May 21, 2025 • 65 mins
LOOK OUT! It’s only Films To Be Buried With! A REWIND CLASSIC!
Join your host Brett Goldstein as he talks life, death, love and the universe with the absolute FTBBW show idol and long term love KYLE MacLACHLAN!
This Rewind is from January 31st 2024, not so far back in time, originally episode 284, featuring someone very dear to not only all of our hearts, but especially Brett's - Kyle MacLachlan, or as some of you will know from one of his roles in particular, Special Agent Dale Cooper. But let's not limit Kyle to the world of Twin Peaks, for he has been on screens big and small and stage too fo decades, and there will be so many stops along the way where you will have come into contact with his unique work. Kyle is someone who we are so fortune to have with us and even hearing Brett give him his flowers on this episode is just such a joy. I'm sure we all vicariously do the same in listening.
This episode was recorded about a year before the death of David Lynch, a celebrated and treasured film maker who truly left a legacy of classic, undeniable and groundbreaking films and television. You'll likely be aware of how much Kyle worked with David, and have seen the results yourself. You can hear how much love and respect there is for David in this podcast, from both Kyle and Brett, and this episode is dedicated to David's memory and legacy.
Rest in peace, David Lynch. January 20, 1946 - January 16, 2025.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out.
Speaker 2 (00:01):
It's only Films to be Buried with It's rewind Classic.
Speaker 3 (00:04):
Season Testing one two Testing Diane. It's eight a m. Seattle, Washington.
Speaker 2 (00:57):
Hello, dearest films to be Buried with Crewe. My name
is Buddy Peace. I am a producer and editor, a
DJ and music maker, an ultramagnetic MC, and for intro
and outro purposes, I'm temporarily standing in for your regular
host and proud creator of this podcast, mister Brett Goldstein.
As Lula pays Fortune once said this whole world's wild
(01:17):
at heart and weird on top, as saying that transcends time.
Lula one for the gravestone right there. Speaking of which,
every week Brett invites a guest on. He tells them
they've died, and then he talks to them about their
life through the medium of film. However, this week we
are revisiting an earlier episode of the podcast while Brett
recharges the podcast batteries and retreats to the fortress of
(01:39):
Solitude for a moment or two in this bridge between seasons.
This rewind is from January thirty first, twenty twenty four,
not so far back in time, originally episode two hundred
and eighty four featuring someone very dear to not only
all of our hearts, but especially Brett's Kyle McLaughlin or,
as some of you will know from one of his
roles in particular, special Agent Dale Cooper. But let's not
(02:02):
limit Kyle to the world of Twin Peaks, for he
has been on screens big and small and stage two
for decades and there will be so many stops along
the way in his career where you will have come
into contact with his unique work. Kyle is someone who
we are so fortunate to have with us, and even
hearing Brett give him his flowers and this episode is
just such a joy, I'm sure we'll all vicariously do
(02:22):
the same in listening. This episode was recorded about a
year before the death of David Lynch, a celebrated and
treasured filmmaker who truly left the legacy of classic, undeniable
and groundbreaking films and television. You'll likely be aware of
how much Kyle worked with David and have seen the
results yourself. You can hear how much love and respect
there is for David in this episode from both Kyle
(02:44):
and Brett, and this episode is dedicated to David's memory.
And legacy, Rest in peace, David Lynch January twentieth, nineteen
forty six to January sixteenth, twenty twenty five. I'll take
this opportunity to also remind you that Brett has a
Patreon page the podcast, upon which you get a bonus
section on every episode with a secret from each guest,
(03:05):
more questions, and a video of each episode which looks
all nice and fresh and it's just nice to see
faces talking, isn't it. So if you are of a
supporting nature and feel like some extras from this show,
you'll find them all there. So that is it for now.
Let's get you settled in for a wonderful episode with
the legendary Kyle McLaughlin. Catch you at the end for
(03:25):
a quick sign off, as well as a sneaky Twin
Peaks theme based beat I made for Canadian Wrapper Bucks
sixty five back in the late two thousands. But for now,
please enjoy this flashback to episode two hundred and eighty
four of Films to be Buried With.
Speaker 1 (03:44):
Hello, and welcome to Films to be Buried With. It
is I Brett Goldstein, and I am joined today by
an actor, a wine maker, a podcaster, a legend, a hero,
A Twin peakser a Blue vel a June, A Sex
and the City, a desperate housewife, sir, a show Girls,
(04:06):
A Twin Peaks, the Returner. Hey, everything you've ever loved,
he's in it. He changed all of your lives. Can
you believe he's here? I can't. He's one of the
great one of the all time heroes of all time.
Can you believe he's here? He really is. It's him. Please,
welcome to the show, the Brilliant It's coming back. WHOA.
Speaker 4 (04:29):
I am laughing my eyes off. That was perhaps the
best introduction I have ever received.
Speaker 1 (04:35):
Thank you, Thank you, very kind, very kind. Wow, Kyle,
it is so wonderful to see you. I'm going to
have to bore you by telling the people listening at
home if anyone has ever followed this podcast, they know
that Twin Peaks is as big a thing in my
life as the Muppets. Like I'd say that if you
(04:57):
if you define me as two things culture, it's the
Muppets in twit bix.
Speaker 4 (05:02):
That's perfect.
Speaker 1 (05:03):
And when I was eight, I came home, me and
my sister came home from something and my dad. We
went say alo to my dad and he was watching
the very first episode of Twin Peaks. It was like
two minutes in and we went say hello, and he
went shush, shush, and we sat down and we watched
it and we were so fucking scared and we were
so addicted, and then we watched the whole thing and
I think it's why we're the way we are. And
(05:27):
God bless you, and.
Speaker 4 (05:29):
I'm so happy to hear that it's a show. It
had such an impact back in the day, and I
hear these stories. Is your beautiful story from people, and
it's just a great reminder of the power of David Lynch,
you know, and that story in.
Speaker 1 (05:48):
Particular, I had Mark Frost on the show. By the way,
I'm going to tell people, if you don't mind, you've
also been incredibly lovely to me. I met you at
an event and we said hello and we were vaguely
stayed in touch, and then you were in London on
my birthday and you and your lovely wife invited me
for a coffee and I even had a coffee and
it was literally like a Make a Wish foundation because
(06:09):
I just sat for an hour and a half and
asked you questions about that Lizens he was so generous
and you bought me an ice cream? What a die
the birthday that you remember? Yeah, you know you got to.
Speaker 4 (06:24):
Celebrate on your birthday. Well, I thank you.
Speaker 5 (06:27):
You know I am a huge fan of yours as well.
So it was a mutual love fest that we had
over an ice cream Sunday of some of some kind.
Speaker 4 (06:41):
It was a lovely, lovely, lovely day. Thank you.
Speaker 1 (06:44):
But if you will forgive me because no one else
was listening, and I felt I felt as we were
having that conversation, I was like, this is so unfair
that I'm getting to have this all to myself. So
I would like to repeat a couple of those questions
so that people can enjoy them, which is like, I'm
so obsessed with Twin Peaks, and I'm more even kind
of more obsessed with the return because it's so unusual
(07:05):
for something to come back twenty five years later and
be fucking amazing and profound and like as mind blowing
as the original, if not more so, And like, I
don't think there is a single example of something that's
done that. I think most things that have come back
have been kind of disappointing. And my theory is when
(07:26):
when things come back and people really want them to
come back and then they feel dissatisfying, is kind of
because they kind of are the same thing, and it's
almost like they've gone, well, we'll give you what you want,
and then you get what you want and you're like, oh, no,
I didn't really want that I wanted. And with Twin Peaks,
the original was such a surprise that what happened with
the return it was like, oh, will surprise you, Like,
(07:48):
this is not at all what you think it's going
to be, which is what the original Twin Peaks were. Yeah,
it's fucking amazing. How is it for you?
Speaker 4 (07:55):
Well, I think you make a good point about things
that come back again, and I feel like what happens
is they get watered down somehow and they lose their intensity.
And I know that there were a lot of Twin
Peak fans who wanted to kind of have that warm
bath going back and recreating that experience, which you simply can't.
(08:16):
And I know that David Lynch in particular has no
interest in recreating something that's already been done, and he
was all about the future and moving forward. And you know,
we were able to really get what I call it's
the pure lynch ingestion. You know, he obviously David is
you know, you put him under the category of surreal
(08:38):
as filmmaker. I think, and I think what we got
for that return was really almost just the purity of
his vision, of his intensity, and honestly it wasn't for everyone,
but I am really proud of it, and I'm so
happy to hear that you also embraced.
Speaker 6 (08:58):
It that way, because it's what it is twin Peaks,
and then it's even I think more and if you
like the original, and we're a fan of the original,
I think you really it was something that really spoke to.
Speaker 4 (09:10):
You, so thank you.
Speaker 1 (09:12):
It also feels like, you know, there's the reality and
forgive me, this is I don't know too sad to
talk about, but you know, lots of people kind of
died from the cast, like within weeks, within days of
the show, and it really feels like this kind of
document like time. The whole thing is about time, and
there's the kind of reality of these people getting older
(09:33):
and some of them dying, and you feel there's a
real it's so strong within the show, particularly with the
log Lady and everything. It's like it's so fucking moving.
This feels like this object about time, real fucking time.
You know what I mean?
Speaker 4 (09:49):
Yeah, I know exactly what you mean. I think so
often when you see something a film, a favorite film
or a favorite program, it's a frozen moment, right, and
time stops, and that's how you remember that moment. And
with twin peaks, you know, obviously we get advanced twenty
five or a few more years and you saw the
(10:11):
age and you realize that people were gone, and suddenly,
as you said, time becomes very real and the march
of time becomes like really very tangible, I think, and
it was a it was a byproduct of the experience,
but I think a powerful one.
Speaker 1 (10:30):
Yeah, and kind of you're incredible in the return and
you essentially play three, if not how you play four parts? Yeah, five,
I'd say four. I think I'm playing four five.
Speaker 4 (10:45):
With a few other little variations thrown in. Yeah.
Speaker 1 (10:49):
I think the guy at the end in the final
episode is a.
Speaker 4 (10:52):
Fourth Yeah, Richard referred to as Retail. He's a slight
cut of Cooper, close to Cooper, but not exactly.
Speaker 1 (11:00):
Yeah. And it's a phenomenal performance and you should have
won all the awards for it. And you're and the
thing that you're so lovely at and you're kind of twinkly,
and there's an innocence about you and a purity and
a curiosity and all that stuff. But when you played
mister c You're dead. You are scared, proper fucking scary.
And I believe that's the first time you've done something
(11:22):
that dark yourself. And I wondered how that was and
how you did it, you know, so.
Speaker 4 (11:28):
I wondered how I did. When I was reading the script,
I recognized the fact that what I needed to do
and I it was soul searching. I said, Okay, are
you Are you an actor who can do this? You know?
Speaker 1 (11:41):
Can you?
Speaker 4 (11:41):
Can you go and do what's necessary because if you can't,
the show doesn't work.
Speaker 1 (11:46):
Yeah.
Speaker 4 (11:47):
But I had the little glimmer of hope was that
David was there as the director, and I said, if
I'm going to do this, there's nobody I'd rather, you know,
jump off the edge of this cliff with him, with David,
and I know that he'll he'll have my back. And
it was a challenging, scary, surprisingly powerful. Not surprising that
(12:09):
it was powerful, but the fact that I actually the
feelings you know, as an actor, you're it's a journey
in every role demands different things and you're sourcing from
different parts of yourself. And I was like, this isn't
a part that I'd never sourced, and yet I dipped
into it and it was available to me, and I
was like, Okay, that dark, inky blackpool is there. And
(12:34):
I kind of wallowed in it a bit. I gotta
say I was very happy to take it off at
the end of the day, which was sort of symbolic
by removing basically getting undressed for me taking off the character.
But I was very surprised that when I got in it,
it was different and it was exciting and powerful and
(12:54):
a little frightening.
Speaker 1 (12:55):
Wow, that's You're like, I couldn't believe.
Speaker 4 (12:59):
It's a very weird place to be as an actor,
and one that I did not want to stay in very.
Speaker 1 (13:07):
Long, to be honest, there's a reality. I think about
that a lot like that. You know, there's the scene
you have quite early on. I think it's like episode three,
I say as a mega mega fan, where you're where
you hit that woman and it's very horrible and upset,
and I think about sayings like that the sort of
reality of obviously you're not hitting hebby, you have to
you have to physically look like you're going to do
(13:29):
and look like you mean it. That's sort of very
dark scary either. Yeah, that must be very tricky.
Speaker 4 (13:36):
You know. There was a hint of it in Blue Velvet,
in the relationship with Isabella in the as the character
of Jeffrey sort of brushes up against his dark side,
encouraged by her and her behavior and obviously influenced by
the character of Frank Booth played by Jennis Hopper, played
beautifully by Jenna's Hopper, and he does he does strike
(13:58):
her in this more moment of true passion, anger, desperation,
sexual fervor, everything. And the remorse that he exhibits after
that when he's sitting in his room and he's really
he's driven to tears, is really just as a glimmer
of what was to come, and not even related and
(14:19):
other than the fact that it was directed by David.
In the Return from Blue Velvet to the Return, Neck
character had that and I hadn't really thought about that
until you just mentioned that, and it was there, but
more fully realized of course in the Return.
Speaker 1 (14:35):
Yeah, there's a clip I add to anyone to find
online way. It's just a one minute like behind the
scenes shot of the return trim picks of return, and
it's you can hit. You're in the You're in the
red room. You're in there, You're walking along the floor
and David is just shouting directions from behind the camera
and he's going, look down, the floor is shaking, the
(14:57):
floor is falling, you're falling down, you're falling, you're up,
you're down, and he's shouting and it looks like you
do it all in one take. It's so fucking brilliant.
And the thing that is really fascinating about it is
that it's the sort of thing that if you weren't
completely trusting and one hundred percent committed, it would be embarrassing,
Like it's right on the edge of this could feel
(15:17):
very silly, Like it could feel silly. He's going like,
you're dancing, you're falling. Yeah, And it's so the very
edge of that, and yet you're like, it isn't remote,
it's not silly, it's not funny. It could be there's
a version where this is a disaster, you know what
I mean. But you're so both of you are so
committed and it's just and it ends and everyone claps
(15:39):
and you're like, yeah, this is fucking amazing. And I
wonder if can you articulate or is it just natural,
like how you and David having worked together forever, Like,
what is it? How is it with between the two
of you? Is it just trust? Is it? Do you
know what he's doing?
