For anyone who is interested ...
here's an ENTERTAINING SUMMARY of IE ...
one you can also use as a way to locate a scene in IE that you may be looking for on your DVD:
http://www.bedeutung.co.uk/magazine/issues/3-life-death/critchley-webster-lynch-empire/
This film, is it about marriage? Your husband, he is involved?
A little boy went out to play. When he opened his door he saw the world when he passed through he caused a reflection and evil was born and followed the boy. Evil was born.
(Sinnerman, where you gonna run to)
A little girl went out to play, lost in the market place, as if half born. Then, not through the market place, but through the alley behind the market place, this you see, is the way to the past.
(Please hide me lord)
It isn’t something you remember. Forgetfulness it happens to us all. Where was I? Is there a murder in the film? Brutal *beep* murder.
Where am I? Where is the key? I gave it to you. What’s wrong with me? Do you know what whores do? Yes, they *beep*. I’ll tell you what I want.
Fine.
This is the only question in the movie whose answer can be known: do you know what whores do? Yes. They *beep*. All other demands for knowledge are left unanswered. The whore, face obscured, anonymous, doesn’t have to ask anyone anxiously if he can look at her and tell her if he’s known her before. The whore has known everyone and no one. She is safe in her anonymity. She is protected. There is little room to fall.
This film, is it about marriage? Your husband, he is involved?
A little boy went out to play. When he opened his door he saw the world when he passed through he caused a reflection and evil was born and followed the boy. Evil was born.
(Sinnerman, where you gonna run to)
A little girl went out to play, lost in the market place, as if half born. Then, not through the market place, but through the alley behind the market place, this you see, is the way to the past.
(Please hide me lord)
It isn’t something you remember. Forgetfulness it happens to us all. Where was I? Is there a murder in the film? Brutal *beep* murder.
(Don’t you know I need you, rock)
I can’t remember if it is today or yesterday or tomorrow. I suppose if it was 9:45 I would think it was after midnight. These times recur in the film, as empty markers against which the recurrence of timelessness winds like a snake.
If today was tomorrow you wouldn’t even remember that you owed something on an unpaid bill? Do you know what debts you hold? Actions do have consequences, such is the dreadful utilitarian law of life. And yet, there is the magic. If it were tomorrow you would be sitting over there.
Do you see? She will, but not until it’s all over. Brutal *beep* murder.
(All on that day)
What is time? Accursed time, with its before and after, its relentless succession of nows. What if yesterday were tomorrow and today yesterday and tomorrow today? Imagine. Perhaps the whore knows something more about this. Perhaps it is his wife. Whorish othertime.
For that we would need an act of grace. Unforeseeable. We would need an actor with a porn-star name like Nikki Grace (Laura Dern). You have everything you need to soar back to the top and stay perched there.
Hollywood. Where stars make dreams and dreams make stars. Eventually these stars fall, not like scales from eyes but eyes that fall like scales. Are you able to be true to hubby with a wolf in the den? That is all we demand of you.
If I don’t kill you, her husband will. Her husband is the most powerful guy around. He knows everything. I could tell you stories that would curl your hair and kill your head. So listen to me when I tell you, around Nikki, keep it in your pants. But you have to admit, she’s got a nice ass.
On High in Blue Tomorrows. First scene. What do you want? I want to apologise? The things you said weren’t the truth? Were they the truth? Are you sorry? Why are you crying? I’m so sorry. Look in the other room. Someone is there at the back of the sound stage in Paramount Studios, just next door to the Hollywood Forever Cemetery on Santa Monica Boulevard. It’s Laura Dern/Nikki Grace/Susan Blue/whoever/HCE/all the other women, from later on, from when the curse of time is lifted. Let the identifications roll. Down the rabbit hole.
There’s a rumor about a movie, they say. This film is actually a remake from an unfinished film. Something happened. Something happened inside the story, inside a hole inside the story and the two lead actors were murdered. Brutal *beep* murder. It’s a Polish gypsy folktale called Vier Sieben, 47, the room number of the wise rabbits. Sometimes someone is not told the whole story.
The producers of the movie know this. Who are the producers? We don’t know. Is Nikki’s Polish husband secretly financing the film and deliberately trying to debase his wife, to turn her into a whore and kill her? At least in this way, he can desire her. But then that can’t be entirely true. In this movie, it is always Nikki who desires, a forbidden desire. Each and everyone.
Splitting of time- splitting of love and desire- an unpaid debt, a crime.
Police station – I’ve been hypnotized or something, I’m going to kill someone. Who? I don’t know. Who hypnotized you? I saw him looking at me once when I looked around the bar and he then moved his hands and he said that I wouldn’t know who it was. How are you going to kill this person? With a screwdriver.
Your wife? I’ve been with her since I was a little boy? Nothing little about you now. Why are you doing this? Don’t play dumb. I have a husband, you have a wife and kids… I never met you before. I didn’t know you before. I had this feeling, you’ve had it too, don’t you? I can’t afford to. All I see from here is blue tomorrows.
Are you enjoying yourself? There is a vast network, an ocean of possibilities. Such is enjoyment. I like dogs, I used to raise rabbits, I’ve always loved animals. Their nature, how they think. They can reason their way out of problems, watch them think through the trickiest situations. Can I borrow a few bucks?
I can’t afford to. (It’s funny in ways you don’t expect).
Husband and Devon – I want to hold you close. Sometimes people don’t say exactly what they mean and you have been guilty of this all evening. I will mean everything I say. My wife is not a free agent. I don’t allow her that. The bonds of marriage are real bonds. The vows we take, we honour and enforce them. For ourselves, by ourselves. If necessary they are enforced for us. Either way she is bound. There are consequences to one’s actions and there will for certain be consequences for wrong actions. Dark they would be and inescapable. Why instigate a need to suffer?
Such is the wish in the dream. Such is the hole in the hole. Let’s negate for a time the implacable truth that the mother is certain and the father is not. An old story about one always half-told: Mater semper certa; pater est quem nuptiae demonstrant (Mother is always certain; the father is whom the marriage shows).
Inland empire- the father is certain and the wife that I love is also my whore that I desire. How nice it is on high in blue tomorrows. You have nothing to worry about now, you dying lady.
Devon hits on Nikki, then we switch to a scene in the movie of the two of them caressing. As Billy Side and Susan Blue? It is unclear. I won’t fall in love with you. Uncut. Are you two happy?
The question of happiness is always dark and inescapable. But why instigate a need to suffer? Enjoyment is a vast network of possibilities.
Cut to another scene. What? Something has happened. I think my husband knows. He will kill you and me. Damn, this sounds like dialogue from our script.
At this point and from this point on, Nikki and Susan begin to blur. What the bloody hell is going on?
Cut – We don’t know the real reason why On High in Blue Tomorrows wasn’t finished. Stories grow out of the imagination surrounded by these screwball stories. We shouldn’t give them credence… unless they are true.
Cut – They *beep* in real life with the husband/producer looking on at them, but no one is in their place, they cannot stay in their place. Later, she will come to look on the adulterous bed from the exact place of her husband, in the hallway, through the alleyway. He will lie down where she is, or is it where he was? These things are never clear. It is better. The whole story cannot be told.
