C: No, he's such a cool guy. And then there's, like. In that documentary, there's all these, like, moments that he talks about. He tells these stories about his life, and it's just like, no, there's not. There's no. Not going to be anybody else like him. Like, there's. There's only one David Lynch. [00:13:02] Speaker B: No. [00:13:02] Speaker C: Yeah, it's really sad. [00:13:03] Speaker B: He's as far as a director and as a human being. I. I know I spent most of lockdown watching him, and he kind of made me feel better. The world was going crazy. I'm like. I'm like, oh, let's listen to what David Lynch. Because he was very positive and he was like, saying that we should be doing what's a transcendental meditation, which he was huge into. And he kind of had this positive outlook where he said, I think we're gonna come out of this pandemic kinder to each other than we. Than we were going in. Which unfortunately is not the truth. But I like that he thought that [00:13:33] Speaker C: there's that really, like, famous video of him, one of his quarantine updates, where he was wearing really dark sunglasses. He's like, I'm wearing dark shades today because my future is looking very bright. Yeah. When he died, we were sitting here and, like, I was. I think I was like one of the first ones to get you told Me, we were sitting here and like, dude, I was like, the rest of that day, I was, like, broken up. Like, I was like. I was like, whoa. [00:13:58] Speaker B: Yeah, it's kind of like. Like losing Ozzy Osbourne just now. Well, for me, Steve Albini, like, there's just these moments where you're just like, I can't. Like, this is just a little too dark. [00:14:09] Speaker A: 2025 has taken. [00:14:11] Speaker B: It's taken a lot of. [00:14:12] Speaker A: Yeah. [00:14:12] Speaker C: Notable people. [00:14:13] Speaker B: Yeah. But going kind of back to Blue Velvet, the. The setting of the. What's interesting is when you're watching it. So for us, it's a period piece because it was made in 1986. Right. But even when it. You know, the setting itself, like, you do sometimes question, like, is this taking place in its present day, or is it supposed to be something taking place earlier? Because there's a lot of antique car. Cars driving around. Like, he's making a lot of references to the 1950s, which we have this kind of view as the 50s as being this idyllic time when everything was great. I think the white picket fences that you were talking about, Alex, like, that kind of visual going to the. What is it? Like, after school, you go to the shake shop, you know, like where they have. Where they go to the restaurant, like the malt shop and things like that. And so he really makes a concerted effort to kind of make this town not timeless, but time specific. So clearly it is still modern times because they're watching television. Modern television for its time and things like that. But visually, like I said, there are these malt shops. You have these antique cars from the 50s. They even dress sometimes like the 50s. Obviously it's named Blue Velvet, which is the Bobby Vinton song, which Isabella Rossellini is singing in the movie. So there is this throwback quality even. Frank Booth and his gang are kind of like these biker gangs. [00:15:34] Speaker C: They're like goofies. Yeah, there's a. I had to Google the word because I completely forgot it. Like, anachronistic is very much. Yeah. Hey, what's up, buddy? [00:15:46] Speaker B: So in the middle of this setting, he kind of sets off Jeffrey on his journey. And the one thing that. That stood out to me, and I'm kind of curious what you guys thought about that. It sort of seems like the journey starts in earnest. And I made this joke before where I said, you kind of literally going down a rabbit hole once he starts that. His investigation for real. So, like, basically, I think when he goes to the police officer's house and sort of is like, Asking what happened with the ear and sort of checking in on it. They do this close up on the ear itself, and the camera goes closer and closer and closer, like into the whole of the ear. So that's why, to me, it felt like you're going down like Alice in Wonderland, like the rabbit hole. You're going into, like, another world. Then everything happens in the movie. I think, like, that's what you're saying. Then the color desaturates. And then at the end of the movie, not to jump too far ahead. What. What. What's. What takes us, or like, what kind of shows a passage from one thing to the next. You starting now on Colin McLaughlin's Healthy Ear, and you're coming out of the hole of the ear. So it's kind of like you went down a rabbit hole. You went on this dark journey, and then you come out of it at the end and you have this. This interesting epilogue that we'll get to. [00:16:51] Speaker A: To me, Blue Velvet is definitely a detective story. [00:16:56] Speaker B: Absolutely. [00:16:57] Speaker A: But it is. David lynch is one of his most simplest movies. [00:17:02] Speaker B: Exactly. I mean, as far as on the surface, it's simple. I'm sure that there's a lot more we can sort of. I dissect underneath. [00:17:08] Speaker A: I definitely think he wants. He made the movie with an intention of being very simple, but then also sprinkling out. [00:17:15] Speaker B: Yeah, The. [00:17:16] Speaker A: The more metaphor, symbolic motifs. [00:17:18] Speaker B: I think that's what I was trying to sort of get to. And like, the whole idea of that, like, with Dune being such a failure, the fact that Dino De Laurentiis, who produced Dune, produced this one also. So even though he had this huge flop on his hand, he worked with him again. I think he was a little more careful this time around and was like, I'm not going to push it too far. But he still goes pretty, pretty far. [00:17:39] Speaker A: I read a doc or I heard a documentary on what you're speaking about, and he was actually given a lot of freedom. [00:17:46] Speaker B: Yeah, yeah. But I think that he himself was sort of like, let me not fuck this up. Yes, exactly. I think. I mean, after this, he does basically Twin Peaks is what comes after this. Right. [00:17:58] Speaker A: 1986. [00:17:59] Speaker B: 89 would have been 89. 90 was Twin Peaks. I believe he was. He did Wild at Heart, but that was like 91. [00:18:05] Speaker A: That was in the middle of Twin. [00:18:07] Speaker B: It was. Yeah. I thought it was right after. [00:18:08] Speaker A: Or I think it was Twin Peaks and then Wild at Heart, right in the middle of it. [00:18:12] Speaker B: And then what came after that? [00:18:13] Speaker A: After that, I. Fire Walk With Me. [00:18:16] Speaker B: Yeah, of course. Of Course. And then just Lost highway or was there something. [00:18:20] Speaker C: Can you do the straight story at some point during. [00:18:22] Speaker B: After. After Lost highway. [00:18:24] Speaker A: Ok. Mullen Drive and then Inland Empire and then. [00:18:27] Speaker B: Well, there was a one with Laura Dur. That when it was shot on digital, before digital was a thing. Inland Empire. [00:18:32] Speaker C: That's which should have. She should have won best. [00:18:35] Speaker A: Well, that's the one I have not seen. [00:18:37] Speaker C: It's really good. She. I think she should have won best actress for that movie on the Oscars. [00:18:41] Speaker B: But she. Laura Duran is awesome and I loved her in this movie because I think it's a role that could have easily just been the. The concerned girlfriend or the concerned love interest. But does she brings. And maybe you guys can sort of describe it better than me. I kind of want to go around the table. Like there's something about her performance that makes it so much more than. Than just that simple character. I really don't think this movie would have been as good had she not been in it. [00:19:04] Speaker A: The chemistry between her and Kyle, it's [00:19:07] Speaker B: definitely a part of it. [00:19:09] Speaker A: I was watching. I'm like, this is generally really good. [00:19:12] Speaker B: They have good chemistry. [00:19:13] Speaker A: Amazing. That's why they started in so many roles after, right? [00:19:16] Speaker B: Yeah. I mean they become sort of like, you know, like his. His troupe of actors that goes back to. And. [00:19:24] Speaker C: And there's something in that about Kyle McLaughlin. Like I think David lynch, like I feel like he saw a lot of himself in that character. They kind of look alike when they were younger. [00:19:32] Speaker B: Okay. [00:19:33] Speaker C: And I feel like he, from what I understand, he kind of like put himself into that character a lot. Like a lot of that character is him in a way. Like sort of mild mannered and kind of awkward a little bit. I think that that character is like heavily based on himself from. From what I've heard him say. [00:19:49] Speaker A: He's definitely very innocent in this movie. [00:19:51] Speaker C: Yeah. [00:19:52] Speaker B: Even though I love that part where because he's sort of like, oh, I'm going to do. He's telling Laura Jones character. He's telling Sandy like I'm going to do this. I'm going to break into this woman's house. I'm going to, you know, find some information and this and that. And then she's like, I can't tell if you're a pervert or not. And he's like, that's for me to know and you to find out. [00:20:08] Speaker A: Exactly. [00:20:09] Speaker C: He is pretty per. Pretty perfect. [00:20:12] Speaker B: It's. Yeah. Yeah. It is interesting because. And again I think that is that sort of dichotomy of the Movie, like, the light and dark. Because his character is presented, as you said, very kind of light, very. You know, but he switches pretty quickly, like, when to kind of jump ahead. Like when he ends up in bed with Isabella Rossellini and she's like, hit me. And, like, it doesn't take much for him to hit her. Right? Like. Like, he kind of backs up. He's like, no, no, I'm not going to hit you. And she kind of like. Like, she doesn't really lunge. Like, she leans forward. He's like, pop out, like, right in the face. I was like, God damn it. [00:20:45] Speaker C: I like the accent, Paul. You should just keep doing that the whole episode. [00:20:47] Speaker B: Oh, Isabella Rossi. I will do it the whole time. Yeah. I wanted to sing, actually, Blue Velvet in the accent. Maybe I'll build up the. Once I have enough Monster in me. It sounds like we're sponsored by Monster the way I keep talking. [00:20:56] Speaker C: We should get. [00:20:57] Speaker B: We should get sponsorship from Monster. I love Monster. Zero sugar. Still a lot of flavor. Keeps me awake. [00:21:03] Speaker C: Monster put an ad break in the [00:21:07] Speaker B: middle of the episode. [00:21:07] Speaker A: Yeah. [00:21:07] Speaker