Speaker 4 (15:55):
It's a lot of trust. I don't always know what
he's doing, you know, I've been famously quoted it's not
understanding certain things. You know, I know where we are
in that moment of the journey. I often I'm uncertain
as to the final result. You know, this is what
this is in David's mind. This is the creative, the creative,
(16:15):
and I am part of the troupe, you know, the
group that carries on. But we've always had that talking
back and forth is something I remember we did and
we started with it in Dune and they continued into
Blue Velvet, more so in Blue Velvet, and it's it's
an interesting connection because there's a lot of it. Sometimes
(16:36):
it dips into the what I think is sort of
the crazy. So David will say something to me that
I know he's just trying to get me to laugh,
you know, it's it's a departure from the scene. But
I'll stay in character and I'll do it, and then
the goal is to make him laugh. So it's about
who makes the other laugh first, because in doing in
(17:00):
Blue Velt, but there was he was right he'd always
be right near the camera, so he wasn't back at
a monitor. Now it's different, but he would be right
near the camera and so he was right there, you know,
as close as you can be. And so he would
just say these things and oftentimes it was just between
the two of us, and then the crew didn't know
what was going on, and then of course one of
us would break out laughing and anyone would laugh. So
(17:22):
we have a lot of we have a lot of
fun in some of the darkness, which is very important important.
Speaker 1 (17:28):
Yeah, and that so I imagine I love that Lower Daniels
in it, and you two equally seem to have had
a history with David Lynch for years and years, and yeah,
may ask this question, do you think it's a happy
ending in the return? Yeah? Do you think it's a
positive or negative ending?
Speaker 4 (17:45):
It's it's a mixed ending, I think, because on one hand,
I feel like he has succeeded in finding her and
actually kind of rescuing her or her from her situation
obviously a very bad situation in that room when when
(18:06):
he finds her and what's this tableau that is set
up there, not unlike the tableau inwards the end of
LEVELVET similar, But I also feel like he has not finished.
And there's a moment of which you never see Cooper
in a moment of rarely, I guess, in a moment
of not sure what to do, and yet you know,
(18:28):
I think he'll figure it out. But so I feel
like it's a it's almost a kind of a it's
a work in progress kind of he hasn't quite figured
out how he's going to get back all the way
I used to like in it, kind of like an
astronaut would be tethered and then he has to let
go and then he's going to catch something else, but
(18:49):
he hasn't quite caught the next thing yet, so he's
in limbo a little bit. So it's a it's a mix.
And I think the look on his face and that
was all directed, you know. We shot the very very
end outside the Palmer House very early in the filming.
It was during the Seattle sequence, which we shot first,
so I hadn't really gone on the journey yet, so
(19:12):
I relied heavily on David to say okay. He said,
come down the steps, you walk into the street, you
take this number of steps, you stop, you hold a beat,
you turn everything that you see, everything in physicality was
him setting up the exact relationship that he wanted because
I didn't. I didn't understand exactly where we were on
(19:32):
the journey. And then he had, of course cherryl Lee
do that scream, which just I mean, I don't know
if you have the same reaction at the end of
the pilot, there's a grace sits up and there's a scream,
and the hand comes in and the I remember, the
hair on the back of my neck is when I
got chills. And that never happens. I mean, when are
(19:53):
you so impacted by something rarely right? And I remember
I had exactly the same reaction in the flesh in
personal happened. I was just like, oh my god, and
I said, this is how we're going to leave. Oh
my god, all right, oh my.
Speaker 1 (20:11):
God, you know what? Could I could cry because I've
just realized that, Yeah, it's like the whole full segon
of life is that that is what happened in the
pilot when me and my sister were young, and we
saw that and when that happened, both of us sort of.
And the funny thing is I was supposed to move out.
Me and my sisters share the room, and I was
supposed to have that day. I was supposed to have
my own room, and we were so scared that I
(20:33):
dragged my mattress into my sister's room and that to
this day I still sleep but that feeling, you know,
twenty six years later, that that is exactly how I
responded to the end of this Dave.
Speaker 4 (20:48):
It's just very powerful. That's a very funny story. I'll
never forget.
Speaker 1 (20:55):
But it also makes me think, like, you're very funny.
You're I think it's interesting, and maybe you've always been
this way. Maybe it's inherits you. I think you're like
in Sex and the City. I love you in Sex
and the City. And it's such a again, it's so committed,
such a committed, funny performance. And I don't know that
must just be you must just be very open to everything,
(21:16):
because because again that could be silly, it could be embarrassing,
but you fucking it's so good, so great, thank you
do it so well. Fuck thank you.
Speaker 4 (21:27):
You know, when you're working with Francis Sternhagen, the late
Francis Sternhaggen, my mom. I mean, she would come to set.
She'd be like in a broken stocks and like a
gardening shirt, you know, pants, just all natural hair down,
no makeup, you know, and big smile. It's so gracious,
(21:47):
so warm, and she would transform into this Upper east
Side chili smoking you know character, and it's really amazing.
And we have just great mustry and I had great
chemistry with Kristen too as Charlotte. And I think the
idea was, you know, obviously the topics that the things
(22:07):
that Trey is dealing with are embarrassing and certain, and
you know, you can make a joke about them, but
we really tried to find not all the time, but
we tried to find some of the real issues, you know,
the real emotion like if this really happens, how does
how do two people deal with it? You know, and
what kind of just the realness of it we were
(22:31):
we were trying to get to and I think and
we were helped in some ways and then also the
writers couldn't you resist all the fun which was great,
you know, there was some humor there too.
Speaker 1 (22:42):
But it is moving. There is positive that story that
moving right.
Speaker 4 (22:46):
You know, yea, So try to focus on that.
Speaker 1 (22:49):
You're very good. Okay, one last one, last question, Thank
you friend talking to me. I know that with your
long career with David Lynch, have you ever been like,
I'm not daying that that's right?
Speaker 4 (23:05):
You know, there there was one time that I remember,
and maybe there were others, but I don't think so.
I mean, there was the script for Blue Velvet was
pretty graphic as you can imagine, you know, very specific
things that happened between Jeffrey and Dorothy and written out,
you know, and so there was this kind of a
(23:28):
scene where I'm supposed to run from the couch, you know,
gather my clothes real quickly. But I knew there was
going to be a stretch of the living room where
I was going to be potentially full frontal. And I
was like, oh, boy, David, you know, and I was like,
I don't if I can do this, and he said no, no, no, no, yeah,
(23:51):
we're gonna move the camera over here. It's gonna be Okay,
you're gonna be fine. So I trusted him, you know,
and I did it and it actually worked. Okay, there
was a slight moment of something, you know, but it
could have been a lot worse. So that was that
was one time when I was and then the only
other on was I remember when we were doing this
(24:11):
scene when after Jeffrey has the joy ride, the whole
experience Dean Stockwell and Frank and all that, that night
he wakes up kind of beaten up in the lumberyard,
and I remember David had wanted Jeffrey to wake up,
you know, his pants were down, he was fully you know, exposed.
You could realize he's been he'd been abused. And I
(24:34):
was like, I said, David, I think this might be
a little more than what the audience should see.
Speaker 7 (24:40):
I just feel like we're it might be a little
bit too and he he said, okay, he said, okay,
we were able to show portray that or do that
without having to see that the brutality.
Speaker 4 (24:52):
Of that, And so that was I mean, that was
the only time I kind of raised. I didn't start
of say I wasn't going to do it. I just
sort of said, I, you know, I yielded to him,
but I said, I this is how I kind of
feel about this, and he he agreed.
Speaker 1 (25:04):
Something that is. I don't know why it is. That's
good man, makes sense. So tell me before week. I'm
sorry to and we haven't even I haven't even told
you something I should have told you about it. But
do you do you hid? There are two things you
need to tell me about. One is why and the
other is you have a new podcast? What is your podcast?
(25:27):
Oh God, thank you for.
Speaker 4 (25:31):
Finally I'm the last person, last act to get.
Speaker 1 (25:34):
Into the podcast. We didn't have a podcast. It was
about time.
Speaker 4 (25:39):
Thank you for asking I have. It's a kind of
a crazy mystery story that takes place not far from
where we filmed Blue Velvet, which was in Wilmington, North Carolina.
This takes place in a little town called Farnham Town,
North Carolina, and it's the story of a very eccentric,
(26:00):
charismatic guy who made a deal with Pablo Escobar and
his cartel and his town. This is a very small
town of three hundred people to operate as a basically
a port or a hub for smuggling drugs into the
(26:21):
country from South America. And the podcast is called Varningtown
after the community. And I heard the story and I said,
that is the crazy thing about it is how, you know,
I understand the person, but how do you get a
whole town involved, and then what does that mean to
the town and to the people, and what happens to
that to them, you know, and who agrees and who
(26:44):
doesn't agree, and then what sort of what does that
set up? And I thought, this is a very interesting story.
So I contacted my friend josh Davis, Joshua Davis, who's
an investigative reporter, and we put together a little crew,
very small crew, and we went to Varnumtown and we
interviewed almost all of the people that were involved. There's
a few that were not around, Pablo Escobar being one, but.
Speaker 1 (27:03):
We interview everybody.
Speaker 4 (27:06):
Yeah, and we came up and this is this eight
episode sort of mystery that we go on to try
to kind of figure this out, put the pieces together,
and I it was it's a I loved it. I
love the process. It's really fun. Yeah.
Speaker 1 (27:22):
Does it make you want to do more them?
Speaker 4 (27:24):
Yeah? Yeah, I understand it more. Now. The big learning
curve for me was you're going with an idea of
a story, and then that story continues to evolve and
change and shift as you as we do these interviews,
as we went on this journey and gathered everything, and
I said, oh, okay, so it's the story sort of
(27:45):
reveals itself as you go through this process. At least
that was the experience I had. And I said, that's interesting.
It reveals itself. And I thought, oh, yeah, okay, I
enjoyed that, so yeah, I'd like to do more.
Speaker 1 (27:56):
I love it, Kyle. I. I did forget to tell
you something, which is it's mad, mad that I didn't
tell you at the beginning of this, because you know,
we had a long time dealing with the tech. I
should have told you. But let me just check my notes,
because I did make a note to tell you. I
was going to say it up top, and I don't know.
(28:17):
I got distracted because this is excited to say you've died.
You're dead. Okay, you're dead.
Speaker 4 (28:25):
Is there a chance of resurrection or is this it?
Speaker 1 (28:28):
No, there is a chance. Actually, if this guy's well,
you ever want to do another episode, then yeah, that's
that's a resurrect it. Let's make How did you die?
Speaker 4 (28:38):
Oh, it was a tragic accident.
Speaker 1 (28:40):
Well, no, yeah, I was what happened.
Speaker 4 (28:44):
I was on a podcast with you. I don't know
if you know about. Yeah, I was sad and I
was trying to work the avy and I was actually
electrocuted trying to hook up the microphone, and it was sad. Yeah.
Speaker 1 (28:58):
So there's a lot of my fine.
Speaker 4 (29:01):
Yeah, my final moments were actually caught on tape and
recorded so very.
Speaker 1 (29:05):
Embarrassed that they made for great content. Yes, well, do
you worry about death?
Speaker 4 (29:17):
It will occasionally cross my mind.
Speaker 8 (29:19):
I have.
Speaker 4 (29:19):
I'm one of those people. I don't know if you're
like this, but if I wake up at three o'clock
or four o'clock in the morning, you know, from sleep,
my mind begins. It's a dark time. I think they
do say it is the what is it, theator from
the lowest point. Yeah. In fact, when people pass and
if they're suffering, and it's a common time to actually pass,
(29:42):
like four in the morning roughly, and occasionally, yeah, that
concept will creep in and it becomes I have to
work hard to shake it. Not hard, but I need
to shake it off, and I enter into my gratitude
list of things, you know, my family, my son, and
my things I done on people. I know, those kind
of things. It's very hard to imagine just not being here.
(30:06):
It's a concept that I think is if you really
sit with it, it's not a place that I really
like to go and be.
Speaker 1 (30:12):
Do you think there's more when you die? That there's
something else?
Speaker 4 (30:17):
I hope, so, I hope. So, you know, one one
side of my brain says, and you know, this is it,
and you've done, You've lived, and you move on, and
you live on in the memories of others you know,
and in some ways as an actor if you live
on for possibly a long time. But you know, that's
(30:40):
one side. The other side is hopeful that there is
some kind of energy transference, that some kind of consciousness,
although really hard to believe.
Speaker 1 (30:50):
That for me, Well, I got news. For m there
is a heaven. I guess he's got it. You I am,
I it. You gotta have it.
Speaker 4 (31:02):
I knew it. This is why I'm doing.
Speaker 1 (31:05):
I'm gonna have it. It's good with your favorite thing.
What's your favorite thing?
Speaker 4 (31:08):
I hope I can bring wine.
Speaker 1 (31:11):
Tell me what you love wine? You make wine? Why
tell me what happened? We know what happened.
Speaker 4 (31:19):
I've liked wine longer than I should be. I like
wine since high school.
Speaker 1 (31:24):
Really yes, very sotisticated.
Speaker 4 (31:27):
Well, it wasn't really good wine that I liked, but
I love the idea of it. And that started me
on this journey. That's led now to me owning a brand,
a wine brand, and I make wine in my home
state of Washington, where I grew up on the on
the east side. Eastern Washington is quite dry, quite good
for wine grapes. In fact, west side not so good.
(31:49):
That's Seattle and that's very rainy and green and mossy.
But but the east side is dry, dry as bone.
So that's where I grew up, and that's where the
vineyards that I use for my wine are all that side.
So I made my first vintage in two thousand and five.
Is kind of a fun adventure. Wanted to learn about it,
wanted my dad to be part of it, and that
started me on this journey. And here we are and
(32:12):
I've I've got seven different wines and I'm really still
enjoying the journey. So much fun.
Speaker 1 (32:18):
This siege, right, you do. It's a very big brand.
Speaker 4 (32:22):
Now, it's a known brand. We're still pretty small production,
you know, roughly three thousand case productions. Pretty small but
high quality, and that's our focus.
Speaker 9 (32:32):
And we actually have a distribution in the UK, which
is pretty cool. I got a few spots there and
around the country, so I've got distribution in about eighteen
states and I love it.
Speaker 4 (32:45):
Yeah.
Speaker 1 (32:46):
Well, in Heaven there's old wine. You could what, there's
your wine. There's your other favorite wines. I don't know
enough about wines, but there's red, there's white.
Speaker 4 (33:00):
They're all fantastic. If they're in Heaven, they've got to
be great.
Speaker 1 (33:02):
Yeah, they're really good. Oh, bit didn't dry you never
And everyone's very excited to see you, and they won't
know about your life, but they weren't know about your
life through film. And the first thing they asked you,
what's the first film you remember saying comic beffin.
