The little old people to me embody the perceived hopes and expectations of others back home and show up to remind Diane of what a failure she imagines herself to be and that's what ultimately drives her over the edge.
Diane doesn't exist. She is part of Camilla's fever dream. Diane represents the blonde girl who Camilla [the archetypal Hollywood femme fatale] murdered for stealing her part in the film, and for stealing her boyfriend.
The crying/masturbating scene was disturbing but we were laughing because my friend had an ongoing joke about when you go through a breakup and you wind up so fucked-up you're lying in bed crying and masturbating at the same time... and Lynch put his joke in a movie! Also, on one level, Mullholland Drive simply takes the leading man out of the Film Noir and makes the good girlfriend and the bad girlfriend fall in love. Just on that level it's fucking brilliant.
The old guy she had to kiss at the audition was the same guy that caused Lily Tomlin to walk off the Dick Cavett Show. I've always wondered if that was intentional.
Scariest scene : (to me) When they come home from the theatre and get the Blue Box out. Then Betty just vanishes from the room...... as Rita calls out her name and is looking around . The sense of DREAD is friggin' off the charts ....
I politely disagree with Rémy on L.A. having the darkest vibes in the world. I would like to nominate the woods of Souther Oregon to hold that mantle. L.A. is like a junkie that went to treatment, found spirituality, and mostly but not completely got their life back together. The woods of Southern Oregon is where cults go to find their most fervent members, it is the wellspring of darkness.
It was inspired hyperbole. I think Chernobyl is probably pretty fuckin' dark. But LA is hiding darkness under the veneer of the "brightest" place on Earth.
I’ve been to LA but not the backwoods of Oregon. I can imagine dark spaces in both urban and rural environments. Your description of Oregon sounds like the mysterious woods of twin peaks.
You could do one hour on just the audition. Completely agree, 10 years of auditions, Naomi channels all of that into some of the best acting you will see.
I remember going to see this in the theater and coming out with my brain on fire. Seeing Lynch’s work on the telly (even a huge one) *never* does it justice. I’m ready for a revival
That was really great! Thanks for talking about this film. An audio commentary would be welcomed. I always go back to Lynch's concept of the "eye of the duck" scene which I believe to be the dinner party at the end. It's Diane's breakdown and you get to see where she got everything from. The cowboy is the last thing she sees before Adam and Camilla announce their engagement. It turns out he was just some passerby while she was at her most vulnerable, so she made The Cowboy into the ring leader, so to speak. I also think the reason why Angelo Badalamenti spits out the espresso is because that's what Diane thinks of Adam and Camilla's relationship. It's supposed to be the best drink ever and it just makes her wanna puke.
I'm surprised you didn't speak on the opening of Muholland Drive - the jazz the visuals the dancing the dissolving into the old people it's fantastic and the Winkies scene same for me I think I have watched that scene a thousand times it always use to scare me it's just great
Am i the only one who would like to see a conversation between David Lynch and Werner Herzog? Iconic filmmakers with iconic voices. It's nice seeing you guy all together instead of being floating heads.
Angelo looks so much like Vito Corleone, while his character spits out the espresso. Merely sitting there, sulking, he’s a nondescript mafioso. Cue the *spit take*, and his facial expression somehow morphs into Vito’s
I watch Mulholland Drive at least once per year, on principle. Gets better every time. And now I’m going to watch you beautiful people talk about it for one fucking hour.
1:02:33 Speaking of… When Diane says, “Camilla, you came back,” she could be alluding to several factors. One: She is fantasizing that Camilla isn’t dead, after all. Two: Camilla’s inviting Diane to a party is a glimmer of false hope that her fling with Adam never happened, and the two will reconcile
Just want to say that this is my all time favourite film. It has a penthouse suite in my head for the rest of my life Another great moment of empty space is in the scene where Rita opens the box after Betty disappears, the whole time there’s this shadowy room across the hallway that always draws my eye to it I think that The Cowboy is kind of a higher part of Diane’s mind trying to say to her to stop living in this fantasy and come to terms with everything that happened with Camilla and the guilt of what she did.