B: Just in the middle of the episode. Yeah. Oh, my gosh. [00:21:10] Speaker C: I got lost. Isabella Rossellini. [00:21:13] Speaker B: Oh, yes. Yeah. I might sing like her at the end. [00:21:16] Speaker C: Okay. Where were we? [00:21:21] Speaker B: Oh, yeah. The character is light and dark. [00:21:23] Speaker C: Yeah. Speaking of light and dark, I've. What? So I was telling Paul earlier now, because I watched the movie twice for this, and I had seen it, like, three times prior. [00:21:36] Speaker A: That's crazy. [00:21:37] Speaker C: It just, like, I haven't done it on purpose. It's just been like, either me showing people the movie or like, I just end up watching it somehow. [00:21:44] Speaker B: Did you always start after dad had the stroke? [00:21:49] Speaker C: No. It's so weird. That opening scene is kind of like a blur for me now that you're, like, mentioning it, but I remember the dad. I just saw it, like, literally yesterday anyway. [00:21:58] Speaker B: So you've seen it quite often? [00:21:59] Speaker C: Yes. This is, like, one of those movies that I've seen the most. It might be like, the movie that I've rewatched the most in my life, which is not. This is not the kind of movie that you should be re watching so many times because it, like, takes. So we were talking about this earlier. It takes a lot out of you. Like, it's exhausting after. After watching it. [00:22:13] Speaker B: It's one of the few movies that I watched with AD breaks, and I was actually happy to have. [00:22:16] Speaker C: Oh, really? On to be. [00:22:17] Speaker B: It was on Tubi, and, like, they would give the countdown before the AD comes, and I was like, good. [00:22:21] Speaker C: Yeah. [00:22:22] Speaker B: I can breathe. Yeah. [00:22:24] Speaker A: Bangers. [00:22:24] Speaker C: It does. [00:22:25] Speaker A: It has a lot of good movies. Yeah. [00:22:27] Speaker B: Like David. Oh, to be Tubi. [00:22:30] Speaker C: Yeah. [00:22:31] Speaker B: I just hate that they have the ads. [00:22:32] Speaker A: Yeah. Premium plan. [00:22:34] Speaker B: Right? Right. It's like Pluto. It's just like. Yeah. But at least you have access to it. I tried getting it on Canopy. I would go through a whole thing that was just of trying to log into Canopy. And then I finally did and they didn't have it. [00:22:47] Speaker C: Yeah. [00:22:48] Speaker B: Which happens to me all the time. So I watch it on tv. [00:22:51] Speaker C: But, yeah, where I was going with that is, like, the first few times I watched this movie were, like, in, like, going into sophomore year and then going into senior year. And, like, for whatever reason, I was always like, this is weird. But I never, like, got that affected by it. Like, this is really fucked up. And then, like, this time around, this was, like, the most I've ever been, like, put off. During the scene where Frank is first introduced. [00:23:13] Speaker B: What a way to be introduced in the movie. [00:23:16] Speaker C: He's going, baby wants to. [00:23:19] Speaker B: Mommy, Mommy. So awful. [00:23:22] Speaker C: And that was like. Like, this time I was actually like, oh, this is really up. [00:23:26] Speaker B: It's really up. [00:23:27] Speaker C: And like, the whole thing with Isabella Rossonia, how, like, traumatized she is and how she just kind of, like, wants to die. [00:23:32] Speaker B: Like, it was interesting because I. And I'm glad you brought that up because I want to say, even David lynch himself, in interviews said that he was trying to sort of point out how. How everybody's weird and everybody has weirdness in them. And he was like, well, just look at Isabel, Isabella Rossellini's character. Like, she actually finds out that she likes being hit. [00:23:52] Speaker A: Yeah. [00:23:52] Speaker B: And I. I didn't like that reading of it because I'm like, I don't think she likes being hit. I think she's fucked up in the head from being abused. So she. You know what I mean? So I thought it was really strange that the director himself was like, well, look at this. She likes being hit. And I was like, I don't think that's what it is. How do we. Stephanie, how do you feel about that? [00:24:09] Speaker D: I mean, I think that's just like a common psychological Stockholm syndrome kind of thing. [00:24:14] Speaker B: Right. [00:24:14] Speaker D: People that go through a lot of trauma end up creating, like, these weird fantasies around their trauma. Like, it goes either way. They either end up really liking the trauma or staying as far away from it as possible. [00:24:27] Speaker B: Right. [00:24:27] Speaker D: So I think she's definitely the leaning into it. Yeah. I very much doubt that she actually enjoyed that. [00:24:35] Speaker C: Thank you. [00:24:35] Speaker B: Thank you. [00:24:36] Speaker D: Because we even see. I don't know if we're talking about the end of the movie yet, but we even see then. [00:24:40] Speaker B: Spoiler alert for a 30 year old movie. [00:24:42] Speaker D: Yeah, sorry. Like when she's with her kid, like, she's much happier. Yeah, yeah, that situation, you know, I don't think she's sitting there with her kid being like, man, I really miss getting hit in the face. [00:24:57] Speaker C: No. And in to speak to what you just said, I was watching this morning interview with Isabella Rossellini and she was saying, because they were. Someone was asking her, was like right after the movie came out and there was all the drama about how like fucked up the movie was and Roger Ebert hated it. And she's like, no, like, it's a common thing where people, when they're kidnapped, they, they sort of develop Stockholm syndrome and, and that's how they kind of justified it. Yeah. [00:25:17] Speaker B: So I don't know if we've gone into it enough to kind of. You mentioned Roger Ebert and I, I kind of went, so Roger Ebert's like my favorite film critic. So it was, I've known this from before, but it was, it was interesting now, having seen the movie, to kind of go back and read what he was saying about it. And you know, I mean, that's the thing about being a film critic or you know, in general, when you're giving your opinion, you can be wrong. I think he was definitely wrong in the way he was reading the movie. I think he basically. I'm kind of curious what you guys think because he said that he. First of all, he thought that the comedy in the movie. He basically said it. Said it was two movies put together. He said one dopey comedy that sort of makes fun of like small town life and then a really dark thriller that, that he himself, that he felt didn't interrogate itself enough and then was kind of pushed up against the dumb comedy and that he said that a movie like that, to put someone like Isabella Rossellini through the trauma of that performance, where she has to perform some really awful things and comes out completely naked on an open street at the end, he was like, this is wrong. And like she was, he basically was saying she was abused. And I think, I mean, my take. I completely disagree. I, I don't think he's trying. It's really funny the way he read the, the comedic parts that he felt like that he was making it and it was funny. [00:26:42] Speaker C: Yeah, well. Oh, go ahead. [00:26:44] Speaker D: I think Sean Baker gets the same accusations right where people think that he's making fun of, like, these prostitutes and, you know, these, like, kids and all this stuff, when really he's just trying to showcase. [00:26:56] Speaker B: Yeah. As humans. [00:26:58] Speaker D: Of what happens in life. And I think this is the same thing. Like, I. I wasn't a huge fan of this movie, but I didn't get the impression that he was making fun of anybody. I think he was just trying to show how dark humans can be. So. [00:27:12] Speaker B: Especially underneath everything. Yeah, let's follow that thread a little bit. So you didn't like the movie? Or do you feel differently now? Or let's say when you watched it, you came out of it. You're like, I don't like this. [00:27:21] Speaker D: It's not that I didn't like it. I just wouldn't see myself rewatching it. [00:27:26] Speaker B: Well, no, there's many great movies that, like, I love Requiem for a Dream, and I've only seen it once. I will never watch it again. [00:27:32] Speaker D: I'm also just not a huge fan of detective movies in general or, like, mystery movies. Like, that's just me. And I felt like this was on that line that I didn't find myself, like, too into. Like, it just wasn't my type of movie that I usually watch. Not that it's bad, but I just can't say that I was watching it and, like, really, really enjoying it. [00:27:56] Speaker B: Okay. You weren't really into it. [00:27:58] Speaker C: Yeah, it's very much that. Like, what you guys were saying earlier, like, a classic sort of, like. Like, noir. It is. It is his. It is his take on noir. And I get, like, not sort of liking as much as I do like it. I get why Roger Ebert didn't like it and why a lot of people reacted that way. [00:28:18] Speaker B: But do you see it the way he saw it, where he kind of felt that, like, it was taking cheap shots, like, cheap shot comedy going up against, like, really depraved thriller aspects. Like, do you think he was taking cheap shots at anybody in the comedy? [00:28:32] Speaker C: I don't think he was taking cheap shots at anybody in the comedy. [00:28:36] Speaker B: Right. [00:28:36] Speaker C: I think it was all pretty much very well justified. Like, the actual. The actual movie. I understand if you like. Sorry. This thing is, like, making me burp, and I'm not gonna burp into the mic like, Paul, [00:28:48] Speaker B: save it for later. [00:28:49] Speaker C: Yeah, I'll save for later. [00:28:51] Speaker A: He. [00:28:51] Speaker C: He sort of like, when you know what goes into it from his own life and you get how the actors responded and it makes sense. And I hate giving directors that out. Like, oh, you need to know about them. [00:29:03] Speaker B: Right? Yeah. [00:29:06] Speaker C: But then Like, I don't know, it just. It's really hard for me to be like, no, no, he was taking cheap shots, like, because his whole thing is like, okay, he grew up in the northwest in this sort of picturesque town, and then he moves to really young to Philadelphia and sees, like, he says, he talks about, like, he saw some of the worst things of his life. And that's how he realized, like, the underbelly of the world and how dark the world is. And then he's like, oh. And all those memories processed in my head. And this is what came out. [00:29:30] Speaker D: Sure. [00:29:31] Speaker C: Shinji is lounging on top of his carrier. [00:29:35] Speaker A: I actually wanted to speak on that. I completely agree with the people's view of date, why they don't like the movie. But