Look at me. Remember that thing that happened in the story from yesterday, but I know it’s tomorrow. That scene where I was parked in the alley way. This is the way to the past. It’s a scene we did yesterday in the alley and I see this writing on metal and I start remembering something. This whole thing starts flooding in, this memory, and I start to remember, I don’t know what it is. It’s me. Nikki. That doesn’t make any sense. It’s me, Devon, it’s Nikki. Look at me you *beep* Please, look at me. Look at me, please, and tell me if you’ve known me before.
Anxiety signals the approach of the new.
Axx oNN – The axiom of the unintelligible. She goes in through the door. Time fractures backwards and forwards and she meets up in earlier scene. She runs to the door and goes into the house with her husband in the window. She goes in door 1358, in an old 1950s style room. Billy presses his face against the window, but he can’t see her, doesn’t know her.
The window goes dark then we switch to a street-scape. She is in the Inland Empire. The Inland Empire is at the back of the sound stage. We know for the first time it is the Inland Empire, just at the back of Hollywood. Always been there. Who knew?
She goes into room full of women. What do they have in common? They all *beep* Devon/Billy. The look on her face, pleasure, horror, some combination of the two. This face, her look, looking on, will return later.
Who the hell are you? Look at us and tell us if you’ve known us before. There are two obvious meanings of ‘know’ in the movie, epistemic and *beep* Did he do that thing, that little shaking thing, while he was, you know… wasn’t that great. Yeah. I let him do anything. It’s strange what love does. So strange. In the future, you’ll be dreaming. The kind of sleep where you open your eyes and someone familiar will be there.
Cut – Poland. Whores. Lost Girl (Karolina Gruszka).
Do you want to see? Then burn a hole with a cigarette in the silk. Look through the hole. Primal scene? The hole in the sheet. Your virgin wife? Your female patient? It’s just silk. It’s just a hole. Sometimes a hole is just a hole.
She’s in some *beep* in the Inland Empire. Where? Pomona? San Bernardino? Who cares. She burns a hole in the silk. She looks through. Polish whore or a woman who can’t give a man children. I’m not who you think I am I’ll never let you have her, never. Man beats whore. We learn the time is 9:45, but as we learnt in the earlier scene with the amazing Grace Zabriskie, it could be after midnight.
The wise rabbits burn bright candles held high on seven-branch candelabra (we exaggerate).
Cut – She goes upstairs as a new persona, brutalized, debased, castrating woman, marked with a tattoo on the back of her hand, with the initials L.B. The rage. The reversal of identifications. They are moving now. They are dancing.
She meets the analyst who is a rabbit wearing a human disguise. You go down the rabbit hole and meet a rabbit. Who did you *beep* expect? God almighty? I don’t really understand what I’m doing here. So they told me you could help me, so I guess I’ll just tell you the thing. There was this man I once knew, his name was, doesn’t matter, lot of guys change, they don’t change but they reveal what they really are. It’s an old story. This guy he revealed something looking back on it, all along it was being revealed, he was planning something with me in mind….
When I get mad I really get mad. I gouged a man’s eye out when I was fifteen he was trying to rape me had his thing out and was pushing my legs apart. I got my finger in his eye. What a man you are, crying like a baby. He could still see me with his one eye, grabbing his nuts and tearing at him, crying like a little baby holding his nuts till the ambulance come. What happened? He come to be reaping what he been sowing. That’s some pretty heavy *beep* he’s been sowing.
Cut – She stares at cigarette and burned silk. All the girls again (it is said there is no such thing as All the Women): I thought you would last… I saw it coming… I thought he was the one you know… so where he’s gone… find someone else… not easy when you feel like *beep* oh baby (laugh)… tits and ass (showing her tits)…sweet. All dance.
The girls, the past lovers, the whores, arrive on the scene to mark the unfolding of the story between Susan Blue/Nikki Grace and Billy’s wife who will stab her with the screwdriver. To stab the woman who your husband betrayed you with is also to stab yourself. And so she did. They are as two punished. Why? That other woman is always there in wedlock. Why do women always insist on unraveling the details of a man’s previous lovers? Hearing them speak about him, every little detail, that shaking thing before he, you know… Is it a dream? A nightmare? Why instigate the need to suffer?
So much feminine masochism, Mr. Lynch.
Cut – Back in the Inland Empire. Impoverished desperate couple. Feeling of violence. She tells him, I’m pregnant.
She calls the rabbits from the Inland Empire. Yes, she calls the rabbits. She says, ‘Billy?’ (canned laughter).
Through silk again. Back with the analyst. I seen him coming at me with a crow bar once. I guess he figures I was two-timing him and I was coming home we were shacked up at the time and he was waiting for me in the half-light. Waiting for me to come home, worked himself into some kind of a frenzy. I see this shape burst out of the chair, crow bar going up, I scream and turn, *beep* crow bar smashes into that door, cheap piece of *beep* it just splinters like glass. I don’t take this kind of behavior. I see what this *beep* was up to. Bam! I kick him in the nuts so fast they crawl up into his brain for refuge and he goes down like a two-dollar whore. *beep* telling me he loves me.
Were you, in fact, seeing another man? (First time the analyst speaks. He has a way. How good of him to point out her indiscretions also, where are you Nikki Grace?) I was screwing a couple of guys for drinks, no big deal. This one guy he was kind of cute, had dick like a rhinoceros, *beep* the *beep* out of you I tell you what, he’d buy me a couple of drinks after, we talk and he’s tell me about the town he grew up in all the little girls he’d *beep*, chemical factory putting so much *beep* in the air you couldn’t think straight, lot of crazy *beep* going on there, weird dreams, seeing things that wasn’t there. So one time this little girl was staring off at something and starts screaming and the people come to her and ask what’s wrong and she says she sees the end of the world all fire and smoke and bloodrain, you know, like they say, the wailing and gnashing of teeth.
Cut – Look at me and tell me if you’ve known me before? Yes, we will do that. Husband spills ketchup on stomach where the woman stabs herself with the screwdriver. Time she stops. Time she stopped.
Cast out this wicked dream that seized my heart.
Billy’s wife screwdriver in hand, stabs herself.
Who is she? He said that I wouldn’t know who it was.
Cut – Who are those people? Hot dogs. The situation is becoming dangerous. Give me that hammer. There is no toilet paper in the Inland Empire. They are a group that performs in traveling shows in the Baltic region. What’s that got to do with you? I will take care of the animals. It was said that I have a way with animals. I’m sure he does. I’m sure this husband has a way with animals.
Cut from animal to analyst – Went to some Eastern Europe *beep* with the circus. Carnies, gypsies, conmen, a real *beep* ball of *beep* There was this guy who would start talking, real regular talking up the crowd and they would push in closer, he did some sort of thing on people. They called him the Phantom. He got in a bar room fight at night. Circus clowns. So when they take him down to the station he disappeared. This is the kind of *beep* I’m talking about. He was a marine from North Carolina, he had a sister with one leg, she had a car stick for the other one. She killed three kids in the first grade. This is the kind of *beep* *beep* funny. People. All got their own peculiarities, own way of livin’.