Your discussion/analysis was great. I was impressed with how you saw the devil/evil in all the details. I will offer my take. The hobo is like the devil himself. Lucifer was kicked out of his home and cast to Earth and is now named Satan. All the people you identified are his servants (whether knowingly or unknowingly). Some are demons (the cowboy, the old couple, Angelo, maybe some others) You noticed the old couple leaving the paperbag to terrorize/torment Betty, which is also where the blue box was. Another clue: "the history of the world in phone numbers." Demons live on someway. Hope you find this interesting. 🙋
Lynch has the knowledge, and ability to draw upon a vast collective unconscious Hollywood dream factory history that we all share about ingenues, leading men studs, and dreams of fame that largely leads people to failure, frustration, settling for B or C status, or tragedy, and show us in unnerving ways how bright lights still draw dreamers in like moths to the flame. But he does it with such artistry that we never feel like we're being taught some lesson about the pitfalls, but more we share in the journey of these starlets in the making as they step into the lion's den of an industry that will chew them up and spit them out. Lynch mines his own positive/negative duality view of the film world and realizes it through these ambiguous, unexplainable surreal characters who we can never unsee, i.e., the parking lot hobo creature, or the creepy tiny old people. Another killer breakdown and enlightening discussion of a truly captivating film by you all.
It is not Diane Selwyn's dream. The person who is dreaming is unquestionably Camilla Rhodes. It is Camilla who commits the murder of the young blonde actress who Camilla believes stole her part in the film, and stole her director boyfriend. As we know, almost all of the film is a fever dream. The person who is dreaming speaks Spanish and listens intently to an Hispanic singer. In the dream, Diane represents the young blonde girl who is murdered. It is -Diane Selwyn- who disappears in the scene where Camilla falls into the blue box. Camilla Rhodes perfectly represents the Hollywood ideal of the murderous femme fatale.
If you've worked any length of time in H'wood, you know the dark, odd stuff Lynch taps into without spelling it out explcitly and giving it voodoo names, and you know how dangerous and stunningly weird it can turn on a dime. One of my favorite films, and likely my favorite ''film about Hollywood."
Allusions to Diane’s abuse-induced PTSD: Betty’s *Sylvia North* audition with the old coot Diane forcing herself on Camilla in a flashback (?) Rita’s *silencio* nightmare monologue
I like the studio set up too. It is COZY . I wish MORE podcasters put more thought into their SETS . If I ever did a podcast ; I'd recreate a section of a vintage "old man" bar from the 1970s or 1960s.
The reason the old ppl laugh as they leave is because we are witnessing what she thinks of them - that because they believed in her, they take some fault in pushing her to her horrible end - her suicide / ego death.
''I think it's kind of, you know, what ''Babylon'' was trying to get at...'' HAHAHAHA!! Btw, I wish y'all do more of these studio set ups (tho, I also love those zoom videos), I think this is the 2nd time, isn't it? Greetings to you all, from The Netherlands.
Although it’s not his best film, I think inland Empire could be his best movie for you 4 to discuss, and that actually could better tie in and discover more of his playful celebration/critique of Hollywood
I always thought the elderly couple were her grandparents (family of some sort) who influenced her greatly as a child, instilling in her a love of older things, including the jitterbug and old Hollywood films. In the Betty Universe, they "introduce her" to Hollywood and wish her luck, and they are overly positive and act like thoughtless NPCs the moment Betty is done with them. In the Diane Universe, they are phantoms terrifying her and become the final emotional bullet that ends in her turning a gun on herself. My theory (which probably means I'm way off base) is that they were a big part of her childhood, helped create the dreams she would chase, but at some point, they were against her choice to move to Hollywood, worried she would fall prey to the city/industry. Since almost everything in Betty's universe is the happy opposite of the Diane universe, they would be the opposite of friendly, supportive strangers traveling with her to L.A. She felt the loss of their support, so greatly in fact that their failure to support her haunted her still, and I don't know if Diane recognized that. Their tiny doppelgangers were like lizard brain parts of her consciousness come out of her subconciousness and she finally saw the fullness of her failure and domes herself. "What do you think, sirs?" -TVs Frank
I'm with you in thinking the old people are most likely grandparents who introduced her to old Hollywood films. I think Betty is an embellished version of Diane before she came to Hollywood. But I feel like they supported her dream to come to Hollywood and be the great actress they thought she could be. I think it's Diane's fear of disappointing them thats haunting her. I could be totally wrong, but I'm comfortable with my theory. At the end of the day, it's open to interpretation, and as long as you're comfortable with your theory, then that's all that matters.