Speaker 4 (33:18):
I don't know if this was the first film I
ever saw, but it's one that had an impact on
me that I still think about today. I was in
fifth grade, so how is that that's maybe ten?
Speaker 1 (33:30):
I don't know anyway, I don't know your grade system.
Speaker 4 (33:34):
I was a crossing which called we called them patrol boys,
but then there was a crossing guard. And this is
when it was the kids were actually the crossing guards
for the other kids. And at the end of the year,
I guess has a nice gesture. We got half a
day off school and we got to go to this
park and all these games and food and everything. And
(33:54):
it culminated in going to see a movie at the
local theater in downtown Yakima, Washington. And went to the
theater very excited. You know, I hadn't seen many movies,
and I remember sitting down and the screening was a
film called Duel at Diablo Western Great. You know, it's
(34:14):
fine watching cowboys and everything going around. And at a
certain point in the film, one of the good guys
has been kidnapped by the Native Americans Indians at that time,
Native Americans kidnapped him and taking him away, and we
didn't know where he was, so they sent out a
search party and they find him and he's been tied
to a wagon wheel. None of this you see. The
(34:36):
only thing you see is kind of from behind an
arm that's been lashed to a wagon wheel and they've
been roasting him alive. So the arm is bloody and
blistered and grotesque, and you're like, that's all I needed
to see. I was like, I was horrified. I was
(34:57):
frightened beyond belief then, because you see the faces of
the other cow hands looking at him like, oh, like incredulous, like,
oh my god, this is awful. I don't know if
any dialogue was, but I remember there was a passing
of a of a gun, six shooter to the hand
that had been burned. You know, it was enough, it
was okay, And it reached out and it's with its
bloody fingers grabbed the pistol and began to turn the
(35:19):
gun this way. And they cut away. And now you're
with the cowboys and they're kind of some distance, they're
riding away, and you hear a gunshot, a single gun
shot right now.
Speaker 1 (35:30):
Oh god.
Speaker 4 (35:31):
And I was like that was it. I was like
I was, it was embedded in my brain. I was,
oh my god, I'd never seen anything like this. I'd
never seen anything like that. So I must have seen
other movies. I mustn't, because we were pretty sheltered as kids,
and so there were I'm sure there were Disney movies,
you know, which have a certain you know, element of
(35:54):
you know BANDI you think about that's a lenment of
loss in there and horror. But this was something so
brutally graphic to me. And you know, I still have
those few images, and I'm sure they've distorted it over
the years, but that was the first thing that I
ever saw, so that I remember, really really, that visceral
of a reaction.
Speaker 1 (36:13):
Yeah, crazy, that's.
Speaker 4 (36:17):
I should I haven't even never.
Speaker 1 (36:18):
Seen it again, so yeah, I's lick that out. What
about crying? What is the film that made you cry
the mouth?
Speaker 4 (36:25):
I think it's any film that I watch when I'm
in the air. Is there a thing? Does this happen
to you.
Speaker 1 (36:32):
That it does? I don't think it is a thing,
but no one knows why it is a thing. But yeah,
everything it might.
Speaker 4 (36:38):
Cry and it's the strangest thing. And I remember I
was sitting, I was flying somewhere and for some and
this was back in the day when you could actually
make phone calls from the seat. Remember they had phones
for a while that you could actually remember sat phones
or whatever they were. So I was, I was flying,
and I was watching my dog skip for some reason,
and even thinking about it, I'm getting getting emotional now.
(37:00):
And there's a there's a moment where the dog he
puts his pop on the bed. He can't jump up
on the bed and he's getting old. And I was
just like, I was thank God. I was in the
window seat and I was turned to the side, tears
just running down my cheeks. I was like this. I
think I was either on the phone or I'd called
the phone, or maybe I called my wife, Desiree, and
I she said hello. I said hello, like there's some
(37:23):
little whimpery voice, and she said Kyle and I said yeah,
and she said are you crying? I said, you know,
I just couldn't even talk. And I said, I'm watching
my dog skip and she said, oh my god, call
me back later. So hung up. But I just remember
that moment so clearly. Just it was had such a like,
(37:46):
you know, watching it in your home, you'd be like, oh,
that's a very moving moment. But somehow, when you're in
the air, I don't know what it is, everything has
more impact.
Speaker 1 (37:55):
Look fast and furious. We'll make you cry on a plane, right,
you called me don't fail.
Speaker 4 (38:03):
Vin Diesel will make you cry.
Speaker 1 (38:07):
Then Deese is saying we're a family, will make you cry.
Speaker 4 (38:10):
Yeah, yeah, I believe you.
Speaker 1 (38:14):
I think you're absolutely right.
Speaker 4 (38:17):
Yeah.
Speaker 1 (38:17):
So anyway, what about being scared what's the film that's scheduled.
Do you like being scatted? And by the way, you
you other thing that scared made a nice to.
Speaker 4 (38:29):
Nice to have that distinction. I don't like being scared.
I don't like jump scares. But again, I was working
in North Carolina. I was working as an apprentice at
Flat Rock Playhouse. So this would have been seventy seven,
seventy eight, and this film called Alien had come out,
(38:52):
and so I was kind of seeing this girl. And
we went to see Alien together on a rare day
off and I literally sweat through my clothes. My t
shirt is drenched with sweat. It was so tense, and
I was so scared. My heart was going like one
hundred miles an hour. I was freaked out that movie
(39:15):
totally just scared, basically scared the shit out. I mean
that was and I still I still love it. I
love the all Yadians. I mean, I'm just but yeah,
that one for me was really memorable, and you.
Speaker 1 (39:24):
Know it, it holds up Alan, It's really good.
Speaker 4 (39:28):
So I think so I think that you know a
big fan of Sigourny. We were for all the years
of Tom's Scaret and Harry Dean. You know, just the
the production value of it was interesting because it was
early and it was a ship that was like a
working ship. This wasn't a pristine.
Speaker 1 (39:48):
Spacecraft that was new, right, it was new like a ship.
Speaker 4 (39:53):
Yeah, you'd seen Star Wars to that point, which is
clean and nice and everything is shiny. This was and
therefore very I thought it really put you in that
place so quickly.
Speaker 1 (40:04):
So scary, fantastic. What is the film that you love?
People don't like it is not critically acclaimed, but you
love it forever.
Speaker 4 (40:15):
There's this film. I mean, I don't even I don't
know if people love this film or not love That
can untel, but there was. There were two films that
were made actually at the same time. It was sort
of controversial, Three Musketeers for Musketeers. This is the version
with Michael Yorke and Richard Chamberlain, Raquel Welch, Faye Dunaway.
(40:35):
I mean it was a cast of you know, superstars.
Richard Flesher, I think directed, and I will watch it today.
I mean, I love it. I love it, And part
of the reason I think I love it is because
I found it when I was in school and training
at the University of Washington and and we were anybody
in school. We were thirteen going kids going through this
(40:57):
repertory theater experience for three years. And if any kind
of diversion, you know, was was because it was just
it was a very intense program. And I remember going
there and watching this and just feeling like, oh my god,
this is my kind of humor, this is my kind
of movie. It had, it had fun, swashbuckling, great sword play.
(41:20):
I think the choreographers, William Hobbs, Oliver Reid, I don't know,
just I love everything about it. I love every In fact,
I love it so much that I would watch they have,
you know, kind of behind the scenes footage or interviews
with the actors, you know, many years after, and I
would sit and watch that and I just love hearing
the stories, and I love the idea of being on
that set, and I love everything about it. It's crazy.
Speaker 1 (41:42):
I love it.
Speaker 4 (41:43):
That's it's like a guilty pleasure.
Speaker 1 (41:46):
What about on the other side of it, a film
that you used to love a lot, but you've watched
recently and you've thought, I don't like this anymore. Maybe
you change.
Speaker 4 (41:55):
The thing is I still like this film, but it's
a context Blazing Saddles. Have you seen that recently?
Speaker 1 (42:00):
I love Blazing Sadus have WestEd recently?
Speaker 4 (42:03):
I love Blazing Saddles. But it's so inappropriate right now.
Speaker 10 (42:07):
It's so not not what it's supposed to be. It's
you know, it's like of a time and a place,
and it's hilarious, but it's it's hard for me.
Speaker 4 (42:19):
To watch now just because of some of the jokes.
And I'm just like, I know everyone's in on the joke.
But and it's got one of the great performances Gene
Wilder as the wakeout Kid, I mean Cleveland Little. Of course,
you know this is mel Brooks. But I have a
hard time watching it.
Speaker 1 (42:35):
Just because, you know, but that is an edgy film.
Speaker 4 (42:40):
It's an edgy film. I don't, you know, I it's
and again it's it holds up. It's just more that
it's of a different era, you know. I think in
that really there are some films that are like okay
that exists in that time, very specific, and in some
films that are sort of a little you know, you
can go with them for decades.
Speaker 1 (42:58):
So I don't know, I think that's fair. I think
comedy rarely holds up comedy is always of its time.
I think not always, but I think other than sort
of silly comedies, silly like slapsticky type thing or anything
with dialogue usually dates because it's sort of transgressive at
the time they make it, and then time moves on
(43:19):
and then that thing suddenly becomes less. I don't know
at times of the moment.
Speaker 4 (43:24):
Maybe of the moment.
Speaker 1 (43:25):
Yeah, yeah, what is the film that means the most
to you? Not necessarily the film itself is any good,
but the experience you had around seeing it will always
make it special to you.
Speaker 4 (43:36):
The uh And again it's because I think of where
I was in a context the film the longer Friday, Bob.
Speaker 1 (43:44):
Hoskin film me right film, It's a great filming.
Speaker 4 (43:48):
Is one of the best ending Pierce Brosnan. Yeah, I
was working at the Shakespeare Festival in Ashley. Had graduated.
It was nineteen eighty two. I was working in Ashland.
I was doing Romeo on the main stage, The Boy
and Henry five, which is a great role. Octavius Caesar,
Julius Caesar, fresh out of school, working making five hundred
dollars a month. I was in heaven. It was perfect, Yeah,
(44:15):
and it was repertory theater, so you and you know,
occasionally you had a knight, yet a dark knight, you
get a night off. And it was a little theater
in town that would play so and that it was
the only movie theater. So we were like, this movie
came on the longer Friday. I said, I don't know
what it is. You know what it is. I don't
know what it is. So let's go because we got
nothing else to do. We've got to kill some time.
The main stage is on, We're not on there. Let's go.
(44:35):
So we went and we sat down with no expectations.
It was my roommate and me, and on comes that
music and remember da da dun da da da dun
d d and you see Bob Hoskins walking. You're like,
this is going to be good. I think this is
going to be very good. And we were just transported.
We were not a Nationals anymore, we were in a
(44:56):
different place. We watched it. I can't tell you how
many times that week, and they only go come from
a week. Every time that we had downtime, we would
go back and watch it. I loved it. I loved
that movie. It was so intense and I remember just
because of that that experience where I was.
Speaker 1 (45:13):
At the time, that is that is very cold.
Speaker 4 (45:17):
It's a great film.
Speaker 1 (45:18):
What about the film you might relate to, you know, I.
Speaker 4 (45:22):
Kind of tumble back into the Musketeers again in this
in a so I don't know if we can repeat,
but it's like I just saw myself. And I think
part of it was because I was in acting training
and so we were we were doing sword work, you know,
we were doing the classics. There was a just and
it's a very actory movie. And I wanted to be
(45:43):
a part of that group of people that you know,
Michael York, Richard Chamberlain, Frank Finlay, Oliver Reed. I wanted
to be one of those guys, you know so and
I felt like, this is this is who I want
to be, This is who I would be if I
were alive at that time. So I I definitely I
think it was a kinship to that kind of brotherhood
(46:05):
that I felt with those guys, and I said this,
this would be my tribe, This would be my family
if I were you know, if that were real and
it were that of that time, it would be my people,
I feel.
Speaker 1 (46:17):
But it's such a weird life isn't it, particularly for
an actor, where like you ended up sort of being
found by David Lindson and that became such your life.
It's a huge part of your professional life. Is this
turn that I bet you never could have pictured or
it's such a unique position you're in there. I don't
think anyone actually can relate to. There's no nothing comparable,
(46:39):
I think to the way you two have been.
Speaker 4 (46:41):
It's an interesting The journey is, as you said, when
you look back in the middle of it, that you
have no perspective. You know, you're like, Okay, I'm doing
Dune with David. Happened to be a book that I loved.
I started reading when I was fifteen. I read every year.
I would read it, I would I would write quotes
from the movie be on my English teacher's blackboard in
(47:02):
eighth and ninth grade because she let me. I mean,
I was really really affected by it. And cut to
a few years later, I get a phone call their
auditioning in Seattle, where I happened to be doing a
play for Paul, and my first response was, who is this?
Why are you Frank calling me? And it made no
sense to me at all. I couldn't quite fathom what
(47:24):
was happening, and that led to Yeah, it led to everything.
Speaker 1 (47:28):
What is the sexiest film you've ever seen?
Speaker 4 (47:33):
She's not a film, but I watched a clip of
Anne Margaret dancing on Johnny Carson to something and I
don't think she was wearing a bra.
Speaker 8 (47:46):
In fact, I'm pretty sure. And I said they could
do this on television. That she's crazy sexy. Yeah, she's
crazy sexy.
Speaker 1 (48:00):
Have you ever seen Tommy new musical film? She runs
around in baked beans in that I believe, And it's
I mean, it's a wonderful piece of cinema.
Speaker 4 (48:09):
I just can watch it again and again and again.
Speaker 1 (48:16):
I'm afraid I have to ask you this. Some agree
Troubling Bone is Worrying White Ones a film you found
arousing you weren't sure you should.
Speaker 4 (48:26):
Well, this is yes, and you should apologize because it's
embarrassing the fifth element? Yes not Bruce Willis.
Speaker 1 (48:40):
You mean what's he called Lelo?
Speaker 4 (48:43):
Yeah? Yeah, she was really good.
Speaker 1 (48:46):
She's really good.
Speaker 4 (48:48):
I was very compressed with.
Speaker 1 (48:53):
She's very good.
Speaker 4 (48:54):
Yeah, it's very good. And the castle that she had
was great.
Speaker 1 (48:59):
All if that was very good? Yeah, what is objectively
the greatest film of all time. It might not be
your favorite, but it's the best one first film.
Speaker 4 (49:09):
There's no doubt in my mind that Cuckoo's Nest.
Speaker 1 (49:13):
Is ah the best.