Cut – L.A. at Billy’s house with his wife. What are you doing here? Something’s wrong, bad wrong, do you feel it? Sue? Billy, do you love me? Don’t you remember anything, how it was? Billy, something’s wrong. I love you Billy. Wife slaps her. Sue, go away. (Flips into a rage, like the woman with the analyst. Gnashing of teeth). I don’t care, it’s something more. I don’t care, it’s something more.
Back in the Inland Empire. I came about an unpaid bill that needs paying. Alright. Do you know a man who lives here? Do you know him? What do you want? There is an unpaid bill that needs paying. You already said that. Do you know that man who lives next door. Crimp is the name.
Funny name, Crimp. The imp of the perverse.
Cut – Crimp. Man with a lightbulb in his mouth and a screwdriver on a small table. Isn’t he the Phantom? The one who hypnotized her?
Cut – There is someone there. I have to tell you. There is someone. Brings in the husband. Do you recognize her? I don’t see her. You understand she sent for you. (The Lost Girl). I don’t know where I am; I don’t know where I am. I hear her now. You don’t see her.
The horse was taken to the well. Take the pistol. Let’s go! Right away, it’s after midnight. Girl disappears… a ghost… she’s already been murdered. The three Poles merge into the three rabbits. I’m going to find out one day. Where was I? This isn’t the way it was. (canned laughter). It had something to do with the telling of time….
Can we lift the curse of time?
Major cut/jump to Hollywood Boulevard – Where stars make dreams and dreams make stars. Two Nikkis/Susans/L.B.s staring at each other: the one from the analyst’s room, the other from the Inland Empire. We hear a scream like in a horror film.
On Hollywood Boulevard with all the whores. ‘I’m a whore. Where am I? I’m a freak.’ She laughs mockingly. Looking at herself across the street laughing at herself. AXX oNN – Billy/Devon’s wife is stalking her. She’s going to *beep* kill me. Runs upstairs at club.
Back at the analyst’s office – I don’t know what I’m doing here. There was this man I once knew. I’m trying to tell you so you’ll understand how it went. I don’t know what was before or after. I don’t know what happened first and it kind of laid a *beep* on me. My husband he’s *beep* hiding something. Acting all weird before he left. He was talking this foreign talk and telling loud *beep* stories.
Cut – Husband beats her…. I’m not who you think I am. Are you listening to me? I know for a fact that I can’t father children. Brutal *beep* murder. Woman with child. A son. We suppose it is the son. The son who is not the son of the father, a whoreson, a dead son. What makes a father a father? Bastard. She doesn’t know the husband at the moment he decides that he knows that she’s a whore. His certainty is a brutality. I mean everything I say. Her not knowing… I can’t say.
His face all red, eyes bugging out. I figured one day I’d just wake up and find out what the hell yesterday was all about. I’m not too keen on thinking about tomorrow and today is slipping by. I guess after my son died I went into a bad time where I was watching everything go around me while I was standing in the middle, like in a dark theater, before they bring the lights up. I’m sitting there wondering how can this be. Phone rings…. Hello. Yeah still here. (She has a screwdriver). I don’t think it will be much longer now. Yeah. The horse to the well.
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xxpo
12 years ago
His face all red, eyes bugging out. I figured one day I’d just wake up and find out what the hell yesterday was all about. I’m not too keen on thinking about tomorrow and today is slipping by. I guess after my son died I went into a bad time where I was watching everything go around me while I was standing in the middle, like in a dark theater, before they bring the lights up. I’m sitting there wondering how can this be. Phone rings…. Hello. Yeah still here. (She has a screwdriver). I don’t think it will be much longer now. Yeah. The horse to the well. Yeah. She’s around here someplace that’s for sure.
Billy’s/Devon’s Wife takes screwdriver from Nikki and stabs her. Punished. For being a whore. Finally. Runs off.
There are consequences to one’s actions and there will for certain be consequences for wrong actions. Dark they would be and inescapable. Why instigate a need to suffer? Why? There’s a question. Axiom of the unintelligible.
Falls to ground on Hollywood Boulevard next to a black woman and black man with an Asian girl. You dying lady.
What you say about Pomona? You asked about the bus. Can’t get no bus to Pomona. You can get the bus for Pomona here if you get on the subway first. I never can get no bus. You can go all around Hollywood from Hollywood and Vine and you can get to Pomona for $3.50. I never heard of no bus there. I went last summer to visit my friend her name is Niko (not Nikki). I stayed for two weeks. My cousin comes from Pomona. What time is it? I don’t know. It’s after midnight. After midnight? It could be 9.45. My friend Niko in Pomona has a blond wig. She wears it at parties, she’s all on drugs and turning tricks, but she looks very good in her blond wig, just like a movie star. Even girls fall in love with her in her blond star wig. She blows kisses and laughs… but she has got a hole in her vagina wall. She has torn a hole into her intestine from her vagina. The hole inside the hole. Baby, don’t tell us this *beep* She has seen a doctor but it is too expensive and now she knows how her time has run out. She’ll score a few more times and then, like that, she will stay at home with her monkey. She has a pet monkey. This monkey *beep* everywhere and she doesn’t care. It screams like it’s in a horror movie. But there are those who are good with animals, who have a way with animals. They can reason their way out of the trickiest of situations and then *beep* everywhere.
It’s okay, you dying is all. You saw the light. It burns bright in heaven. No more blue tomorrows. You on high now.
Camera pulls back and up. Director yells, ‘Cut… and print it’. Bravo. What’s the matter Nikki? You were wonderful… The Lost Girl, the one who was killed by her husband, sees Nikki on TV. Nikki sees herself on the screen in the theater talking to the analyst about how her son died. She’s standing in the dark theater seeing herself talking about standing in the middle of a dark theater, everything going around, time spins, identifications dance, her in the middle, before they bring the lights up.
Time is folding back on itself. Time it stopped. Time she stopped. Phone rings, It’s the conversation again. The horse to the well. The analyst goes up a staircase… AXXoNN is on the analyst’s door.
The axiom of the unintelligible leads back to the Inland Empire through a rabbit hole. She opens a drawer next to the bed. The bed from the scene of adultery. Takes the pistol. It’s L.B. and she’s not messing around.
Poland and Inland Empire collide. She is going down a long corridor with the gun, into Room 47, Vier Sieben. She shoots the man from Poland. She shoots the Phantom. She shoots her husband. Superimposed on his face, a grotesque female face. The imago. Hers? It is the mother behind the father who refuses that father as a husband and the husband who refuses his wife for his mother. It’s an old story: where you love you cannot desire, where you desire you cannot love. Perhaps there is something in the sexual drive that will not allow for complete satisfaction. Who said that? Perhaps there is just a loop, a short circuit of the debased and the forbidden, the debased woman for the man, the forbidden man for the woman. Deadlock. Or wedlock.
Cast out this wicked dream that seized my heart.