I'm only 6 minutes in and I have to pause to say that The Straight Story was hardly a decline; it's an amazingly great movie, which I like as much as The Elephant Man.
Did anyone notice 40s 50s song and dance queen, Ann Miller, sitting in the forground of the dining room the cowboy walks through? (51:06 of your video) Was Ann Miller in the movie?
I hope you guys do one f***ing hour on "Inland Empire" sometime. You mentioned it in passing, but I feel like you can't talk about one without the other, at the end of the day. In many ways they're like the same movie. I guess all of Lynch's films are the same movie to some extent (like the saying goes, auteurs really only have one movie in their head, and each film is just a different expression of that one abstract ideal), but I feel like "Mulholland Drive" and "Inland Empire" are especially similar, and in many ways I find "Inland Empire" to be an even more effective mindf*ck of a movie. It's literally like David Lynch recorded one of his lucid dreams with a cruddy digital camcorder and you're just watching it like a fever dream ripped from his transcendental consciousness or something.
@@clintonorman2859 For sure. And to clarify, when I say the films looks cruddy, I mean that in the best possible way. The lo-fi aesthetic makes "Inland Empire" even more surreal than "Mulholland Drive."
It's kinda wild that they made the comments at the end about what a shame it is that people only do stuff like this in series rather than self contained movies after Twin Peaks: The Return
Didn't know this podcast! This episode popped up on my feed. But let you know that I can't find your podcast easily on my podcasts app (pocket casts), I think because the cursing on the name, also that on the logo is 1 and in the name is One. Maybe I can help reporting those SEO issues
One final thought about your set: don't have everyone so brightly lit. A lot of people (probably MOST people) watch podcasts before BED to help them sleep better. Lower lighting ... Mellow mellow .....
It's funny she even mentions an Elizabeth, but fails to consider ANOTHER Elizabeth who, like O.J. Simpson, was in the news around the time Mulholland Drive was conceived, along with Diana and Camilla, the car accident, etc.
45:49 im late by 8 months. But the first time i watched this film the old people were the only thing i kind of understood. My opinion: the old people are her parents. The signify the idea of your parents being your best friend and worst enemy. She has been told her whole life she is special and beautiful and perfect. Thats why they always seem to be happy. But that's also why it seems so disingenuine as well. They have never told her that she may not succeed. She may not be the star that shines alone and bright. To me that explains why when they drive off they are almost congratulating teach other on making such a nice daughter . But even then they are still lie even to themselves and are skeptical knowing the 'Old Hollywood' that they grew up with. All the hedda hopper tobloid madness. The black dahlia stuff etc. So at the end after Diane/Betty fails at her dream AND ends someones life as well as her own, the little memory of her parents sneak in. Then what was seen as unconditional love and encouragement turns into the parents laughing at her failures and maybe laughing at her even believing them in the first place. So she ends herself...it was her parents fault shes even in this position!!..as far as Diane is concerned. Shes even tried to pawn off her insecurities and crimes upon another persona all together. Her life has always been what she is versus what she wants to appear to be in the eyes of everyone else...like all of us.
You guys were a little overdressed (somehow) and the set was too cluttered and staged, but once you got into y’all’s love for the movie, it became fun, I dug the space analogy, and the dichotomy of his love for Hollywood along with his critique, that’s more where the narratives are legit, for example, Naomi‘s audition and Angelo’s disgust with the coffee. I think you’re over-analyzing the little old people, and many of the other things, Lynch Is less reliant on all the narratives, but he knows how to place things from a subconscious level that deals with archetypes and dark and familiar language that invites the music sound and visual to connect, so you don’t need as many narratives, but there’s still a lot to go on like the way you talked about the space, and the characters’s presence and dialogue
There was no actual Camilla. She is a manifestation of Diane by Betty and she has to kill that off to go forward to the business of Hollywood. Camilla shows Diane the "short cut" to the top. Where all the beautiful people are. The Harvey Weinstein way. And there is fear of being alone in a very uncaring town, a very transactional town. Camilla is the "silly putty" of the neighbor. The neighbor that she fell in with and when that ended there was the reality of fights, anger, and separating the stuff. The positiveness of getting together to the ugliness of breaking up. The old people are the people at home. People she would have to come home to as a failure and one who did questionable things. Her death reminds me more of Margaux Hemingway who nobody missed for enough time that she had putrefied. At the end there is only one way left, silenceo.