Speaker 4 (49:15):
Yes, I just it's a masterpiece. It's not as out
there as two thousand and one. Let's say either something
about it. I just I love everything about it. It's
just a great film. And it's very It teakes you
on to ride, you know, and I just love it.
Speaker 1 (49:36):
Yeah, I don't know that. I think you might be right.
It's an excellent answer. And I kind of.
Speaker 4 (49:41):
Argue with it, like the shining is great, you know,
you know that's amazing, but it's it's a little I
I it's not as visceral to me as a Cucka's Nest.
Speaker 1 (49:50):
Yeah, and Cucka's Nest is about many things. It's very moving,
it's funny, Yeah, upsetting, good film, fucking you know what,
lost film. And he's not on the lists enough, you
know what I mean the great directors. He doesn't get mentioned.
I don't think as often. He's brilliant. You're right, he's brilliant,
so many brilliant films. Why isn't he on the list.
(50:12):
We need to get on these lists.
Speaker 4 (50:13):
He should be on Yeah, he should be in the
conversation morey.
Speaker 1 (50:17):
Right for sure? Yeah, like Amadias, Yes please, yes, with
that question. I really loved the people vests Larry Flynn.
I think it's a really interesting film.
Speaker 4 (50:26):
I agree. I think brilliant wood. He was amazing in that.
Speaker 1 (50:30):
Yeah, it's a great boy. Right. You did a play
with it.
Speaker 4 (50:33):
We did a play. We were in the West End
together at the Comedy Theater on Panton Street. How will
I forget everything? Yeah, we did a Pinter there.
Speaker 1 (50:41):
We did.
Speaker 4 (50:42):
No, No, we didn't. I'm sorry. We did a new play.
The theater was known as the Pinter Theater. There's a
lot of Pinter there. We did on an average day
in the West End. Two hander. Well, that's well, that's
that's a we don't watch theater, I think if I
mean you don't stand up. That's that's pretty intense.
Speaker 1 (50:57):
I used to before before I did done if I
did quite a bit. Yeah, but I haven't done the
play in years and years and another.
Speaker 4 (51:05):
It's a lot of work.
Speaker 1 (51:07):
It's how long was there? Right? How long we did? We?
Speaker 4 (51:11):
We ran I think three months or something. I think
we did like one hundred some performances. I remember what
he is, such a character. We got along grade. I
really loved him. I still love him. I remember he
was saying, he just he said, I can't do I
can't do eight shows a week. I just can't do it.
And they were like, what he said, No, I'm not
going to shows a week. This is that's a full performance.
(51:35):
This you know, money is not going to come in,
you know. And it's like, okay, So they cut back
one day and they but they paid us less as well,
so it's like, okay, it's fair enough. But he was
happier with that.
Speaker 1 (51:49):
So what is the film that you could all have?
What's the mice ive?
Speaker 4 (51:55):
Never Again?
Speaker 1 (51:56):
And is it the Muscatieres film?
Speaker 4 (52:00):
That would be in the list for sure. It's kind
of a toss up between the original Blade Runner Apocalypse. Now,
those two would be right up there. Groundhog Day will
always catch me because I just I just love Bill
Murray and I just love that that's just a fun adventure.
But I think Apocalypse or Blade Runner are the two
(52:20):
that I've watched probably the most, you know, I just
I'm I'm such a fan of the well of Ridley Scott.
First of all, but I just you know, of the
production value of that, you know, the way they made that.
I like, I love early Ridley Scott's. One of my
favorite Ridley Scott's movies The Duellists in I Tel and
(52:42):
Keith Carriding. Yeah, Like, if you say, what movie do
you want to watch about France during the time of Napoleon?
Do you want to watch Napoleon or do you want
to watch The Duelists? And I'll say, I'll watch the
Duellists and I'll probably understand the political climate better. And again,
you see this is the going back to this, This
the fact that they fought these duels through the course
(53:04):
of the movie with different weapons. And again, I think
I must have come upon that movie when I was
in school because that was such a big part of
our training was all the sword work.
Speaker 1 (53:14):
Have you ever got to use zosodell I.
Speaker 4 (53:16):
Only I did it in the play. I did it
in Romeo and Juliet we did we did some sword work,
and then in Dune. You know, the idea was when
we didn't have swords necessarily, but we had the short knives,
the daggers, and we treated them as if they were sorts.
So the training was kind of a kendo style, you know,
with that with that blade, but no not, I haven't
done anything that. There's no not really a call for
(53:36):
sword play sadly.
Speaker 1 (53:38):
Right, we need to put this out anyone listening into
Hi Cal and give them some sword says, because this
is crazy.
Speaker 4 (53:44):
Something where I can use my rusty sword play skill set.
Speaker 1 (53:49):
What is I'd like to be negative, but don't think
you too? What's the West family? They have the same
show girls that question a great disagree. I love saga listen,
no I need do. I love Shagas, but the amount
of people that come in this podcast who also love
shogas's brilliant. How dare you? Okay, it's brilliant?
Speaker 4 (54:12):
I stand corrected.
Speaker 1 (54:15):
Can I ask you? Did you? Did you not? I? Really?
I think is great. I loved it. I didn't even
love it like later on ironically, like I loved it
when it come out? It was great? Was that a
weird exp like did you? May ask?
Speaker 4 (54:32):
Well, it was a little weird in sort of the
day to day filming because you know, there are you know,
people weren't wearing any clothes. You come to seth and
you're like, okay, that's kind.
Speaker 1 (54:43):
Of that's not.
Speaker 4 (54:44):
You don't really see that.
Speaker 1 (54:45):
One's different.
Speaker 11 (54:46):
Often if I didn't mind it, but it was a
little it was a little strange first thing in the morning,
with your first cup of coffee and you got walking
around naked.
Speaker 4 (54:57):
You're like, okay, okay, all right, struck the day off.
Speaker 1 (55:00):
With the bank.
Speaker 4 (55:03):
But you know, it was it was what was created
and what the intention was from the beginning to the
end were two different things, you know, and and I
get and I appreciate the irony of it and the
high camp nature of it, which, you know, if you're
going to do high camp, I guess you I guess
(55:25):
going into it with serious intentions maybe the best. You
can't really you know, you can play camp. But I
think if you're like really really really serious about it,
I think it's even better. I get the attraction. You know,
it's highly quotable, but it's still yeah, I just, you know,
I know what we were trying to do, or at
(55:46):
least what I was trying. Maybe I was in the
wrong movie. Maybe I was. I thought it was this,
but actually it was always going to be that.
Speaker 1 (55:54):
I don't know what did you may I stand what
you thought? What was it at the beginning what did
you think it would be that it isn't that, you know.
Speaker 4 (56:02):
The intention was to do something really kind of edgy
and off putting, I think, and you know, people with
no redeeming qualities really, you know, and cut throat and
just and honestly an attempt on you know, on my part,
to to change the perception a little bit. You know,
(56:22):
as an actor, you sort of you sort of end
up funneling down a certain channel, I guess, and I said, no, no,
I want to. I want to change this, you know,
I want to. I want to ride down a different river,
you know, if I can't. And that was an attempt,
very sad sadly, the huge failure, and you know I
(56:44):
just did. It's pretty wrong, right, you're going to talk
you out of it. By the Individ's episode.
Speaker 1 (56:51):
You should be very bad. I love it, people love it.
Speaker 4 (56:56):
Thank you? All right, all right, I'm coming around.
Speaker 1 (56:58):
Okay, you're very funny, But what's the film that made
you laugh?
Speaker 4 (57:02):
The mist You know, I'm not a big laugher at
films comedy shows A laugh maybe because it's immediate, but
I find myself when I watch films that are funny,
I'm like.
Speaker 10 (57:12):
Oh, that's funny, you know, you know, I'm like, oh,
I love that.
Speaker 4 (57:17):
That's huge, you know, like a movie like Holy, Holy
Grail and a Faulty Towers. John Plice is to me
just he's just genius, and there all are. And I
guess I have this strange reaction where instead of laughing,
I go, oh, that's brilliant, It's like, oh, I wasn't
expecting that. Oh my god, I love that non secretor
(57:38):
oh it's what you know. But I know it's funny,
but I'm kind of watching with a.
Speaker 1 (57:45):
Different what's like a like a Honeywood exec. You're being
pitched you that's funny, that's cute, that's funny.
Speaker 4 (57:56):
Yes, yes, with that tone exactly, that's funny.
Speaker 1 (57:59):
I love that funny face. That's funny.
Speaker 4 (58:02):
I'm terrible in the audience, Yeah, absolutely dead, but it's weird.
Speaker 1 (58:10):
I don't know which is your favorite then, Which is
the one that's made you gone that's funny the most?
Speaker 4 (58:18):
I think I think Seeing Money Python, I gotta say,
you know, in Holy Grail for me over Life of Brian,
I know about that's funny, you know, but something about
I don't know, this is the whole thing. The whole
thing is just brilliant to me, just brilliant. How they
end it. I don't know that would be a fun one,
would have been a fun troup to be a part of,
you imagine.
Speaker 1 (58:39):
Yeah, fuck yeah, that's good.
Speaker 4 (58:42):
And you know what else is a really funny movie.
And I think I did the same thing. The movie
is Arthur, the first Arthur, Oh my god, it's just
it's a perfect little movie. It's a little gem of
a movie. And Arthur two is just is so bad.
It's you know, it's weird. It's like you talked about earlier,
about trying to recapture something. Yeah, the casting was brilliant,
(59:03):
unexpectedly brilliant.
Speaker 1 (59:05):
Yeah, that weirdly came up the other day with Vincent Dinafrio.
He brought up Wiedy's come up twice at the same time.
That's interesting. Yeah, Kyle, you've been beyond delightful, beyond wonderful.
Everything I could open more. However, when you came on
a podcast with Brett Goldstein and you plugged your microphone in,
(59:28):
we were trying to work out the tech and you
got electrocuted and you bad to death, killed by Yetti. Yes,
and I was watching live on the on the zoom
and I was like, oh shit, fuck. I was like,
have I just killed? And I'm such a this is
this is awful. So I go around and that and that,
and I see your your lovely wife, and I said,
I'm so sorry. Can I just nip into the dining room.
(59:50):
I got a coffine with me, and she goes, what's happened?
I go podcast business, I come into the back. She said,
you need any help? I got I got it, I
got it. Don't worry about it. Just you carry on.
You carry on with your business and come in and
not any of you burned Like this poor boy in
the Diablau film. You're like, you're like stuck to the furniture.
(01:00:13):
So I'm having to like chop up some of the
wood that you're attached on to chop your up. Desert
keeps popping her head and everything. All right, I go, yeah,
don't worry about it. Don't worry about it. You carry on.
Everything's fines, because what's all that notes? Nothing to worry
about it? Stuff you in the coffin, trying to sneak
you out the back. Basically, there's more than I was expecting.
You're absolutely rammed in that coffin. There's only enough room
(01:00:34):
in that coffin for me to slip one DVD into
the side for you to take across to the other side.
And in Wine Heaven it's movie night every night. What
film are you taking to show the people of Wine
Heaven in Heaven when it's your movie night, camera goffin?
And what wine will you pair it with? Oh?
Speaker 4 (01:00:51):
Should I say sideways?
Speaker 1 (01:00:57):
I bear it with a blow there with them.
Speaker 4 (01:01:00):
At just the torture of the people in heaven.
Speaker 1 (01:01:05):
You could do that, good work, you could have it. Yeah,
all right, I'll take it. Kyle. You're a bloody wonder
you are. Is there anything you would like to tell
people to look out for to buy wine? To listen
to your podcast? Why is your podcast? Quote?
Speaker 4 (01:01:23):
It's called Varnumtown. Varnumtown, and it's a podcast. One did
it and it's me and Josh Davis and it's you
can find it if you're a podcast listener, you know
how to track it down. Eight episodes and we're there
a half hour. They're not they're not very long. Great,
not a huge not a huge demand on your time.
And I think it's a great it's a great story
(01:01:43):
and a great ride and I think people would.
Speaker 1 (01:01:45):
Enjoy it and get your wine pursued by Bed.
Speaker 4 (01:01:49):
Pursued by Bear which we have in the UK and
around the around the country. And we have our own
little website as well, pursued by Bear Wine dot com
and you can test it, read the story and it's
a fun little if the website is fun, I set
it up to have a people have a good time.
Speaker 1 (01:02:06):
And do you have any other TV or film or
plays that we're waiting on?
Speaker 4 (01:02:10):
So Fallout and that's a big one again. Eight episodes
based on the world of the video game Fallout, and
it's Jonah Nolan and Lisa Joy, creators of West World.
Speaker 1 (01:02:25):
Yeah.
Speaker 4 (01:02:26):
Great, it's a big sci fi epic that I think.
I think it's going to be a lot of fun.
And they spend a lot of time and money on this,
so it's yeah, it's a big thing. It's been funn
Elo for now. Walton Goggins nice, Yeah, just on and on. Good,
good group of people. And I'm a for those of
that know the game. I'm an overseer of Vault thirty
(01:02:47):
three and I am Lucy's dad And that's all I said.
I can say.
Speaker 1 (01:02:52):
Okay, said Kyle you are the best. Thank you so
much for Dennis, Thank you for your patients and for
indulging all my twin peaks questions. You're so generous to
me and I appreciate you not looking bored by it.
Speaker 4 (01:03:09):
I was not bored for an insta. Thank you, thank you.
This has been a real pleasure.
Speaker 1 (01:03:15):
Have a wonderful death. Thank you very much. Good day to sir.
Speaker 2 (01:03:31):
So that was a rewind classic with Calma Glaughlin. Be
sure to check out the Patreon page at patreon dot
com slash Brett Goldstein where you get extra chat and
video with various tears and otherwise, if you fancy leaving
a note on Apple podcasts, that would be lovely as well.
But make a review of your favorite film or maybe
your favorite David Lynch film or Karma Glocklin appearance. Much
(01:03:52):
more fun and way more interesting to read for everyone involved.
Thank you so much to Kyle for greatness and presence
on the podcast. Thanks to Screpious Open the Distraction Pieces Network.
Thanks to and this is where Brett thanks for me
for editing and producing the podcast so I say it's
a pleasure. Thanks to iHeartMedia and will Fare with Big
Money Players Network for hosting it. Thanks to Adam Richardson
(01:04:12):
for the graphics and at least Aldam for the photography.
We'll be back next week with another rewind classic. But
that is it for now. Brett and I and all
of us are films to be buried with. I hope
you're all very well in the meantime, have a lovely week,
take some deep breaths, and now, more than ever, be
excellent to each other. Oh also, almost forgot special agent
(01:04:33):
Dale Cooper has just a few quality controlled voice notes
to add.
