Maggie Looke and Mulholland Drive

Maggie Looke, writer, director and comic genius, has never watched Mulholland Drive, until now..

She reveals why she chose such a controversial film to discuss in fine detail, and whether she has ever discovered Billy Ray Cyrus in her bed.

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Episode Transcript

Speaker 1 (00:00):
Get a Pete Hally you here, Welcome to you Ain't
Seen Nothing Yet the Movie podcast, where our chat to
a movie lover about a classic or beloved movie they
haven't quite got around to watching until now. And today's
guest writer director comedian Maggie Luke all below.

Speaker 2 (00:21):
I want to stay here with you, get to the jobble.

Speaker 3 (00:39):
My snake shucked my hails.

Speaker 2 (00:42):
They couldn't have an any rifle, so you ain't seen
nothing yet.

Speaker 1 (00:55):
Very excited to have Maggie on today. I've known Maggie
for quite a few years now. We worked with each
other on the project. She was a writer, always delivering
very sharp, funny jokes and hot takes, and she'd led
the project to explore other opportunities within the industry and

(01:15):
she's gone for strength and strength it has become one
of the most in demand comedy writers out there. She
works on all your favorite comedy TV shows, from Hard Quiz,
The Mate, Tom Gleeson, have you in Paying Attention, Guy
Montgomery's Spelling Bee, at Home with Aaron Chan Tonight and
at Home Alone Together, which was done during COVID. That

(01:37):
was a great little production. That one. She directed and
wrote the Tokyo Hotel and earned a Golden Gibbe Award
nomination for that and turned it into a narrative podcast
and it was a huge success. Check it out if
you get a chance at the Tokyo Hotel. Also, Maggie
won the twenty twenty two Mooset Award wrote and directed

(01:58):
the multimedia smash Hollywood Tours. I remember seeing her partner
life partner and creative partner Then Russell, walking around the
festival doing these Ultimate Hollywood Tours and every session, every
session was sold out. That's amazing. That doesn't happen for
most comedians at festivals. But this is the kind of

(02:20):
buzz that Maggie Luke is generating. And he did that
in twenty four She also she's writing heaps, she's directing heaps,
and Maggie is super sharp, super intelligent and bloody fun
hanging around and I'm stoked to be hanging with her today.

Speaker 3 (02:39):
Hi, I'm Maggie Luke and my three favorite films are
Step Brothers.

Speaker 1 (02:44):
Who's the one guy you would sleep with? John Seems?
What did we just become best friends?

Speaker 2 (02:49):
Yep?

Speaker 3 (02:50):
Good fellas.

Speaker 1 (02:51):
Never ran on your friends and always keep your mud.

Speaker 3 (02:54):
Shout and singing in the rain.

Speaker 2 (02:57):
Now let me hear you read your line. Can't stand
him god cat.

Speaker 3 (03:04):
But oft until now, I've never seen mul Holland drive.

Speaker 2 (03:11):
Well, it's time to say goodbye, Benny. It's so nice
traveling with you.

Speaker 3 (03:17):
Thank you, Irene.

Speaker 2 (03:18):
I was so excited, nervous. S're great to have you to.

Speaker 3 (03:22):
Talk to you.

Speaker 2 (03:22):
Remember I'll be watching for you on the big screen. Okay, Irene,
won't bat be the day.

Speaker 1 (03:29):
Good luck Benny, dear, take care of yourself and be careful.

Speaker 2 (03:34):
I will thanks again.

Speaker 4 (03:38):
Betty was so nice meeting. You're all black in the world.

Speaker 2 (03:41):
Thank you. Bye bye, my beds.

Speaker 1 (03:54):
Where to.

Speaker 2 (03:57):
Sixteen twelve, haven Hurst got.

Speaker 1 (04:03):
Yes Naomi Watts. Betty arrives in Hollywood, bright eyed and
bushy tailed. She is living the new actress in Hollywood
dream an affluent apartment from her traveling Auntie. She wows
Hollywood executives in her audition, and she even makes a
new friend, Rita Laura Harring, suffering from amnesia following a
car accident, who also happens to be staying in the

(04:25):
apartment Adam Kesler. Meanwhile, Justin Threw is a movie director
under pressure by studio dark forces to cast another actress
in his film. Add to this a list of scenes
involving a hit man having a bad day, a diner
with a scary devil woman at the back, and a
cowboy who shoud really been played by Bridon Kelly. It
all feels like a dream and quite possibly it is

(04:47):
the BBC rated David Lynch' mulhalland Drive as the best
film of this century. How you feel about it depends
on what you hope to get out of your movie
watching experience. Maggie Luke, have you ever found your part
in bed with Billy ray Cyrens.

Speaker 3 (05:03):
I told you not to talk about that.

Speaker 1 (05:05):
I know, Meg, I swore I signed all the films
you send over as well, so I might legally be
in trouble. You may have to do an edit on that.
Thank you for joining us.

Speaker 3 (05:14):
My pleasure, Thanks for having me.

Speaker 1 (05:15):
It's so great to have you on. This is a film.
It's always different when I when I approached somebody about
being on the podcast, and you know, there's a list
of films, there's many, many films on there, but you
straight away were like, I've never seen my Holan Drive, Yeah,
and I think I should watch it. And my reaction
when I saw that was okay. It really was, was

(05:38):
like okay. For a fleeting second, I consider going, how
about something not two and a half hours and as
weird as fuck like this film that we need the
need to discuss. But I did see this when it
came out, and I did enjoy. I don't want to
say too much going back and rewatching it, so all
is good. But what did you expect it to be?

Speaker 3 (06:00):
It was very horny. I chose because I've just spent
some time in la and we went down my Holland Drive,
and so in my head it was going to be
kind of like the prelude to La La Land or
something like that. My god, what did I pick? I'm
so there going on was probably at home tonight as well,

(06:21):
just having to sit through this again. It was like
a very long perfume ad.

Speaker 5 (06:26):
That's what it was.

Speaker 1 (06:28):
There's a lot going on, there's a lot to trying
to get your head around. I feel like this episode
maybe or maybe not, but it maybe. When we did
the Matrix of Katy Flanagan, you know, a couple of
years ago. Now, that was Kiddy and myself like not
completely sure if we understood the film and this This
might be only from my perspective, but I think I've

(06:49):
got a reasonable handle on it. I think. Yeah, but
there's a lot a lot to like about My Hole
and Drive. Yeah, BBC has it as the greatest film
of this century.

Speaker 3 (06:58):
It's crazy.

Speaker 1 (06:58):
It's crazy. Yeah, is crazy. We might go through the
other films that make up maybe their top ten, but
let's talk about your three favorite films which could not
be further removed than mulhulland Drive. Beginning with the Great
Step Brothers, which has come up many times on this podcast.
Really it has. We actually did it as an episode
with Scott Edgiff and Tripod. Yeah, who hadn't seen it,
but he has now. Such a bloody funny film.

Speaker 3 (07:20):
It's a classic and it hasn't dated. No, it's got
wonderful references in it. That doesn't make it like one
of those ones that doesn't make sense in three years time.

Speaker 5 (07:29):
You can just watch it over and over again.

Speaker 1 (07:31):
So true and what makes it so good? I mean,
obviously you got this crazy chemistry between Will Ferrell and
John c Riley.

Speaker 5 (07:39):
Yeah.

Speaker 1 (07:39):
The idea is such a simple idea. Somebody said to me,
I'm not sure it was on this podcast or of
this podcast that the premise is so good, how could
it fail? But I kind of slowly disagreed. The premise
is Okay, the premise is pretty good, but if you
don't have Will Ferrell and John c Riley in there, yeah,
maybe it's not.

Speaker 5 (07:55):
As good as not as good?

Speaker 1 (07:56):
Yeah, No, And the supporting casts are all so good, amazing,
like Catherine Hahn.

Speaker 3 (08:02):
Catherine Han, isn't it Yeah, Katherin Hahna is the wife
of the Adam Scott, the horrible helicopter driving older But
we actually the Catalina wine mixer commonly gets brought up. Yeah,
that's the only reason I knew what Catalina was like.
Again when we're over in the States, so I was like, yeah,
is there an actual Catalina wine mixer? Apparently they did
start doing one after the after the thing happened, so

(08:25):
the movie came out. But yeah, it's such a good film.
And the thing is that you can tell, like, I
don't know, if you've watched the bloopers on the DVD, Yeah, yeah,
you can Adam McKay throwing lines at them, so you
can tell a lot of that humor has just come
in the room on the day that's why it's so
good and spontaneous and stuff like that.