The little old people to me embody the perceived hopes and expectations of others back home and show up to remind Diane of what a failure she imagines herself to be and that's what ultimately drives her over the edge.
Diane doesn't exist. She is part of Camilla's fever dream. Diane represents the blonde girl who Camilla [the archetypal Hollywood femme fatale] murdered for stealing her part in the film, and for stealing her boyfriend.
No, they're extremely strange, sinister and near impossible to analyze. My favorite part of the film.
It’s criminal that this is only an hour long video, I could have listened to you guys talk about this for another hour or two
The crying/masturbating scene was disturbing but we were laughing because my friend had an ongoing joke about when you go through a breakup and you wind up so fucked-up you're lying in bed crying and masturbating at the same time... and Lynch put his joke in a movie!
Also, on one level, Mullholland Drive simply takes the leading man out of the Film Noir and makes the good girlfriend and the bad girlfriend fall in love. Just on that level it's fucking brilliant.
The old guy she had to kiss at the audition was the same guy that caused Lily Tomlin to walk off the Dick Cavett Show. I've always wondered if that was intentional.
Chad Everett!! Awesome, creepy casting.
Scariest scene : (to me) When they come home from the theatre and get the Blue Box out. Then Betty just vanishes from the room...... as Rita calls out her name and is looking around . The sense of DREAD is friggin' off the charts ....
I politely disagree with Rémy on L.A. having the darkest vibes in the world. I would like to nominate the woods of Souther Oregon to hold that mantle. L.A. is like a junkie that went to treatment, found spirituality, and mostly but not completely got their life back together. The woods of Southern Oregon is where cults go to find their most fervent members, it is the wellspring of darkness.
It was inspired hyperbole. I think Chernobyl is probably pretty fuckin' dark. But LA is hiding darkness under the veneer of the "brightest" place on Earth.
I’ve been to LA but not the backwoods of Oregon. I can imagine dark spaces in both urban and rural environments. Your description of Oregon sounds like the mysterious woods of twin peaks.
It’s crazy that you guys have an hour long convo and barely scraped the surface of this film. Great discussion regardless, and thought-provoking!
You could do one hour on just the audition.
Completely agree, 10 years of auditions, Naomi channels all of that into some of the best acting you will see.
I remember going to see this in the theater and coming out with my brain on fire. Seeing Lynch’s work on the telly (even a huge one) *never* does it justice. I’m ready for a revival
The Straight Story for me is the most "Lynchian" thing. As you were ....
That was really great! Thanks for talking about this film. An audio commentary would be welcomed. I always go back to Lynch's concept of the "eye of the duck" scene which I believe to be the dinner party at the end. It's Diane's breakdown and you get to see where she got everything from. The cowboy is the last thing she sees before Adam and Camilla announce their engagement. It turns out he was just some passerby while she was at her most vulnerable, so she made The Cowboy into the ring leader, so to speak. I also think the reason why Angelo Badalamenti spits out the espresso is because that's what Diane thinks of Adam and Camilla's relationship. It's supposed to be the best drink ever and it just makes her wanna puke.
If you have a basic understanding of Lost Highway, Mulholland Drive becomes fairly straightward. They are opposite sides of the same coin.
I would go as far as to say that Lost Highway was a rough draft of Mullholland. Basically the same idea, Mullholland nails it much better.
different dreams from the same night
I'm surprised you didn't speak on the opening of Muholland Drive - the jazz the visuals the dancing the dissolving into the old people it's fantastic and the Winkies scene same for me I think I have watched that scene a thousand times it always use to scare me it's just great
Nothing comes close to his best nightmare-Eraserhead
Thanks you all! Happy holidays and I'm glad you're back!
Lynch sits at the same table as Kubrick and Hitchcock. A man amongst equals. Genius.
NAOMI WATTS THEN!! NAOMI WATTS NOW!! NAOMI WATTS F O R E V E R!!!!
Am i the only one who would like to see a conversation between David Lynch and Werner Herzog? Iconic filmmakers with iconic voices.
It's nice seeing you guy all together instead of being floating heads.
They actually made a movie together: "My Son, My Son, What Have Ye Done". I would've loved to be a fly on the wall for that production!
I wanted to like that movie... wanted... @@Sam-lm8gi
@@Sam-lm8giright? lol.