to me, this movie invokes that feeling. After watching it again today, the best feeling to me in watching all of film is studying the film. I actually thought the movie when I first watched it was like a 7 out of 10. [00:29:56] Speaker B: Okay. [00:29:57] Speaker A: But after watching it again and also reviewing other people who's analyzed it and all that, I love the feeling of finding out new secrets. And it brought it up to like, an 8 or a 9 because I use a 10 scale, right? [00:30:14] Speaker B: Not the 100 scale. [00:30:16] Speaker A: I mean, it doesn't really matter. [00:30:17] Speaker B: I heard some numbers. I heard you had some. You like the hundreds. [00:30:22] Speaker C: Stephanie told us. [00:30:23] Speaker B: He just looked at Stephanie. [00:30:24] Speaker A: Like, I could just say 9.5 or something like that. But to me, the movie is an 8. It's not his best movie, in my opinion. [00:30:33] Speaker B: What do you think is his best movie? [00:30:35] Speaker A: I haven't seen all his movies, but as of right now, I really love Fire Walk With Me. [00:30:39] Speaker C: Okay, okay, that's good. [00:30:40] Speaker A: I love, love that movie. [00:30:41] Speaker B: Okay. [00:30:42] Speaker A: Even though, to me, David Lynch's masterpiece, the best thing he's ever done so far is that season three of Twin Peaks. [00:30:48] Speaker C: Okay, okay, okay. [00:30:50] Speaker A: I've never seen something many people agree. [00:30:52] Speaker C: Yeah, sure, it's perfect that you're here because at least for me, I don't know about everyone else, but I've seen everything else except Twin Peaks and Firewalk with Me. So it's really weird. That's like my big blind spot. And I always get so jealous because everybody's like, oh, like, you have to see it. And I've never been able to, like, into seeing it. [00:31:07] Speaker A: Season one and two are great, great shows. And they watch that movie and you're [00:31:12] Speaker B: like, wow, okay, wow. [00:31:14] Speaker A: That's full on Lynch. Like, no holds bar. But then you get to season three, and then you realize I haven't seen something like this on television since. I don't want to say Breaking Bad because I love Breaking Bad, but Twin Peaks elevated television in 2017, in my honest opinion. [00:31:31] Speaker C: Like, I have to see it now. [00:31:32] Speaker B: Well, you always have to see it, Stephanie. [00:31:34] Speaker D: As somebody, I've never seen anything by David lynch except for this movie. So I don't know if this is a him thing or just this movie thing. I felt like the. The dialogue was kind of stiff. [00:31:47] Speaker B: Yeah. [00:31:48] Speaker A: And, like, a lot of that's 100% like. That's. That's a him thing. [00:31:51] Speaker D: Okay. [00:31:52] Speaker B: It's on purpose. [00:31:52] Speaker A: Yeah. [00:31:53] Speaker D: Yeah. Because I found. I found myself not being able to get super immersed because like, sometimes they would have certain dialogue and I'd be like, people don't talk like that. [00:32:02] Speaker B: No, no, no. You wouldn't watch it. Yeah, yeah, yeah. There's a certain stiltedness that. Do we know why he. Like. It is something he does. [00:32:10] Speaker A: He creates, like, awkward moments. [00:32:12] Speaker C: Yeah, a lot. [00:32:13] Speaker B: Yeah, a lot. Yeah. I don't know why I. The thing is, like, it's. This is a cop out. [00:32:19] Speaker D: Oh, my God. [00:32:22] Speaker C: Shinji just perked his head. [00:32:26] Speaker B: Sorry. German. This happens every episode. [00:32:28] Speaker A: That was an eight. [00:32:29] Speaker B: It's not bad, right? That was like a blue velvet. Yeah. Just derailed my monster [00:32:39] Speaker D: directed towards me. [00:32:40] Speaker C: Chemical warfare. [00:32:42] Speaker B: Yeah. There's some blue air coming your way. [00:32:44] Speaker A: Gross. [00:32:49] Speaker B: Where was I? [00:32:50] Speaker C: Oh, you were burping before that. [00:32:54] Speaker B: The sort of. The. The. Yeah, the. The awkwardness. I'm trying to think why he does it. Oh, I. I think what I was getting to was that, like. Yeah, I guess that's what the cop out is like. As I get used to his movies and as I see more and more of them, like, I. I actually really like that stilt in this because it's. Because it's just. It's him. And it's so different from what we see in other movies. And it just. It feels so calculated. And like, again, maybe that's part of the humor for it, that. That maybe it throws back to that 1950s feel where everybody kind of just talks. [00:33:25] Speaker C: Like. Yeah. [00:33:26] Speaker B: You see, you know, like. Like this sort of, like, weird way that people don't actually talk. [00:33:30] Speaker D: Yeah. [00:33:31] Speaker B: And I think that there is. I guess the word is like, it's mannered. Right. Like, it's very. It's a very mannered movie. It's never really leaning into reality completely. You see things that. That, yeah, this is our world, and. And these things make sense to us. But the. The way that it's Presented is just so weird and interesting. Like, even when Sandy, the first time she shows up, like, she kind of. She's in the shadows and she walks out of that shadow and the music starts to rise with her. It feels like. Like a classic Hollywood film in that moment. And maybe that maybe the acting is supposed to. Is maybe that. That's what he remembers from old movies. And he's sort of bringing that style of acting to. To the present day. [00:34:13] Speaker D: I mean, for me, I don't know how much truth there is to it, but I felt like there was just an overwhelming theme of uncomfortableness. [00:34:20] Speaker B: And I think that's. That's in his movies. [00:34:22] Speaker D: Like, even in my notes, one of them is just uncomfortable. Exclamation mark. Exclamation mark. [00:34:27] Speaker B: Yeah. [00:34:28] Speaker D: Because the whole movie I'm, like, sitting there by myself in the dark, just being like, what the fuck is happening right now? [00:34:34] Speaker A: Yeah. [00:34:35] Speaker D: And, like, just. I felt so tense the entire time because all of these. These characters just had like, this weird vibe to them. [00:34:43] Speaker B: Weird. [00:34:43] Speaker D: And they would just talk and I'd be like, you don't sound real. [00:34:46] Speaker B: You don't sound human. [00:34:47] Speaker D: Like. Yeah, like, their movements are just kind [00:34:50] Speaker B: of like a little awkward and stiff. [00:34:51] Speaker D: Yeah, like awkward in the way that they interact with each other. It is just the whole thing has, like, a very specific vibe to it. [00:34:57] Speaker B: Absolutely. But the opposite to that, I think, is Laura Dern. She seems very. I don't know, maybe that's why she stood out to me more. [00:35:03] Speaker C: Like she's the only normal person. [00:35:05] Speaker B: She seems pretty normal. [00:35:07] Speaker A: I actually. I agree with you 100. Because the conversations between Kyle McLaughlin and Laura Donner. Completely natural. Yeah, absolutely natural. That's why the chemistry is so good between those two. [00:35:18] Speaker B: And I love that. I'm sorry. [00:35:20] Speaker C: No, no, go ahead. [00:35:21] Speaker B: I love that scene where they park outside the church with the. The stained glass, like, lit up from behind. And so it's this background image of the stained glass. And then she's talking to him and she talks about that dream where. Where the robins come and they destroy evil, basically, and they let love. I love. I don't know. It was such a beautiful scene. And again, she. She speaks almost as if she's in a trance. [00:35:41] Speaker C: Yeah. [00:35:42] Speaker B: At that point. And. And just that imagery, like. Like there's a specific reason he put that in front of a church. Yeah, yeah. And has her giving that. That. That speech. At the risk of just sounding like a fanboy, I was like, that was great. I. I don't know what the sub layer was of that. I kind of would like to jump in. Does anybody have any ideas on that? [00:36:00] Speaker C: On that scene specifically? [00:36:01] Speaker B: On that scene specifically. [00:36:02] Speaker A: Religion or. [00:36:03] Speaker B: No, I, I. [00:36:05] Speaker C: So from my understanding. Not really. [00:36:08] Speaker B: I suspect not. [00:36:09] Speaker A: Yeah, he was meditating or like very spiritual. Yeah. [00:36:13] Speaker B: Yeah. [00:36:14] Speaker C: And, and I, I didn't want to use this word because it's such like a, like a film, bro, like, like thing that I hear everybody throw around. But there's only one way to describe like his vibe and it's Lynchian. I always hear people go 100. That's so Lynchian, dude. That's so. It's like saying Kafkaesque about everything because you don't really know what Kafka esque is. [00:36:32] Speaker B: Me, I had a one time. I don't know. I hope this will end. I met somebody when I was in college and she, she went to Prague for the summer and she goes. I don't know how to describe it. It was so, it was so bohemian. [00:36:47] Speaker C: What? [00:36:48] Speaker B: And I'm like, yeah, because it's bohemia. It's so like ridiculous. So it's kind of like, yeah, David lynch movie is Lynchian. Yes. Yeah, I would hope so. [00:36:59] Speaker C: Yeah. And there's like, there's actually some weird about his life that he like implements into his movie. So in the documentary he's talking about when he was like a boy, him and his brother used to always go outside and play at night. And this was like when he was a kid in like his first hometown. And his dad would always come out and call them in. And then this one night his dad didn't come out and call them in and they stayed outside playing. And he describes it like this. I think this is like him sort of putting us in that elevated reality that we see in his movies where he says that they're sitting there and they see like an 8 foot tall naked woman walk out into the street with a bloody mouth and that they had never seen a naked woman before and they didn't know how to react because they were like eight and they just started crying. And he says that he still thinks about that moment. And then apparently he emulated that in the scene where Isabella Rossellini's character walks out into the street naked. [00:37:45] Speaker B: Yeah. [00:37:46] Speaker C: And I'm just like, that's so weird. Like it's not normal to experience something like that. And I doubt she was actually 8ft tall. He was a little kid, but you're [00:37:54] Speaker B: like a little kid. [00:37:55] Speaker C: Yeah, but he just tells those stories like they happened. And there's something like really childlike about his Imagination, which is. Is really weird. Especially because he grew up in like post war America. So everybody had like this