Speaker 1 (01:04:36):
Let me just drop then here. Okay, all yours Coop.
Speaker 12 (01:04:39):
As you have no doubt surmised by the clarity of
this tape, I purchased a new Micromac pocket tape recorder,
and I have no doubt that this new model will
prove to be an extremely useful tool in the investigatory
process where the most fleeting insight can be lost if
your hardware isn't as solid as you're thinking.
Speaker 4 (01:05:06):
Bust Back Products Best Best bat, Best Potagrams
Speaker 8 (01:05:12):
Products, Best post podcast Pros, Best produst Back procust Best
Best Past Potts, Best Best post Back Product
Look out.
Speaker 2 (00:01):
It's only Films to be Buried with It's rewind Classic.
Speaker 3 (00:04):
Season Testing one two Testing Diane. It's eight a m. Seattle, Washington.
Speaker 2 (00:57):
Hello, dearest films to be Buried with Crewe. My name
is Buddy Peace. I am a producer and editor, a
DJ and music maker, an ultramagnetic MC, and for intro
and outro purposes, I'm temporarily standing in for your regular
host and proud creator of this podcast, mister Brett Goldstein.
As Lula pays Fortune once said this whole world's wild
(01:17):
at heart and weird on top, as saying that transcends time.
Lula one for the gravestone right there. Speaking of which,
every week Brett invites a guest on. He tells them
they've died, and then he talks to them about their
life through the medium of film. However, this week we
are revisiting an earlier episode of the podcast while Brett
recharges the podcast batteries and retreats to the fortress of
(01:39):
Solitude for a moment or two in this bridge between seasons.
This rewind is from January thirty first, twenty twenty four,
not so far back in time, originally episode two hundred
and eighty four featuring someone very dear to not only
all of our hearts, but especially Brett's Kyle McLaughlin or,
as some of you will know from one of his
roles in particular, special Agent Dale Cooper. But let's not
(02:02):
limit Kyle to the world of Twin Peaks, for he
has been on screens big and small and stage two
for decades and there will be so many stops along
the way in his career where you will have come
into contact with his unique work. Kyle is someone who
we are so fortunate to have with us, and even
hearing Brett give him his flowers and this episode is
just such a joy, I'm sure we'll all vicariously do
(02:22):
the same in listening. This episode was recorded about a
year before the death of David Lynch, a celebrated and
treasured filmmaker who truly left the legacy of classic, undeniable
and groundbreaking films and television. You'll likely be aware of
how much Kyle worked with David and have seen the
results yourself. You can hear how much love and respect
there is for David in this episode from both Kyle
(02:44):
and Brett, and this episode is dedicated to David's memory.
And legacy, Rest in peace, David Lynch January twentieth, nineteen
forty six to January sixteenth, twenty twenty five. I'll take
this opportunity to also remind you that Brett has a
Patreon page the podcast, upon which you get a bonus
section on every episode with a secret from each guest,
(03:05):
more questions, and a video of each episode which looks
all nice and fresh and it's just nice to see
faces talking, isn't it. So if you are of a
supporting nature and feel like some extras from this show,
you'll find them all there. So that is it for now.
Let's get you settled in for a wonderful episode with
the legendary Kyle McLaughlin. Catch you at the end for
(03:25):
a quick sign off, as well as a sneaky Twin
Peaks theme based beat I made for Canadian Wrapper Bucks
sixty five back in the late two thousands. But for now,
please enjoy this flashback to episode two hundred and eighty
four of Films to be Buried With.
Speaker 1 (03:44):
Hello, and welcome to Films to be Buried With. It
is I Brett Goldstein, and I am joined today by
an actor, a wine maker, a podcaster, a legend, a hero,
A Twin peakser a Blue vel a June, A Sex
and the City, a desperate housewife, sir, a show Girls,
(04:06):
A Twin Peaks, the Returner. Hey, everything you've ever loved,
he's in it. He changed all of your lives. Can
you believe he's here? I can't. He's one of the
great one of the all time heroes of all time.
Can you believe he's here? He really is. It's him. Please,
welcome to the show, the Brilliant It's coming back. WHOA.
Speaker 4 (04:29):
I am laughing my eyes off. That was perhaps the
best introduction I have ever received.
Speaker 1 (04:35):
Thank you, Thank you, very kind, very kind. Wow, Kyle,
it is so wonderful to see you. I'm going to
have to bore you by telling the people listening at
home if anyone has ever followed this podcast, they know
that Twin Peaks is as big a thing in my
life as the Muppets. Like I'd say that if you
(04:57):
if you define me as two things culture, it's the
Muppets in twit bix.
Speaker 4 (05:02):
That's perfect.
Speaker 1 (05:03):
And when I was eight, I came home, me and
my sister came home from something and my dad. We
went say alo to my dad and he was watching
the very first episode of Twin Peaks. It was like
two minutes in and we went say hello, and he
went shush, shush, and we sat down and we watched
it and we were so fucking scared and we were
so addicted, and then we watched the whole thing and
I think it's why we're the way we are. And
(05:27):
God bless you, and.
Speaker 4 (05:29):
I'm so happy to hear that it's a show. It
had such an impact back in the day, and I
hear these stories. Is your beautiful story from people, and
it's just a great reminder of the power of David Lynch,
you know, and that story in.
Speaker 1 (05:48):
Particular, I had Mark Frost on the show. By the way,
I'm going to tell people, if you don't mind, you've
also been incredibly lovely to me. I met you at
an event and we said hello and we were vaguely
stayed in touch, and then you were in London on
my birthday and you and your lovely wife invited me
for a coffee and I even had a coffee and
it was literally like a Make a Wish foundation because
(06:09):
I just sat for an hour and a half and
asked you questions about that Lizens he was so generous
and you bought me an ice cream? What a die
the birthday that you remember? Yeah, you know you got to.
Speaker 4 (06:24):
Celebrate on your birthday. Well, I thank you.
Speaker 5 (06:27):
You know I am a huge fan of yours as well.
So it was a mutual love fest that we had
over an ice cream Sunday of some of some kind.
Speaker 4 (06:41):
It was a lovely, lovely, lovely day. Thank you.
Speaker 1 (06:44):
But if you will forgive me because no one else
was listening, and I felt I felt as we were
having that conversation, I was like, this is so unfair
that I'm getting to have this all to myself. So
I would like to repeat a couple of those questions
so that people can enjoy them, which is like, I'm
so obsessed with Twin Peaks, and I'm more even kind
of more obsessed with the return because it's so unusual
(07:05):
for something to come back twenty five years later and
be fucking amazing and profound and like as mind blowing
as the original, if not more so, And like, I
don't think there is a single example of something that's
done that. I think most things that have come back
have been kind of disappointing. And my theory is when
(07:26):
when things come back and people really want them to
come back and then they feel dissatisfying, is kind of
because they kind of are the same thing, and it's
almost like they've gone, well, we'll give you what you want,
and then you get what you want and you're like, oh, no,
I didn't really want that I wanted. And with Twin Peaks,
the original was such a surprise that what happened with
the return it was like, oh, will surprise you, Like,
(07:48):
this is not at all what you think it's going
to be, which is what the original Twin Peaks were. Yeah,
it's fucking amazing. How is it for you?
Speaker 4 (07:55):
Well, I think you make a good point about things
that come back again, and I feel like what happens
is they get watered down somehow and they lose their intensity.
And I know that there were a lot of Twin
Peak fans who wanted to kind of have that warm
bath going back and recreating that experience, which you simply can't.
(08:16):
And I know that David Lynch in particular has no
interest in recreating something that's already been done, and he
was all about the future and moving forward. And you know,
we were able to really get what I call it's
the pure lynch ingestion. You know, he obviously David is
you know, you put him under the category of surreal
(08:38):
as filmmaker. I think, and I think what we got
for that return was really almost just the purity of
his vision, of his intensity, and honestly it wasn't for everyone,
but I am really proud of it, and I'm so
happy to hear that you also embraced.
Speaker 6 (08:58):
It that way, because it's what it is twin Peaks,
and then it's even I think more and if you
like the original, and we're a fan of the original,
I think you really it was something that really spoke to.
Speaker 4 (09:10):
You, so thank you.
Speaker 1 (09:12):
It also feels like, you know, there's the reality and
forgive me, this is I don't know too sad to
talk about, but you know, lots of people kind of
died from the cast, like within weeks, within days of
the show, and it really feels like this kind of
document like time. The whole thing is about time, and
there's the kind of reality of these people getting older
(09:33):
and some of them dying, and you feel there's a
real it's so strong within the show, particularly with the
log Lady and everything. It's like it's so fucking moving.
This feels like this object about time, real fucking time.
You know what I mean?
Speaker 4 (09:49):
Yeah, I know exactly what you mean. I think so
often when you see something a film, a favorite film
or a favorite program, it's a frozen moment, right, and
time stops, and that's how you remember that moment. And
with twin peaks, you know, obviously we get advanced twenty
five or a few more years and you saw the
(10:11):
age and you realize that people were gone, and suddenly,
as you said, time becomes very real and the march
of time becomes like really very tangible, I think, and
it was a it was a byproduct of the experience,
but I think a powerful one.
Speaker 1 (10:30):
Yeah, and kind of you're incredible in the return and
you essentially play three, if not how you play four parts? Yeah, five,
I'd say four. I think I'm playing four five.
Speaker 4 (10:45):
With a few other little variations thrown in. Yeah.
Speaker 1 (10:49):
I think the guy at the end in the final
episode is a.
Speaker 4 (10:52):
Fourth Yeah, Richard referred to as Retail. He's a slight
cut of Cooper, close to Cooper, but not exactly.
Speaker 1 (11:00):
Yeah. And it's a phenomenal performance and you should have
won all the awards for it. And you're and the
thing that you're so lovely at and you're kind of twinkly,
and there's an innocence about you and a purity and
a curiosity and all that stuff. But when you played
mister c You're dead. You are scared, proper fucking scary.
And I believe that's the first time you've done something
(11:22):
that dark yourself. And I wondered how that was and
how you did it, you know, so.
Speaker 4 (11:28):
I wondered how I did. When I was reading the script,
I recognized the fact that what I needed to do
and I it was soul searching. I said, Okay, are
you Are you an actor who can do this? You know?
Speaker 1 (11:41):
Can you?
Speaker 4 (11:41):
Can you go and do what's necessary because if you can't,
the show doesn't work.
Speaker 1 (11:46):
Yeah.
Speaker 4 (11:47):
But I had the little glimmer of hope was that
David was there as the director, and I said, if
I'm going to do this, there's nobody I'd rather, you know,
jump off the edge of this cliff with him, with David,
and I know that he'll he'll have my back. And
it was a challenging, scary, surprisingly powerful. Not surprising that
(12:09):
it was powerful, but the fact that I actually the
feelings you know, as an actor, you're it's a journey
in every role demands different things and you're sourcing from
different parts of yourself. And I was like, this isn't
a part that I'd never sourced, and yet I dipped
into it and it was available to me, and I
was like, Okay, that dark, inky blackpool is there. And
(12:34):
I kind of wallowed in it a bit. I gotta
say I was very happy to take it off at
the end of the day, which was sort of symbolic
by removing basically getting undressed for me taking off the character.
But I was very surprised that when I got in it,
it was different and it was exciting and powerful and
(12:54):
a little frightening.
Speaker 1 (12:55):
Wow, that's You're like, I couldn't believe.
Speaker 4 (12:59):
It's a very weird place to be as an actor,
and one that I did not want to stay in very.
Speaker 1 (13:07):
Long, to be honest, there's a reality. I think about
that a lot like that. You know, there's the scene
you have quite early on. I think it's like episode three,
I say as a mega mega fan, where you're where
you hit that woman and it's very horrible and upset,
and I think about sayings like that the sort of
reality of obviously you're not hitting hebby, you have to
you have to physically look like you're going to do
(13:29):
and look like you mean it. That's sort of very
dark scary either. Yeah, that must be very tricky.
Speaker 4 (13:36):
You know. There was a hint of it in Blue Velvet,
in the relationship with Isabella in the as the character
of Jeffrey sort of brushes up against his dark side,
encouraged by her and her behavior and obviously influenced by
the character of Frank Booth played by Jennis Hopper, played
beautifully by Jenna's Hopper, and he does he does strike
(13:58):
her in this more moment of true passion, anger, desperation,
sexual fervor, everything. And the remorse that he exhibits after
that when he's sitting in his room and he's really
he's driven to tears, is really just as a glimmer
of what was to come, and not even related and
(14:19):
other than the fact that it was directed by David.
In the Return from Blue Velvet to the Return, Neck
character had that and I hadn't really thought about that
until you just mentioned that, and it was there, but
more fully realized of course in the Return.
Speaker 1 (14:35):
Yeah, there's a clip I add to anyone to find
online way. It's just a one minute like behind the
scenes shot of the return trim picks of return, and
it's you can hit. You're in the You're in the
red room. You're in there, You're walking along the floor
and David is just shouting directions from behind the camera
and he's going, look down, the floor is shaking, the
(14:57):
floor is falling, you're falling down, you're falling, you're up,
you're down, and he's shouting and it looks like you
do it all in one take. It's so fucking brilliant.
And the thing that is really fascinating about it is
that it's the sort of thing that if you weren't
completely trusting and one hundred percent committed, it would be embarrassing,
Like it's right on the edge of this could feel
(15:17):
very silly, Like it could feel silly. He's going like,
you're dancing, you're falling. Yeah, And it's so the very
edge of that, and yet you're like, it isn't remote,
it's not silly, it's not funny. It could be there's
a version where this is a disaster, you know what
I mean. But you're so both of you are so
committed and it's just and it ends and everyone claps
(15:39):
and you're like, yeah, this is fucking amazing. And I
wonder if can you articulate or is it just natural,
like how you and David having worked together forever, Like,
what is it? How is it with between the two
of you? Is it just trust? Is it? Do you
know what he's doing?
Speaker 4 (15:55):
It's a lot of trust. I don't always know what
he's doing, you know, I've been famously quoted it's not
understanding certain things. You know, I know where we are
in that moment of the journey. I often I'm uncertain
as to the final result. You know, this is what
this is in David's mind. This is the creative, the creative,
(16:15):
and I am part of the troupe, you know, the
group that carries on. But we've always had that talking
back and forth is something I remember we did and
we started with it in Dune and they continued into
Blue Velvet, more so in Blue Velvet, and it's it's
an interesting connection because there's a lot of it. Sometimes
(16:36):
it dips into the what I think is sort of
the crazy. So David will say something to me that
I know he's just trying to get me to laugh,
you know, it's it's a departure from the scene. But
I'll stay in character and I'll do it, and then
the goal is to make him laugh. So it's about
who makes the other laugh first, because in doing in
(17:00):
Blue Velt, but there was he was right he'd always
be right near the camera, so he wasn't back at
a monitor. Now it's different, but he would be right
near the camera and so he was right there, you know,
as close as you can be. And so he would
just say these things and oftentimes it was just between
the two of us, and then the crew didn't know
what was going on, and then of course one of
us would break out laughing and anyone would laugh. So
(17:22):
we have a lot of we have a lot of
fun in some of the darkness, which is very important important.
