July 17, 2024 • 20 mins
David Lynch's "Inland EMpire" is a crazy psychological thriller that I had the pleasure of watching. I three hour film shot on a sony digital camcorder and it makes perfect sense as to why he choose to shoot a film like this. A film that barely has a script but as holoow as it many seem, it film goes into alternate realities where we question our own reality. It's a film about a "woman in toruble" that takes on a film set. Laura Dern's character is an actress who's gonna star in a film that's known to have a death that occurs which stopped it in the place. But not for this crew. They decide to do it anyway and stuff happens. It's like a huge portal that leads to all portals and it makes sense in some way. I admire the work Lynch put especially Laura Dern. She deserved an Academy Award for this film.
Three and a half out of four tokes.
#davidlynch #inlandempire #filmreview
Three and a half out of four tokes.
#davidlynch #inlandempire #filmreview
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Transcript
Episode Transcript
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(00:01):
Good morning. This is Morning Reala Creak or two Windred Miners podcasts,
A film that I review, hostedby Ray Salazar. Yours truly if I
see it, I review it.What do you like when you catchphrase?
This morning? I'm here to talkabout a pretty crazy film. I don't
(00:21):
think any I don't think a lotof people have seen this film. Man,
unless you're a David Lynch fan.If you're a David Lynch fan,
more unlikely you saw this film,and more than likely being a David Lynch
fan love this film. I'm talkingabout Inland Empire, which is also known
as the you know a certain partof SoCal. You know, it's not
(00:44):
in downtown or whatever. You know. Either way, this film has nothing
to do with in the Empire,like whatsoever. As far as what I
know right, it's a two thousandand six it's experimental, psychological thriller film
that was read and directed and coproduced by David Lynch. It is his
last feature film. You know,he had not made a film after that,
(01:07):
and it's crazy that he kind ofwent out with a bang with this
film. I feel like this filmis like the modern version of Federico Felini's
eight and a half. Like,if you were to compare those two films,
you can kind of see where Lynchgot is his inspiration from. But
I'm pretty sure it was not directlyfrom Felini, because I don't know if
(01:30):
Felini would I doubt Felini would watchthis film. I feel like it would
just be too experimental for him.Anyways, I'm gonna go down the credits
because this film deserves the credits.Written, produced, co produced by,
and directed by David Lynch, Producedby Mary Sweeney, who at the time
(01:52):
you know there were an item together. Starring Laura Dern, Jeremy Irons,
justin the Row, Harry Dean,Stan, Carolina Gruska, Peter J.
Lucas, Christophe's Mug, Maje ZackDude, What a Name? And Julia
(02:12):
Ormand. Cinematography by David Lynch,Edited by David Lynch. Production companies Absurda,
Studio Canal, Fun doc Jaw Coultreeand Camera Image Festival, Destruded by
five eighteen Media and Absurda and StudentCanal through the Mars distribution. This film
(02:34):
came out in September sixth, twothousand and six, at the Venice Film
Festival, and the didn't come outuntil December six here in the United States.
It's an one hundred eighty minute filmand a budget of two point nine
to three million dollars. You knowwhat's fucking crazy about this film that it
was shot on video. Yes,on video. Now I'm not like digital,
(02:59):
I'm I mean it's digital video,right, digital film as one would
call it. But he literally shotthis film with a Sony camcorder. Like
everything you see in this film wasshot from a Sony camcorder and you can
tell it's handheld for the most part. And look, this film is very
(03:21):
very hard to like describe as faras like what goes on in the film,
because a lot goes on in thefilm. This film is a film
where, like you see portals openingand closing all at the same time.