Rabbits. The rabbits live down their hole in room 47. Blue light, blue tomorrows. She meets the Lost Girl who’s been crying from the beginning. They kiss. A long *beep* kiss. The other woman. Nikki/Susan disappears. The Lost Girl smiles. The door opens and she leaves. She leaves room 47. She runs down corridor. Out. She greets her husband and her dead son that glimmered in the analysis. He takes up his role as father, the father is whom the marriage shows.
The Lost Girl comes home in the end. Happy family? Happy ending? Suturing the hole? Eat your heart out. The horse goes to the well, but you can’t make it drink. Not one drop.
Subtitle: A Woman in Trouble. Amazing Grace. What once was lost now is found. Never Inland Empire.
Look. Nikki sees herself across the room. (If it were tomorrow you would be sitting over there).
Fade out. End. Closing credits. In the whorehouse in Pomona. No, in the mansion in Hollywood. Same difference. Enter the Phantom’s sister with one leg. Castration. Sweet. Niko with monkey. *beep* all over the floor. Sweet.
They all dance around Nikki.
Grace.
Oh Sinnerman, where you gonna run to?
Sinnerman, where you gonna run to?
All on that day
Well I run to the rock, please hide me, rock
I run to the rock, please hide me, Lord
All on that day
But the rock cried out, I can’t hide you
The rock cried out, I can’t hide you
The rock cried out, I ain’t gonna hide you guy
All on that day
So I run to the Lord, please hide me Lord
Don’t you see me prayin’?
Don’t you see me down here prayin’?
But the Lord said, go to the devil
The Lord said, go to the devil
He said, go to the devil
All on that day
So I ran to the devil, he was waitin’
I ran to the devil, he was waitin’
All on that day
I cried –
Power.
Bring Down -
Power.
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12 years ago
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xxpo
12 years ago
MAYO CLINIC describes a FISTULA:
Causes and symptoms
The causes and symptoms of fistulas vary depending on their location. Anal and rectal fistulas are usually caused by an abscess. Symptoms include constant throbbing pain and swelling in the rectal area. Pus is sometimes visible draining from the fistula opening on the skin. Many individuals have a fever resulting from the infection causing the abscess.
Vaginal fistulas are caused by infection and trauma to the tissue during childbirth. They are easily detected, because the woman smells unpleasant and leaks urine or feces through her vagina
So ...
if you are right ...
and NIKO is a man who tore a hole in his body ...
between his rectum and where his balls use to be ...
then NIKO would probably also SMELL UNPLEASANT ...
because they would probably also have URINE and FECES leaking into the HOLE that they've made in their body ...
as a way to have SEX with other men???
And the UNPLEASANT SMELL would probably also be the reason why they can only turn a few more tricks before they have to RETIRE???
That definitely gives a *WHOLE* new meaning to that CIGARETTE being USED to BURN a *HOLE* through that silk!!!
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12 years ago
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xxpo
12 years ago
Here's the TRANSCRIPT where she mentions the WELL ENDOWED dude:
I screwed a couple guys for drinks, no big deal. This one guy was kinda cute. F*ucker had a dick like a rhinoceros.He’d f*uck the s*hit out of you, I tell you what. He’d buy me a couple of drinks after. We’d talk, he’d tell me about the town he grew up in. All the little girls he f*ucked. There was a chemical factory in this town, and he’d tell me it was putting so much s*hit in the air you couldn’t think straight. It got to a lot of the people. There was a lot of crazy s*hit going on there. People having weird dreams, seeing things that wasn’t there. This one time, this one little ...
And here's the other place where she apparently also mentions how WELL ENDOWED BILLY is:
Sue:
Your wife?
Billy:
I’ve been with her since I was a little boy?
Sue:
Nothing little about you now. Why are you doing this? Don’t play dumb. I have a husband, you have a wife and kids… I never met you before. I didn’t know you before.
I had this feeling, you’ve had it too, don’t you? I can’t afford to. All I see from here is blue tomorrows.
XAV probably has ALL of the IE TRANSCRIPTS.
Maybe if we ask him nicely he'd also be kind enough to post them here?
Or send them to us in a PM?
Berny sent them to me in a PM but that computer died and xxpo doesn't have them anymore.
So PRETTY PLEASE with a CHERRY ON TOP would you please POST the IE TRANSCRIPTS here for us Xav or else PM them to us (Palmtree and me)???
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Xav6101
12 years ago
Here's the transcript where she mentions the well endowed dude:
I screwed a couple guys for drinks, no big deal. This one guy was kinda cute. F*ucker had a dick like a rhinoceros.he’d f*uck the s*hit out of you, i tell you what. He’d buy me a couple of drinks after. We’d talk, he’d tell me about the town he grew up in. All the little girls he f*ucked. There was a chemical factory in this town, and he’d tell me it was putting so much s*hit in the air you couldn’t think straight. It got to a lot of the people. There was a lot of crazy s*hit going on there. People having weird dreams, seeing things that wasn’t there. This one time, this one little ...
And here's the other place where she apparently also mentions how well endowed billy is:
Sue: Your wife?
Billy: I’ve been with her since i was a little boy?
Sue: Nothing little about you now. Why are you doing this? Don’t play dumb. I have a husband, you have a wife and kids… i never met you before. I didn’t know you before.
I had this feeling, you’ve had it too, don’t you? I can’t afford to. All i see from here is blue tomorrows.
Xav probably has all of the ie transcripts.
Maybe if we ask him nicely he'd also be kind enough to post them here?
Or send them to us in a pm?
Berny sent them to me in a pm but that computer died and xxpo doesn't have them anymore.
So pretty please with a cherry on top would you please post the ie transcripts here for us xav or else pm them to us (palmtree and me)???
Okay. Guess it's pleasing time. So, here's my begging. Please, please, please, xxpo, could you do me one favour and stop decorating virtual space as if this is a giant wall that needs wallpaper. Really, those decorations give me headaches, and yet I know somewhere hidden in those braindumped letter word combinations there lies an answer to a question never been revealed yet. Honestly I don't have any transcript. Unless it is what I call "subtitles". Everyone can download them from the world wide gutter. Just google "subtitles inland empire english", and there you go. You will either get a zip file or a the srt file in one go. Unpack the zip, change the file extension into txt and you're the owner of dialogues from a script. If you need help just ask me in an undecorated style of writing and I am completely yours. My appetite is reciprocal to the amount of colors, bolds, capitals, and emoticons.
yours truly,
Xav
Click and a download will start
http://www.opensubtitles.org/en/subtitleserve/sub/3142722Edit: Caution, these "subtitles" are not flawless of course. Notice the end of Mr K's phone call. Even my Polish is better; czerwone.
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xxpo
12 years ago
we all have people who gather...
agents, friends, producers...
252
00:31:27,139 --> 00:31:29,746
And sometimes they share,
253
00:31:31,309 --> 00:31:33,917
... sometimes not.
THANK YOU XAV for sharing.
Had some problems but finally figured out one can use the WORD PAD to access them.
Also see what you mean about them not being accurate ...
because the part of the DIALOGUE with the BLURRY faced couple is also MISSING and not there ...
but this is still also better than having NOTHING at all.