weird like vibe. Like everybody was like coming back from the war and didn't know how to approach life. So they were living that like white picket fence America. [00:38:16] Speaker B: And you're sort of suppressing all those horrible things that you saw. [00:38:19] Speaker C: Right. [00:38:19] Speaker B: Which is kind of what's being reflected here. [00:38:21] Speaker C: Exactly. [00:38:21] Speaker B: You know, you have the light and the dark underneath. [00:38:24] Speaker D: That's such. Oh my. That encapsulates what I was thinking because while watching the movie, it does feel like it's being told by somebody who's describing a dream. [00:38:34] Speaker B: Yeah, it's very dreamlike, which is what I felt like. [00:38:36] Speaker D: Like, not just a dream, but it's like somebody's telling you a story of a dream that they had. That is the perfect way to explain what this felt like for me. [00:38:45] Speaker A: One main theme in all his movies, in case it'd be. It would be his dreams. [00:38:51] Speaker D: Yeah. [00:38:52] Speaker A: Every single one of his projects has some sort of dream like surrealism. That's why all his movies, in my opinion, are like that. Because they all feel like dreams. Yeah, Every single one of his projects. [00:39:03] Speaker B: Lynchian. [00:39:04] Speaker C: Lynching. So lynching. [00:39:05] Speaker B: I wish we. Wait, German. Did you see the Straight Story? [00:39:08] Speaker A: That's. That's the one. I have not. [00:39:10] Speaker B: I'm curious how. Because it's like a G rated movie. [00:39:13] Speaker A: Yeah. [00:39:14] Speaker B: About. About an old man going with his tractor across the country to see his dying brother based on a true story. Yeah. But like, I heard that it still has this weirdness intact. It's just that it doesn't go dark, you know? But like it's not, it's not. It's still his dream. I think it's still his dream. Like way. We should put in the bowl. [00:39:31] Speaker C: Yeah, we should put it in the bowl. He's dreaming. Yes, he's in a David lynch dream right now. I. I have a friend that is the one that told me about this movie and he's a big David lynch fan. And like, like jokingly, every time we walk around, we're like, we see something, we're like, oh, dude, that's so Lynchy. [00:39:48] Speaker B: It's so Lynchian. [00:39:49] Speaker C: There's. There's a day I'm gonna go along with this. But I told you about this. It was the day that I accidentally stumbled into that tea and poets place. [00:39:54] Speaker B: And when you made fun of the. [00:39:57] Speaker C: Should I tell the story? [00:39:58] Speaker B: Yeah, tell us. [00:39:59] Speaker C: Okay, so my friend and I went to go see an early screening of the F1 movie and we didn't get in. Like, we had the tickets, but they overbooked it. And when we were leaving, we're in a really shitty mood. And we were in Sunset Place, and downstairs in Sunset Place, there's a place called TM Poets, and they do, like, open mic nights. And we walked in and there was a kid with down syndrome singing. But it was the day after Brian Wilson of Beach Boys died. [00:40:21] Speaker B: Another one that we lost. [00:40:22] Speaker C: So he was singing a Beach Boys song. And I walk up to the counter and all these people are, like, sitting here clapping, and he's singing at the top of his lungs. And the guy, poorly, poor, very poorly. I mean, and then it felt like I was in a David lynch movie. [00:40:34] Speaker A: Like, you're in the red room. [00:40:35] Speaker C: I felt. Yeah. And then I walked into. I. I walked. I went to go to the bathroom because I couldn't stop laughing. And the guy at the bar was like, oh, what are you laughing at, huh? While he was laughing. So I walked. And then I'm walking through this, like, maze, like, labyrinth back room, going to the bathroom, and all I hear is, like, really loud, like, like that music. And I was like, oh, this is very. [00:40:53] Speaker B: Listening, very Lynching. [00:40:54] Speaker C: Yeah. Anyway, I'll cut that out. That was a long story. [00:40:58] Speaker D: It was good. [00:40:59] Speaker B: It's funny that you mentioned dreams. Okay, again, we're going way off topic here, but I thought of you guys. You were telling me how you had a dream where I was getting married. [00:41:09] Speaker C: Oh, yeah. Recently I had a dream that Paul was getting married and we were all at the wedding. [00:41:12] Speaker B: Yeah. And he wouldn't tell me if my wife was hot, so. Because it doesn't matter. Guys, I had a dream the other day. Okay. It's kind of interesting. And I only bring this because we're talking about how the dream state that I have these recurring dreams where I'm always searching for something and every time I go there, like, they're like, no, it's over here. Needs to go to the next thing. And it just keeps going and going. Yeah. And it's usually about school. Like, I'm always like, oh, I missed a class, I have to go. He. Like, where is the class? And I have to go there. And I. And. And I. And the class is not there. [00:41:42] Speaker D: I have those all the time. [00:41:43] Speaker B: Yeah, it was all the time. [00:41:44] Speaker C: You guys have school trauma and. [00:41:45] Speaker B: Yeah, no, I definitely have school drama. And then this one was. I had to. For some reason I wasn't. Even though I was still myself, like, having. Working here at mdc, I was taking Classes here, apparently. And I was supposed to graduate, and I. And then I. And I needed to go somewhere to take a test to finally get my degree. And suddenly, in the middle of me going through that search, you guys showed up. [00:42:09] Speaker C: Oh. [00:42:09] Speaker B: And you were there. And for the first time ever in my dream. This is so weird. I actually. I didn't get to take the test, but I got to the point where he was like, yes, this is where you sign up to take the test. Then I woke up. [00:42:19] Speaker C: Oh. [00:42:20] Speaker B: So I just thought it was interesting that, like, I never find these things. And then when you two showed up, like, I actually got close to finding it. [00:42:27] Speaker C: Oh, it's pretty wholesome. [00:42:28] Speaker B: Yeah, yeah, yeah. It's like lynching wholesome. [00:42:31] Speaker C: Yeah. More like the Virgil in your Dante's Inferno. [00:42:34] Speaker B: Yes. Yeah. You were guiding me. Yeah, yeah. And it was just like. We were just like, hey, it's cool. Let's just go here and do that. [00:42:39] Speaker C: So anyway, so wholesome moment for the first time on our podcast. [00:42:44] Speaker B: Yeah. It's Shinji. [00:42:45] Speaker C: Yeah. [00:42:46] Speaker A: His aura. [00:42:47] Speaker B: It's his aura. [00:42:48] Speaker C: Speaking of right now. Oh, sorry. I was about to segue. I had a good segue. You guys ready? Speaking of dreams. Excellent. In dreams, the song Candy Colored Clown Call Sandman. We have to talk about it. [00:43:00] Speaker B: Which. Which song is that? [00:43:02] Speaker C: That's the. The song that they sing twice in the movie. [00:43:04] Speaker B: Oh, right, right, right. Yeah. [00:43:07] Speaker C: So suave, man. I love that guy. And he's, like, falling asleep during the movie when they're talking to him. [00:43:14] Speaker B: Yeah. It's not Harry Dean Stanton, is it? No, no, it's not. Harry didn't say. It's the guy from Quantum Leap. I forgot his name now. [00:43:20] Speaker C: Which, by the way, what you think about that? There's a scene in the movie when they go to that guy's house. They're, like, driving to the guy's house when they're like, oh, we're gonna take neighbor boy for a joyride. And they take him to the guy's house, and he's, like, really pissed about beer. And then there's this one guy which is, like one of his goons that shows up, and he just walks up to him and he goes, I'm Paul. [00:43:37] Speaker B: Yeah, yeah. [00:43:39] Speaker C: And then he comes back again. I kept thinking of you. Because he comes back again later on, he's like, I'm Paul. That's all he says the whole movie. [00:43:46] Speaker B: I'm gonna start doing that. [00:43:47] Speaker D: Introduce yourself. [00:43:48] Speaker B: From now on, just clap and say, I'm Paul. Yeah, I'm Paul. There were a couple Things you meant. There was two things that. Again, the jokes that made me laugh. When he's. It's a scary drive that he's taken him on. So Frank Booth kidnaps Jeffrey and says, we're gonna go on a drive, and you don't know where the hell they're gonna go. And. And then he pulls up, he goes, this is it. And then when he gets out, like, there's a neon sign and the window says, this is it. Or like, this is the place, is that. I forgot what it was. It was something like that when. [00:44:17] Speaker C: When he asked him, he's like, oh, what kind of beer do you drink? And he's like, heineken. And he's like, fuck Heineken. [00:44:22] Speaker B: Actually, I wanted to bring that up. That was. I'm glad you mentioned that, because there are these conversations about beer throughout the movie. When they first go to see Isabella Rossellini perform, he's like, oh, what. What beer do you drink? And that's when he says, heineken. [00:44:36] Speaker A: Right? [00:44:37] Speaker B: I love Heineken. And like, there was a part of me really was like, are they advertising? [00:44:42] Speaker D: That's what it felt like. It showed up in a. Like, a few places when he has [00:44:46] Speaker B: to go when he pees in her apartment. And he's like, heineken. Like, damn. [00:44:50] Speaker C: And there's a Heineken on. On his dash when he's spying. [00:44:52] Speaker B: Yeah, but I was wondering. Sorry. I just want to kind of finish this one if I. I felt like there was a purpose to it. Because then. Because she says, well, my dad, who's the cop, he drinks Budweiser. Now when they hang out, when they go on into that house, into this Is it with. With Frank Booth, he says, what do you drink? And he's like, heineken. He's like, fucking Heineken. As you were saying. Yeah, he's like. He's like, no, that. That's that foreign shit. And then he says, well, what are you drinking? He's like, Pat's Blue Ribbon. Which of course is like the Blue collarist of blue collar shitty beer. And so they brought it up too many times for me to think that it was just an advertisement. And I think it was a way of sort of showing the different classes of these people, like, he's modern, he's drinking a foreign beer. The parents drink a watered down Budweiser. And then this guy, who's clearly some left over from the 50s, is. And, and. And definitely working class, is the one who drinks Pabs Blue Ribbon. [00:45:52] Speaker C: Well, he's the out of Towner. He's the one that goes to an Ivy League school and. [00:45:56] Speaker B: Right. He's the fancy. [00:45:57] Speaker C: Yeah, he's high class. I