You see things that happen, andthen you see the same thing happen but
in a different way, or ina different angle, or or the turnout
(03:44):
of a certain scene just turns outcompletely different. And it's about this this
actress name this actress who is playedby Laura Dern Right, she's got a
big break in this film and she'sreally like really ready for it, right,
and at the same time she meetsthe cast, director, crew and
(04:05):
all that stuff, and there's adiscretion with this screenplay that they're going to
be making into a film. Andthe fact is that this film was almost
done but never been completed because thingshappened during the production of the film,
you know, like people died,people got cursed. You know, it's
(04:28):
stuff like that, people died.And that's the crazy thing. Like imagine
trying to take on the film ora production that is notoriously known for being
incomplete because somebody died on set anddue to the whatever happened in the film
and everything. So it's crazy howthis film just like distorts as the film
(04:50):
goes on, right, everything seemskind of it's not normal. I mean,
it's a David Lynch film. It'snever normal. There's always something that's
just eerie, dark and mysterious.And the cinematography like really backs that up.
There's a lot of shots in thisfilm where lots of it is dark,
(05:12):
so dark you can't even see it, and you're like, why is
it so dark? But in themidst of all that darkness, in the
missan send of the shot, yousee persons that are you know, not
well lit, but definitely over lit. And it's just a theme that David
Lynch goes to this film is crazy, man, Like this chick, you
(05:35):
know, she starts doing her thingin the film, the acting scenes are
going good, but then next thing, you know, she starts to slip,
you know, she starts to loseher her side of reality. And
it goes very extreme to the pointwhere like we go from a house that's
not filled with people, and thenyou go into this room in the same
(05:56):
house where there's like a bunch ofchicks dancing. And then at the same
time, somehow those chicks end upin the street it's in Hollywood, and
then they're all prostitutes. And thenLaura durn herself becomes a prostitute amongst those
chicks. But at the same time, like she has a crazy backstory that
has like really no connection to heractual like backstory of not only just of
(06:20):
her character, but of her lifein this film, right, and all
we can do as the viewer isjust sit back and watch and just let
it flow on you man, Like, at this point, you shouldn't be
concerned as to what's going on.You just believe what you're seeing. And
(06:43):
sometimes what you're seeing is very unbelievable, even for a person like myself who
loves films that are, you know, kind of serious. You know,
the intentions are serious es fresh,especially like shooting it and all that stuff
how it's presented to us. Butthis one, David Lynch just like,
nah, dude, you know what, I'm gonna give you home video footage
and slap it together. And hereit is in an empire and at the
(07:08):
same time it makes sense, youknow, like it just barely makes sense.
And honestly, this film is notabout whether it makes sense or not,
you know, but when you watchthe film, it does make sense
if you really, like just keepyour eyes glued, you know. Like
it's kind of a hard film towatch, not because of its content per
(07:30):
se, but it's just the stylethat he chose to put upon us,
which is very experimental, you know, like sometimes you don't exactly know what's
kind of going on and you kindof have to just keep watching to sort
of hope that it'll make sense inthe next scene to come or in the
next couple of scenes to come,you know. And I have fun watching
(07:55):
this film, really, and Igotta say, man, I didn't watch
this film in one whole not thatI didn't want to. It's just,
you know, I have a bunchof stuff going on, right But at
the same time, man like,as I was watching it, I was
just impressed at the fact that thisman, David Lynch, was able to
make a film shot on home video. But you can tell that there is
(08:22):
like a skeleton type of script inthis film, and if there's any script
in this film whatsoever, because itkind of looks like there isn't And honestly,
we got to leave that to theactors, especially Laura Dern. Laura
Deurn's a genius, man like,she is a really gifted actor, you
know, and she really lets loosein this film. I don't think we've
(08:43):
ever seen Laura Dern act like howshe acts in an Empire. It's really
amazing. I'm very surprised she didnot get nominated for like an Academy or
a Golden Globe, because honestly,she really acted her ass off. She
basically plays like different versions of herselfthroughout this whole film, and with those
(09:05):
different versions, she's you know,going through these different alternate scenarios of like
maybe the same scene and at theend of the film, it's it's crazy,
man, Like I can't spoil theending, but all I know is
like everything's like everything becomes a happyit's a happy ending. It just becomes
(09:28):
a happy ending. I don't knowhow it becomes a happy ending, but
it just does. Man. Butlike this film makes sense from the beginning
though, because you see this likethis woman, right, she's crying,
she's watching watching TV. And obviouslywe're gonna be focused on what's on the
TV, right, but it's justso much more than that. But honestly,
(09:48):
the whole story kind of not it'snot that it revolves around that very
first shot, but it cuts backto that first shot, you know what
I'm saying, and it's just crazy, man. Laura Darren kind of loses
her mind. And you know,it's like those things where like those actors
(10:11):
where they really take the role veryserious, where they just engulf themselves in
the role, and even after theafter the cut, after the take,
after even the production's over, thatperson is so heavily consumed by the character
that that is who they are,you know, and she becomes that and
it's kind of scary to see,like how everything goes down. Especially,
(10:35):
dude, Terry cruises in this movie. Dude, he plays with bump.