Speaker 5 (08:45):
Yeah, I love it.

Speaker 1 (08:45):
It's the kind of Jadaba Tau and the Adam McKay
style of like, it must be kind of intimidating, I
must say, if you're on one of those sets, but
when you kind of realize is a lot of them
is just them throwing lines at the say this, say this,
say this is well, I guess it's kind of impro ish. Yeah,
it's kind of like, you know, I guess you can

(09:07):
throw your own stuff in, but they're also feeding you lines.

Speaker 3 (09:10):
I think it's crazy that a lot of like all
comedy movies don't do that. Yeah, I agree, Like why
is that specific? What if you've got the opportunity to
have heaps of different options in the edit, why aren't
you doing that all the time?

Speaker 1 (09:22):
I agree, there's always time pressures, I think.

Speaker 3 (09:25):
I mean, like that the project, I was shouting stuff
at you from.

Speaker 1 (09:27):
The all the time. Yeah, yeah, borrel benday sleep, let's take.
But you're absolutely right because there are times where you're
kind of going, Okay, we've got to choose a joke
for this bit, but there's clearly ten jokes twenty jokes
we could have in this bit, so why not?

Speaker 5 (09:46):
Why not do it?

Speaker 1 (09:47):
Why not do it?

Speaker 3 (09:48):
Yeah, it's really hard to pitch those ideas as well.
I've been working with a team that we've wanted to
get a show up that's similar using that kind of
improv style and kind of keeping it open. But like
talking to producers and talking to networks and stuff of
how that works, it's hard for them to get their
head around nonstructure. So you can see why no one
does it. But when you get to the stage of
like Will Farrell and you know, Dirty Sanchez with Adam

(10:11):
McKay and stuff, they can just do what they want.
So yeah, the dream it is.

Speaker 1 (10:16):
And Larry David obviously does that with Kirby Andiasm as well.
And it's the only time I've worked like that, funnily enough,
is with the Strawny character, where we just didn't have
scripts because we were dealing with football, so we would
just say to them just we're just trying to do this,
and it's such a fun way of working. Yeah, we
can go this is. We have one objective in this scene,

(10:37):
and that is for me to find where Nathan Buckley is,
you know, And so I'm going to ask you in
this pteen you don't know. Yeah, and that's and then
you play around and you throw stuff in and then
it's it's lovely. It's a lovely way. Working Step Brothers
is a great choice, well done, and following up with
another stellar choice, Good Failures is about as good as
it gets.

Speaker 3 (10:55):
It's so good. How does the first line? I always
wanted to be a gangster when I work up, when
I got born or whatever that is.

Speaker 5 (11:03):
Yeah, my husband Ben says it all the time.

Speaker 3 (11:07):
Yeah, no, he's tiny, little angry man. Yeah, No, it's great.

Speaker 5 (11:13):
I love that film.

Speaker 3 (11:14):
It's perfectly structured, just the end bit where they're paranoid
with the helicopters above head, and the fact it's a
real story as well. It's just everything's good about it.

Speaker 1 (11:24):
Yeah, and the Jopesky is just one of those frightening
characters you know that's ever been on screen, Like there's
that volatility that he has. He's laughing one minute and
he's not sure and any you know with their friend
from Sopranos Christopher Michael Imperial Spider.

Speaker 3 (11:43):
Oh yeah, when he sees he's the waiter, isn't.

Speaker 1 (11:45):
He serving drinks?

Speaker 6 (11:46):
Yeah?

Speaker 1 (11:47):
He gets just enough courage to kind of like come
back at him and you know, calling the you know,
smart ass whatever he does. You know, he tells him
that the eat shits or something, and that's the thing
that this drives him over the edge and he just
shoots him in the foot. And then it's when he
comes back, so he's limping and he says, get fus,
you know, and he killed just kills him. He's just like,

(12:08):
what the fuck. It's so scary.

Speaker 3 (12:10):
It's really scary. Yeah, and to be able to it's
one of the first characters I remember saying that was
could flick like that. Yeah, And I think there are
a lot of those in Scorsese films and stuff like that.
But you know, obviously they've brought that onto like the
Sopranos and stuff. Just having someone who can just you know,
I think we all know someone like that. I call
it like the shark eyes, do you know, the charming

(12:30):
and then they're like their eyes go a little bit black. Yeah,
you know, it's just really demonstrated while in that scene.

Speaker 1 (12:35):
I love it. Yeah, No, I agree, those characters who
just can' they're simmering on the whole time. Is that
the pot on the sorceman. It's just like it's a
simmering yeah, and you hear it rattle and then it explodes. Yeah,
and jo it's my face. It's the best character in
that kind of area. I think Singing in the Rain

(12:55):
like I've got I watched it for the first time
for this podcast. Tony Martin had said it was his
favorite film, and I thought, if Tony Martin has in
the top three, I need to watch it. And obviously
you know about Singing It in the Rain, you've heard
about it. And then Darren Hayes hadn't seen it, so
we watched it.

Speaker 3 (13:10):
Darren Hayesaron Hayes, I would say that I probably I
would have guessed that would be in his top three potentially. Yeah.
He seems like the kind of guy who would be
absolutely I mean, I don't want to stereo, but you know.

Speaker 1 (13:25):
It's about Hollywood, it's about entertainment, and you think that
has to be right across that and he and thankfully
I remember him saying to me on the podcast, it's
a great episode if you haven't checked that one out,
and his three favorite films, the stories he tells extraordinary.
He sat down to watch it and he's like, Oh,
I don't really feel like it, you know, but I'm
going to watch it. You know. I've committed to this

(13:46):
repeat and just loved it. I think he might have
said it might be my three favorite films now, Like,
loved it so much, and it is such an ext
it still feels like such a weirdly a modern piece
of filmmaking.

Speaker 3 (13:57):
Absolutely, the story structure is so perfect it Yeah, the
music's perfect, the story structure, but also the history of
making that film, especially of gene Simmons, of how she
had to learn to dance in something like six weeks
to get to keep up with Gene Kelly and the
other guy what's his.

Speaker 1 (14:15):
Name, Yeah, Donald, Donald's somebody.

Speaker 3 (14:18):
Yeah, well she only just learned that and with that
knowledge of rewatching it as well of this woman, this
young girl, this is her big break and she had
to It's just phenomenal, the steps and everything.

Speaker 1 (14:29):
Like that, Yeah, it is. And and the that whole sequence, yeah,
that really long sequences to woman. And he's got like
the bit of the material that kind of this flows
on forever like that took ages and the whole thing.
And I think Gene Kelly had almost pneumonia when he
was recording the Singing in the Rain, the famous song
with all the water and everything there was there was

(14:50):
I think there's a drat or it was flooding or
something that. It wasn't an easy production, but I love
that the character I did love. Let's find his name
because I'm blinking at the moment. Is the friend Gene
Kelly obviously is Gene Kelly.

Speaker 3 (15:04):
He is Debbie Reynolds, sorry, not Jeans Debbie read. Yeah,
that's what I was thinking of the other one.

Speaker 1 (15:08):
Yeah, too many genes Donald O'Connor.

Speaker 3 (15:13):
Yeah, people at home are probably just driving off the
road just yelling.

Speaker 1 (15:16):
At Gene Simmons singing in the Rain. To be honest,
that would be great.

Speaker 3 (15:22):
Yeah, hang on it wait serious? Yes, yeah, well there's
the roommake, isn't it.

Speaker 1 (15:28):
Yeah yeah, all I have ace f really, Paul Stanley
and Gene Simmons in Singing in the Rain. I would
love to see that. But I just thought donad O'Connor's
performance and make him laugh. Yeah, he's just a master
class in obviously physical comedy and just commitment to a
you know, a scene. And they shot those sequences a lot.

(15:50):
It wasn't like, let's do one take.

Speaker 4 (15:51):
Yeah.

Speaker 1 (15:52):
I think Debbie Reynolds actually had like her feet were
kind of bleeding and you know from the wind they
were going down the stairs. And an extraordinary, extraordinary film.
And if you get a chance, if you haven't seen
Singing in the Rain, do you just have a favor.
Sometimes when I'm sitting down and watching you know, in
Vernacom's old film, and let's face it, this is an
old film. It's nineteen fifty two, I have a bit

(16:12):
of like, okay, let's see, you know, let's see, and
you remind it so quickly I think I've seen the rain.
Happens really quickly. It's like, oh, this is actually a
beautiful film. It's really innovative, and it doesn't feel like
you're watching an old film, no at all.

Speaker 4 (16:28):
No.