saw a video on YouTube, and this is, like, way. Like, this is kind of a reach, but he might have been making some sense. And I don't know if there's any evidence to back this, but he goes into talking about the beer in the movie and, like, jungin psychology. [00:46:10] Speaker B: Okay. [00:46:10] Speaker C: And about, like, the. The ego, the super ego, and the id. And so, like, their characters, their. Their archetype in youngin psychology reflects their place. So, like, he's the super ego with the. With the. The Heineken. The dad is the ego with the Budweiser or. Or vice versa. I think he's the ego. And then with the Pabst Blue Ribbon, he's the id. I don't know anything about psychology at all. Maybe you guys can. Can back this up. [00:46:39] Speaker B: I'm trying to remember which one of the three is sort of the one that. I thought it was a super ego, but one of the three is the. The wild and free one, the one who's not being held back by. By morals, which would be the Frank Booth. [00:46:52] Speaker C: I think it's the Frank Booth, the id. [00:46:53] Speaker B: So that would be the id. Yeah, the ID Run free. Yeah. So definitely, I. That would make sense to me. German. Do you have any thoughts on that? [00:47:00] Speaker A: You know, when it comes to stuff like that, I haven't really thought about, like, a deeper meaning, but I could see it. [00:47:07] Speaker B: He definitely isn't id. I mean, Frank Booth is just. [00:47:10] Speaker A: It's walking rage. [00:47:12] Speaker C: Yeah. [00:47:12] Speaker B: Just does whatever he wants to. And what's the line? [00:47:17] Speaker D: I'll anything that moves. [00:47:19] Speaker B: Anything that moves. I mean, that right there is it. You know what I mean? I'll anything that moves. [00:47:24] Speaker C: Then he's like, if you with me, you got a love letter bullet from a [00:47:30] Speaker B: dude. [00:47:31] Speaker C: Nothing he says is, like, a coherent sentence. And then there's, like, the one moment that I thought was his best. Like, one of the best moments when he finds him coming out of the house, and he's like, let's go for a ride. And he's like. And he's like, oh, no, I. I don't want to. And he's like, wait, you had an idea? I don't know how he, like, sets him up and makes him say, let's [00:47:48] Speaker B: go for a ride. [00:47:51] Speaker A: Road trip. Bingo. [00:47:52] Speaker C: Yeah. [00:47:53] Speaker B: Great idea. [00:47:54] Speaker C: And it's crazy because I was. I was, like, watching an interview, and he was saying how, like, Dennis Hopper was fresh out of Rehab for alcohol and drugs. When he did this movie, and he had, like, four of the movies booked, but this was, like, the first that came out. And he had never worked with David lynch, but David lynch was like, I want him to play. To play Frank. And I can't imagine anybody else playing Frank. Like, all the other movies that I've seen of Dennis Hopper, he is that character. Like, he embodies that character even in real life. He's a much sweeter guy than Frank because Frank, psychopath. He's so good in that role. [00:48:23] Speaker B: He is. And. And it's funny because they went to a bunch of other people before to play it, and they all were like, I'm not playing this character. And, like, Dennis Hopper's like, no, I need to play this character. He does a great job. Because you, again, like, you have the vilest piece of shit, but you kind of enjoy at least. At least in the safety of your home and watching a movie, like, the safety of being behind the screen, you know, like, he's very entertained. [00:48:45] Speaker A: Yeah, Entertaining. Have you guys noticed, like, the. The meaning behind Frank for. No. [00:48:53] Speaker B: Well, the only thing. And I don't. I couldn't make heads or tails of it. There's two things. I mean, obviously Booth, last name Booth. [00:49:02] Speaker C: John Wilkes Booth. [00:49:03] Speaker B: John Wilkes Booth, exactly. And then. And then there was a part where they drive down the street and the camera literally pans, tilts up to the name of the street, and it's Lincoln Street. [00:49:12] Speaker C: Yeah. [00:49:12] Speaker B: So there were some Lincoln references, but I couldn't make heads or tails as [00:49:16] Speaker A: to why they were actually talking about his character. [00:49:18] Speaker C: Oh, like he's a child. [00:49:19] Speaker A: Actual character. [00:49:19] Speaker C: He's like a kid. [00:49:21] Speaker A: Yes. [00:49:21] Speaker C: Yeah. [00:49:21] Speaker A: That is, to me, is. He's a very complex character. [00:49:24] Speaker D: Character. [00:49:24] Speaker B: Yes. And I think if this movie were made today, they would try to explain it. And I love that they don't explain it. Like, you know, clearly he has mommy issues because he's yelling mommy. [00:49:33] Speaker A: What I love about David lynch is that he never goes into details. No, never. He does an interview where he's like, oh, can you elaborate on this metaphor or something? Like, he's like, no, no, no, I'm just not gonna do it. Figure it out yourself. [00:49:46] Speaker B: Yeah, good. Good for him. [00:49:48] Speaker C: And I think when we're, like, sitting here trying to. Oh, okay. Yeah, no, no, you're good. Good call. Yeah. I think when we're, like, sitting here trying to dissect a lot of what he does, not that it's, like, futile. Like, it's not like a five into this Stuff. But a lot of his movies are just like, if, if you try to dissect it, you're just gonna run yourself into a circle. And sometimes you just have to kind of take everything that he does at face value. So, like, earlier we were talking about, like, the ID and all this stuff, and you were saying, like, oh, like, I just never really, like, you know, I just took it as it is. And like, that's a lot of times, like, with his movies, you just kind of, kind of, kind of got to take it at face value because there is stuff there, but sometimes you just have to, like, accept it for what it is. [00:50:27] Speaker B: I. I think that you have to realize you're not going to get a clear answer to. Exactly. But I think what we're doing now is basically what the best thing to do and what I think makes this movie so interesting that we can sit here and go, well, what was this? And did you notice this? And this is repeating. And this image is repeating in that, like, we're not going to figure out here, the four of us, like, what the Lincoln, John Wilkes Booth stuff is. But it's cool that it's there, you know, and that we can bring it up and go, maybe we can think about it. I think that's what happened with me and Mulholland Drive. What I really liked about it was that there's a lot of things I can point to go, I have no fucking idea what that guy behind the dumpster was. I don't know what the thing with the assassin was. But what I do know and what I put together was the core of the movie of these two women. And I had my own answers that I came up with. And I really found a through line through it where I was like, I think that's what this movie is about. That's what it actually is. There's no proof of it to say that that's exactly what it is, but it's still it. It pulled me in enough and it gave me enough information that I could make heads or tails out of it and what. Or at least enough of it to be entertained by it. But what I liked about Mulholland Drive that I didn't like about Lost highway per se, is that the weird. The weird places it would go, like, it was just either, like, really darkly funny, scary, sexy, whereas just Lost Highway. I just kind of sat there going, I've no idea what's going on. You know, I was like, the guy behind me in Eddington, what is going on? [00:51:55] Speaker C: And, like, that's like, the, the thing that you would want to do when you finish the movie is going like, Google. [00:52:00] Speaker B: Yeah. [00:52:01] Speaker C: Blue ending, Blue velvet ending explained. But I try not to do it. [00:52:05] Speaker B: I always. I always try to WA 24 hours before I started, like, looking at trivia and things like that, because I wanted to live in my head and see what I can figure out. But then the curiosity gets to be too much. Then I'm like, all right, let me just go see what other people said. [00:52:16] Speaker A: When, when I searched that up, I'm like, I was expecting like a lot of complex answers, but it's so simple. Like, everybody was just like, exactly what we talked about in the beginning, where it's like, there's a contrast between the white picket fence, like ideology and then just a straight detective story. [00:52:33] Speaker B: Right. [00:52:34] Speaker A: There's nothing else deeper. That's why I consider it so simple. [00:52:38] Speaker C: Yeah. [00:52:39] Speaker B: And that's what I ended up liking about this so much and being surprised by that. I was expecting, like another head trip like the other ones. And I was like, you know, on the surface, Elite, it's pretty, pretty simple. Now the other thought I had as I was watching it was like, well, I mean, yeah, of course the scene with Isabella Rossellini being sexually assaulted by Frank Booth is completely disturbing, but gore wise, I was expecting. I was like, oh, this isn't, you know, like, thematically it's pretty disturbing, but it's not, you know, gore wise, which I kind of thought. David lynch kind of has these gory moments. I was like, this isn't so bad. Then the finale came around. [00:53:15] Speaker A: Yep, I saw it. I'm like, wow. [00:53:18] Speaker D: What? [00:53:19] Speaker B: Like what? You know, he goes into that room, there's the guy still alive. Like, well, sort of alive. [00:53:26] Speaker C: The yellow man. [00:53:27] Speaker B: The yellow man. And with like, his brain hanging out, he's still standing there. And his arm will reach up, you know, like at certain sounds. And then the Ross Leanese character's husband is. Is dead. Don. Don is there, dead. And then, you know, wonderful headshot when he blows his brains out at the end. And just the sound of like, it's just this powerful moment where he really is like, this is the destruction of evil, you know, and he finally. Yeah, finally. And just like blasts his brains out. And I was like, good for you. I was like, good for you. This is good. [00:53:58] Speaker D: I was super interested in Jeremy's character the entire movie. For some reason, he stuck out to me the most. Jeremy's our main guy. [00:54:04] Speaker C: Jeffrey. No, you're good. [00:54:06] Speaker D: I got the J. Jeffrey. [00:54:08] Speaker A: Yes. [00:54:09] Speaker D: Because he wasn't like, the most charismatic person ever, which, like, movies usually do. Like, the main person, like, super charismatic. Like, he wins everything. Like, there was an awkwardness to him as well, and, like, an innocence and