It's crazy man like and I meanit's not like he stands out. I
mean he sort of does. Youknow. There's a there's a couple of
two shots and you can tell it'sfocused on Terry Crews. But it's funny.
It's not funny, but it's it'scrazy to see like a person like
Terry Crews who decided, you knowwhat I'm gonna get on this film.
I don't know what it's about.There's no script, but whatever I'm gonna
(10:58):
get on, it's David Lynch.What can go wrong? Right? This
guy's in this film. He playsa bum. He doesn't have that much
lines, but it's effective, youknow, like to see like people that
you wouldn't normally kind of see infilms be in this film. You know,
it's kind of kind of crazy.I don't know how to review this
(11:20):
film or how to describe this film, but dude, there's a thing where
the rabbits man. There's a scenewhere, like a couple of scenes that
go throughout the whole film where it'slike a like a humanoid Rabbits and they're
like in this home. And youcan tell the way it's shot too.
It's crazy. It almost looks likea like a caricature, like a miniature
(11:41):
set, you know, because theliving room area is so tall, like
very tall. It's small in size, but it's very tall. And I
just wondered, like, damn,how they how do they really nail that
certain shot? I mean, there'smore up close shots in the film,
especially with the humanoid Rabbits, andeven those are crazy, man, because
(12:05):
it's so deadpan, it's so lynching. You see these people talk to each
other with no emotion whatsoever, andyou can tell it's you know, it's
not coming from a boom mic oranything like that. It's total adr And
Lynch decided, no, I'm justgonna slap this in there, and bo
(12:26):
I don't care what happens. Idon't care if the mixing is horrible or
whatever. I'm just gonna put itthere and we try to make sense of
it. And even that little storyof the rabbits, man, where they're
talking to each other and it doesn'tseem like things are going on, but
something is going on, you know, like somebody leaves the house and at
the end of the whole procession ofit. They wonder if that one rabbit
(12:50):
who left is coming back, andwe don't know if he's coming back,
and we don't know if that's therabbit that's knocking on the door. I
feel like it's our consciousness, orthe consciousness of the film, or the
consciousness of Laura Dern or the stateof mind that she's in. You know,
is this a love story, Nah, not a love story. This
(13:11):
is a thriller. This is likea woman trying to make it. And
sometimes, man, when when youwant to make it so bad, some
of the choices that you make aren't, like, aren't the best choices.
You know, Sometimes it like reallytakes you from reality. It takes you
away from everything. I don't knowif that was Lynch saying that in that
(13:33):
film, you know, like becareful with Hollywood because Hollywood will screw you
up. And from the looks ofit, man, like people got screwed
up in that film. You know, like people will get hurt, people
get shot, people become prostitutes,people become different people. It's crazy,
man, And it's a film thatyou got to watch. It's sort of
(13:56):
like Harmony Kareene's gummo. It's justlike a bunch of like little scenes put
together and somehow they are connected andthere's no other best way I can describe
it. I would challenge you towatch this film. Really, this is
a film. Honestly, I dowant to watch again. I think it's
a very interesting film, especially forthree hours. Dude, three hour Lyncheon
(14:22):
film. Dude, imagine sitting throughthree hours of Lynch. It does not
compare to Lost Highway. Lost Highwayis definitely more of a story. It's
not that it's not that Inland Empireis not a story. There is a
story that it's clear, you know, you can see it. It's a
messed up story, whether it makesa lot of sense or not. But
(14:46):
it's so detached, you know,and it's detached on purpose. And I
think that's what it is when,like, you know, when we're in
a production of some sorts, youknow, like things just start to sort
of either fall apart or twist andturn. I don't know, but I
enjoyed the film very much. IfI would have to rate this film,
(15:09):
and I'm sorry, David Lynch,I'm so sorry, man, because I
tried. I tried, Man Itried, but I can't. I gotta
give it three and a half outof four togues. Man, it's not
the perfect film. It is likereally crazy, really horribly produced experimental film.