Angelo looks so much like Vito Corleone, while his character spits out the espresso. Merely sitting there, sulking, he’s a nondescript mafioso. Cue the *spit take*, and his facial expression somehow morphs into Vito’s
I watch Mulholland Drive at least once per year, on principle. Gets better every time. And now I’m going to watch you beautiful people talk about it for one fucking hour.
Just started watching the podcast after finding your episode on Cruising a few days ago. Just wanted to say that I love the show!
Thank you!
Cruising.👍
I just found them too and like what I see.
1:02:33 Speaking of… When Diane says, “Camilla, you came back,” she could be alluding to several factors. One: She is fantasizing that Camilla isn’t dead, after all. Two: Camilla’s inviting Diane to a party is a glimmer of false hope that her fling with Adam never happened, and the two will reconcile
Just want to say that this is my all time favourite film. It has a penthouse suite in my head for the rest of my life
Another great moment of empty space is in the scene where Rita opens the box after Betty disappears, the whole time there’s this shadowy room across the hallway that always draws my eye to it
I think that The Cowboy is kind of a higher part of Diane’s mind trying to say to her to stop living in this fantasy and come to terms with everything that happened with Camilla and the guilt of what she did.
Glad y'all liked The Curse (maybe?). Ive heard no one talk about it.
Badass studio
Your discussion/analysis was great. I was impressed with how you saw the devil/evil in all the details. I will offer my take.
The hobo is like the devil himself. Lucifer was kicked out of his home and cast to Earth and is now named Satan. All the people you identified are his servants (whether knowingly or unknowingly). Some are demons (the cowboy, the old couple, Angelo, maybe some others) You noticed the old couple leaving the paperbag to terrorize/torment Betty, which is also where the blue box was. Another clue: "the history of the world in phone numbers." Demons live on someway. Hope you find this interesting. 🙋
The Winkie's is actually a Denny's which just happens to be on Sunset Boulevard.
Lynch has the knowledge, and ability to draw upon a vast collective unconscious Hollywood dream factory history that we all share about ingenues, leading men studs, and dreams of fame that largely leads people to failure, frustration, settling for B or C status, or tragedy, and show us in unnerving ways how bright lights still draw dreamers in like moths to the flame. But he does it with such artistry that we never feel like we're being taught some lesson about the pitfalls, but more we share in the journey of these starlets in the making as they step into the lion's den of an industry that will chew them up and spit them out. Lynch mines his own positive/negative duality view of the film world and realizes it through these ambiguous, unexplainable surreal characters who we can never unsee, i.e., the parking lot hobo creature, or the creepy tiny old people. Another killer breakdown and enlightening discussion of a truly captivating film by you all.
I still haven't had my second viewing of this movie because it had so much of an impact one me. It may end up being a once is enough thing.
That is one of the most disturbing things I've ever read.
@@MrOctober44 I've watched it again and it was even better because I'm a different person than I was when I first saw it.
@@marcus_ohreallyus how did you see it before in cpmparison? How did life experience change your perspective?
Absolutely f@@@@@g brilliant! REALLY great approach. Greetings from Athens, Greece.
It is not Diane Selwyn's dream. The person who is dreaming is unquestionably Camilla Rhodes. It is Camilla who commits the murder of the young blonde actress who Camilla believes stole her part in the film, and stole her director boyfriend. As we know, almost all of the film is a fever dream. The person who is dreaming speaks Spanish and listens intently to an Hispanic singer. In the dream, Diane represents the young blonde girl who is murdered. It is -Diane Selwyn- who disappears in the scene where Camilla falls into the blue box. Camilla Rhodes perfectly represents the Hollywood ideal of the murderous femme fatale.
I just discovered your channel. And, it's fucking great.
If you've worked any length of time in H'wood, you know the dark, odd stuff Lynch taps into without spelling it out explcitly and giving it voodoo names, and you know how dangerous and stunningly weird it can turn on a dime. One of my favorite films, and likely my favorite ''film about Hollywood."
Allusions to Diane’s abuse-induced PTSD:
Betty’s *Sylvia North* audition with the old coot
Diane forcing herself on Camilla in a flashback (?)
Rita’s *silencio* nightmare monologue
Loved this episode people. Also loved the studio set up. ❤
I like the studio set up too. It is COZY . I wish MORE podcasters put more thought into their SETS . If I ever did a podcast ; I'd recreate a section of a vintage "old man" bar from the 1970s or 1960s.