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xxpo
12 years ago
I've been hypnotized,
or something
I'm going to kill someone.
with a SCREW DRIVER
Dern: Watch this MOVE
(And then she's killed with a SCREWDRIVER ...
by the woman who said she'd kill her that way).
Seems UNIFIED enough.
N'cest pas???
INTERVIEW w LYNCH
Nov 8 2012:
http://parallax-view.org/2011/11/08/interview-david-lynch-on-inland-empire-ii-the-dvd/
QUESTION:
You have of course never done a commentary track, but you do load up the Inland Empire disc with a lot of interesting extras and the “Stories” section could almost be a stand-alone commentary because you talk about so many things around the film.
LYNCH:
I believe talking is okay separate from a thing, but a commentary track that goes along through a film, I think is maybe the worst possible thing a person could do. From then on, the film is seen in terms of the memory of that commentary and it changes things forever. Things are rounded if they’re separate. Stories surrounding a film or things surrounding it, that’s a different kind a thing and I think those things are okay.
QUESTION:
You have about 70 minutes of deleted footage in the “More Things That Happened” section and you’ve edited them so they it plays like their it’s own dreamlike film.
LYNCH:
Right. You know, there are things in “More Things That Happened” that give a feeling that could be like a brother or sister to the film. It’s like if you know a family but you haven’t met the sister yet, you go over to Ohio and meet the sister and it adds more to the feeling of the whole family.
xxpo's COMMENT:
Could this be a HINT that NASTASSJA is the SISTER???
And she's also had an AFFAIR with BILLY ...
the LOVE INTEREST of her sister DERN???
So in addition to DERN getting a COME ON by her sister's BOY TOY KIDDO ...
who makes her keep her ICE CREAM on the SHELF where it MELTS ...
DERN's sister also has a ONE NIGHT FLING with DERN'S lover Billy???
So MAYBE the ANSWER TO the QUESTION:
WHO IS SHE???
Is this:
She's LOST GIRL'S SISTER???
Sorry XAV. This isn't easy. My fingers are getting ITCHY ... they wanna PAINT the place ... looks too DULL in BLACK and WHITE.
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xxpo
12 years ago
LYNCH says the MONOLOGUES with DERN weren't the FIRST SCENE. So which one was the FIRST?
Maybe the SCENE with DORIS and the DETECTIVE???
Something else???
What else he says:
It was the same process as it’s always been for me:
The ideas come, one by one, action, reaction; eventually they make a whole
also seems to confirm there is a UNITY to IE that the other person in the OP suggests isn't there.
http://www.thestranger.com/seattle/Content?oid=137428I’ve read that Laura Dern’s long prostitute monologue was that first scene.
LYNCH:
People say that’s the first scene, but it’s not true.
I don’t want to say which part came first, because it would putrefy the rest.
What determined the movie’s size and shape?
LYNCH:
It was the same process as it’s always been for me: The ideas come, one by one, action, reaction; eventually they make a whole that feels correct
This movie’s particularly difficult for some viewers; you have to sympathize—when you use the word “story”…
LYNCH:
I hear you, I do sympathize. But for me there is a story, to me it makes sense. But when a film is abstract in its storytelling, some people have difficulty letting go and just having the experience, and dealing with it intellectually afterwards.
the weight of all the termites in the world is heavier than all the humans. But you never see them, they’re under the surface.
LYNCH:
That’s Blue Velvet, right there. Wow, a good fact to know!
I’m well aware you hate to analyze your films, but it seems to me that there’s a pervasive attempt at expressing a visceral anxiety, from Eraserhead on—is it self-expression, or a crafted vision of the world, or something else?
I remember years ago reading Mel Brooks’s interpretation of Eraserhead, when The Elephant Man came out—he said it “betrayed a strong anxiety about parenthood.”
LYNCH:
Well, that’s Mel’s take. For me, it’s just the ideas
—it sounds like it, but I’m not copping out—they come.
It’s nice if they’re in a whole but usually they’re in pieces. Then a whole emerges eventually, and only later can you look back on it and see a theme, or whatever.
But everyone’s different.
There’s that old saying, “the world is as you are”— some people see everything through dirty gray glasses, some people see through rose-colored glasses.
Some see only politics, others only see elements of love and emotions.
The audience is such a huge part of a movie, how it plays out.
Sure, there’s anxiety, that’s part of human nature. But there’re other things, and how you see it all is up to you.
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Xav6101
12 years ago
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
But for me there is a story, to me it makes sense.
This sentence should remain in your head for ever and ever more.
thanks, XXPO
Xav
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12 years ago
[deleted]
Xav6101
12 years ago
"Who here among us honestly believes that the story we've extracted from the movie matches David's???"
This sounds Polish to me, yet I understand. I understand what you are asking. I understand the question. Do you think I understand the question?
Xav
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12 years ago
[deleted]
el-9984
12 years ago
Gutless hubris is an ugly combination.
Best fùcking quote I've read anywhere from ANY medium in the past 3 weeks. Thanks. A quite spot-on response.
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Xav6101
12 years ago
After five days thinking, still no answers, I guess?
http://www.imdb.com/title/tt0460829/board/thread/207504754?d=208006365 &p=2#208006365
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xxpo
12 years ago
Well, l thought since we're here
and Smithie site's been started...
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We might go over some of the scenes
that take place there.
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Not the love scene, of course, but some of
the earlier scenes
194
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that indicate so beautifully your character.
195
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Lets take, for instance,
scene 35...
196
00:26:19,119 --> 00:26:25,166
... the scene where Devon...
you arrive,
197
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... Billy, at Smithie's house to find Sue,
--Nikki-- looking out the window.
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I remember the scene
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Well...
200
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... we'll go through it....
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... and then we'll maybe take it on
the set and BLOCK it out as possible
SINCE BLOCKING means WALKING to the PART of the STAGE where ONE SAYS THEIR LINES in the SCRIPT ...
that means SCENE 35 ...
where we see BILLY ...
as SUE/NIKI is looking at him out of the WINDOW of SMITHY'S HOUSE ...
is OBVIOUSLY a PART of the REMAKE VERSION of the BLUE VERSION of the MOVIE SCRIPT that they are REHEARSING FOR.
Or as the MAGIC MAN says in the CLUB OF SILENCE in MD:
IT'S ILLUSION.
Which means it is NOT REAL.
So HOW DOES someone WAKE UP from an ILLUSION???
That's the QUESTION.
Maybe CLICK the HEELS or our RED SHOES together 3 TIMES ...
like DORTHY does in OZ???
http://www.independent.co.uk/arts-entertainment/films/news/click-your-heels-together-three-times-dorothys-ruby-slippers-come-to-london-8197644.html
http://www.independent.co.uk/arts-entertainment/films/news/click-your-heels-together-three-times-dorothys-ruby-slippers-come-to-london-8197644.html
SW heard the AUDIENCE LAUGHTER ...
and
xxpo saw DORTHY'S SHOES on display at the SMITHSONIAN.
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Xav6101
12 years ago
"Or as the MAGIC MAN says in the CLUB OF SILENCE in MD: IT'S ILLUSION."