a childlike sense to him because he's like some college kid, but he's weirdly smooth, like, with his girlfriend Rosalina. Like every woman in this movie. [00:54:33] Speaker C: Yeah, they're all attracted. [00:54:34] Speaker D: Wants him and is attracted. [00:54:35] Speaker B: Well, he's handsome. He is handsome. [00:54:37] Speaker D: And, like, the way that he deals with these goons is also cool because he's like. He's like, no, I don't want any part of it. But they're like, beating the shit out of him and he's just, like, kind of taking it. [00:54:48] Speaker B: Yeah. [00:54:48] Speaker A: And then he punches. [00:54:49] Speaker B: That was nice. [00:54:50] Speaker D: Yeah. [00:54:50] Speaker A: I'm like, okay, good for you. [00:54:53] Speaker D: I was on my toes with this character. Like, I didn't. I couldn't predict what he was going to do, which I liked because I can usually predict these, like, weird character roles. Like you said, like, his characters are complex, and I could get behind that whether or not I liked the movie. His characters had a spontaneity to them [00:55:11] Speaker C: that I liked his character. Oh, were you gonna say something? [00:55:14] Speaker B: No, go ahead, Go ahead. [00:55:15] Speaker C: There's a lot in a movie that we talked about earlier on our podcast, and you guys should go listen to the episode under the Silver Lake. His character in under the Silver Lake, Andrew Garfield's character, reminds me a lot of good. Of this character. And. And there's kind of influences there because they're both kind of like. Like modern day noir movies. And you have, like, a character who's not at all a noir detective, doesn't have all the dipping their toes and, like, everybody's telling them to stop. [00:55:42] Speaker B: Yeah. [00:55:43] Speaker C: Like, don't do it. Don't go. Stop. Stop trying to find out the answers. But they still try to find out the answers. And in many ways they're similar in that they don't really have, like, a purpose because. [00:55:51] Speaker A: Freeze. [00:55:52] Speaker C: Just kind of here. Like, we're one unemployed friend. [00:55:55] Speaker A: Yeah. [00:55:55] Speaker C: Yeah. A huge murder mystery in my hometown. [00:55:58] Speaker D: No, that's a good comparison. [00:55:59] Speaker B: It's a very good comparison. [00:56:01] Speaker C: They're both voyeurs. [00:56:02] Speaker B: Yeah, they're both voyeurs at. Fantastic. Yeah. I mean, he's watching from his balcony. Jeffrey's watching from the closet. He's in the closet. [00:56:13] Speaker C: The. [00:56:14] Speaker B: They both seem like kids pretending to be adults or, like, in a sense of, like, faking it before they make it, you know, like, they're going on this dark journey and, like, they may Come out more of an adult at the end, certainly in this one, because it's kind of. He becomes the. The patriarch of the family. He's the one who's being waited on at the end when it's like, your dinner is ready and everybody's kind of, like, around him. And, like, even their parents are kind of like. They're like kids playing, like, you know, like they're playing games over in the corner. Like, his dad is like. It's so, like, super happy where he's like, I feel much better, son. [00:56:46] Speaker C: How you doing, dad? [00:56:46] Speaker B: How you doing, dad? And it's like he kind of. It's almost like he went through that journey and he became the adult. Whereas in under the Silver Lake I had my questions, he still seems. He seems even scumbag year at the end of that one than he was at the beginning. That's very good comparison there. [00:57:02] Speaker C: That's probably one of my best comparisons that I've had on the show. [00:57:07] Speaker D: But the ending is very 1950s with that. [00:57:10] Speaker B: Yes. [00:57:10] Speaker D: Even in those, like, 1950s movies, how people. They act like that. They're like, oh, thank you, son. I had a good day. How was your day? [00:57:17] Speaker B: Yeah, and. And it's so super happy, you know, like, not. Not just that the way that they're all in a better place, but, like, even the robin shows up from her dreams holding the bug in his mouth. So basically they vanquished evil. And. And I was. I was waiting for him. I was hoping he wouldn't do it. I was waiting for some sort of like. Like. Like, shoe to drop, like the other shoe to drop. And, like, he just kind of left it straight, like, this is a happy ending. There you go. I don't know if it was sarcasm or something, but I think kind of what you were talking about, where he has that certain innocence and childlikeness to him, that I feel that he was just like, this is my happy ending, and that's it. [00:57:56] Speaker D: I kind of like that compared to Eddington, though, because in Eddington, it was like, the darkness is overwhelming and there's no getting away from it. And the underbelly is just there. And it's gonna get you in this one. It was like, there is an underbelly [00:58:10] Speaker B: to humanity, but you can vanquish it. [00:58:12] Speaker D: But you can get away from it. [00:58:14] Speaker B: Yeah. Or you can defeat it. [00:58:15] Speaker D: Yeah, you can defeat. Or you could just, like, choose to not get involved in it. [00:58:19] Speaker A: Black and white. [00:58:20] Speaker D: Yeah. [00:58:21] Speaker C: Which is rare for him. [00:58:23] Speaker D: Yeah. [00:58:23] Speaker B: That. I was very, very surprised for that. No, I mean, from what we were [00:58:28] Speaker D: saying here the one David lynch movie I saw. I'm an expert, guys. [00:58:32] Speaker B: But it was also interesting that, that because it's so hyper real that like I, I, I laugh because like if this were reality, this is completely ridiculous. But when, when Sandy and Jeffrey start making out in the hallway of like there's a room with a guy who's like dead, alive with his brains hanging out. He just shot another guy's brains out. There's all this gore and viscera and they're just like making out in the hallway. Like we're so happy. They do something interesting. I'm sure you guys noticed that he kind of fades to white. Like, like a light kind of appears above them and they fade to white. Don't really know, you know. And then, then it kind of cuts from that white to going out of Jeffrey's ear into that sort of perfect ending. I'm not really sure what to make of that. Like if, if he was sort of saying this isn't real or. Because even. What's that? [00:59:18] Speaker A: You think it was like an illusion? [00:59:20] Speaker B: Maybe. Maybe. I hope not. I, I think that you can take it as you would like to. I, I prefer taking it as just straightforward. [00:59:25] Speaker A: I agree. I think it's nothing crazy. It's just simple story. [00:59:31] Speaker B: Yeah. It's just, it's just, it ends in the, in the 50s happy way that, that you would expect a 50s film to end. [00:59:39] Speaker C: He even like spoon feeds you like the callback because he's like, I guess the robins did take out the darkness. It was like. [00:59:45] Speaker B: They do say it, right? Yeah, yeah. [00:59:48] Speaker A: And then he has a little, the lights out when Frank gets shot in the head. [00:59:53] Speaker B: Frank gets shot. [00:59:54] Speaker A: Yeah. There's like an image where just lights just go out. [00:59:57] Speaker B: Oh, I didn't, I didn't catch that. [01:00:00] Speaker C: Yeah, like, like a flash to the, to the lights. [01:00:02] Speaker A: No. And it's like an actual bulb and it just like turns off. [01:00:05] Speaker C: Oh. [01:00:07] Speaker A: Very simple stuff like that. That's why I still like, he was just like experimenting more and more with that before he goes full. [01:00:13] Speaker B: Yeah, that's what I liked about it was that you're sort of seeing him like he's going a little, there's some weirdness. There's some, you know, like you said, all those David Lynchian things are there, the, the anxiety feeling, but it just kind of like it's still a pretty damn simple story with a happy ending. And, and I, I just appreciated that in the moment we see the kid [01:00:31] Speaker D: run into like Dorothy's arm. [01:00:33] Speaker B: Oh my gosh yeah, Jessica was asking about that. She said that I was just so. Because it's in slow motion. It's like very gauzy that she was like, is that real? And I was like, I don't know. You know, I'm going to take it at face value and be like, sure. [01:00:44] Speaker D: I think like the rest of the movie, it was just him spoon feeding us and being like. And everybody lived happily ever after. She has her kids. [01:00:50] Speaker C: They did a Better man moment. They just fixed everything. They patched everything up. [01:00:55] Speaker D: Your trauma disappeared. [01:00:57] Speaker C: Have you listened? Oh, no, we haven't posted our Better man episode yet. [01:01:00] Speaker A: No, I haven't. Did you guys post it? [01:01:02] Speaker B: No, no, we imposed. Okay. [01:01:04] Speaker C: You should listen to our Better man episode because I know you enjoyed it. We spent like an hour. [01:01:08] Speaker A: That was fun. That was a fun movie. [01:01:10] Speaker B: Cool. [01:01:10] Speaker C: Okay, cool. Okay. Just one more thing. In spite of all, like the simplicity, one thing that always gets me every time I watch the movie, always catches me off guard, is that the whole time the well dressed man was just Frank in a costume. And when he shows up at the beginning, it just take takes off the eyebrows and the hair. I was like, dude, that did not look like. [01:01:33] Speaker B: Yeah. I mean, even when I saw the picture, I was like, that's Frank. Yeah. Really? [01:01:36] Speaker C: It was clear to you? It was never clear to me when I watched the movie. [01:01:39] Speaker B: It was also because there was just nobody else there. And I'm like, you know, what else are you gonna. You know, what else are you gonna do? [01:01:44] Speaker C: True. [01:01:45] Speaker B: Let me check my notes. [01:01:46] Speaker D: I mean, I was gonna say notes [01:01:48] Speaker B: with a G. Good notes. [01:01:50] Speaker D: I like that. Although it's really simple and the plot line is straightforward, it's not basic because I feel like that's a hole a lot of directors can fall into when they try and make a digestible movie. It ends up being like really basic. But this one was weird enough that I was on my toes without being super confused as to what he's trying to say. [01:02:11] Speaker A: Yes, his later works go. [01:02:13] Speaker B: Yeah, they go a little bit differently. [01:02:14] Speaker A: No, they go crazy. [01:02:16] Speaker B: I'm glad I looked at my notes. There were a couple things. There were two things I wanted to mention there. So we were talking about when they. When they go to this is it. I have it in my notes. So this is