The reason the old ppl laugh as they leave is because we are witnessing what she thinks of them - that because they believed in her, they take some fault in pushing her to her horrible end - her suicide / ego death.
Motherfucking goddamn orange peel beef
Actress who played Hobo from Around The Corner is THE NUN actress, I believe
Love the Gordon Cole reference ❤
''I think it's kind of, you know, what ''Babylon'' was trying to get at...'' HAHAHAHA!! Btw, I wish y'all do more of these studio set ups (tho, I also love those zoom videos), I think this is the 2nd time, isn't it? Greetings to you all, from The Netherlands.
Yes, this one and BJ Lang 🤙 were done in studio.
OMG she is incredible ( you are incredible) "David Lynch abuses space with energy" is like the greatest fucking line ever
Although it’s not his best film, I think inland Empire could be his best movie for you 4 to discuss, and that actually could better tie in and discover more of his playful celebration/critique of Hollywood
I always thought the elderly couple were her grandparents (family of some sort) who influenced her greatly as a child, instilling in her a love of older things, including the jitterbug and old Hollywood films. In the Betty Universe, they "introduce her" to Hollywood and wish her luck, and they are overly positive and act like thoughtless NPCs the moment Betty is done with them.
In the Diane Universe, they are phantoms terrifying her and become the final emotional bullet that ends in her turning a gun on herself.
My theory (which probably means I'm way off base) is that they were a big part of her childhood, helped create the dreams she would chase, but at some point, they were against her choice to move to Hollywood, worried she would fall prey to the city/industry. Since almost everything in Betty's universe is the happy opposite of the Diane universe, they would be the opposite of friendly, supportive strangers traveling with her to L.A. She felt the loss of their support, so greatly in fact that their failure to support her haunted her still, and I don't know if Diane recognized that. Their tiny doppelgangers were like lizard brain parts of her consciousness come out of her subconciousness and she finally saw the fullness of her failure and domes herself.
"What do you think, sirs?"
-TVs Frank
I'm with you in thinking the old people are most likely grandparents who introduced her to old Hollywood films. I think Betty is an embellished version of Diane before she came to Hollywood. But I feel like they supported her dream to come to Hollywood and be the great actress they thought she could be. I think it's Diane's fear of disappointing them thats haunting her. I could be totally wrong, but I'm comfortable with my theory. At the end of the day, it's open to interpretation, and as long as you're comfortable with your theory, then that's all that matters.
The Straight Story is a masterpiece.
New studio is amazing and what a kick off film for the year!
I'm only 6 minutes in and I have to pause to say that The Straight Story was hardly a decline; it's an amazingly great movie, which I like as much as The Elephant Man.
Yo I love all y'all together in the same room! Do this more, understanding it's not super easy but shit, so cool 😎
Did anyone notice 40s 50s song and dance queen, Ann Miller, sitting in the forground of the dining room the cowboy walks through? (51:06 of your video) Was Ann Miller in the movie?
Please do this with Twin Peaks : The Return❤
I hope you guys do one f***ing hour on "Inland Empire" sometime. You mentioned it in passing, but I feel like you can't talk about one without the other, at the end of the day. In many ways they're like the same movie. I guess all of Lynch's films are the same movie to some extent (like the saying goes, auteurs really only have one movie in their head, and each film is just a different expression of that one abstract ideal), but I feel like "Mulholland Drive" and "Inland Empire" are especially similar, and in many ways I find "Inland Empire" to be an even more effective mindf*ck of a movie. It's literally like David Lynch recorded one of his lucid dreams with a cruddy digital camcorder and you're just watching it like a fever dream ripped from his transcendental consciousness or something.
Lynch loved DV because it was soft, would hide the imperfections in the set! Wasn't into HD. Probably the only A-list director who felt that way.
@@clintonorman2859 For sure. And to clarify, when I say the films looks cruddy, I mean that in the best possible way. The lo-fi aesthetic makes "Inland Empire" even more surreal than "Mulholland Drive."
It's kinda wild that they made the comments at the end about what a shame it is that people only do stuff like this in series rather than self contained movies after Twin Peaks: The Return
OMG perfect, I just rewatched Celine & Julie Go Boating yesterday at IFC Center!