Speaker 1 (16:28):
I like, yeah, there's old language and there's an accident
acting style that is, you know, feels old, but the
film really holds up. It's a fantastic film and.

Speaker 3 (16:38):
It's interesting to think about. You said it was made
in nineteen fifty seven, was it fifty two? But it
was based in the twenties. Yes, So that's like us
making a film now and basing it in the nineties.

Speaker 5 (16:48):
It's weird, isn't it.

Speaker 1 (16:49):
Yeah, Well, it's almost like when Boogie Nights does the
thing of like when when they went from shooting poor
non film into shooting on videotape. It's almost like, I mean,
this is a bigger transition. So this is from going
from the silent movies to talkies. Yeah, and the joke
there's an actress who has has his voice that nobody

(17:09):
wants to listen to, so she gets kind of cut out,
which I think is based on.

Speaker 5 (17:13):
Surely surely it is.

Speaker 1 (17:15):
Yeah.

Speaker 3 (17:15):
Yeah, I think even the recent Downton Abby movie kind
of ripped off that idea from.

Speaker 5 (17:20):
Singing the Rain.

Speaker 3 (17:21):
If anyone else out there is listening, it'sought the same thing,
or who anyone who has watched the Dalton Abby movie.
But the whole stick of it is like that they're
filming a new film in down Abby and the actress
has the wrong voice, and so one of the women
steps up and does it. It's just a complete copy
of Singing in the Rain. Yeah, exactly, and weird. It's weird.

(17:41):
It's just kind of kind of ripped the whole thing
off that film.

Speaker 1 (17:45):
Because I imagine there's a bit of a crossover Dubton
Baby fans and people who also watched Singing in the Rain,
and I think.

Speaker 3 (17:50):
I reckon they'd be a direct crossover. I don't want
to say anything too crazy, but yeah.

Speaker 1 (17:55):
Again, let's not the stereotype. But yeah, three great films,
Step Brothers, Good Fellows, Singing in the Ryan. If you
haven't seen any of those films, check them all that.
But let's talk about the film we are here to
talk about.

Speaker 6 (18:09):
She's letting me stay here while she's working on a
movie that's being made in Canada. But I guess you
already know that. Well, I couldn't afford a place like
this in a million years, unless, of course, I'm discovered
and become a movie star. Of course, I'd rather be
known as a great actress than a movie star, but
you know, sometimes people end up being both. So that

(18:31):
is I guess you'd say, sort of why I came here. Yeah,
I'm sorry, I'm just so excited to be here. I mean,
I just came here from Deep River, Ontario, and now.

Speaker 3 (18:44):
I'm in this.

Speaker 6 (18:47):
Dream place. But you can imagine how I feel.

Speaker 1 (18:51):
Damn straight, You're in a dream place. Maggie Luke, David Lynch,
Nami wats Laura Harring? Was he in there? Marcus Grain
George David Lynch two thousand and one. Did you enjoy
My helland Drive?

Speaker 3 (19:08):
I enjoyed the fact that I got to the end, like,
because it was so long. I was like, I did it,
you know, and I can say I've done it now.

Speaker 1 (19:17):
Yes, I'm not.

Speaker 3 (19:18):
I'm like, I'm not a movie snob, Like I like
watching all varieties of things, so I try and push
my way into watching stuff that makes me feel like
it's not a natural fit.

Speaker 1 (19:28):
Yeah.

Speaker 3 (19:29):
Yeah, with this one, I think I said before it
was like we spent some time in la we went
down My Lull and Drive. I said, oh, I haven't
watched that, but in my head it was like some
kind of Lala Land esque kind of I don't know,
murder mystery esque thing. It was very horny, it was
it was it was someone's dream, wasn't it. Yes, it

(19:49):
was a creepy dream.

Speaker 1 (19:51):
So basically two thirds of the film, my understanding is
And by the way, David Lynch does not explain these films,
so he never kind of said it's about this. He's
basically like, let it wash over you, whatever it means
to you. That's what it means. So he's never explained
what this blue qube is and what the key is
and all the things and the devil woman at the

(20:11):
back of the diner, like what what what are these things?
He's never even explained what part of it's a dream
and what part of it's not. I think it's reasonably
uncontroversial to suggest that the almost the first two thirds
are basically Betty's dream and then she gets woken up
and that's when she's probably seemingly maybe drug addicted and
make bad life choices as Diane as Diane. Yes, that's

(20:36):
the real thing. So the first two thirds is like
the fantasy of what you know, everyone who arrives in
Hollywood is hoping for. That's why she has this, you know,
this apartment, and of course she can't afford She actually
literally says that, you know, I mean this dream world.
And you know, she makes a friend, she gets to
be the hero you know there, and you know she's
wowing the Hollywood execs, and the only reason she can't

(20:56):
get the role is because there's you know, these bloodiestue
well you know, they want to cast this other woman.
That's only thing holding her back. But in reality, she's
made some bad choices. I think she's had she's had
an affair with this woman Rita, who then becomes Camilla,
and then she's kind of sold her off to have
the affair with it, you know, get with the director
and maybe engaged or maybe having a baby whatever. That

(21:19):
announcement was going to be yeah and yeah, but and
but she has taken out a hit on Camilla.

Speaker 3 (21:24):
But it's yeah, yeah, or has she?

Speaker 1 (21:28):
Well has she? Like this is the thing we don't see.
We see the blue key, you know in her apartment,
which was the sign that the hit has taken place.
But everything's up for grabs. Nobody should fear of ever
asking questions about my hole and drive, and nobody can
appear stupid because it's like, I don't know how much
David Lynch has stuff locked in. Yeah, what are these

(21:48):
old people crawling under you know, like when it's supposed
to be the real world and these little miniature old
people are coming through the door.

Speaker 3 (21:57):
Yeah, and the big smile old people in the limo.
That freaked me out.

Speaker 5 (22:03):
Yeah, that just smiled.

Speaker 1 (22:05):
The devil woman place.

Speaker 3 (22:06):
Do you know what it really gave me? This is
sorry to say it gave me a little bit vibes
of the room.

Speaker 1 (22:12):
Yeah right, yeah, okay, right, yes, do you.

Speaker 5 (22:14):
Know what I mean?

Speaker 3 (22:15):
Like, it's like this could either be really high art
or something they've made using you know, at anyone. It's
like a student film almost kind of almost had student
film elements. And I was like, is that because it's
because it was, you know, twenty years ago. But then
I thought no, actually there was some amazing stuff twenty
years ago. You know, it didn't have that, But once

(22:35):
you committed to it, You're like, oh, that's on purpose.
He's kind of doing that on purpose. And I couldn't
think of the name. It's when you know, when you
only use music when it's within the story, you don't
use overlap.

Speaker 5 (22:47):
He did a lot of that. So there was a lot.

Speaker 3 (22:49):
Of silence in the whole thing and very very slow
scenes where usually you know that as a story engine,
then use like editing and music and stuff like that
to keep it going. With this one, he was just like, nah,
not he I mean, you're going to have to sit
in this one for a long you.

Speaker 1 (23:07):
Really do, And like, is this your how many David
Lynch films have you seen? First? Okay? So that's that's
really important. He is like, this is what he does.

Speaker 3 (23:18):
Yeah, okay, you know so.

Speaker 1 (23:21):
You know Blue Velvet, Lost Highway, I mean Twin Peaks.
This has almost been a TV series by the way, right, okay,
and then it fell over, so I think some some
French money came into it and he was able to
make it into the film. Naomi Watches was facing eviction
and was going to pack up in Hollywood and come
back to Australia and maybe retire from acting, and good

(23:45):
old Nick Nicole Kimm and her friend convinced her to
wait for the film to be released and see what
happens then. But David Lynch is like you, in very
plain terms, makes strange films. So nothing's ever straightforwards, nothing's linear,
you know, it's all it's all open for interpretation. You
never never likes to discuss what the films are about.

Speaker 5 (24:05):
That's annoying, isn't it.

Speaker 1 (24:06):
It is a little bit annoying to do it because
there's part of there's part of me that watches Mulhallan's
Drivers and thinks there's so much good stuff in here
that could still be a bit out there, but you
could make it a bit more digestible. Yeah. Yeah, but
there's also a part of me it's like, yeah, but
thank god there are people like David Lynch making films.

(24:27):
We can't complain about the marvelization of films and that
everything's based on IP and then get too angry with
David Lynch for making these weird, subversive films.

Speaker 3 (24:38):
You know, for me, it was just every scene was
a bit off. If they had I liked it when
when you said when she woke up, yes, because it
was a bit of a bit of a release, and
which meant when things in that third of the film,
when things were a bit strange, they felt it was
a little bit more impactful because it felt like you're

(24:58):
back in reality. For the first two thirds everything was strange.