it. And then when they leave, so. Oh my gosh, I couldn't find his name in IMDb the guy was singing to the microphone into the. The lamp. [01:02:33] Speaker C: Mr. Suave. [01:02:33] Speaker B: Mr. Suave. [01:02:34] Speaker D: That's how we're referred to. [01:02:35] Speaker B: I know the actor's name. I just can't think of it right now. Please do. I went to IMDb and then I just kind of got lost in conversation again. [01:02:43] Speaker D: The. [01:02:45] Speaker B: When they decide to leave, they're like, I think, like, Frank. Frank Booth is someone like. Like, let's go. Let's get out of here. And like, it jump cuts to it. He just disappears from the frame. [01:02:55] Speaker A: Yeah. He says it. I'll. Anything that moves or whatever. [01:02:59] Speaker C: Yeah. [01:02:59] Speaker A: And he laughs. And then I always wanted to know the meaning behind it. I could not find the only thing [01:03:05] Speaker B: I can think of. And this is. This is. All right, so forgive me. This is Paul gonna go down into his film theory classes. There was a Michelangelo Antonioni film director who did famously Blow up, which is. You haven't seen Blown Up Blow Up. It's kind of like a. It's. It's a mystery that. [01:03:30] Speaker D: What I. I. My brain glitched. I thought you meant, like, he famously, like, blew Up. Like, he exploded. I was like, what the. [01:03:38] Speaker B: Actually, he made a movie and I forgot the name of now, where a guy turns into a rocket and flies off into space. Not that far off. No. He did a movie called Blow up, which is. It came out in the 60s and it has that sort of like, hippie ish, free 60s vibe to it. And the protagonist is a photographer, and he's. Again, it's a detective story that is he's trying to find the. Who a murderer. He's trying to find someone who committed a murder. And it is. It famously ends with him going to a tennis court and a bunch of clowns show up and they start playing, like, fake tennis. And it's just this whole, like, you know, analogy, sort of like metaphor of an ending. And at the end of the very last shot, he's on a tennis court and, like, the ball rolls to him and he picks it up and he kind of looks at it, and then he disappears from the frame, like, so the background stays and then he disappears. And I remember my film school teacher was going on and on about what it means for him to disappear. And this seemed to mimic that. That, like, almost exactly where he just. The guy disappears from the frame. I wish I could go into bigger detail as to why that happened, but it reminded me of that. And I wonder if that was just him kind of having fun and. And doing a callback to Antonioni's Blow [01:04:48] Speaker A: up, possibly again with him. You never know with him. [01:04:53] Speaker C: Yeah. [01:04:53] Speaker B: It seems like he would be a Blow up fan. [01:04:55] Speaker A: Yeah. [01:04:55] Speaker B: You know, he's just doing it for Fun. I. You know what? I think he did do it just as, like, it was just a fun gag for him. We're like, you know, because again, like, he just disappears from the frame. Like the background's there. He just is like, time to. He disappears. The other thing I wrote under this. This made me laugh my ass off. Was when Jeffrey comes to dinner and his face is all beat up, and then his grandma is like. Is like, well, what? And she won't drop it. And then he says, he's like, grandma, I love you, but you're gonna get it. [01:05:24] Speaker A: She actually referred to him as Tobey Maguire from Spider Man 3. [01:05:28] Speaker D: Oh. Because I was watching the movie, and the way that Jeffrey acted reminded me of, like, dark Tobey Maguire. [01:05:36] Speaker A: The way that he looks just like, say. [01:05:38] Speaker B: I'm like, oh, true. That's funny. It's like, grandma, I love you, but you're going to get it. [01:05:43] Speaker D: Like, that's so. Something dark. [01:05:45] Speaker B: Yes. Yeah. And again, like, it makes us laugh. But I think it is sort of leaning into that idea. Like, this is. He's talking to his grandmother. Like, he's threatening her with violence. Like, the dark side of Jeffrey is coming out. Like the dark side of Tony McGuire. That comes out there. The Venom got him. And then I. I do. Did you go ahead. [01:06:03] Speaker C: No. I just had a note about the drug that this guy was taking that Frank Booth was taking. So apparently. [01:06:09] Speaker A: Huh. [01:06:10] Speaker C: Apparently when they first wrote it, they had agreed that it was helium. And they were like, oh, and he actually wanted him to use helium. And then I think later on. What's his name, the actor, Dennis Hopper said it's amyl nitrite is the drug. Like, they agreed that it was that. Like, they never said what it was. They just had, like a head cannon about what was. What it was. But, yeah, they wanted him to use actual helium. [01:06:29] Speaker B: They did. And then they were like, when he would start speaking with the high voice, they're like, everybody's gonna laugh and won't be scared of him anymore. So that's what he changed it to, that one. [01:06:35] Speaker C: He was supposed to make his voice. Voice sound like a little kid. [01:06:37] Speaker B: Yeah, Right. Which kind of play into. [01:06:39] Speaker C: Yeah, but that didn't work. [01:06:41] Speaker B: But I think we would all laugh if we heard it. So it's kind of. It's kind of good that they didn't use that. [01:06:44] Speaker C: It also would have been, like, too much. Like, there's just so many scenes where he's. Where he's taking it. [01:06:48] Speaker B: Yeah. Two things. I just. Just random trivia that I Read that just made me laugh. Was that when that the. The central scene that we all. That we were talking about that really horrific sexual assault. There is the moment when it sounds terrible that I'm laughing, but you have to think about the behind the scenes. So, like two things. David lynch apparently was laughing his ass off during the takes when Elizabeth Rossi was like, huh, why are you laughing? And then the other one was when Dennis Hopper comes in. So when Frank Booth comes in and he's like, spread your legs. And she spreads her legs. They had just met that date, Isabella Rossellini and Dennis Hopper. And then. And Dennis Hopper didn't notice she wasn't actually wearing underwear for that scene. So he just met her. So when he's looking at her, he's seeing everything. No, so that was, that was like. That's so kind of. [01:07:40] Speaker A: He just had a stone face. [01:07:41] Speaker B: The entire thing. Great acting, great acting. [01:07:44] Speaker C: Oh, that's horrible. [01:07:45] Speaker B: Yeah. And you guys know that lynch and Isabella wrestling were like. [01:07:50] Speaker A: They were a couple. [01:07:51] Speaker B: Yeah, they were a couple for four years. And they were like engaged for four years. And I was like, bro, yeah. Or get off the pot. I mean, like four years of engagement with Isabella Ross Lee to get married finally. [01:08:00] Speaker C: Yeah. He has a daughter now, Jennifer Lynch. Is that her name? [01:08:05] Speaker A: Yeah. [01:08:06] Speaker C: Okay. [01:08:06] Speaker B: Yeah, I remember she did boxing Helena. Okay. [01:08:09] Speaker C: And he has another daughter. He has two, right? He's a little one. [01:08:12] Speaker B: Yeah, he's a young. Because like the older is with another Lynch. Well, she's. She's made movies already and they've been as weird as his. [01:08:18] Speaker C: I think she's the one that put up the statement when he passed away. Just another piece of trivia that I found out this morning. So the, the guy who did like the score for the music. Yeah. But lamenti. Yeah. That they like work together. It's really sweet because I saw a video of him talking and he's like. [01:08:34] Speaker B: Scores all of his movies. [01:08:35] Speaker C: Yeah, yeah. [01:08:35] Speaker B: Or almost all. [01:08:36] Speaker C: And he. There's a video of them of him talking and he talking about David lynch and he's like, oh, like, we're not. We don't have the same parents, but I consider him to be a brother. Like, we've never had any arguments. And he is in the background playing the drums when she's singing in the opening scene. [01:08:49] Speaker B: Oh, nice slow club. And I will say, I think that's a great segment for what I was. The last thing I wanted to mention was that fucking song that, that they play throughout the finale. Like when Sandy and Jeffrey get together at the Party. [01:09:01] Speaker C: The one that they're making out. [01:09:02] Speaker B: Yeah. It's such a great song. That's all I have to say it is. It's this, like, kind of ambient, almost shoe gazy, and there's like, ethereal woman singing over it. And, like, it plays at the party, and then it plays again in the finale. [01:09:16] Speaker A: He does that. A lot of love if you ever saw Twin Peaks. [01:09:21] Speaker C: Oh, yeah, sorry. [01:09:22] Speaker A: No, I think that's exactly what it is. If you remember the reveal of the killer for Laura Palmer. [01:09:28] Speaker B: It's. It's funny because. Okay, okay, quick story. So I didn't watch Twin Peaks, but everybody was talking about it. And so when they had, like, who's. Who killed Laura Palmer? I watched the episode for some reason because, like, but, like, I. I was young, and I didn't get that. I didn't get the context, so why would I care who killed her? But I watched it anyway. And so, like. But it was so lynchy and that I couldn't tell who did it. So I saw that episode for a second. I'm like, what? So I saw the episode. I don't know who did it, but. Okay, go ahead. Sorry. So, like. [01:09:58] Speaker A: Yeah, exact music plays every single time there's something creepy going around. [01:10:02] Speaker B: But in this one, I thought it was just really beautiful. [01:10:04] Speaker A: No, this one just. Just. [01:10:05] Speaker B: I just love that song. And I think it was a. I think bad elemente did have something to do with that song, I think. [01:10:11] Speaker C: I'm not sure. So I'm looking at the soundtrack now, and the last two songs in the movie are Love Letters by Keddie Lester and then Mysteries of Love by Julie Cruz, I think. Last one, I think. Sure. Well, I'll clip it in for a few seconds. [01:10:24] Speaker B: Nobody else had that reaction to that song, I thought. [01:10:26] Speaker C: Yeah, I thought it was a good song. [01:10:27] Speaker B: Yeah. [01:10:27] Speaker C: Maybe not. Maybe not. [01:10:28] Speaker B: As your. [01:10:29] Speaker C: That's good. [01:10:30] Speaker B: That's good. [01:10:32] Speaker C: But. Oh, just my can just clicked. [01:10:35] Speaker B: Anyway, I'm glad you brought attention to that. That's good. [01:10:38] Speaker C: Yeah. You. Yeah, I think that's. [01:10:45] Speaker B: I think