Club Silencio is a premonition of the end of Diane's dream, as is the rehearsal scene a premonition of the end of the blonde's daydream. Diane wakes up in a bedroom in apartment #16 of SB's. The blonde fully awakens as she finds herself sitting with her back against the wall in house 1358.
The script is an illusion, the rehearsal scene is an illusion. Didn't Betty also do a rehearsal (reading word by word and acting it out later on) exactly two times, in two different 'settings'? "Thank you, darling."
http://www.imdb.com/title/tt0460829/board/flat/203280590
Xav
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xxpo
12 years ago
The problem is DAN.
Where does he fit into all of this Xav?
Imo, Dan has the SAME FUCTION as the NEW NEIGHBOR.
BOTH characters SUM UP for us what happens and what we're about to see:
In MD, we're about to see a STORY unfold from the POV of DAN'S 2 DREAMS.
In IE, we're about to see a STORY unfold from the use of the MAGIC the NEW NEIGHBOR uses.
The way I see it is Dan PITCHES a story idea to HERB who is a LITERARY AGENT (like the ACTOR who played the part tells us he played his part that way).
So after DAN DIES or is SHOT by JOE (disguised as the BUM) or whatever the case may be ...
HERB then sells DAN'S story about his 2 DREAMS to someone who has no idea the story is based upon FACT ... or upon what DAN heard the blond (Naomi) saying to JOE in WINKIES.
So the MOB buys the SCREEN PLAY from ADAM (or from whoever the PRODUCER of the FILM IS) because they also want CONTROL of what they see as their own story.
The OLD COUPLE may also have had lots of MONEY in a suitcase that got MIXED UP with BETTY'S at the airport (which may also be the reason why they come searching for BETTY at the END of MD).
Or RITA may also have taken some Drugs to some RICH person who lives on MD for the MOB and that's why the guys driving the LIMO try to kill her (for the MONEY they know she has in her purse from the SALE she's made for the MOB).
We ALSO KNOW the MOB knows RITA, because the BACK of the HEAD of the GUY who makes the PHONE CALL looking for the MISSING GIRL is also LOCATED in the CLUB of SILENCE. You can tell that's where he's at by the way the CEILING is DECORATED.
So when RITA WAKES UP and remembers what the MAGIC MAN says at this CLUB ... that also means her MEMORY has come back to her again (which is why she takes BETTY to the CLUB).
And she also knows BETTY'S KILLED her LOVER (the other BLOND who sings EVERY LITTLE STAR) ...
who is NOT REALLY THERE at the AUDITIONS ...
because ADAM is only playing a TAPE RECORDING of her ...
which we also know due to the ORDERS ADAM GIVES ...
when he says PLAYBACK ...
which also means the PERFORMANCE at the CLUB is a LITTLE MINI PLAY ... like the one HAMLET has performed ... as a way to CATCH the CONSCIENCE of the GUILTY KING (his UNCLE who killed his father so that his Uncle could be KING and marry HAMLET'S mother the QUEEN).
So for me the CLUB is REAL.
And the MAGIC MAN is REAL
and he probably also KNOWS what RITA KNOWS ...
that BETTY'S KILLED RITA'S LOVER ...
who BETTY/DIANE also IMAGINES she sees kissing RITA at ADAM'S DINNER PARTY ...
the SAME WAY she IMAGINES she sees RITA in her KITCHEN and on her couch.
And when BETTY hears the others SAYING:
THIS IS THE GIRL ...
that's also the reason she suddenly has to LEAVE ...
because she also thinks they MEAN SHE'S THE GIRL who kills the GIRL singing on the TAPE ...
which she did ...
after she found RITA'S ADDRESS in her PURSE while RITA was still in the SHOWER.
So for me BOTH SITUATIONS in MD and in IE are MOVIES that are being made about STORIES that REALLY HAPPENED.
And DERN'S CHARACTER in IE really does KILL her sister's husband KIDDO (which is why we see her sitting there IN THE RAIN) ...
and in MD NAOMI also KILLS the BLOND (RITA'S LOVER) who sings the LITTLE STAR song (which is also why we see NAOMI RUN AWAY from the AUDITION and then see her SHAKING the way she does in her SEAT inside of the CLUB of SILENCE).
In other words, the SCRIPT is REAL, and the MOVIES they're attempting to make are also REAL.
MD'S movie is based upon DAN'S 2 DREAMS ...
both the SAME DREAM
and IE'S BLUE VERSION of the REMAKE is also based upon the GERMAN VERSION of 47 ...
both the SAME STORY
very much like MD is also the same story about the same 2 DREAMS which are also told to us in 2 slightly different ways.
So THANKS for your input and for your interpretation XAV ...
which is also very much appreciated ...
but by now you surely must also be AWARE of the WAY in which NONE of us ever sees things in quite the same way whenever we interpret a LYNCH FILM ...
which is also ok ...
because as FREDDY SAYS:
THERE'S AN OCEAN FULL of POSSIBILITIES ...
or different ways of looking at things.
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Xav6101
12 years ago
"All these attempts,
from 2007 on,
to force this to be a story
about one thing and a bunch of fantasies ...
hanging off of it,
have done nothing but destroy
.... the beauty of the central idea from that day to this.
Furthermore, they always lead to something horrible,
when we can see from the ending that anything ...
.... but horrible is intended."
.
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xxpo
12 years ago
XAV,
Who are you asking if they remember something from 2007?
xxpo is still a NEWBIE in comparison to some of the rest of you OLD TIMERS.
xxpo only arrived about 2.5 yrs ago ...
cas xxpo has also only had their IE DVD (still the only DVD xxpo owns) for about 2 yrs now.
xxpo also had to wait for about 6 mos before they got it for a birthday/christmas gift.
So xxpo also has NO IDEA what took place back in 2007 ...
and xxpo didn't even know that IE existed ...
until they found a reference to it inside of SPEAR'S PROFILE (so yes he is good for something) who was also posting messages to another board called IN TREATMENT.
As for the REFERENCE to US or WE ...
that would include regulars like SPEAR with his ONE MIND THEORY ...
DK with his prison theory ...
vic with her DOLLS theories ...
etc.
Anyone and everyone who's a regular poster to the MD or to this IE board.
Hell not even DERN and LYNCH see IE the same way with DERN thinking she played the parts of 3 CHARACTERS and LYNCH correcting her to say she'd played the parts of 4 CHARACTERS.
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Xav6101
12 years ago
"""""
but by now you surely must also be AWARE of the WAY in
which NONE of us ever sees things in
quite the same way whenever we interpret a LYNCH FILM ...
"""""
OnE mORe thINg. SINce
WHen ...
dO you hAve the pleasURE
....
and the hONOr of WRitiNg
oN BeHalf oF oTHers.
I MEan yoU do wRIte
"US" and "WE",
so wHo ARE thoSE PEOple?
JUst wANted TO leT YOu
knOW ThaT I aM NOt amuSED.
))<>((
.