Speaker 4 (25:03):
Yeah.

Speaker 3 (25:04):
Yeah, and so you're like, okay, like when the singing started,
that's the That's when I was like, I don't know.

Speaker 1 (25:10):
Yeah, Well, for me, it was kind of like there
are times when well, there is quite a simple story
going on in this stream sequence, which is, you know,
a woman is in a car accident, she suffers amnesia,
she finds her way into this apartment, naming what comes
to visit. They strike up his friends. You're trying to
work out who identity is. That's a pretty straightforward kind
of story, and a lot of that I was enjoying.

(25:34):
But then when you you threw all this other opera
stuff and what does this hit man mean? And the
woman being at the back of the diner, what is
it exactly? Yeah, I was getting a bit with the
Hollywood meeting with the espresso, the espresso. I was gonna
ask if you one of the coffee, but I thought
I'm just too triggered.

Speaker 3 (25:53):
Yeah, no, it just slowly spat it out into an
a like not again, You're like, what the fuck?

Speaker 1 (25:59):
Yeah? And what does that like? Is that David Lynch's
going having this idea of kind of going it could
be funny, Like is that any sense of humor where
he thinks that's funny? Or is it like doesn't mean something? Yeah,
you know that is it is making a comment. Was
obviously a lot of comment on Hollywood in this.

Speaker 3 (26:18):
See I love, as you can say by singing the
rain like, I love films that are commentary on Hollywood.
That's for some reason, that's my stick, like stick. I
just love stuff like that. So I agree the bit
where it was just the kind of storyline between Naomi
and her mate trying to find her you know who
she was. I thought, oh, this is actually a really
good idea for a film. I quite like this storyline,

(26:40):
but then it got diluted so much that.

Speaker 5 (26:42):
I was really struggling to figure out, like what why?

Speaker 1 (26:46):
Yeah?

Speaker 3 (26:46):
Yeah, And the person at the back of the alleyway
on some sets boulevard, the woman with the was that
the same woman at.

Speaker 1 (26:53):
The end with Naomi go, I think she's still at
the back of the ghana.

Speaker 3 (26:59):
Yeah, Like you know how that the woman like at
the very start scared that man and he had a
heart attack. Yes, yeah, yeah, Is that the same person
that was that person at the end with the cloak con?

Speaker 1 (27:10):
I think so, yes, that's what. Yes, And that this
is where the the guy who's had like who's at
the diner explaining who this woman at the back of
the dineries and that he's saying it's a dream of his.
Like my understanding is that's part of Naomi what's his dream?
I'm just gonna call it name What's or Betty's dream? Yeah.

(27:31):
So it's basically all that stuff, even the car accident,
which is kind of strange because it's not really how
dreams work necessarily, Like, that's that's one thing that I go,
hang on, Okay, it's one thing to say this is
all Betty's dream. It's not really You're not having all
these other usually you're in your own dream, yeah, or

(27:53):
it's usually from your perspective, I think, am I writing
saying that I don't know? Well, there are so many
other things going on. Yeah, in her dream there's two
other characters completely uni related to her who are discussing
that bloke string.

Speaker 3 (28:07):
Yeah, it just feels a little bit too, a bit
of a stretch.

Speaker 1 (28:10):
Yeah. And as much as dream worlds can almost entail anything, obviously,
but it just feels like, yeah, it feels like a
bit of a cheat.

Speaker 3 (28:18):
Yeah.

Speaker 5 (28:19):
I kind of agree a little bit.

Speaker 3 (28:21):
Yeah, But the more we talk about it, the more
I'm actually not liking the film. Well, this is it's
to talk about this film, isn't it. You gotta have
you got to go for a coffee afterwards, you can't just.

Speaker 1 (28:32):
Actually enjoy your coffee. But I think you're absolutely right.
I think like, and as much as you know, I
was like, oh drive jeez, Okay, this is like this
is a perfect film to watch because it is a
film that does need to be discussed. Yeah, and if
you just watched it, I went, okay, and then there's
gone for your life. You're not probably getting much.

Speaker 3 (28:53):
Out of it. Do you know what it did? This
is crazy, this link, but it did remind me a
bit of a zone of interest. Well wow, okay in
a that it was using sound and like it just
it had the same vibe for me as well, and
something that you needed to talk about with someone else
because and also I felt like sound of interest even
though it was quite it was a story, it's quite
linear as real it was also open to a huge

(29:14):
amount of interpretation of how they made the film.

Speaker 1 (29:17):
Yeah.

Speaker 3 (29:17):
So yeah, that was another one where I was like,
for some reason, this kind of has the same kind
of vibe, a kind of dream like horror as what
I've recently seen. That was something that I've weirdly linked
it with. Yeah, it's weird were That's a fun film,
isn't it.

Speaker 1 (29:32):
It's a really fun film.

Speaker 5 (29:34):
Take a family.

Speaker 1 (29:35):
It's phellowmen joinnt of interest. It's about the SS command
or the Nazi commander who was in charge of the
one of the concentration camps. Is our switz I'm not
sure which one was. It's one of the concentration camps
and they live they live with his family next door
to this concentration camp. Literally the wall that was in

(29:55):
their garden was on the other side was the concentration
camp that was that close. Straordinary film because one of
the really interesting things about it is it's just a
family getting on with their life, you know, but there's
this horrific thing that you never see. You never go
into the concentration camp, but you hear gunshots and you
hear you see smoke, yeah, kind of billowing out of chimneys,

(30:18):
and it's it's it's quite it's disturbing, but it's an
extraordinary piece of filmmaking.

Speaker 3 (30:24):
Yeah, it's all sound design. So it's like and it
slowly builds throughout the film, so you start you go
like did I hear that? You kind of like go,
hang on, I say, did that because it'd be overlaid
over top of like a really domestic scene. You're like,
did I hear a gunshot? And then it slowly builds
and builds and builds and builds too. You know, there's
no denying what's happening next door, But you never see it.

Speaker 5 (30:43):
No, it's all. It's all.

Speaker 3 (30:44):
You're just kind of in this they're you know, making
a vegetable guarden, and it's like doing sewing.

Speaker 5 (30:50):
And stuff like that.

Speaker 1 (30:51):
Occasionally you'll have like some clothes that have appear that
you know, and they're they're going through the clothes picking
out which you know, mink coat to kind of the take,
and they might belongings in the pockets of you know,
makeups and various things. It is an extraordinary film, but
it's a tough watch.

Speaker 3 (31:07):
I like to bring the big ones to the.

Speaker 1 (31:09):
Let's get back to step Brothers for let's play the
step Brothers. Great quickly shouted the Ossy's in there, Marcus Graham, Yeah,
character just just pups in there. Melissa George is in there.

Speaker 3 (31:22):
Of course, Naomi, wats what's happened to the casting there?
Did do you reckon? He went to a party over here.

Speaker 5 (31:25):
And he was like, I don't know.

Speaker 1 (31:26):
I thought he might have been on the plane or something.
Much a bit of B Street or hung and Away
or something. But interesting. It's it's because Marcus Graham has
a bit of seeing him in this almost a bit
of Christian slader slash Jack Nicholson like you know about
yeah looking sound that he that he has, but so
many like tiny rolls that you kind of go, what

(31:47):
what is this? And Melissa George doesn't have a lot
to do. She's basically sings the song she's kind of
seen more more than she's heard in this film. And
she apparently she was flown back when they decided that
they were making into a movie's flown back and from
Australia to and all she had to do is basically
that kissing scene with Laura Herring. They've announced there what

(32:08):
I assume was going to be their engagement, and all
she had to do was kiss, Like she said, David
Lyncher said, yeah, just go over there and kiss, and
and she said he was like not yelling cat either,
like he was. She was expecting him to yell cut
and this wasn't. And he's going to come on, this
is this is, it's my birthday and you know I'm

(32:34):
working and you make this extra long kissing scene with
another woman. Yeah, but she's she's she's great in it.
And and Naomi what is brilliant. I mean the scene
where she does the audition is brilliant, and it's it's
even more brilliant because you see her doing it, rehearsing

(32:58):
his reader in the kitchen, and she's playing it like
it's almost like a soaproper scene. You know, it could
be a home and away or maybe something a bit more.

Speaker 3 (33:08):
Did Naomi do Home and Away?