(15:31):
And nah, I can't say it'shorribly produced because it's lynch Man,
like he knew what he was gettinghimself into. The people in this film
knew what they were getting themselves intoand in fact probably enjoyed it, you
know. And I think if theydidn't enjoy it, then they'll probably enjoy
it and appreciate it now. Andthat's the beauty of film too. That's
the beauty of like personal bodies ofwork, you know, Like sometimes you
(15:56):
don't get it in the first threescreenings or in the first three years of
its run. Sometimes it it takestime for us to really come back to
it and reflect. Or I don'tknow, man, I've never seen this
film ever. It was my firsttime watching it. I would watch it
again. I can't recommend this filmto like somebody who loves the Avengers,
(16:18):
or somebody who likes Beetlejuice too that'scoming up, or a gladiator tub Yeah,
nah, this isn't the film foryou. I'm sorry, or you
know what, anybody who's into eighttwenty four films definitely watch this film.
In fact, this is a masterclassin filmmaking. Quote me on that.
(16:40):
You can follow me at Mornishell FilmsIG and YouTube. Check out my website
Mornishellfilms dot C where I put youknow, the Morning Reel and all that
stuff and other bodies of work thatI do, like photography video. Check
out the Pioneered Chicken that High andHungry reviewed, so very monumental staple.
(17:02):
If if you love fried chicken,this is the place to go. There's
only two spots left, La andBell Gardens. Trust me, you will
not be disappointed. You will goback for more. Tell them that Ray
or e Zone from High Hungry sentyou and they'll be like, oh shit,
let's hook them up with like twomore you know chicken strips, you
know their chicken tenders or bomb dudeeither way. Coming up next is the
(17:26):
review with Xavier and I. We'regonna review One Night in Paris. Yes,
that movie. It's not even amovie, is it a movie?
It's a sex It's a sex tape, you know, Like I guess it's
a movie. Man, I don'tknow. But it's funny. Man.
That's gonna be a Patreon exclusive.So if you're in the We Don't Smoke
(17:47):
the Same podcast Patreon, if youdon't have it, it's only five bucks
man. If you want to listento our review about it, it's gonna
be there, and I will announceit when it's gonna be there, or
maybe not, because you know,like I wouldn't include this in the you
know, general episodes that we havehere on the Morning Reel. If I
(18:07):
see it, I review it.And I definitely saw this, and I
definitely reviewed this film. Also,I'm gonna review a Tale of Autumn or
an Autumn Tail. I'm not surean Autumn Tail. It's by Eric Rohmer.
It's a very beautiful romance comedy film, you know. And then it's
a French romance comedy film. Andhonestly it's I like the film a lot,
(18:33):
but I'd love the screenplay better.I don't know if that makes any
sense to anybody who's listening or watchingor whatnot. It's a very beautiful script,
man. It's really about people intheir middle ages or like in their
forties or fifties. Why not contemplateabout loving romance and like being independent and
how to be independent, how tostay independent and all that stuff. But
at the same time, bro,like, I guess when you're at a
(18:56):
certain age and you've been in lovebefore and you never thought, hey,
you know that it ain't for me, you know, sometimes you kind of
think, you know, maybe Iwant that back again, you know,
and where can I find that?And at the same time, this film
was filmed in the late nineties,so there was no Craigslist, there was
no TikTok, there was no plentyof fish, you know, there was
(19:21):
nothing like those websites. You know. This was all like human level man
and really beautiful film. I cannotwait to talk about it. I feel
like I should talk about it hereright now, but I'm not going to
do it because it would just takea while and I gotta actually watch it
again to really just dive into thatguy. I love that guy. I
love lynch lynch Man, thank youfor making In an Empire. It's really
(19:45):
an inspiration to me because it prettymuch kind of tells me that anybody can
make a fucking film, no matterhow crazy it is. Anybody can make
it, and anybody can make moneyoff of it. Thank you,
Good morning. This is Morning Reala Creak or two Windred Miners podcasts,
A film that I review, hostedby Ray Salazar. Yours truly if I
see it, I review it.What do you like when you catchphrase?