Didn't know this podcast! This episode popped up on my feed. But let you know that I can't find your podcast easily on my podcasts app (pocket casts), I think because the cursing on the name, also that on the logo is 1 and in the name is One. Maybe I can help reporting those SEO issues
58:24 Speaking of neighbors, Louise Bonner is creepy AF.
Betty: “My name is Betty”
Louise: “No… It’s not!”.
Wonder what her *reality* counterpart is
One final thought about your set: don't have everyone so brightly lit. A lot of people (probably MOST people) watch podcasts before BED to help them sleep better. Lower lighting ... Mellow mellow .....
HOORAY FOR HOLLYWOOD! Love this podcast
It's funny she even mentions an Elizabeth, but fails to consider ANOTHER Elizabeth who, like O.J. Simpson, was in the news around the time Mulholland Drive was conceived, along with Diana and Camilla, the car accident, etc.
45:49 im late by 8 months. But the first time i watched this film the old people were the only thing i kind of understood. My opinion: the old people are her parents. The signify the idea of your parents being your best friend and worst enemy. She has been told her whole life she is special and beautiful and perfect. Thats why they always seem to be happy. But that's also why it seems so disingenuine as well. They have never told her that she may not succeed. She may not be the star that shines alone and bright. To me that explains why when they drive off they are almost congratulating teach other on making such a nice daughter . But even then they are still lie even to themselves and are skeptical knowing the 'Old Hollywood' that they grew up with. All the hedda hopper tobloid madness. The black dahlia stuff etc. So at the end after Diane/Betty fails at her dream AND ends someones life as well as her own, the little memory of her parents sneak in. Then what was seen as unconditional love and encouragement turns into the parents laughing at her failures and maybe laughing at her even believing them in the first place. So she ends herself...it was her parents fault shes even in this position!!..as far as Diane is concerned. Shes even tried to pawn off her insecurities and crimes upon another persona all together. Her life has always been what she is versus what she wants to appear to be in the eyes of everyone else...like all of us.
This is great
Still what I consider the best film released in the 2000's. Hasn't been topped yet
Better then "Father of invention"??!!
There *is* glamour, though . . . In our dreams
To me, the old people are her conscience terrorizing her.
Omg, this film.
You guys were a little overdressed (somehow) and the set was too cluttered and staged, but once you got into y’all’s love for the movie, it became fun, I dug the space analogy, and the dichotomy of his love for Hollywood along with his critique, that’s more where the narratives are legit, for example, Naomi‘s audition and Angelo’s disgust with the coffee.
I think you’re over-analyzing the little old people, and many of the other things, Lynch Is less reliant on all the narratives, but he knows how to place things from a subconscious level that deals with archetypes and dark and familiar language that invites the music sound and visual to connect, so you don’t need as many narratives, but there’s still a lot to go on like the way you talked about the space, and the characters’s presence and dialogue
28:06 so true
Marcus doesn't half remind me of Christian Slater.
I like this format better. More personable.
I never got this one, to be honest. It's just a bloated Lost Highway.
There was no actual Camilla. She is a manifestation of Diane by Betty and she has to kill that off to go forward to the business of Hollywood. Camilla shows Diane the "short cut" to the top. Where all the beautiful people are. The Harvey Weinstein way. And there is fear of being alone in a very uncaring town, a very transactional town. Camilla is the "silly putty" of the neighbor. The neighbor that she fell in with and when that ended there was the reality of fights, anger, and separating the stuff. The positiveness of getting together to the ugliness of breaking up. The old people are the people at home. People she would have to come home to as a failure and one who did questionable things. Her death reminds me more of Margaux Hemingway who nobody missed for enough time that she had putrefied. At the end there is only one way left, silenceo.
Betty&Rita is the same person..
Bob's Big Burgers lol.
Bob's Big Boy
Great episode. Can you change the name to 'Two Fucking Hours' please?
Dude I didn't get it either. dont want to get it.. even tho I kinda get it. Let it be like water
Four people talking about a movie is too much with the hour limit, especially with such a complicated film
The film is not that complicated. David Lynch said about this film: “The first part is a dream. The second part is reality.”
@@selinakyle2368oh thanks professor!
@@hankworden3850 oh GFY troll 🙄🙄
@@selinakyle2368call me dumb but I didn't understand a lick about this movie until I started googling it
@@hankworden3850 GFY! maybe if you paid attention instead of looking at your phone you would understand it.
Great show. You've finally struck the right balance. Cheers.