Speaker 1 (17:28):
Yeah, and that so I imagine I love that Lower Daniels
in it, and you two equally seem to have had
a history with David Lynch for years and years, and yeah,
may ask this question, do you think it's a happy
ending in the return? Yeah? Do you think it's a
positive or negative ending?
Speaker 4 (17:45):
It's it's a mixed ending, I think, because on one hand,
I feel like he has succeeded in finding her and
actually kind of rescuing her or her from her situation
obviously a very bad situation in that room when when
(18:06):
he finds her and what's this tableau that is set
up there, not unlike the tableau inwards the end of
LEVELVET similar, But I also feel like he has not finished.
And there's a moment of which you never see Cooper
in a moment of rarely, I guess, in a moment
of not sure what to do, and yet you know,
(18:28):
I think he'll figure it out. But so I feel
like it's a it's almost a kind of a it's
a work in progress kind of he hasn't quite figured
out how he's going to get back all the way
I used to like in it, kind of like an
astronaut would be tethered and then he has to let
go and then he's going to catch something else, but
(18:49):
he hasn't quite caught the next thing yet, so he's
in limbo a little bit. So it's a it's a mix.
And I think the look on his face and that
was all directed, you know. We shot the very very
end outside the Palmer House very early in the filming.
It was during the Seattle sequence, which we shot first,
so I hadn't really gone on the journey yet, so
(19:12):
I relied heavily on David to say okay. He said,
come down the steps, you walk into the street, you
take this number of steps, you stop, you hold a beat,
you turn everything that you see, everything in physicality was
him setting up the exact relationship that he wanted because
I didn't. I didn't understand exactly where we were on
(19:32):
the journey. And then he had, of course cherryl Lee
do that scream, which just I mean, I don't know
if you have the same reaction at the end of
the pilot, there's a grace sits up and there's a scream,
and the hand comes in and the I remember, the
hair on the back of my neck is when I
got chills. And that never happens. I mean, when are
(19:53):
you so impacted by something rarely right? And I remember
I had exactly the same reaction in the flesh in
personal happened. I was just like, oh my god, and
I said, this is how we're going to leave. Oh
my god, all right, oh my.
Speaker 1 (20:11):
God, you know what? Could I could cry because I've
just realized that, Yeah, it's like the whole full segon
of life is that that is what happened in the
pilot when me and my sister were young, and we
saw that and when that happened, both of us sort of.
And the funny thing is I was supposed to move out.
Me and my sisters share the room, and I was
supposed to have that day. I was supposed to have
my own room, and we were so scared that I
(20:33):
dragged my mattress into my sister's room and that to
this day I still sleep but that feeling, you know,
twenty six years later, that that is exactly how I
responded to the end of this Dave.
Speaker 4 (20:48):
It's just very powerful. That's a very funny story. I'll
never forget.
Speaker 1 (20:55):
But it also makes me think, like, you're very funny.
You're I think it's interesting, and maybe you've always been
this way. Maybe it's inherits you. I think you're like
in Sex and the City. I love you in Sex
and the City. And it's such a again, it's so committed,
such a committed, funny performance. And I don't know that
must just be you must just be very open to everything,
(21:16):
because because again that could be silly, it could be embarrassing,
but you fucking it's so good, so great, thank you
do it so well. Fuck thank you.
Speaker 4 (21:27):
You know, when you're working with Francis Sternhagen, the late
Francis Sternhaggen, my mom. I mean, she would come to set.
She'd be like in a broken stocks and like a
gardening shirt, you know, pants, just all natural hair down,
no makeup, you know, and big smile. It's so gracious,
(21:47):
so warm, and she would transform into this Upper east
Side chili smoking you know character, and it's really amazing.
And we have just great mustry and I had great
chemistry with Kristen too as Charlotte. And I think the
idea was, you know, obviously the topics that the things
(22:07):
that Trey is dealing with are embarrassing and certain, and
you know, you can make a joke about them, but
we really tried to find not all the time, but
we tried to find some of the real issues, you know,
the real emotion like if this really happens, how does
how do two people deal with it? You know, and
what kind of just the realness of it we were
(22:31):
we were trying to get to and I think and
we were helped in some ways and then also the
writers couldn't you resist all the fun which was great,
you know, there was some humor there too.
Speaker 1 (22:42):
But it is moving. There is positive that story that
moving right.
Speaker 4 (22:46):
You know, yea, So try to focus on that.
Speaker 1 (22:49):
You're very good. Okay, one last one, last question, Thank
you friend talking to me. I know that with your
long career with David Lynch, have you ever been like,
I'm not daying that that's right?
Speaker 4 (23:05):
You know, there there was one time that I remember,
and maybe there were others, but I don't think so.
I mean, there was the script for Blue Velvet was
pretty graphic as you can imagine, you know, very specific
things that happened between Jeffrey and Dorothy and written out,
you know, and so there was this kind of a
(23:28):
scene where I'm supposed to run from the couch, you know,
gather my clothes real quickly. But I knew there was
going to be a stretch of the living room where
I was going to be potentially full frontal. And I
was like, oh, boy, David, you know, and I was like,
I don't if I can do this, and he said no, no, no, no, yeah,
(23:51):
we're gonna move the camera over here. It's gonna be Okay,
you're gonna be fine. So I trusted him, you know,
and I did it and it actually worked. Okay, there
was a slight moment of something, you know, but it
could have been a lot worse. So that was that
was one time when I was and then the only
other on was I remember when we were doing this
(24:11):
scene when after Jeffrey has the joy ride, the whole
experience Dean Stockwell and Frank and all that, that night
he wakes up kind of beaten up in the lumberyard,
and I remember David had wanted Jeffrey to wake up,
you know, his pants were down, he was fully you know, exposed.
You could realize he's been he'd been abused. And I
(24:34):
was like, I said, David, I think this might be
a little more than what the audience should see.
Speaker 7 (24:40):
I just feel like we're it might be a little
bit too and he he said, okay, he said, okay,
we were able to show portray that or do that
without having to see that the brutality.
Speaker 4 (24:52):
Of that, And so that was I mean, that was
the only time I kind of raised. I didn't start
of say I wasn't going to do it. I just
sort of said, I, you know, I yielded to him,
but I said, I this is how I kind of
feel about this, and he he agreed.
Speaker 1 (25:04):
Something that is. I don't know why it is. That's
good man, makes sense. So tell me before week. I'm
sorry to and we haven't even I haven't even told
you something I should have told you about it. But
do you do you hid? There are two things you
need to tell me about. One is why and the
other is you have a new podcast? What is your podcast?
(25:27):
Oh God, thank you for.
Speaker 4 (25:31):
Finally I'm the last person, last act to get.
Speaker 1 (25:34):
Into the podcast. We didn't have a podcast. It was
about time.
Speaker 4 (25:39):
Thank you for asking I have. It's a kind of
a crazy mystery story that takes place not far from
where we filmed Blue Velvet, which was in Wilmington, North Carolina.
This takes place in a little town called Farnham Town,
North Carolina, and it's the story of a very eccentric,
(26:00):
charismatic guy who made a deal with Pablo Escobar and
his cartel and his town. This is a very small
town of three hundred people to operate as a basically
a port or a hub for smuggling drugs into the
(26:21):
country from South America. And the podcast is called Varningtown
after the community. And I heard the story and I said,
that is the crazy thing about it is how, you know,
I understand the person, but how do you get a
whole town involved, and then what does that mean to
the town and to the people, and what happens to
that to them, you know, and who agrees and who
(26:44):
doesn't agree, and then what sort of what does that
set up? And I thought, this is a very interesting story.
So I contacted my friend josh Davis, Joshua Davis, who's
an investigative reporter, and we put together a little crew,
very small crew, and we went to Varnumtown and we
interviewed almost all of the people that were involved. There's
a few that were not around, Pablo Escobar being one, but.
Speaker 1 (27:03):
We interview everybody.
Speaker 4 (27:06):
Yeah, and we came up and this is this eight
episode sort of mystery that we go on to try
to kind of figure this out, put the pieces together,
and I it was it's a I loved it. I
love the process. It's really fun. Yeah.
Speaker 1 (27:22):
Does it make you want to do more them?
Speaker 4 (27:24):
Yeah? Yeah, I understand it more. Now. The big learning
curve for me was you're going with an idea of
a story, and then that story continues to evolve and
change and shift as you as we do these interviews,
as we went on this journey and gathered everything, and
I said, oh, okay, so it's the story sort of
(27:45):
reveals itself as you go through this process. At least
that was the experience I had. And I said, that's interesting.
It reveals itself. And I thought, oh, yeah, okay, I
enjoyed that, so yeah, I'd like to do more.
Speaker 1 (27:56):
I love it, Kyle. I. I did forget to tell
you something, which is it's mad, mad that I didn't
tell you at the beginning of this, because you know,
we had a long time dealing with the tech. I
should have told you. But let me just check my notes,
because I did make a note to tell you. I
was going to say it up top, and I don't know.
(28:17):
I got distracted because this is excited to say you've died.
You're dead. Okay, you're dead.
Speaker 4 (28:25):
Is there a chance of resurrection or is this it?
Speaker 1 (28:28):
No, there is a chance. Actually, if this guy's well,
you ever want to do another episode, then yeah, that's
that's a resurrect it. Let's make How did you die?
Speaker 4 (28:38):
Oh, it was a tragic accident.
Speaker 1 (28:40):
Well, no, yeah, I was what happened.
Speaker 4 (28:44):
I was on a podcast with you. I don't know
if you know about. Yeah, I was sad and I
was trying to work the avy and I was actually
electrocuted trying to hook up the microphone, and it was sad. Yeah.
Speaker 1 (28:58):
So there's a lot of my fine.
Speaker 4 (29:01):
Yeah, my final moments were actually caught on tape and
recorded so very.
Speaker 1 (29:05):
Embarrassed that they made for great content. Yes, well, do
you worry about death?
Speaker 4 (29:17):
It will occasionally cross my mind.
Speaker 8 (29:19):
I have.
Speaker 4 (29:19):
I'm one of those people. I don't know if you're
like this, but if I wake up at three o'clock
or four o'clock in the morning, you know, from sleep,
my mind begins. It's a dark time. I think they
do say it is the what is it, theator from
the lowest point. Yeah. In fact, when people pass and
if they're suffering, and it's a common time to actually pass,
(29:42):
like four in the morning roughly, and occasionally, yeah, that
concept will creep in and it becomes I have to
work hard to shake it. Not hard, but I need
to shake it off, and I enter into my gratitude
list of things, you know, my family, my son, and
my things I done on people. I know, those kind
of things. It's very hard to imagine just not being here.
(30:06):
It's a concept that I think is if you really
sit with it, it's not a place that I really
like to go and be.
Speaker 1 (30:12):
Do you think there's more when you die? That there's
something else?
Speaker 4 (30:17):
I hope, so, I hope. So, you know, one one
side of my brain says, and you know, this is it,
and you've done, You've lived, and you move on, and
you live on in the memories of others you know,
and in some ways as an actor if you live
on for possibly a long time. But you know, that's
(30:40):
one side. The other side is hopeful that there is
some kind of energy transference, that some kind of consciousness,
although really hard to believe.
Speaker 1 (30:50):
That for me, Well, I got news. For m there
is a heaven. I guess he's got it. You I am,
I it. You gotta have it.
Speaker 4 (31:02):
I knew it. This is why I'm doing.
Speaker 1 (31:05):
I'm gonna have it. It's good with your favorite thing.
What's your favorite thing?
Speaker 4 (31:08):
I hope I can bring wine.
Speaker 1 (31:11):
Tell me what you love wine? You make wine? Why
tell me what happened? We know what happened.
Speaker 4 (31:19):
I've liked wine longer than I should be. I like
wine since high school.
Speaker 1 (31:24):
Really yes, very sotisticated.
Speaker 4 (31:27):
Well, it wasn't really good wine that I liked, but
I love the idea of it. And that started me
on this journey. That's led now to me owning a brand,
a wine brand, and I make wine in my home
state of Washington, where I grew up on the on
the east side. Eastern Washington is quite dry, quite good
for wine grapes. In fact, west side not so good.
(31:49):
That's Seattle and that's very rainy and green and mossy.
But but the east side is dry, dry as bone.
So that's where I grew up, and that's where the
vineyards that I use for my wine are all that side.
So I made my first vintage in two thousand and five.
Is kind of a fun adventure. Wanted to learn about it,
wanted my dad to be part of it, and that
started me on this journey. And here we are and
(32:12):
I've I've got seven different wines and I'm really still
enjoying the journey. So much fun.
Speaker 1 (32:18):
This siege, right, you do. It's a very big brand.
Speaker 4 (32:22):
Now, it's a known brand. We're still pretty small production,
you know, roughly three thousand case productions. Pretty small but
high quality, and that's our focus.
Speaker 9 (32:32):
And we actually have a distribution in the UK, which
is pretty cool. I got a few spots there and
around the country, so I've got distribution in about eighteen
states and I love it.
Speaker 4 (32:45):
Yeah.
Speaker 1 (32:46):
Well, in Heaven there's old wine. You could what, there's
your wine. There's your other favorite wines. I don't know
enough about wines, but there's red, there's white.
Speaker 4 (33:00):
They're all fantastic. If they're in Heaven, they've got to
be great.
Speaker 1 (33:02):
Yeah, they're really good. Oh, bit didn't dry you never
And everyone's very excited to see you, and they won't
know about your life, but they weren't know about your
life through film. And the first thing they asked you,
what's the first film you remember saying comic beffin.
Speaker 4 (33:18):
I don't know if this was the first film I
ever saw, but it's one that had an impact on
me that I still think about today. I was in
fifth grade, so how is that that's maybe ten?
Speaker 1 (33:30):
I don't know anyway, I don't know your grade system.