Speaker 1 (33:09):
Or maybe my memory of Naomi Wants she may she
may have briefly done oneight been episodes, but not like
a well known character. She was the Brides of Christ
and oh yes, yeah that was big. That was massive.
She was Yeah, she was a known entity, you know,
like before she went to the States in Australia, and

(33:31):
I think I think we all expected her to be
massive because she's gorgeous and she's extraordinarily talent, and this
odd leads like the twenty one grams I think she
does after this, and then you know, it all explodes
for Naomi WA's after this. I think the problem sometimes
with you know, and I know actresses who in Australia
who you know, look vaguely like Naomi Wants, and then

(33:51):
they get a lot of work and they're like, there's
a million people who like me who are trying to
get work. Like it's so it's extraordinary to me that
Naomi Wats was about the like give up acting and
leave and couldn't pay rent before My Hole and Drive
came out. You kind of you kind of think, like,
of course, you walk into Hollywood and you make it work,
but there are so many people so hard I really yeah,

(34:14):
we've obviously cracked the code over there, but it's so
it's so competitive and it's such a seductive city that
you go over there and you'll have meetings and you'll
walk out going, oh, eveone's so kind of effusive and
so like lovely and and you know, like in meetings
and you walk out going, I'm about them about the
bust over in America, it's just like no, because everyone's

(34:35):
just making every meeting. Everyone's like saying nice in case
they don't want to miss out on you being the one,
you know that might be able to delivery script or
might be able to do a role. So everyone's quite nice.
So she does this scene with Camilla the names at
the time, No, she does with Reta, and she plays
it very soap opera and then she gets into the

(34:56):
room with its older actor and she just plays it
completely different like it is some kind of like mulhulland
dry film, like it's an indie kind of respectable kind
of film that and she just goes for it, you know,
she really like takes it on with his older actor,
who's you know, is good as well. He's a bit
sleazy when the audition is not on. But but yeah,

(35:17):
I thought it was an extraordinary this piece of work
from Miami. What's to actually show? She's literally showing us
how two scenes can be played.

Speaker 3 (35:25):
Yeah, yeah, she's she's very talented. She kind of you
know how there's like that guy actors, you know that
guy she's she was that lady actor, do you know
what I mean for her whole career. I feel where
she took these kind of bit parts and now she's
just kind of established herself as this incredibly talented actress
over there.

Speaker 5 (35:43):
But I was, okay, the.

Speaker 3 (35:45):
Sex scene, yep, yeah, it's interesting. I don't know if
I'd know of any gay sex scenes like that in
movies back then, or maybe I'm not watching the right
ones in the early that was as extensive.

Speaker 1 (36:02):
Yeah, it was considering it, you know, like this was
a as much as it's a David Lynch film. But
he's you know, he's an iconic filmmaker. So this still
had a pretty good wide release, you know, you know,
people were always going to see this film, and yeah,
it was surprising to kind of go, okay, there's really whose.

Speaker 5 (36:24):
Dream is this?

Speaker 3 (36:27):
That's why you're sitting there thinking to say, they were like,
I don't know if this is Betty's dream.

Speaker 1 (36:32):
I have seen Naomi ways kind of talk about and like,
you know, and she loves David Lynch and she loves
the film, but I sense that when they was shooting
this it was a little bit like David now just
you know, and touch their breast now and like which
it's hard to kind.

Speaker 3 (36:47):
Of go like where's the intimacy coordinators?

Speaker 1 (36:50):
Well exactly, and where's the line? Like you know, it
does work for the film because it is like this
is a love story in a way that you know
becomes unrequired love or jilted love. It's not with that purpose,
but it's certainly a little bit wow and not just
the once and they come back the second time on
the couch and there's there's there's more of it, and

(37:12):
it's like wow, Okay, Yeah.

Speaker 3 (37:15):
It's interesting because it's also like it's you know when
you see stuff like that in films. Usually you're like, oh,
it's for the it's for the plot, it's for the
through line, like we have to see this because it's
part of the story. With that film, he was just
throwing stuff at the wall a lot of it, I
felt like, And it felt like that was one almost
like did we need.

Speaker 1 (37:36):
I like the idea that they I think you need
the idea that they like work together. But did you
did you need did you need it to be as explicit?
It's it's so weird that you don't very horny, very
very horny, very quickly, and you don't want to be

(37:57):
like a prude. No to be also like go to
fad the other way where I should have been longer,
should have been longer.

Speaker 3 (38:05):
Should have been longer, shouldn't been the name of the film,
should have been longer, more, more of that.

Speaker 1 (38:13):
All those scenes same less devil woman at the back.

Speaker 3 (38:16):
Yeah, yeah, it's yeah, that for me felt I don't know,
I felt like he was having a bit of fun
with that.

Speaker 5 (38:22):
But why not if you can, I suppose, Well.

Speaker 1 (38:24):
Yeah, I know. This is the thing is like, you know,
are we removing all new toly from films? Are we?

Speaker 2 (38:34):
You know?

Speaker 1 (38:34):
But yeah, it is. It took me by surprise when
I first watched it, and I knew it was coming
up when I was watching it this time, because you know,
it had stuck in my mind over the no no, yeah.
But then the second time, I've forgotten that the second
time when you're coming back in reality. So and I
was trying to think, Okay, that's not a dream necessarily,
so she is. There is some time fragmentation that goes

(38:56):
on when we kind of Naomi wakes up as Diane
Diane because the blue key gets seen, I think before
she goes to that party where she she gets the call.

Speaker 5 (39:06):
Yeah, and she drops the box.

Speaker 1 (39:08):
She drops the box.

Speaker 5 (39:09):
Yes, and then that's when Naomi wakes up.

Speaker 1 (39:12):
Yes. So the dropping of the box for me is
just like, okay, this is now we're out of the
dream sequence. Yeah, and this is and this is the
knocking on the door and yeah, one of the top
five cry wanking scenes as well.

Speaker 5 (39:24):
I was wondering when we're getting that.

Speaker 1 (39:27):
Let you bring it up. I'm the host of this podcast.
I should it's a.

Speaker 3 (39:30):
Female crywank as well. It's actually quite progressive.

Speaker 1 (39:34):
Well it kind of they do happen. It was the
hardest the hardest scene for her to shoot, which I
can imagine, you know, I can imagine that being I'm
not sure if it was a closed set or what
happens in that situation, but yeah, you can imagine that
not being a comfortable scene.

Speaker 3 (39:55):
Looking up into the ceiling.

Speaker 1 (40:02):
Okay, BBC haven't done their top one hundred. We're waiting.
We're waiting, BBC.

Speaker 3 (40:08):
I want to know. That's fascinating to me that they
packed so that would have been of the twenty first century,
So that's that's really interesting.

Speaker 1 (40:17):
Yeah, I did that.

Speaker 3 (40:19):
They picked that as the number one, and I you know, again,
I can see why there's so much to talk about.
It's so so different to anything that you'll watch. I'm
not well versed with like surrealist films that have come
prior as well, so for me, it was the first.
Really I couldn't name another kind of surreal film on

(40:41):
the same level. That isn't like you were saying with
the David Lynch stuff. Yeah, yeah, but they did Like
Day and all of those guys like kind of started
the whole thing and then went through like Warhole and
all of those guys did surrealist films.

Speaker 1 (40:55):
Absolutely, it's not necessarily my cavity. I'll be honest, all
the ends to be tied up at the end of
each movie. No, I really don't. But and like I said,
there's a lot I like about My Home Drive. But
there's also a part of me is like I wish
there's you had a really good idea and premise here,

(41:15):
And I mean maybe I just wish I was two
versions of it in a way like I'm glad this
version does exist. Yeah, I am. But you know there's
part of it's part of me, maybe the more comfortable,
you know, less ambitious part of me. This guys, this
what's the what's this other film where it's just like
it's this intrigue about it is a detective story and

(41:36):
it is about like who is this woman? And while
was this taken out? And all that?

Speaker 3 (41:40):
But so tell me this, if that's supposed to be
Diane waking up that last third we're talking about, you know,
when she goes to the party, Yes, and they stopped
the car and then.

Speaker 1 (41:53):
Comes out of the bushes the party.

Speaker 3 (41:56):
That felt like that still feels dreamy to me, that bit.

Speaker 1 (42:00):
It does, But I don't think it is. Well, certainly
my interpretation is that's all real, and they even like
because at the end, you know, the little old people
come through the door. It's not necessarily a dream, but
I think that's when she's just gone into her own
lucid Jenny kind of state. And is my reading of
that was they are the reminders of what she you know,

(42:24):
the pressure she felt when she arrived in Hollywood, and
you know that she's let these people down like they
could be grandparents of hers maybe, you.