we. We covered a lot of it. Anybody else have any. Anything else you want to add to that? [01:10:50] Speaker A: Do you guys know the. The meaning behind his character that he might have been abused? Frank Booth. [01:10:57] Speaker C: Oh. [01:10:58] Speaker B: Oh, yeah. I mean, that was the. The. Everything, the. The yelling mommy. All this kind of stuff. Kind of, to me felt like he. That was coming from his own abuse. [01:11:08] Speaker A: Right. And also the. The lyrics is behind Blue Velvet and why he put gags himself with the blue. [01:11:14] Speaker B: Okay. No, I don't know that. So you Tell us about that. [01:11:17] Speaker A: The song Blue Velvet was. Is a song about a past love lover. [01:11:20] Speaker B: Okay. [01:11:21] Speaker A: And I don't know too much of it, but I'm just gonna delve a little bit into it. He most likely had an incestuous relationship with his mother. [01:11:28] Speaker B: That's what I figured. [01:11:29] Speaker A: Yeah. And he. That Blue Velvet. That's why he puts Isabella Rossellini as a stand in for his mother. [01:11:35] Speaker B: Right. [01:11:36] Speaker A: And he. When he puts the blue velvet in his mouth, it's him reminding himself of the past lover, which is his mother. [01:11:42] Speaker B: That's good. [01:11:43] Speaker A: And it makes sense. Same thing with him being abused by his father as well. That's why he takes on the two roles of the baby and then the daddy. [01:11:50] Speaker B: Right? Okay. [01:11:51] Speaker C: Yeah, yeah. Was that. He says, he's like, it's not baby, it's daddy. Oh, that's so good. I'm going to just clip in random times of him screaming in there. [01:12:00] Speaker B: You should do it. Yeah. Let me see if I have anything else. Yeah, it's fine. [01:12:06] Speaker C: We're going to leave all this silence in because we're very professional here. [01:12:09] Speaker B: That's what it is. [01:12:10] Speaker C: We. We know what we're talking about. Yeah. [01:12:12] Speaker B: All right. I think it is now time. [01:12:14] Speaker C: Yeah. [01:12:15] Speaker A: To. [01:12:16] Speaker B: To bring Bow in. [01:12:17] Speaker C: Oh, German, you're gonna get to pick our next movie from the bowl. [01:12:20] Speaker A: Oh, here we go. Yeah. I'm excited. [01:12:23] Speaker C: This was good. This was our first. That was our second guest on the show because we had Stephanie. Oh, no, Bo is here. [01:12:30] Speaker B: Hey, guys. [01:12:32] Speaker C: Hey, Bo. Today we have our very special guest that we're all very thankful for being here. German. [01:12:38] Speaker A: Yes. [01:12:41] Speaker B: Oh, I'm so glad you're here. You know, I'm a little mad that you guys didn't invite me for the last episode. [01:12:49] Speaker C: Well, because we did Eddington. [01:12:51] Speaker B: Yeah. And I went to see it because you loved it. Yeah. You know what I thought of it. [01:12:54] Speaker C: What did you think? [01:12:55] Speaker B: I was bowled over. [01:12:57] Speaker D: Wow. [01:12:59] Speaker C: Yeah. Fuck you both. Okay, German is gonna reach inside of you now and make another movie. Make sure to shake it up. Yes. [01:13:11] Speaker B: Just grab one, will you? [01:13:13] Speaker C: The jackpot. What? [01:13:14] Speaker A: Drum roll and the movie will be Past Lives. [01:13:20] Speaker B: Oh, all right. [01:13:21] Speaker C: By Celine Song. [01:13:22] Speaker B: Excellent. [01:13:23] Speaker C: Who put that in there? Me, it was you, I think. [01:13:26] Speaker B: So I asked permission. [01:13:27] Speaker D: Was that another Paul choice? [01:13:29] Speaker B: Yeah, I. I think I put that in there. [01:13:30] Speaker A: We saw that movie. [01:13:32] Speaker D: We did. [01:13:32] Speaker B: Yeah. [01:13:34] Speaker D: That shows my memory. [01:13:37] Speaker C: It's like the love triangle, Right? So three of them. [01:13:39] Speaker B: Yeah, yeah, yeah. [01:13:40] Speaker A: I definitely saw it, but I'm pretty sure you were there. [01:13:42] Speaker B: It's the same director of Materialists, which you guys saw. [01:13:45] Speaker C: Seline Song. [01:13:45] Speaker B: Selan Song. [01:13:46] Speaker D: Okay. [01:13:47] Speaker B: And the star is in Tron Aries. [01:13:48] Speaker D: So I'm excited to watch it again. Apparently. [01:13:52] Speaker B: Didn't know that. [01:13:54] Speaker C: So now I have to rewatch this. And maybe I'll watch Materialist. [01:13:56] Speaker A: Now. [01:13:56] Speaker C: I've heard good things. [01:13:58] Speaker B: Maybe we can do like a double shot. [01:13:59] Speaker C: That'd be cool. [01:14:00] Speaker B: Thank you, Bo. [01:14:01] Speaker C: Yeah. [01:14:01] Speaker D: Bye, Bo. [01:14:02] Speaker C: Bye, Bo. [01:14:02] Speaker D: Bye, guys. [01:14:03] Speaker C: Bye. [01:14:03] Speaker A: Bye. [01:14:03] Speaker C: See you. [01:14:06] Speaker B: All right. Successful. [01:14:07] Speaker C: That was fantastic. [01:14:08] Speaker B: Yeah, Yeah. I always love when Bo comes by. I've actually understood that. So we. I was a miss. I misunderstood. I thought Bo was spelled Bo, like body odor. Apparently he wants it to be spelled B, A, E, U. That's B, E, A, U, you dumb. Okay. B, E, A, U. I'm sorry. Sorry, Bo. So, yeah, so Bo is actually like. Bo is afraid. [01:14:31] Speaker C: Nice. [01:14:32] Speaker B: Yeah. He's a big Ari Oster fan. [01:14:34] Speaker D: Yeah, apparently. [01:14:35] Speaker B: Yeah. Yeah. I mean, you heard it. [01:14:36] Speaker C: Yeah. [01:14:36] Speaker B: You heard what? How he thought about. [01:14:37] Speaker C: About editing. [01:14:38] Speaker B: About Eddington. [01:14:38] Speaker A: Yeah. [01:14:39] Speaker B: I mean, that's better than Stephanie. I felt about it. All right, let's go ahead. And so we have our movie for next week. We are gonna go around the table. German, you're gonna be joining us in on this with us. We. We're gonna give it out of. This is gonna be tough for you. No, no, I know it's gonna be difficult. [01:14:57] Speaker A: It's four Pauls. [01:14:58] Speaker B: It's 4 Pauls. Yeah. 4 Paul's being the best. [01:15:00] Speaker D: Yeah. [01:15:01] Speaker B: So we're gonna give it a number of pauls out of Paul's. Out of four Pauls. Let's. Do we want. Do you want to go last? [01:15:07] Speaker A: Yeah, sure. [01:15:07] Speaker B: Okay. Stephanie, you go first. Watch this, you moron. [01:15:12] Speaker D: Oh, sorry, I wasn't paying attention. [01:15:16] Speaker B: We're on the pause. [01:15:17] Speaker D: I was so focused on you continuously going, we gonna. [01:15:21] Speaker B: Is that what I was doing? [01:15:22] Speaker C: Sorry. You're laughing because you get like, twice. [01:15:24] Speaker D: We gonna do this. [01:15:26] Speaker B: Yo, we going, hey, guys, we gonna do this. [01:15:28] Speaker D: This. [01:15:28] Speaker B: We're going to do this. Is that what I was doing? Like, hey, we going to do it? [01:15:32] Speaker D: Kind of. [01:15:33] Speaker B: Hey, if you're going to do it, do it. If you're not going to do it, don't do it. [01:15:36] Speaker D: We going to do this now. I was, like, locked in on that. [01:15:41] Speaker B: I'm sorry. I was trying to keep the podcast moving, but that's fine. How many Pauls do you give it out of four? [01:15:46] Speaker A: Ooh, [01:15:49] Speaker D: I'm going to give it 2 out of 4 pauls. [01:15:51] Speaker A: Okay. [01:15:51] Speaker B: All right. [01:15:52] Speaker D: It was average to me, but I [01:15:55] Speaker B: appreciate its Value, Stephanie, you're average to me. [01:16:00] Speaker D: Hey, Paul, can you do me a favor? [01:16:02] Speaker B: Yeah, yeah. You want me to go? [01:16:03] Speaker C: Yourself? [01:16:04] Speaker B: Myself? I'll step outside. [01:16:07] Speaker C: I was gonna give you crickets for. For your reading anyway. [01:16:12] Speaker D: Sorry, Lynchians. [01:16:16] Speaker C: All right, Paul. [01:16:17] Speaker B: I'm gonna give it four out of four balls. I will down to that. [01:16:20] Speaker C: I will join you in four out of four Pauls. And last but not least, Germany. [01:16:23] Speaker A: I'm actually gonna give it a four out. [01:16:26] Speaker D: Surrounded by freaks. [01:16:28] Speaker C: You guys are freaks. [01:16:29] Speaker B: We are freaks. Shinji, how many Pauls are you giving? He looked at me when I said his name. How many paws are you going to Give Blue Velvet? 4 out of 4. Okay. [01:16:37] Speaker C: Why did you give him an accent? [01:16:38] Speaker B: All cats have accents. You don't know that. [01:16:40] Speaker A: Lick yourself if it's four. [01:16:42] Speaker C: He stopped. He stopped. [01:16:44] Speaker B: He stopped. No. I hate this movie. I don't want to watch Blue Velvet. [01:16:48] Speaker D: That's my boy. [01:16:49] Speaker C: The way he's sitting right now is so. Lian. [01:16:54] Speaker B: He's looking at you. All right, now we're gonna. We're gonna end the episode. [01:17:00] Speaker C: We should do this one in unison. [01:17:01] Speaker B: Okay? Yeah. So as we end every episode, we either say, watch this in a positive way to indicate you should watch this movie, or we say, watch this in a negative way, which can be to everybody's own way of. Out of negativity. Apparently, they were mocking the way I say watch this when I'm negative. Negative. Maybe it was the body motions I did. It involved this. You don't have to do that German. You have to do to suck it. [01:17:25] Speaker A: I'll do it. [01:17:26] Speaker B: Yeah, okay. You don't have to because you like the movie. So we just say positively. So we're gonna take us out. Actually, let me get the. What music? We're just gonna end with Blue Velvet. [01:17:35] Speaker C: Again, I was gonna say we should end within dreams, but I agree. [01:17:37] Speaker A: I agree. [01:17:38] Speaker B: Okay. So waste some time while I look for in dreams. [01:17:43] Speaker D: How you doing, Shinji? [01:17:44] Speaker B: I'm doing okay, thank you. [01:17:45] Speaker A: You. [01:17:46] Speaker D: Are you a little German boy, Shinji? [01:17:47] Speaker B: Yes, I am a little. I'm a little German. I want. Why do I not have Ler Hosen? [01:17:52] Speaker A: I want Leni and Bo and me for sure. [01:17:54] Speaker C: Oh, yes. I think Shinji would, like, try to crawl inside of Bo. [01:18:00] Speaker D: It's a terrifying picture you just drew. [01:18:05] Speaker B: All right, I have In Dreams playing in the background from Roy Orbison. Is that correct? That's the song we're talking about. Okay. Correct. So as I start fading up the music, let's go ahead in unison whether. Give our watch this rating? 3. [01:18:17] Speaker A: 2. [01:18:18] Speaker B: 1. Hey, watch this. That made absolutely no sense. Here's the music. [01:18:22] Speaker C: It's fine. They get the idea. [01:18:23] Speaker B: Yeah, I think so. Bye, everybody. [01:18:27] Speaker A: They gotta dance.