Speaker 4 (33:34):
I was a crossing which called we called them patrol boys,
but then there was a crossing guard. And this is
when it was the kids were actually the crossing guards
for the other kids. And at the end of the year,
I guess has a nice gesture. We got half a
day off school and we got to go to this
park and all these games and food and everything. And
(33:54):
it culminated in going to see a movie at the
local theater in downtown Yakima, Washington. And went to the
theater very excited. You know, I hadn't seen many movies,
and I remember sitting down and the screening was a
film called Duel at Diablo Western Great. You know, it's
(34:14):
fine watching cowboys and everything going around. And at a
certain point in the film, one of the good guys
has been kidnapped by the Native Americans Indians at that time,
Native Americans kidnapped him and taking him away, and we
didn't know where he was, so they sent out a
search party and they find him and he's been tied
to a wagon wheel. None of this you see. The
(34:36):
only thing you see is kind of from behind an
arm that's been lashed to a wagon wheel and they've
been roasting him alive. So the arm is bloody and
blistered and grotesque, and you're like, that's all I needed
to see. I was like, I was horrified. I was
(34:57):
frightened beyond belief then, because you see the faces of
the other cow hands looking at him like, oh, like incredulous, like,
oh my god, this is awful. I don't know if
any dialogue was, but I remember there was a passing
of a of a gun, six shooter to the hand
that had been burned. You know, it was enough, it
was okay, And it reached out and it's with its
bloody fingers grabbed the pistol and began to turn the
(35:19):
gun this way. And they cut away. And now you're
with the cowboys and they're kind of some distance, they're
riding away, and you hear a gunshot, a single gun
shot right now.
Speaker 1 (35:30):
Oh god.
Speaker 4 (35:31):
And I was like that was it. I was like
I was, it was embedded in my brain. I was,
oh my god, I'd never seen anything like this. I'd
never seen anything like that. So I must have seen
other movies. I mustn't, because we were pretty sheltered as kids,
and so there were I'm sure there were Disney movies,
you know, which have a certain you know, element of
(35:54):
you know BANDI you think about that's a lenment of
loss in there and horror. But this was something so
brutally graphic to me. And you know, I still have
those few images, and I'm sure they've distorted it over
the years, but that was the first thing that I
ever saw, so that I remember, really really, that visceral
of a reaction.
Speaker 1 (36:13):
Yeah, crazy, that's.
Speaker 4 (36:17):
I should I haven't even never.
Speaker 1 (36:18):
Seen it again, so yeah, I's lick that out. What
about crying? What is the film that made you cry
the mouth?
Speaker 4 (36:25):
I think it's any film that I watch when I'm
in the air. Is there a thing? Does this happen
to you.
Speaker 1 (36:32):
That it does? I don't think it is a thing,
but no one knows why it is a thing. But yeah,
everything it might.
Speaker 4 (36:38):
Cry and it's the strangest thing. And I remember I
was sitting, I was flying somewhere and for some and
this was back in the day when you could actually
make phone calls from the seat. Remember they had phones
for a while that you could actually remember sat phones
or whatever they were. So I was, I was flying,
and I was watching my dog skip for some reason,
and even thinking about it, I'm getting getting emotional now.
(37:00):
And there's a there's a moment where the dog he
puts his pop on the bed. He can't jump up
on the bed and he's getting old. And I was
just like, I was thank God. I was in the
window seat and I was turned to the side, tears
just running down my cheeks. I was like this. I
think I was either on the phone or I'd called
the phone, or maybe I called my wife, Desiree, and
I she said hello. I said hello, like there's some
(37:23):
little whimpery voice, and she said Kyle and I said yeah,
and she said are you crying? I said, you know,
I just couldn't even talk. And I said, I'm watching
my dog skip and she said, oh my god, call
me back later. So hung up. But I just remember
that moment so clearly. Just it was had such a like,
(37:46):
you know, watching it in your home, you'd be like, oh,
that's a very moving moment. But somehow, when you're in
the air, I don't know what it is, everything has
more impact.
Speaker 1 (37:55):
Look fast and furious. We'll make you cry on a plane, right,
you called me don't fail.
Speaker 4 (38:03):
Vin Diesel will make you cry.
Speaker 1 (38:07):
Then Deese is saying we're a family, will make you cry.
Speaker 4 (38:10):
Yeah, yeah, I believe you.
Speaker 1 (38:14):
I think you're absolutely right.
Speaker 4 (38:17):
Yeah.
Speaker 1 (38:17):
So anyway, what about being scared what's the film that's scheduled.
Do you like being scatted? And by the way, you
you other thing that scared made a nice to.
Speaker 4 (38:29):
Nice to have that distinction. I don't like being scared.
I don't like jump scares. But again, I was working
in North Carolina. I was working as an apprentice at
Flat Rock Playhouse. So this would have been seventy seven,
seventy eight, and this film called Alien had come out,
(38:52):
and so I was kind of seeing this girl. And
we went to see Alien together on a rare day
off and I literally sweat through my clothes. My t
shirt is drenched with sweat. It was so tense, and
I was so scared. My heart was going like one
hundred miles an hour. I was freaked out that movie
(39:15):
totally just scared, basically scared the shit out. I mean
that was and I still I still love it. I
love the all Yadians. I mean, I'm just but yeah,
that one for me was really memorable, and you.
Speaker 1 (39:24):
Know it, it holds up Alan, It's really good.
Speaker 4 (39:28):
So I think so I think that you know a
big fan of Sigourny. We were for all the years
of Tom's Scaret and Harry Dean. You know, just the
the production value of it was interesting because it was
early and it was a ship that was like a
working ship. This wasn't a pristine.
Speaker 1 (39:48):
Spacecraft that was new, right, it was new like a ship.
Speaker 4 (39:53):
Yeah, you'd seen Star Wars to that point, which is
clean and nice and everything is shiny. This was and
therefore very I thought it really put you in that
place so quickly.
Speaker 1 (40:04):
So scary, fantastic. What is the film that you love?
People don't like it is not critically acclaimed, but you
love it forever.
Speaker 4 (40:15):
There's this film. I mean, I don't even I don't
know if people love this film or not love That
can untel, but there was. There were two films that
were made actually at the same time. It was sort
of controversial, Three Musketeers for Musketeers. This is the version
with Michael Yorke and Richard Chamberlain, Raquel Welch, Faye Dunaway.
(40:35):
I mean it was a cast of you know, superstars.
Richard Flesher, I think directed, and I will watch it today.
I mean, I love it. I love it, And part
of the reason I think I love it is because
I found it when I was in school and training
at the University of Washington and and we were anybody
in school. We were thirteen going kids going through this
(40:57):
repertory theater experience for three years. And if any kind
of diversion, you know, was was because it was just
it was a very intense program. And I remember going
there and watching this and just feeling like, oh my god,
this is my kind of humor, this is my kind
of movie. It had, it had fun, swashbuckling, great sword play.
(41:20):
I think the choreographers, William Hobbs, Oliver Reid, I don't know,
just I love everything about it. I love every In fact,
I love it so much that I would watch they have,
you know, kind of behind the scenes footage or interviews
with the actors, you know, many years after, and I
would sit and watch that and I just love hearing
the stories, and I love the idea of being on
that set, and I love everything about it. It's crazy.
Speaker 1 (41:42):
I love it.
Speaker 4 (41:43):
That's it's like a guilty pleasure.
Speaker 1 (41:46):
What about on the other side of it, a film
that you used to love a lot, but you've watched
recently and you've thought, I don't like this anymore. Maybe
you change.
Speaker 4 (41:55):
The thing is I still like this film, but it's
a context Blazing Saddles. Have you seen that recently?
Speaker 1 (42:00):
I love Blazing Sadus have WestEd recently?
Speaker 4 (42:03):
I love Blazing Saddles. But it's so inappropriate right now.
Speaker 10 (42:07):
It's so not not what it's supposed to be. It's
you know, it's like of a time and a place,
and it's hilarious, but it's it's hard for me.
Speaker 4 (42:19):
To watch now just because of some of the jokes.
And I'm just like, I know everyone's in on the joke.
But and it's got one of the great performances Gene
Wilder as the wakeout Kid, I mean Cleveland Little. Of course,
you know this is mel Brooks. But I have a
hard time watching it.
Speaker 1 (42:35):
Just because, you know, but that is an edgy film.
Speaker 4 (42:40):
It's an edgy film. I don't, you know, I it's
and again it's it holds up. It's just more that
it's of a different era, you know. I think in
that really there are some films that are like okay
that exists in that time, very specific, and in some
films that are sort of a little you know, you
can go with them for decades.
Speaker 1 (42:58):
So I don't know, I think that's fair. I think
comedy rarely holds up comedy is always of its time.
I think not always, but I think other than sort
of silly comedies, silly like slapsticky type thing or anything
with dialogue usually dates because it's sort of transgressive at
the time they make it, and then time moves on
(43:19):
and then that thing suddenly becomes less. I don't know
at times of the moment.
Speaker 4 (43:24):
Maybe of the moment.
Speaker 1 (43:25):
Yeah, yeah, what is the film that means the most
to you? Not necessarily the film itself is any good,
but the experience you had around seeing it will always
make it special to you.
Speaker 4 (43:36):
The uh And again it's because I think of where
I was in a context the film the longer Friday, Bob.
Speaker 1 (43:44):
Hoskin film me right film, It's a great filming.
Speaker 4 (43:48):
Is one of the best ending Pierce Brosnan. Yeah, I
was working at the Shakespeare Festival in Ashley. Had graduated.
It was nineteen eighty two. I was working in Ashland.
I was doing Romeo on the main stage, The Boy
and Henry five, which is a great role. Octavius Caesar,
Julius Caesar, fresh out of school, working making five hundred
dollars a month. I was in heaven. It was perfect, Yeah,
(44:15):
and it was repertory theater, so you and you know,
occasionally you had a knight, yet a dark knight, you
get a night off. And it was a little theater
in town that would play so and that it was
the only movie theater. So we were like, this movie
came on the longer Friday. I said, I don't know
what it is. You know what it is. I don't
know what it is. So let's go because we got
nothing else to do. We've got to kill some time.
The main stage is on, We're not on there. Let's go.
(44:35):
So we went and we sat down with no expectations.
It was my roommate and me, and on comes that
music and remember da da dun da da da dun
d d and you see Bob Hoskins walking. You're like,
this is going to be good. I think this is
going to be very good. And we were just transported.
We were not a Nationals anymore, we were in a
(44:56):
different place. We watched it. I can't tell you how
many times that week, and they only go come from
a week. Every time that we had downtime, we would
go back and watch it. I loved it. I loved
that movie. It was so intense and I remember just
because of that that experience where I was.
Speaker 1 (45:13):
At the time, that is that is very cold.
Speaker 4 (45:17):
It's a great film.
Speaker 1 (45:18):
What about the film you might relate to, you know, I.
Speaker 4 (45:22):
Kind of tumble back into the Musketeers again in this
in a so I don't know if we can repeat,
but it's like I just saw myself. And I think
part of it was because I was in acting training
and so we were we were doing sword work, you know,
we were doing the classics. There was a just and
it's a very actory movie. And I wanted to be
(45:43):
a part of that group of people that you know,
Michael York, Richard Chamberlain, Frank Finlay, Oliver Reed. I wanted
to be one of those guys, you know so and
I felt like, this is this is who I want
to be, This is who I would be if I
were alive at that time. So I I definitely I
think it was a kinship to that kind of brotherhood
(46:05):
that I felt with those guys, and I said this,
this would be my tribe, This would be my family
if I were you know, if that were real and
it were that of that time, it would be my people,
I feel.
Speaker 1 (46:17):
But it's such a weird life isn't it, particularly for
an actor, where like you ended up sort of being
found by David Lindson and that became such your life.
It's a huge part of your professional life. Is this
turn that I bet you never could have pictured or
it's such a unique position you're in there. I don't
think anyone actually can relate to. There's no nothing comparable,
(46:39):
I think to the way you two have been.
Speaker 4 (46:41):
It's an interesting The journey is, as you said, when
you look back in the middle of it, that you
have no perspective. You know, you're like, Okay, I'm doing
Dune with David. Happened to be a book that I loved.
I started reading when I was fifteen. I read every year.
I would read it, I would I would write quotes
from the movie be on my English teacher's blackboard in
(47:02):
eighth and ninth grade because she let me. I mean,
I was really really affected by it. And cut to
a few years later, I get a phone call their
auditioning in Seattle, where I happened to be doing a
play for Paul, and my first response was, who is this?
Why are you Frank calling me? And it made no
sense to me at all. I couldn't quite fathom what
(47:24):
was happening, and that led to Yeah, it led to everything.
Speaker 1 (47:28):
What is the sexiest film you've ever seen?
Speaker 4 (47:33):
She's not a film, but I watched a clip of
Anne Margaret dancing on Johnny Carson to something and I
don't think she was wearing a bra.
Speaker 8 (47:46):
In fact, I'm pretty sure. And I said they could
do this on television. That she's crazy sexy. Yeah, she's
crazy sexy.
Speaker 1 (48:00):
Have you ever seen Tommy new musical film? She runs
around in baked beans in that I believe, And it's
I mean, it's a wonderful piece of cinema.
Speaker 4 (48:09):
I just can watch it again and again and again.
Speaker 1 (48:16):
I'm afraid I have to ask you this. Some agree
Troubling Bone is Worrying White Ones a film you found
arousing you weren't sure you should.
Speaker 4 (48:26):
Well, this is yes, and you should apologize because it's
embarrassing the fifth element? Yes not Bruce Willis.
Speaker 1 (48:40):
You mean what's he called Lelo?
Speaker 4 (48:43):
Yeah? Yeah, she was really good.
Speaker 1 (48:46):
She's really good.
Speaker 4 (48:48):
I was very compressed with.
Speaker 1 (48:53):
She's very good.
Speaker 4 (48:54):
Yeah, it's very good. And the castle that she had
was great.
Speaker 1 (48:59):
All if that was very good? Yeah, what is objectively
the greatest film of all time. It might not be
your favorite, but it's the best one first film.
Speaker 4 (49:09):
There's no doubt in my mind that Cuckoo's Nest.
Speaker 1 (49:13):
Is ah the best.
Speaker 4 (49:15):
Yes, I just it's a masterpiece. It's not as out
there as two thousand and one. Let's say either something
about it. I just I love everything about it. It's
just a great film. And it's very It teakes you
on to ride, you know, and I just love it.
Speaker 1 (49:36):
Yeah, I don't know that. I think you might be right.
It's an excellent answer. And I kind of.
Speaker 4 (49:41):
Argue with it, like the shining is great, you know,
you know that's amazing, but it's it's a little I
I it's not as visceral to me as a Cucka's Nest.
Speaker 1 (49:50):
Yeah, and Cucka's Nest is about many things. It's very moving,
it's funny, Yeah, upsetting, good film, fucking you know what,
lost film. And he's not on the lists enough, you
know what I mean the great directors. He doesn't get mentioned.