Speaker 5 (42:32):
Know, like in reality, the little the people who smiled.

Speaker 1 (42:35):
The weird smile as Yeah, I think that's.

Speaker 3 (42:37):
My favorite scene. It was weird, but it's my favorite.

Speaker 4 (42:40):
It was.

Speaker 1 (42:41):
It was very weird. Yeah, I tell you the top
ten of the BBC Greatest Films in the twentieth century,
twenty first century, number ten, No Country for Old Men, Oh,
the carn Brothers, Greatfelm. Funnily enough. Just at eleven was
Inside Lewin Davis, another Carl Brothers film.

Speaker 3 (42:57):
That's one I haven't seen.

Speaker 5 (42:58):
I could have picked.

Speaker 1 (42:59):
That's really good one. A Separation, which is an Iranian film,
which is a great film. I've seen. That really good film.
There's just about a married couple who one wants to
stay in their arm and one wants to leave and
they have to separate because they came in two places
at once number eight ye ye a one and a
two Edward Yang from two thousand. I have not seen

(43:22):
that film, not either The Tree of Life Terrence Malick
twenty eleven. This where I'm a bit like it was.
That's the surrealist one as well. Yeah, tread carefully but
also surreal. But also one that I love is Eternal
Sunshine of the Spotless Mind at number six.

Speaker 3 (43:37):
Yes, I just rewatched that actually so good. Yeah, see
that's it's a great story in it exactly.

Speaker 1 (43:43):
That's where I like, that's my love that like adaptation,
love it being Joe Malkoch love like that kind of
thing where there's a logic. And I've spent a Ross
Noble about this over the years where Ross's you know,
like ROSSI used to get, you know, the whole Oh
he's so surreal. He's got you know, legs made of
jam and monkeys. Yeah, it's like there's always a threat

(44:05):
of logic. Yeah, in Russia stuff. And I think where
those who look at surreal comedy and don't do it
as well, is that are those who there's just it
is just I got legs of jam and my fingers
are made a cream.

Speaker 3 (44:19):
You know, got legs of jam.

Speaker 5 (44:21):
I want to see that shot, now take.

Speaker 1 (44:25):
I'll pick your interest it down. Legs of Jam done,
so you can touch on sortless mind.

Speaker 3 (44:31):
Yeah, no, it's a great story in it, like great story.

Speaker 1 (44:34):
And great also like where you can have that discussion
would you erase the painful parts you know of your history?

Speaker 3 (44:41):
And is there is there a good reason for doing
it as well? That was a bit at the end
where they're like, oh, there's an actual reason we did this.
It's not just this romantic thing like we didn't get along.

Speaker 1 (44:51):
Yeah, I love it. Boyhood Later number five.

Speaker 3 (44:56):
That's the one where they followed the bloke from.

Speaker 1 (44:58):
They filmed it over like you is. Yeah, they've come
back every couple of years or once a year in
the film again. Yeah, no problem with that. Spirit of
the way. Great, there will be blood. Paul Thomas Anderson
pta my favorite and number three. Surprisingly No Magnolia Booking
Knights was made in ninety nine, but No Magnolia surprised

(45:19):
me in the top one hundred, but he had other
films in the Mood for Love two thousand, which has
come up a couple of times in this podcast.

Speaker 3 (45:29):
What's that one?

Speaker 1 (45:30):
It's I want to say Korean? I apologize if I
actually might be Chinese film. I have not seen it.
It's hard to find here. It's actually not available in
any of the streaming services. Claire Boat which had there's
one of her top three favorite films, as did Zach
form only dNaM how there's one of his three films,
and My holand Drive. So it's it's an interesting list.

(45:52):
It's actually not a bad one too. If you're looking
at films to watch to maybe make your way through, Yeah,
it is. It's it's a good list here.

Speaker 5 (46:00):
I am with step brothers, don't I You.

Speaker 1 (46:05):
Know, as comedians, Maggie, we cannot underestimate it's a great film,
well exactly and what how much it takes to make?
How hard does this make a good comedy? I mean
there are dramas coming out of this, horror films everywhere,
but good comedies are bloody hard to make. Yeah, and
so well done. What else can we do? So the

(46:25):
blue key going back to so what do you think
the hit man thinks? That has? Other weird scene to
behaving a dream? It felt like it felt like a
scene from another movie. I quite liked it. I kind
of almost was like, but what's the point of it
in this film?

Speaker 3 (46:40):
Yeah, when he's in the office and he's shooting with
the and the woman got shot as well, strut.

Speaker 1 (46:45):
Through the wall and then a cleaner seas and so
he ends up killing like three or four people. Yeah,
I thought it was kind of funny. That's been the
Coen Brothers. It almost feels like it could exist in
one of their films.

Speaker 3 (46:56):
Do you know what now you've told me that it
was supposed to be a TV series. Yeah, it makes
I think that makes a lot more film because I
think there were so many fleeting little scenes in there
that could have been expanded over, you know, much bigger
arc with more time, like the like the shooting scene
and stuff like that.

Speaker 4 (47:16):
The what was he?

Speaker 5 (47:17):
Who was the hit man? I feel like he could
have had a lot more. That could have been a
lot bigger story.

Speaker 1 (47:25):
And there is that scene where he's talking to one
of the sex worker on the street and asking about
you know, have you seen Camilla or whatever he's asking about,
and it just didn't Was she supposed to be?

Speaker 3 (47:37):
Was she supposed to be Betty? That's what I thought
when they came back, because she's dressed.

Speaker 1 (47:44):
That's interesting.

Speaker 3 (47:45):
She's dressed from my poor memory, but she's dressed the
same as the end scene when Naomi was talking to
the hit man in the diner. Yeah, right, as that
sex worker outside when she was asking for a cigarette.

Speaker 1 (47:58):
Because there is this idea that she she has gone
down that route of sex working. It's not really explicit
in there, but if that's that's interesting. Actually that could
be Betty because when the cowboy wakes her up, it's
a cowboy.

Speaker 5 (48:18):
Yet Broden Kelly cowboy.

Speaker 1 (48:24):
Cowboy. Yeah, the cowboy.

Speaker 3 (48:30):
It's the most dream bit for me, Like, that's my
kind of dreams is to have like a random fun
character popping in and out like that's that was the
I could relate to the dream bit with the cowboys.

Speaker 1 (48:39):
I actually thinking during the cowboy, I'm actually enjoying this bit. Yeah, yeah,
you know, and maybe okay, now enjoy it more. Lean in,
lean in, let's have a listened to the cowboy.

Speaker 4 (48:52):
Look, where's this going? What do you want me to do?
There's sometimes a burgie. How many drivers does a buggy have.

Speaker 1 (49:03):
One?

Speaker 4 (49:05):
So let's just say I'm driving this buggy and if
you fix your attitude, you can ride along with me. Okay,
I want you to go back to work tomorrow. You
are recasting the lead actress. Anyway, audition many girls for
the part. When you see the girl that was shown

(49:27):
to you earlier today, you will say, this is the girl.
The rest of the cast can stay. That's up to you,
but that lead girl is not up to you. Now,
you will see me one more time. If you do good,

(49:50):
you'll see me two more times. If you do bad, good.

Speaker 1 (49:55):
Night, I'm sure about trying. Can me more times? You
do seehim? He obviously wakes up Diane, and he also
when Melissa George's character, who I guess isn't Camilla at
the end, kisses who we now know is Camilla and

(50:16):
walks off. He walks past it the exit fleetingly. I'm
not sure what that means, but yeah, I did like
the cowboy, but I'm not really sure where he came from.
I'm not even sure we need to know. But it's
just I think the idea of basically, sometimes this is

(50:37):
like it. Do I need to think more about it?
Or do I need to think less like? The idea
basically in this stream is that there are forces, you know,
movie studio dark forces, whether they are a strange bloke
he's in a wheelchair that he might be in it
they're sitting in a room by himself, isolated, or if
it's a cowboy in this kind of quarry, there are

(50:58):
forces that puppet masters, if you like that, are preventing
Betty slash Diane from getting work. Yeah, that's what I
read into it.

Speaker 3 (51:10):
Okay, Yeah, I feel since it's like Tarantino as well,
they both kind of lynch in him when he Tarantino
did the Once upon a Time in Hollywood just kind
of rewriting Hollywood history of what they see Hollywood actually,
as I think it's kind of fun when directors do
that a little bit.

Speaker 1 (51:28):
Yeah, I mean I think Tarantino, you know, and I
like his revisionism films, you know. I mean, Glorious Bass.

Speaker 5 (51:35):
Is one of my favorites, and we just did a
rewatch of that one.