This morning? I'm here to talkabout a pretty crazy film. I don't
(00:21):
think any I don't think a lotof people have seen this film. Man,
unless you're a David Lynch fan.If you're a David Lynch fan,
more unlikely you saw this film,and more than likely being a David Lynch
fan love this film. I'm talkingabout Inland Empire, which is also known
as the you know a certain partof SoCal. You know, it's not
(00:44):
in downtown or whatever. You know. Either way, this film has nothing
to do with in the Empire,like whatsoever. As far as what I
know right, it's a two thousandand six it's experimental, psychological thriller film
that was read and directed and coproduced by David Lynch. It is his
last feature film. You know,he had not made a film after that,
(01:07):
and it's crazy that he kind ofwent out with a bang with this
film. I feel like this filmis like the modern version of Federico Felini's
eight and a half. Like,if you were to compare those two films,
you can kind of see where Lynchgot is his inspiration from. But
I'm pretty sure it was not directlyfrom Felini, because I don't know if
(01:30):
Felini would I doubt Felini would watchthis film. I feel like it would
just be too experimental for him.Anyways, I'm gonna go down the credits
because this film deserves the credits.Written, produced, co produced by,
and directed by David Lynch, Producedby Mary Sweeney, who at the time
(01:52):
you know there were an item together. Starring Laura Dern, Jeremy Irons,
justin the Row, Harry Dean,Stan, Carolina Gruska, Peter J.
Lucas, Christophe's Mug, Maje ZackDude, What a Name? And Julia
(02:12):
Ormand. Cinematography by David Lynch,Edited by David Lynch. Production companies Absurda,
Studio Canal, Fun doc Jaw Coultreeand Camera Image Festival, Destruded by
five eighteen Media and Absurda and StudentCanal through the Mars distribution. This film
(02:34):
came out in September sixth, twothousand and six, at the Venice Film
Festival, and the didn't come outuntil December six here in the United States.
It's an one hundred eighty minute filmand a budget of two point nine
to three million dollars. You knowwhat's fucking crazy about this film that it
was shot on video. Yes,on video. Now I'm not like digital,
(02:59):
I'm I mean it's digital video,right, digital film as one would
call it. But he literally shotthis film with a Sony camcorder. Like
everything you see in this film wasshot from a Sony camcorder and you can
tell it's handheld for the most part. And look, this film is very
(03:21):
very hard to like describe as faras like what goes on in the film,
because a lot goes on in thefilm. This film is a film
where, like you see portals openingand closing all at the same time.
You see things that happen, andthen you see the same thing happen but
in a different way, or ina different angle, or or the turnout
(03:44):
of a certain scene just turns outcompletely different. And it's about this this
actress name this actress who is playedby Laura Dern Right, she's got a
big break in this film and she'sreally like really ready for it, right,
and at the same time she meetsthe cast, director, crew and
(04:05):
all that stuff, and there's adiscretion with this screenplay that they're going to
be making into a film. Andthe fact is that this film was almost
done but never been completed because thingshappened during the production of the film,
you know, like people died,people got cursed. You know, it's
(04:28):
stuff like that, people died.And that's the crazy thing. Like imagine
trying to take on the film ora production that is notoriously known for being
incomplete because somebody died on set anddue to the whatever happened in the film
and everything. So it's crazy howthis film just like distorts as the film
(04:50):
goes on, right, everything seemskind of it's not normal. I mean,
it's a David Lynch film. It'snever normal. There's always something that's
just eerie, dark and mysterious.And the cinematography like really backs that up.