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xxpo
12 years ago
http://www.guardian.co.uk/film/2007/feb/08/davidlynch
David Lynch:
How many people have heard of TM? Quite a few. Good. TM is a mental technique. It's an ancient form of meditation that allows any human being to dive within and transcend and experience the unbounded, infinite ocean of pure consciousness. Pure vibrant consciousness, bliss, intelligence, creativity, love, power, energy - all there within. At the base of mind, the base of matter, is this field. And it's there. Modern science has just discovered the unified field by going deeper and deeper and deeper into matter. And there it was: a field of oneness, unity. They can't go in there with their instruments and everything, but any human being can go dive within through subtle levels of mind and intellect, transcend and experience this field. When you experience this deepest field, it's a beautiful experience, and experiencing it enlivens it and you grow in consciousness.
You grow in creativity and intelligence. And the side effect is that negativity starts to recede. Things like hate, anger and depression, sorrow, anxieties - these things start to recede and you live life in more freedom, more flow of ideas, more appreciation and understanding of everything.
It's so beautiful for working on projects. It's a field of knowingness - you enliven that and you get this kind of intuitive thing going. It's so beautiful for the arts, for any walk of life. In Vedic science, this field is called Atma, the self and there's a line, "Know thyself." In the Bible they say, "First seek the kingdom of heaven which lies within and all else will be added unto you."
You dive within, you experience this, you unfold it and you're unfolding totality. The human has this potential and they have names for this potential: enlightenment, liberation, salvation, fulfilment - huge potential for the human being. And we don't need to suffer.
You enliven this thing and you realise that bliss is our nature. We're like happy campers, flowing with ideas. We're like little dogs with tails wagging. It's not a goofball thing, it's a beautiful full thing, really, really great.
One of the recurrent images in your films is of [b]electricity arcing, light-bulbs crackling, two points and something arcing between them. And it seems to me that this somehow relates to what you think about the synaptic arcs in our brains, about making connections.[/b[ I know you hate saying what things mean in your films, but am I right in thinking that that's at least in the right area?
DL: [pause] No. [audience laughs]
Mark is a beautiful guy. It's like that, but I didn't think of it that way. I just love electricity. I like smoke and fire and electricity, these things are mesmerising. You could watch a thing sparking and arcing for hours, and it makes such a beautiful sound. And it's also a disturbance. There's something about electricity that does kind of what you say, but it's not necessarily the reason that it's there.
The AUDIENCE LAUGHING reminds me of the RABBIT ROOM.
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xxpo
12 years ago
MK: In the case of Inland Empire, just at nuts and bolts level, I've read various versions of where the story came from. One of them is that Laura Dern told you about a neighbour coming to see her and that she suggested the title. Another is that it came out of work that you were doing for the website [davidlynch.com]. As far as you can tell, where did the genesis of the story come from?
DL: It is true that Laura Dern came along and started this. She was walking down the sidewalk in front of my house and smiling as she approached. I hadn't seen her in a long time. She came and announced that she was my new neighbour. And this made us both very happy. And then she said, "David, we gotta do something again some time." And it struck me and I said, "Yes, we do. Maybe I'll write something." And that meeting there triggered a thing, a desire to write something. And desire is like a bait, it can bring things in. And lo and behold, it started bringing things in.
Where the title came from is another story. Later, in the middle of shooting, about a third through, she was telling me that her husband was from the Inland Empire, which is an area east of LA that encompasses many towns. She went on talking but my mind stuck on those words. I'd heard them before but now they had a new meaning and I stopped her and I said, "That's the title of this film."
Then, at the same time almost, my brother who was up in Montana, cleaning the basement of my parents' log cabin, discovered this old scrapbook that had fallen behind a chest of drawers. He dusted it off and found that it was my scrapbook from when I lived in Spokane, Washington, aged five. He sent it to me. I get this, I open it up and the first picture is an aerial view of Spokane and underneath it says, "Inland Empire."
So I had the most beautiful feeling of a correct title.
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12 years ago
[deleted]
xxpo
12 years ago
Remember the story in the LYNCH Documentary where he's HUNTING and comes across a GIANT RABBIT as he descends down into some TALL GRASSY area?
Maybe that's where he got the idea for the GIANT RABBITS from?
From the GIANT RABBIT he enconters up in Washington or wherever he was that time he went hunting?
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shastwell
12 years ago
I was in the Audience for that interview !
It was at the UK premiere of IE. After the film they had the interview....
I specilly Joined the BFI that year so I could get Tickets in advance to be sure of getting one.
I remember the Laugh...it wasn't really like Rabits, there was good reason.... the timing was funny, MK spoke like he'd really cracked something ... only after a long pause as I recall - to get a "no"!
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xxpo
12 years ago
That's so cool you were there SW!! Didn't really think the laughter was like in the RABBIT ROOM ...
but since this interview completely contradicts what some other poster kept saying that's the reason why the comment was made about the LAUGHTER reminding one of the RABBIT ROOM.
See what I mean?
Here's another interview where Lynch seems to contradict what the OP says:
http://www.avclub.com/articles/david-lynch,14054/
AVC: Does that translation draw out parallels between different ideas that you weren't aware of when you started?
DL: For sure. I wasn't aware of anything. Then, suddenly, you're aware. It's like somebody giving you a puzzle piece without any kind of frame—you get a puzzle piece and then a few more. It doesn't help you much, but you love the little pieces. You don't know if they relate. In this process, hopefully, a feature film script will emerge. And then, one day, you're surprised by how it all comes together. That's how something like Poland could relate to Hollywood. Everything relates—that's the cool thing about it.
AVC: Do you think literally everything relates?
DL: Everything! The ideas go together themselves. I hardly do anything.
And here's article that has an amusing LAST LINE that also seems to confirm what PALMTREE says about us being caught up in a CURSE as soon as we encountered IE:
http://www.bbc.co.uk/dna/collective/A20529669
Only the hardcore Lynch mob would argue that every one of its 179 minutes works, or that Blue Velvet or Mulholland’s greater rigour and accessibility (!) aren’t more successful. But Inland Empire proves again that whatever the medium or methodology,
no living filmmaker has David Lynch’s sinuous hold inside our heads.
In dreams, he walks with you.
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shastwell
12 years ago
Well what Lynch says and how to take it was the main point of interesting discussion i was having with...... you know who, better not mention him again,.
Of course I can't be certain, I dont think anyone can be when talking about lynch, but my intuition tells me not to take all he says at face value. Not necasserily that he deliberatly intends to mislead.
But his idea of a story making sense, of peices fitting together, May not be what most would assume. EG maybe its more like what musicians mean when they say they "tell a story" even in instrumental music.
He says in the intetview that it means something to him. hes a pretty unique person, so what may be a meaning to him others may not accept in the same way.
He says everything relates, it could do this without it being a "story".
he says he hardly does anything. To work out a coherent "story" from inland empire would be very hard work, as we know!
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Xav6101
12 years ago
He says everything relates, it could do this without it being a "story".
HELLLLLOOOOOOOOOOOOOOOOOOO!!!!!!!
Is he talking Polish?
"But for me there is a story, to me it makes sense." !