Speaker 1 (51:41):
I love the Senate of the Rendezvous, so it's when
Diane Kruger comes in and they meet up and there's
the celebrity head game going on. It is a masterclass
in building tension, and yeah, I love it so much.

Speaker 3 (51:57):
With all the guns pointed to the crotches under the
the table the whole time. Yeah, great, really really good.

Speaker 1 (52:03):
It's so good.

Speaker 3 (52:03):
He just leans into the tension like he's like, no, no,
I'm not going to release you yet. We're going to
sit here for a long time.

Speaker 1 (52:09):
It's one like it happens to be sitting in the
corner that we had no idea was there. She loves
doing that kind of stuff. Fastbender was so good in
that scene, and you know, like I completely buy this
idea that when he orders the three, you know, he
does it in a way where people in that part
of Germany wouldn't have avoided like that. I'm not sure

(52:30):
if that completely stands up. It might, but you don't
care because everything else seems so real. And but also
you are you know Tarantina, You do know you are
watching a movie? Yeah, with his films.

Speaker 5 (52:42):
Oh yeah, yeah, yeah, yeah, we watch it. He's a
fan too, you know, exactly right.

Speaker 1 (52:46):
And Lynch is the same, like where you are watching
a movie. You know, we watched eighth Grade for this
podcast recently and I loved it so much. But bo
Burner is not trying to convince you're watching a movie
like he wants you to kind of like really be
in this moment with these characters and kind of feel
like this is a slice of real life and it
takes you back, you know where Tarantino only you're saying,

(53:10):
get your popcorn. This is it watching a movie.

Speaker 3 (53:12):
And it's also it's like, it's okay to have that
feeling as well. It's okay to sit in Hollywood.

Speaker 5 (53:17):
It's okay. But this is what it is. We love it,
you love it. Let's make our version of what what
we all love.

Speaker 1 (53:23):
Yea, I quite like it like that.

Speaker 4 (53:25):
Yeah.

Speaker 5 (53:26):
The music in mul Holland's was I don't know do you?

Speaker 4 (53:31):
Who? Do you? Do? You know?

Speaker 3 (53:32):
Who made it? It felt so important to that film,
and every time I'll hear it again, that's all I'll
think about.

Speaker 1 (53:42):
It is No, it's extraordinary. The sound design and the
score is gorgeous. The score is done by Angelo better Lamente.

Speaker 3 (53:54):
Oh yeah, Angelo, Yeah, we know Angelo. He worked on
Viral Vensday as well.

Speaker 1 (54:01):
Now he has done so he has done. He did
Lost Highway, a Twin Peaks movie. He did a very
long Engagement, which was the kind of follow up for
Amile and not not a sequel, but just the next film. Yeah,
he has worked with Lynch before m and yeah he

(54:22):
knows what he's doing. Yeah, you're right. The soundscape. I mean,
there's no doubt that everything about the production is really good.
It's just whether you can tolerate the story and what
means what?

Speaker 3 (54:35):
And I can see why this is an annoying one
to talk about as well, because they're really it's like
you can't really go deep on the characters because you're
not even sure who the characters are. You know, it's
really frustrating. I'm so sorry.

Speaker 1 (54:48):
No, no, no, no, you say it's frustrating. But I
like that we are discussing it because I do feel
like it is good to go. Ye, what was going
on with that fucking cowboy?

Speaker 3 (54:57):
Cowboys?

Speaker 4 (54:58):
Great?

Speaker 1 (54:59):
And the the blue key? Like I believe she has
organized the the like at the end of that film,
I believe Camilla is dead, Okay, because we haven't we
don't see it, but the blue key has been placed
on on well whether it's been placed Nami, what has

(55:19):
found at some point where it was supposed to be
And maybe she's taken at home, but she's got she's
in possession of that blue key, which the hit man
told her in reality, you will you will find the
blue key when the job is done, you'll find this
blue key. Now it does happen before to a party,
So I'm not sure if there's some time weirdness going
on there as well, because you always have that sex
scene on the couch as well, you know, so I'm

(55:41):
not sure you know or has the you know, has
it been bungled potentially?

Speaker 3 (55:47):
Who knows, David David knows.

Speaker 1 (55:50):
David knows. Is he the scene where we see that
that you know that the start with the gun and
get out? Is that is that maybe was that part
of the assessin nation or the hit even though it's
not that hit man, But is that connected?

Speaker 4 (56:04):
You know?

Speaker 3 (56:05):
Yeah, I don't know, And you know that annoys me
where he's like, I'm not going to tell you.

Speaker 1 (56:11):
Yeah, whether he does have these.

Speaker 3 (56:13):
What it's like the end of the Sopranos where you know, but.

Speaker 1 (56:16):
See I love the end of the Sopranos and then
and it's like, because that's that's not a whole bunch
of questions you have. That's just like you can live
in a world where you think Tony Soprano is alive,
or you can live in a world where Tony Sprano
is dead.

Speaker 3 (56:27):
No, I completely agree. But he also like said, look
that it's quite you can choose, but there's this there's
like a there's options.

Speaker 1 (56:35):
This one is not options. The Sopranos just choose your
own adventure, where.

Speaker 3 (56:40):
This is it's a perfume oto many adventures. I'm going
to go out and bite a smell. After saying.

Speaker 1 (56:50):
Okay, these are rules following Davidly's ten clues to unlocking
this thriller. So this is the weird thing, he says,
he's can discuss it. But then he gives you these clues,
which apparently came with the DVD. But it's also like,
come on, man, is he taking the piss? Yeah? Is

(57:10):
you just kind of come up with these ten things?
These are the ten things?

Speaker 3 (57:13):
I always go back to it.

Speaker 5 (57:13):
How did he pitch this?

Speaker 3 (57:15):
Do you know what I mean? How's it getting the
funding for doing something that doesn't make sense? Well, because Tavin,
this is you know, it's what he does, so it
gets funding.

Speaker 1 (57:24):
Twin Peaks one of the massive TV shows of all time,
and that kind of you know.

Speaker 5 (57:28):
Yeah I never watched it, you never watched it?

Speaker 4 (57:30):
Yeah?

Speaker 1 (57:31):
I remember it starting out kind of going Okay, it
was like who killed Laura Parliament? And that was the mystery?
And then this got so weird and two weirds. Like
after a few seasons, you're like, I'm done pay particular attention.
In the beginning of the film, at least two clues
are revealed before.

Speaker 5 (57:48):
The credits at the very start.

Speaker 1 (57:51):
Yeah, but that's before before there the credits come up
pretty quickly, says the car.

Speaker 5 (57:58):
Is the lights on something in the car?

Speaker 1 (58:00):
Maybe maybe it's a number plate. Maybe there's something a
number plate. Notice appearances of the red lamp shade? Okay, okay,
can you hear the title of the film that Adam
Kesher is auditioning actresses for? Is it mentioned? Again?

Speaker 4 (58:16):
No?

Speaker 5 (58:16):
I didn't either.

Speaker 1 (58:17):
I was sinking on the way here. We never really
learned what even what movie he's making, the kind of movie.

Speaker 3 (58:23):
Or the factor got shut down or any the weird
Did you think it was weird him walking in on
his wife and his wife said, oh, you've done it now.

Speaker 5 (58:32):
You remember when she was with Billy ray Cyrus.

Speaker 1 (58:34):
Willy ray So inhabited with Billy ray Cyrus. Again catcha yeah,
because ten years after ache breaking heart so he probably
needed one before he started living off his daughter. I
saw I shouldn't be saying that.

Speaker 3 (58:49):
Billy Ray allegedly allegedly.

Speaker 1 (58:53):
No, I did find it funny when the muscle came
to his house looking for Adam Adam Kesler and his
wife just jumped on like his leg that is hooked
over his shoulder, and he's just like his man Mountain.
I'm not sure how she got out there.

Speaker 5 (59:05):
To be honest, and he just punched her in the face.

Speaker 3 (59:09):
I like that.

Speaker 1 (59:13):
An accident is a terrible event. Notice the location of
the accident my Holland Drive.

Speaker 3 (59:19):
Yeah, maybe the answer is my Holand Drive to all
of this.

Speaker 1 (59:22):
Yeah, yeah, Well, because the idea of my hole and
Drive is that one half of it, on one side
of my hold Drive, you have almost like the nicer
part of Hollywood, and then the other side of my
Holland Drive you have like, you know, the more working
class or even lower class or whatever it might be.
So it does act as a divide between.

Speaker 5 (59:40):
Those they're rich and poor.