There's a lot of shots in thisfilm where lots of it is dark,
(05:12):
so dark you can't even see it, and you're like, why is
it so dark? But in themidst of all that darkness, in the
missan send of the shot, yousee persons that are you know, not
well lit, but definitely over lit. And it's just a theme that David
Lynch goes to this film is crazy, man, Like this chick, you
(05:35):
know, she starts doing her thingin the film, the acting scenes are
going good, but then next thing, you know, she starts to slip,
you know, she starts to loseher her side of reality. And
it goes very extreme to the pointwhere like we go from a house that's
not filled with people, and thenyou go into this room in the same
(05:56):
house where there's like a bunch ofchicks dancing. And then at the same
time, somehow those chicks end upin the street it's in Hollywood, and
then they're all prostitutes. And thenLaura durn herself becomes a prostitute amongst those
chicks. But at the same time, like she has a crazy backstory that
has like really no connection to heractual like backstory of not only just of
(06:20):
her character, but of her lifein this film, right, and all
we can do as the viewer isjust sit back and watch and just let
it flow on you man, Like, at this point, you shouldn't be
concerned as to what's going on.You just believe what you're seeing. And
(06:43):
sometimes what you're seeing is very unbelievable, even for a person like myself who
loves films that are, you know, kind of serious. You know,
the intentions are serious es fresh,especially like shooting it and all that stuff
how it's presented to us. Butthis one, David Lynch just like,
nah, dude, you know what, I'm gonna give you home video footage
and slap it together. And hereit is in an empire and at the
(07:08):
same time it makes sense, youknow, like it just barely makes sense.
And honestly, this film is notabout whether it makes sense or not,
you know, but when you watchthe film, it does make sense
if you really, like just keepyour eyes glued, you know. Like
it's kind of a hard film towatch, not because of its content per
(07:30):
se, but it's just the stylethat he chose to put upon us,
which is very experimental, you know, like sometimes you don't exactly know what's
kind of going on and you kindof have to just keep watching to sort
of hope that it'll make sense inthe next scene to come or in the
next couple of scenes to come,you know. And I have fun watching
(07:55):
this film, really, and Igotta say, man, I didn't watch
this film in one whole not thatI didn't want to. It's just,
you know, I have a bunchof stuff going on, right But at
the same time, man like,as I was watching it, I was
just impressed at the fact that thisman, David Lynch, was able to
make a film shot on home video. But you can tell that there is
(08:22):
like a skeleton type of script inthis film, and if there's any script
in this film whatsoever, because itkind of looks like there isn't And honestly,
we got to leave that to theactors, especially Laura Dern. Laura
Deurn's a genius, man like,she is a really gifted actor, you
know, and she really lets loosein this film. I don't think we've
(08:43):
ever seen Laura Dern act like howshe acts in an Empire. It's really
amazing. I'm very surprised she didnot get nominated for like an Academy or
a Golden Globe, because honestly,she really acted her ass off. She
basically plays like different versions of herselfthroughout this whole film, and with those
(09:05):
different versions, she's you know,going through these different alternate scenarios of like
maybe the same scene and at theend of the film, it's it's crazy,
man, Like I can't spoil theending, but all I know is
like everything's like everything becomes a happyit's a happy ending. It just becomes
(09:28):
a happy ending. I don't knowhow it becomes a happy ending, but
it just does. Man. Butlike this film makes sense from the beginning
though, because you see this likethis woman, right, she's crying,
she's watching watching TV. And obviouslywe're gonna be focused on what's on the
TV, right, but it's justso much more than that. But honestly,
(09:48):
the whole story kind of not it'snot that it revolves around that very
first shot, but it cuts backto that first shot, you know what
I'm saying, and it's just crazy, man. Laura Darren kind of loses
her mind. And you know,it's like those things where like those actors
(10:11):
where they really take the role veryserious, where they just engulf themselves in
the role, and even after theafter the cut, after the take,
after even the production's over, thatperson is so heavily consumed by the character
that that is who they are,you know, and she becomes that and
it's kind of scary to see,like how everything goes down. Especially,
(10:35):
dude, Terry cruises in this movie. Dude, he plays with bump.