I don't think as often. He's brilliant. You're right, he's brilliant,
so many brilliant films. Why isn't he on the list.
(50:12):
We need to get on these lists.
Speaker 4 (50:13):
He should be on Yeah, he should be in the
conversation morey.
Speaker 1 (50:17):
Right for sure? Yeah, like Amadias, Yes please, yes, with
that question. I really loved the people vests Larry Flynn.
I think it's a really interesting film.
Speaker 4 (50:26):
I agree. I think brilliant wood. He was amazing in that.
Speaker 1 (50:30):
Yeah, it's a great boy. Right. You did a play
with it.
Speaker 4 (50:33):
We did a play. We were in the West End
together at the Comedy Theater on Panton Street. How will
I forget everything? Yeah, we did a Pinter there.
Speaker 1 (50:41):
We did.
Speaker 4 (50:42):
No, No, we didn't. I'm sorry. We did a new play.
The theater was known as the Pinter Theater. There's a
lot of Pinter there. We did on an average day
in the West End. Two hander. Well, that's well, that's
that's a we don't watch theater, I think if I
mean you don't stand up. That's that's pretty intense.
Speaker 1 (50:57):
I used to before before I did done if I
did quite a bit. Yeah, but I haven't done the
play in years and years and another.
Speaker 4 (51:05):
It's a lot of work.
Speaker 1 (51:07):
It's how long was there? Right? How long we did? We?
Speaker 4 (51:11):
We ran I think three months or something. I think
we did like one hundred some performances. I remember what
he is, such a character. We got along grade. I
really loved him. I still love him. I remember he
was saying, he just he said, I can't do I
can't do eight shows a week. I just can't do it.
And they were like, what he said, No, I'm not
going to shows a week. This is that's a full performance.
(51:35):
This you know, money is not going to come in,
you know. And it's like, okay, So they cut back
one day and they but they paid us less as well,
so it's like, okay, it's fair enough. But he was
happier with that.
Speaker 1 (51:49):
So what is the film that you could all have?
What's the mice ive?
Speaker 4 (51:55):
Never Again?
Speaker 1 (51:56):
And is it the Muscatieres film?
Speaker 4 (52:00):
That would be in the list for sure. It's kind
of a toss up between the original Blade Runner Apocalypse. Now,
those two would be right up there. Groundhog Day will
always catch me because I just I just love Bill
Murray and I just love that that's just a fun adventure.
But I think Apocalypse or Blade Runner are the two
(52:20):
that I've watched probably the most, you know, I just
I'm I'm such a fan of the well of Ridley Scott.
First of all, but I just you know, of the
production value of that, you know, the way they made that.
I like, I love early Ridley Scott's. One of my
favorite Ridley Scott's movies The Duellists in I Tel and
(52:42):
Keith Carriding. Yeah, Like, if you say, what movie do
you want to watch about France during the time of Napoleon?
Do you want to watch Napoleon or do you want
to watch The Duelists? And I'll say, I'll watch the
Duellists and I'll probably understand the political climate better. And again,
you see this is the going back to this, This
the fact that they fought these duels through the course
(53:04):
of the movie with different weapons. And again, I think
I must have come upon that movie when I was
in school because that was such a big part of
our training was all the sword work.
Speaker 1 (53:14):
Have you ever got to use zosodell I.
Speaker 4 (53:16):
Only I did it in the play. I did it
in Romeo and Juliet we did we did some sword work,
and then in Dune. You know, the idea was when
we didn't have swords necessarily, but we had the short knives,
the daggers, and we treated them as if they were sorts.
So the training was kind of a kendo style, you know,
with that with that blade, but no not, I haven't
done anything that. There's no not really a call for
(53:36):
sword play sadly.
Speaker 1 (53:38):
Right, we need to put this out anyone listening into
Hi Cal and give them some sword says, because this
is crazy.
Speaker 4 (53:44):
Something where I can use my rusty sword play skill set.
Speaker 1 (53:49):
What is I'd like to be negative, but don't think
you too? What's the West family? They have the same
show girls that question a great disagree. I love saga listen,
no I need do. I love Shagas, but the amount
of people that come in this podcast who also love
shogas's brilliant. How dare you? Okay, it's brilliant?
Speaker 4 (54:12):
I stand corrected.
Speaker 1 (54:15):
Can I ask you? Did you? Did you not? I? Really?
I think is great. I loved it. I didn't even
love it like later on ironically, like I loved it
when it come out? It was great? Was that a
weird exp like did you? May ask?
Speaker 4 (54:32):
Well, it was a little weird in sort of the
day to day filming because you know, there are you know,
people weren't wearing any clothes. You come to seth and
you're like, okay, that's kind.
Speaker 1 (54:43):
Of that's not.
Speaker 4 (54:44):
You don't really see that.
Speaker 1 (54:45):
One's different.
Speaker 11 (54:46):
Often if I didn't mind it, but it was a
little it was a little strange first thing in the morning,
with your first cup of coffee and you got walking
around naked.
Speaker 4 (54:57):
You're like, okay, okay, all right, struck the day off.
Speaker 1 (55:00):
With the bank.
Speaker 4 (55:03):
But you know, it was it was what was created
and what the intention was from the beginning to the
end were two different things, you know, and and I
get and I appreciate the irony of it and the
high camp nature of it, which, you know, if you're
going to do high camp, I guess you I guess
(55:25):
going into it with serious intentions maybe the best. You
can't really you know, you can play camp. But I
think if you're like really really really serious about it,
I think it's even better. I get the attraction. You know,
it's highly quotable, but it's still yeah, I just, you know,
I know what we were trying to do, or at
(55:46):
least what I was trying. Maybe I was in the
wrong movie. Maybe I was. I thought it was this,
but actually it was always going to be that.
Speaker 1 (55:54):
I don't know what did you may I stand what
you thought? What was it at the beginning what did
you think it would be that it isn't that, you know.
Speaker 4 (56:02):
The intention was to do something really kind of edgy
and off putting, I think, and you know, people with
no redeeming qualities really, you know, and cut throat and
just and honestly an attempt on you know, on my part,
to to change the perception a little bit. You know,
(56:22):
as an actor, you sort of you sort of end
up funneling down a certain channel, I guess, and I said, no, no,
I want to. I want to change this, you know,
I want to. I want to ride down a different river,
you know, if I can't. And that was an attempt,
very sad sadly, the huge failure, and you know I
(56:44):
just did. It's pretty wrong, right, you're going to talk
you out of it. By the Individ's episode.
Speaker 1 (56:51):
You should be very bad. I love it, people love it.
Speaker 4 (56:56):
Thank you? All right, all right, I'm coming around.
Speaker 1 (56:58):
Okay, you're very funny, But what's the film that made
you laugh?
Speaker 4 (57:02):
The mist You know, I'm not a big laugher at
films comedy shows A laugh maybe because it's immediate, but
I find myself when I watch films that are funny,
I'm like.
Speaker 10 (57:12):
Oh, that's funny, you know, you know, I'm like, oh,
I love that.
Speaker 4 (57:17):
That's huge, you know, like a movie like Holy, Holy
Grail and a Faulty Towers. John Plice is to me
just he's just genius, and there all are. And I
guess I have this strange reaction where instead of laughing,
I go, oh, that's brilliant, It's like, oh, I wasn't
expecting that. Oh my god, I love that non secretor
(57:38):
oh it's what you know. But I know it's funny,
but I'm kind of watching with a.
Speaker 1 (57:45):
Different what's like a like a Honeywood exec. You're being
pitched you that's funny, that's cute, that's funny.
Speaker 4 (57:56):
Yes, yes, with that tone exactly, that's funny.
Speaker 1 (57:59):
I love that funny face. That's funny.
Speaker 4 (58:02):
I'm terrible in the audience, Yeah, absolutely dead, but it's weird.
Speaker 1 (58:10):
I don't know which is your favorite then, Which is
the one that's made you gone that's funny the most?
Speaker 4 (58:18):
I think I think Seeing Money Python, I gotta say,
you know, in Holy Grail for me over Life of Brian,
I know about that's funny, you know, but something about
I don't know, this is the whole thing. The whole
thing is just brilliant to me, just brilliant. How they
end it. I don't know that would be a fun one,
would have been a fun troup to be a part of,
you imagine.
Speaker 1 (58:39):
Yeah, fuck yeah, that's good.
Speaker 4 (58:42):
And you know what else is a really funny movie.
And I think I did the same thing. The movie
is Arthur, the first Arthur, Oh my god, it's just
it's a perfect little movie. It's a little gem of
a movie. And Arthur two is just is so bad.
It's you know, it's weird. It's like you talked about earlier,
about trying to recapture something. Yeah, the casting was brilliant,
(59:03):
unexpectedly brilliant.
Speaker 1 (59:05):
Yeah, that weirdly came up the other day with Vincent Dinafrio.
He brought up Wiedy's come up twice at the same time.
That's interesting. Yeah, Kyle, you've been beyond delightful, beyond wonderful.
Everything I could open more. However, when you came on
a podcast with Brett Goldstein and you plugged your microphone in,
(59:28):
we were trying to work out the tech and you
got electrocuted and you bad to death, killed by Yetti. Yes,
and I was watching live on the on the zoom
and I was like, oh shit, fuck. I was like,
have I just killed? And I'm such a this is
this is awful. So I go around and that and that,
and I see your your lovely wife, and I said,
I'm so sorry. Can I just nip into the dining room.
(59:50):
I got a coffine with me, and she goes, what's happened?
I go podcast business, I come into the back. She said,
you need any help? I got I got it, I
got it. Don't worry about it. Just you carry on.
You carry on with your business and come in and
not any of you burned Like this poor boy in
the Diablau film. You're like, you're like stuck to the furniture.
(01:00:13):
So I'm having to like chop up some of the
wood that you're attached on to chop your up. Desert
keeps popping her head and everything. All right, I go, yeah,
don't worry about it. Don't worry about it. You carry on.
Everything's fines, because what's all that notes? Nothing to worry
about it? Stuff you in the coffin, trying to sneak
you out the back. Basically, there's more than I was expecting.
You're absolutely rammed in that coffin. There's only enough room
(01:00:34):
in that coffin for me to slip one DVD into
the side for you to take across to the other side.
And in Wine Heaven it's movie night every night. What
film are you taking to show the people of Wine
Heaven in Heaven when it's your movie night, camera goffin?
And what wine will you pair it with? Oh?
Speaker 4 (01:00:51):
Should I say sideways?
Speaker 1 (01:00:57):
I bear it with a blow there with them.
Speaker 4 (01:01:00):
At just the torture of the people in heaven.
Speaker 1 (01:01:05):
You could do that, good work, you could have it. Yeah,
all right, I'll take it. Kyle. You're a bloody wonder
you are. Is there anything you would like to tell
people to look out for to buy wine? To listen
to your podcast? Why is your podcast? Quote?
Speaker 4 (01:01:23):
It's called Varnumtown. Varnumtown, and it's a podcast. One did
it and it's me and Josh Davis and it's you
can find it if you're a podcast listener, you know
how to track it down. Eight episodes and we're there
a half hour. They're not they're not very long. Great,
not a huge not a huge demand on your time.
And I think it's a great it's a great story
(01:01:43):
and a great ride and I think people would.
Speaker 1 (01:01:45):
Enjoy it and get your wine pursued by Bed.
Speaker 4 (01:01:49):
Pursued by Bear which we have in the UK and
around the around the country. And we have our own
little website as well, pursued by Bear Wine dot com
and you can test it, read the story and it's
a fun little if the website is fun, I set
it up to have a people have a good time.
Speaker 1 (01:02:06):
And do you have any other TV or film or
plays that we're waiting on?
Speaker 4 (01:02:10):
So Fallout and that's a big one again. Eight episodes
based on the world of the video game Fallout, and
it's Jonah Nolan and Lisa Joy, creators of West World.
Speaker 1 (01:02:25):
Yeah.
Speaker 4 (01:02:26):
Great, it's a big sci fi epic that I think.
I think it's going to be a lot of fun.
And they spend a lot of time and money on this,
so it's yeah, it's a big thing. It's been funn
Elo for now. Walton Goggins nice, Yeah, just on and on. Good,
good group of people. And I'm a for those of
that know the game. I'm an overseer of Vault thirty
(01:02:47):
three and I am Lucy's dad And that's all I said.
I can say.
Speaker 1 (01:02:52):
Okay, said Kyle you are the best. Thank you so
much for Dennis, Thank you for your patients and for
indulging all my twin peaks questions. You're so generous to
me and I appreciate you not looking bored by it.
Speaker 4 (01:03:09):
I was not bored for an insta. Thank you, thank you.
This has been a real pleasure.
Speaker 1 (01:03:15):
Have a wonderful death. Thank you very much. Good day to sir.
Speaker 2 (01:03:31):
So that was a rewind classic with Calma Glaughlin. Be
sure to check out the Patreon page at patreon dot
com slash Brett Goldstein where you get extra chat and
video with various tears and otherwise, if you fancy leaving
a note on Apple podcasts, that would be lovely as well.
But make a review of your favorite film or maybe
your favorite David Lynch film or Karma Glocklin appearance. Much
(01:03:52):
more fun and way more interesting to read for everyone involved.
Thank you so much to Kyle for greatness and presence
on the podcast. Thanks to Screpious Open the Distraction Pieces Network.
Thanks to and this is where Brett thanks for me
for editing and producing the podcast so I say it's
a pleasure. Thanks to iHeartMedia and will Fare with Big
Money Players Network for hosting it. Thanks to Adam Richardson
(01:04:12):
for the graphics and at least Aldam for the photography.
We'll be back next week with another rewind classic. But
that is it for now. Brett and I and all
of us are films to be buried with. I hope
you're all very well in the meantime, have a lovely week,
take some deep breaths, and now, more than ever, be
excellent to each other. Oh also, almost forgot special agent
(01:04:33):
Dale Cooper has just a few quality controlled voice notes
to add.
Speaker 1 (01:04:36):
Let me just drop then here. Okay, all yours Coop.
Speaker 12 (01:04:39):
As you have no doubt surmised by the clarity of
this tape, I purchased a new Micromac pocket tape recorder,
and I have no doubt that this new model will
prove to be an extremely useful tool in the investigatory
process where the most fleeting insight can be lost if
your hardware isn't as solid as you're thinking.
Speaker 4 (01:05:06):
Bust Back Products Best Best bat, Best Potagrams
Speaker 8 (01:05:12):
Products, Best post podcast Pros, Best produst Back procust Best
Best Past Potts, Best Best post Back Product
Host
Brett Goldstein
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