Speaker 1 (59:42):
Yeah, who gives a key? And why the hit man
gives a key? Between anyone else give a key? Check
it out. Notice the robe, but the astray the coffee cup.

Speaker 3 (59:53):
I mean, I think has someone done the answers to this.

Speaker 5 (59:56):
No, no, that's really what.

Speaker 1 (01:00:00):
He's felt, realized and gathered at the club Celencio. So
the Celentio stu. I must say it's a beautiful performance.
But I did like how when she comes back to
you do see or you do see people like the
Betty is the actual waitress in the dinah since she's
singing at Celenia, she sings that beautiful opera operatic song

(01:00:23):
which I thought was beautiful, but I'm still not sure
what it means. Did talent alone help Camilla? Well, no, no,
I think she was having an affair with the director,
which probably helped. Notice the occurrence is surrounding the man
behind winkies? Is it a man behind winkies? I thought
she's actually played by an actress. I'd come on, David Lynch,

(01:00:46):
where is Aunt Ruth? Aunt Ruth is in Canada shooting
a movie.

Speaker 3 (01:00:51):
Yes, and she's supposed to be an old Hollywood starlet,
aren't Ruth?

Speaker 5 (01:00:56):
Wasn't she she was supposed to be?

Speaker 1 (01:00:58):
Yes?

Speaker 5 (01:01:00):
Yeah, she's not very smart. She let someone in her
house when she was just leaving.

Speaker 1 (01:01:05):
And co coc ends up being Adam's mom.

Speaker 3 (01:01:09):
Yeah, she was great is she a famous actress? She
looks like she could have been an old Hollywood Yeah,
let me look at that.

Speaker 5 (01:01:15):
Casting was interesting, it was really good.

Speaker 1 (01:01:20):
Her name, by the way, the woman at the backup.
I've been feeling weird that I've been calling a devil lady.
But in the credit she bum unhoused Bonnie. Yeah, Bonnie
Aaron's An Miller played Coco and and Miller. Yeah, she's

(01:01:43):
she's a Hollywood star, old Hollywood.

Speaker 3 (01:01:47):
She felt like she was someone.

Speaker 1 (01:01:49):
Yeah, you can't take it with you. She was in
on the Town and Home Improvement.

Speaker 3 (01:01:57):
I knew I recognized her eyes.

Speaker 4 (01:01:59):
Yeah, she was.

Speaker 1 (01:02:01):
Wilsome, excellent. Well, Maggie, I mean, have we unlocked the
secrets of my home drama? I'm not sure we have,
but I wasn't expecting to.

Speaker 5 (01:02:14):
It was so weird.

Speaker 1 (01:02:15):
It's so weird, but there is some wonder in it.
We watch it again, do you think in your lifetime.

Speaker 3 (01:02:22):
I'm kind of jealous that this was the second time
round for you, because I reckon I miss stuff watching
it the first time, just settling into what it was. Yeah,
and I probably will watch it again if someone.

Speaker 5 (01:02:34):
Just puts it on.

Speaker 3 (01:02:34):
I don't think I dive for it. Yeah, but I'm glad.
I'm glad I've seen it and now I know the
references as well. It's nice to know where Naomi What's
got a big start from. Yeah, how great she was
back then as well. And I'm glad I saw it.

Speaker 5 (01:02:50):
But I didn't like it.

Speaker 1 (01:02:56):
But that's what you know. This podcast is about a
little bit like I mean, I prefer if you enjoy
the film because it means you've had an enjoyable experience.
But it is someone's going, okay, yeah, I did Gone
with the Wind with Rove Okay podcast and now that's long.
That's a long that's the longest film. But I Jane
Kennedy watched all three Lord of the Rings films for

(01:03:17):
this podcast, so she's the clubhouse leader. But Going with
the Wind is like, yeah, I don't think I need
to see it again, but she's I'm glad I've seen it. Yeah.

Speaker 3 (01:03:25):
Yeah, like now I know what they're talking about. I
think it's a little bit too wonky, do you know
what I mean? It's like, yeah, I think you're right.
Actually bringing up the Sunshine Sunshine, Yeah, that's an excellent
film where it's surreal, there's a plot line. You know,
it can do weird shit and still be engaging. This

(01:03:47):
one felt like he was just like taking the piss
a bit, you know, it was just going a little
bit too Okay, there is a.

Speaker 1 (01:03:54):
Part of me the guys, Peter, are you just like
seeing like maybe this are you convincing yourself that you
like this film or like, I'm according to minds because
I like ambition and I like filmmakers going for it. Yeah,
but also you're right, E Turning Sunshine is as an

(01:04:15):
ambitious for film as you could make.

Speaker 3 (01:04:16):
But you can also like how you like ambition and
like filmmakers going for it, but also not like the
end result, because that's important to have things you don't
like as well.

Speaker 1 (01:04:26):
Yeah, thank god for their sex scenes in there.

Speaker 3 (01:04:31):
So horny fairy horny director.

Speaker 1 (01:04:35):
He was, I'm trying to actually like, I don't know
Lynch's film well enough, I've seen I've seen a few
of them, but I to know how prevalent that kind
of stuff is in these films. Yeah, but they really
went for it in this. Boobs boobs.

Speaker 3 (01:04:50):
If you want boobs, this is the just fast forward.

Speaker 1 (01:04:55):
Keave you this out of some boobs, some great boobs great, great.

Speaker 5 (01:04:58):
Great boobs. Respectfully, they're great.

Speaker 1 (01:05:02):
Respectly, I'll allow you to just I'll just hold back,
but I concur Maggie. Look, thank you so much for
joining us pleasure. You're absolutely killing it. I love watching
and working with you over the years, and and you're
always on the project. Your gags are always so and

(01:05:23):
the best, the best, absolutely the best. No, and I
love that you are going on to great things. And
I was saying in the in the intro that there'll
be a day soon and it might be a year,
it might be three years where there'll be a Maggie
Luk project that will go, yeah, there it is, there, it.

Speaker 4 (01:05:42):
Is, it is.

Speaker 5 (01:05:43):
Thanks buddy, that's lovely to hear.

Speaker 1 (01:05:45):
Well done.

Speaker 5 (01:05:45):
Hopefully it's it's one year.

Speaker 1 (01:05:53):
I feel it in my waters.

Speaker 3 (01:05:55):
Thanks, thanks so thanks for having me. This is super fun.

Speaker 1 (01:05:57):
Well it was fun to Yeah, I'm glad that we
we did just watch it and go, oh do we
have to talk about this? I'm glad that it is.
It certainly is a movie that demands a conversation.

Speaker 3 (01:06:07):
Look, I didn't I yell into the other room last
night to my husband do you want to watch my
hole and drive with me? And he went no, there's
a little hint from the start.

Speaker 1 (01:06:19):
Good answer. Yeah, all right, thanks mate.

Speaker 5 (01:06:21):
The worries, this is the girl.

Speaker 4 (01:06:28):
Don't show me this fucking thing here.

Speaker 6 (01:06:32):
It's just an actress's photo resume.

Speaker 3 (01:06:34):
Everybody's got one.

Speaker 4 (01:06:37):
You got the money, I sure do. Okay, you know
once you hand that over to me to done deal.

Speaker 1 (01:07:00):
Issue.

Speaker 2 (01:07:00):
You want this.

Speaker 6 (01:07:07):
More than anything in this world.

Speaker 2 (01:07:20):
When it's finished, you'll find this where.

Speaker 1 (01:07:22):
I told you. Yes, Maggie Luke, wonderful chat. I hope you.
I hope you guys enjoyed us trying to get through
the puzzle, the mayhem that is mulhulland Drive. I go
back and forth in my mind so much about it,
which probably came across during this chat with Maggie that

(01:07:42):
I it's part of me that loves it, well, maybe
not loves it, likes it, and there's part of me
that is frustrated by it. Typically it's not the kind
of film that I gravitate towards, I'll say that, but
it has its admirer is there's lots of things I
do like about it. As we said, the BBC had

(01:08:03):
it as a best film of the twenty first century,
so check it out and let us know what you
reckon David Lynch's Mulholland Drive. Thanks for listening to the podcast.
Really appreciate it. Would love it if you helped us
spread the word by not just telling friends, absolutely please
do that, but also lead people know by leaving a

(01:08:26):
review on iTunes. It helps us in ways that even
though I don't understand completely, but it does help. It
does help. And give us a fast review. I recommend
five stars. I really do. We're back next week. Until
then barking out and so we leave old Pete see

(01:08:53):
Mansel and to our friends of the radio audience, we've
been a pleasant good name.