It's crazy man like and I meanit's not like he stands out. I
mean he sort of does. Youknow. There's a there's a couple of
two shots and you can tell it'sfocused on Terry Crews. But it's funny.
It's not funny, but it's it'scrazy to see like a person like
Terry Crews who decided, you knowwhat I'm gonna get on this film.
I don't know what it's about.There's no script, but whatever I'm gonna
(10:58):
get on, it's David Lynch.What can go wrong? Right? This
guy's in this film. He playsa bum. He doesn't have that much
lines, but it's effective, youknow, like to see like people that
you wouldn't normally kind of see infilms be in this film. You know,
it's kind of kind of crazy.I don't know how to review this
(11:20):
film or how to describe this film, but dude, there's a thing where
the rabbits man. There's a scenewhere, like a couple of scenes that
go throughout the whole film where it'slike a like a humanoid Rabbits and they're
like in this home. And youcan tell the way it's shot too.
It's crazy. It almost looks likea like a caricature, like a miniature
(11:41):
set, you know, because theliving room area is so tall, like
very tall. It's small in size, but it's very tall. And I
just wondered, like, damn,how they how do they really nail that
certain shot? I mean, there'smore up close shots in the film,
especially with the humanoid Rabbits, andeven those are crazy, man, because
(12:05):
it's so deadpan, it's so lynching. You see these people talk to each
other with no emotion whatsoever, andyou can tell it's you know, it's
not coming from a boom mic oranything like that. It's total adr And
Lynch decided, no, I'm justgonna slap this in there, and bo
(12:26):
I don't care what happens. Idon't care if the mixing is horrible or
whatever. I'm just gonna put itthere and we try to make sense of
it. And even that little storyof the rabbits, man, where they're
talking to each other and it doesn'tseem like things are going on, but
something is going on, you know, like somebody leaves the house and at
the end of the whole procession ofit. They wonder if that one rabbit
(12:50):
who left is coming back, andwe don't know if he's coming back,
and we don't know if that's therabbit that's knocking on the door. I
feel like it's our consciousness, orthe consciousness of the film, or the
consciousness of Laura Dern or the stateof mind that she's in. You know,
is this a love story, Nah, not a love story. This
(13:11):
is a thriller. This is likea woman trying to make it. And
sometimes, man, when when youwant to make it so bad, some
of the choices that you make aren't, like, aren't the best choices.
You know, Sometimes it like reallytakes you from reality. It takes you
away from everything. I don't knowif that was Lynch saying that in that
(13:33):
film, you know, like becareful with Hollywood because Hollywood will screw you
up. And from the looks ofit, man, like people got screwed
up in that film. You know, like people will get hurt, people
get shot, people become prostitutes,people become different people. It's crazy,
man, And it's a film thatyou got to watch. It's sort of
(13:56):
like Harmony Kareene's gummo. It's justlike a bunch of like little scenes put
together and somehow they are connected andthere's no other best way I can describe
it. I would challenge you towatch this film. Really, this is
a film. Honestly, I dowant to watch again. I think it's
a very interesting film, especially forthree hours. Dude, three hour Lyncheon
(14:22):
film. Dude, imagine sitting throughthree hours of Lynch. It does not
compare to Lost Highway. Lost Highwayis definitely more of a story. It's
not that it's not that Inland Empireis not a story. There is a
story that it's clear, you know, you can see it. It's a
messed up story, whether it makesa lot of sense or not. But
(14:46):
it's so detached, you know,and it's detached on purpose. And I
think that's what it is when,like, you know, when we're in
a production of some sorts, youknow, like things just start to sort
of either fall apart or twist andturn. I don't know, but I
enjoyed the film very much. IfI would have to rate this film,
(15:09):
and I'm sorry, David Lynch,I'm so sorry, man, because I
tried. I tried, Man Itried, but I can't. I gotta
give it three and a half outof four togues. Man, it's not
the perfect film. It is likereally crazy, really horribly produced experimental film.
(15:31):
And nah, I can't say it'shorribly produced because it's lynch Man,
like he knew what he was gettinghimself into. The people in this film
knew what they were getting themselves intoand in fact probably enjoyed it, you
know. And I think if theydidn't enjoy it, then they'll probably enjoy
it and appreciate it now. Andthat's the beauty of film too. That's
the beauty of like personal bodies ofwork, you know, Like sometimes you
(15:56):
don't get it in the first threescreenings or in the first three years of
its run. Sometimes it it takestime for us to really come back to
it and reflect. Or I don'tknow, man, I've never seen this
film ever. It was my firsttime watching it. I would watch it
again. I can't recommend this filmto like somebody who loves the Avengers,
(16:18):
or somebody who likes Beetlejuice too that'scoming up, or a gladiator tub Yeah,
nah, this isn't the film foryou. I'm sorry, or you
know what, anybody who's into eighttwenty four films definitely watch this film.
In fact, this is a masterclassin filmmaking. Quote me on that.
(16:40):
You can follow me at Mornishell FilmsIG and YouTube. Check out my website
Mornishellfilms dot C where I put youknow, the Morning Reel and all that
stuff and other bodies of work thatI do, like photography video. Check
out the Pioneered Chicken that High andHungry reviewed, so very monumental staple.
(17:02):
If if you love fried chicken,this is the place to go. There's
only two spots left, La andBell Gardens. Trust me, you will
not be disappointed. You will goback for more. Tell them that Ray
or e Zone from High Hungry sentyou and they'll be like, oh shit,
let's hook them up with like twomore you know chicken strips, you
know their chicken tenders or bomb dudeeither way. Coming up next is the
(17:26):
review with Xavier and I. We'regonna review One Night in Paris. Yes,
that movie. It's not even amovie, is it a movie?
It's a sex It's a sex tape, you know, Like I guess it's
a movie. Man, I don'tknow. But it's funny. Man.
That's gonna be a Patreon exclusive.So if you're in the We Don't Smoke
(17:47):
the Same podcast Patreon, if youdon't have it, it's only five bucks
man. If you want to listento our review about it, it's gonna
be there, and I will announceit when it's gonna be there, or
maybe not, because you know,like I wouldn't include this in the you
know, general episodes that we havehere on the Morning Reel. If I
(18:07):
see it, I review it.And I definitely saw this, and I
definitely reviewed this film. Also,I'm gonna review a Tale of Autumn or
an Autumn Tail. I'm not surean Autumn Tail. It's by Eric Rohmer.
It's a very beautiful romance comedy film, you know. And then it's
a French romance comedy film. Andhonestly it's I like the film a lot,
(18:33):
but I'd love the screenplay better.I don't know if that makes any
sense to anybody who's listening or watchingor whatnot. It's a very beautiful script,
man. It's really about people intheir middle ages or like in their
forties or fifties. Why not contemplateabout loving romance and like being independent and
how to be independent, how tostay independent and all that stuff. But
at the same time, bro,like, I guess when you're at a
(18:56):
certain age and you've been in lovebefore and you never thought, hey,
you know that it ain't for me, you know, sometimes you kind of
think, you know, maybe Iwant that back again, you know,
and where can I find that?And at the same time, this film
was filmed in the late nineties,so there was no Craigslist, there was
no TikTok, there was no plentyof fish, you know, there was
(19:21):
nothing like those websites. You know. This was all like human level man
and really beautiful film. I cannotwait to talk about it. I feel
like I should talk about it hereright now, but I'm not going to
do it because it would just takea while and I gotta actually watch it
again to really just dive into thatguy. I love that guy. I
love lynch lynch Man, thank youfor making In an Empire. It's really
(19:45):
an inspiration to me because it prettymuch kind of tells me that anybody can
make a fucking film, no matterhow crazy it is. Anybody can make
it, and anybody can make moneyoff of it. Thank you,
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