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xxpo
12 years ago
http://collider.com/entertainment/archive_detail.asp/aid/3386/cid/13/tcid/1
At the AFI Fest last month, someone asked him how he feels about the South, and he gave a long, rambling answer that included what his favorite tree is (the Ponderosa Pine in case you ever wanted to know, with the Douglas Fir coming in a close second).
David, could you talk about how this film relates to some of your other work, because there seem to be like similarities with Mulholland Drive and we actually saw some clips of Rabbits [the surreal rabbit-people sitcom Lynch filmed at his house] in this film. So is this film an extension, or how would you view it?
David: It’s different, but similarities because it deals as Mulholland Drive did with the movie, you know, industry, and it has the, you know, female lead so-
but every film is different and it’s based on the ideas that come. And these are the things that you try to stay completely true to and all the elements you try to get to be feeling correct before you walk away, and you just go.
Laura: You know, now more than ever the day’s work was at hand and what I had, given that we shot in such a way that we would, David would write a scene and we would film that and then he would write another scene and we would film that and so on, it forced me very luxuriously into the moment.
I didn’t necessarily know what had come before or what was coming after.
And whether one perceives that I am different people, or that I am aspects of one person, either way you can really only act that one way which is being the person you are in that one moment
David: Laura actually directed this picture.
Laura: I did, [gestures to David] and he was wonderful. [Laughs]
Your working process on this was a little different-
David: A little different.
-so with the freedom of digital video, do you see yourself making movies more in line with this, or this kind of process?
David:
Not this process but with digital video. And I think maybe I would, you know, it would be nice to have a script written upfront. But it just didn’t happen that time. This time.
Laura [to David]:
But as you said, I mean there were chunks of the film that surfaced that you wrote towards the end
So it was all linear?
David:
Totally linear. It’s a straight-ahead, linear thing. [Laughs] No, it wasn’t all linear, but it was all scenes that were there.
Laura:
And not in order.
David:
Some of it could’ve been, you know, back in time, some could’ve been here and then a chunk right now. Like that.
Laura, it seemed like one of the opening scenes when your character is speaking to the old woman, when you’re shooting a scene like that, is it as creepy as it is to do it as it is to see on film or is it not as bad before they put in the music and the close-ups? Or is Grace [Zabriskie] just creepy period?
Laura: Well I have to say she’s the nicest, loveliest lady, but having met her on Wild at Heart I’m just damn terrified every time I see her. [Laughs] I can’t get over who she been made out to be by David when I see her. But you know, it’s the beauty of working with David, is that you are—again, speaking of being in the moment—you are there in the moment and you may have a sense that something is funny, but when you’re in it you’re just trying to make it as authentic as it is. And then when you reflect back or when you see it as an audience, something that even seemed straight when we were shooting it, to me, is just hysterical. Like I pretty much think he’s, you know, the best comedy director going. [Laughs] But you know, other people may not see it that way. It just depends on how you take it.
David: Laura is seeing a psychiatrist.
Laura: Grace is huh-larious. Grace is hilarious! But when I was doing it she was terrifying, so I don’t know why it worked out that way. Maybe because I wasn’t sitting across from her.
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xxpo
12 years ago
http://www.mtv.com/news/articles/1567556/david-lynch-on-turning-down-jedi-8212-cooking-quinoa.jhtml
MTV: You shot "Inland Empire" using digital technology. Will you ever go back to film?
Lynch: Never. Digital is so friendly for me and so important for the scenes, a way of working without so much downtime. It's impossible to go back. Film is a beautiful medium, but the world has moved on. The amount of manipulation we can do, anybody can do, is so much the future. Film is so big and heavy and slow, you just die. It's just ridiculous.
MTV: Looking forward, do you think you'll continue to move further into experimental filmmaking, as in "Inland Empire"?
Lynch: I don't know which way anything will go because it's all about the ideas that come that you fall in love with. In between things, there are no ideas — and then suddenly there's the idea. If you fall in love with it, you know exactly what to do. Sometimes it can be surprising.
MTV: Do you ever worry the idea won't come?
Lynch: Sure, but that's how come I meditate every day, because when you meditate, you transcend and you experience the unbounded infinite ocean of creativity. And the ideas start flowing easier.
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shastwell
12 years ago
He only means manipulation of the digital image to get what you want is much easier than with film.
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xxpo
12 years ago
LYNCH:
The amount of manipulation we can do, anybody can do, is so much the future.
He says the AMOUNT of MANIPULATION ANYBODY can do is the FUTURE.
And he definitely MANIPULATES US
like when he pulls back the camera after the END of DERN'S DEATH SCENE ...
to show us we're INSIDE of STAGE 4 ...
on the FAKE TWIN COPY of the WALK of FAME ...
instead of OUTSIDE on the REAL WALK of FAME.
He also MANIPULATES US by placing the FAKE TWIN COPY of the POLISH STREET OUTSIDE of the WINDOW in LA where DERN climbs the STAIRWAY to see MR. K.
And he also explains how he gets away with this TRICK ...
which wouldn't work if he used the other FILM ...
which produces an image which is too CLEAR ...
and doesn't give you the same kind of a DREAM LIKE QUALITY.
We also GET MANIPULATED when see the MOVIE VERSION of the CLOCK the 2ND TIME DERN goes around the AXXON N DOOR that's connected to SMITHY'S HOUSE.
THE FIRST TIME the CLOCK SAYS 12:13 and the VISION is more clear ...
THE SECOND TIME when the CLOCK says approx 12:20 the VISION is BLURRY ...
just like it is when we see the MORE CLEAR VISION OF MR. K standing at the bottom of the stairs in the MOVIE THEATER ...
and then we see the other LESS CLEAR VISION of MR. K standing in the same position at the bottom of the stairs ...
because that other MORE BLURRY VISION of MR. K is also a VISION of him that we see up on the MOVIE SCREEN.
There also seems to be a HINT of somekind that the PRESENT TIME has somehow CAUGHT UP to the FUTURE TIME ...
and the RABBITS also tell us it has SOMTHING TO DO WITH THE TELLING of TIME.
And at the BEGINNING of IE we also see the RABBITS TURNING their HEADS to look over TOWARDS THE DOOR ...
just like we see DERN TURNING her head to LOOK OVER at the other side of the ROOM in the PALACE ...
which means both the RABBITS and DERN seem to have finally CAUGHT UP with the RIGHT TIME FRAME at the end of IE.
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xxpo
12 years ago
There also seems to be a HINT of somekind that the PRESENT TIME has somehow CAUGHT UP to the FUTURE TIME ...
and the RABBITS also tell us it has SOMTHING TO DO WITH THE TELLING of TIME.
And at the BEGINNING of IE we also see the RABBITS TURNING their HEADS to look over TOWARDS THE DOOR ...
just like we see DERN TURNING her head to LOOK OVER at the other side of the ROOM in the PALACE ...
which means both the RABBITS and DERN seem to have finally CAUGHT UP with the RIGHT TIME FRAME at the end of IE.
LOST GIRL also turns her head at the end of IE ...
but she TURNS her head from looking at LANI and LORI running down the HALLWAY on the MONITOR ...
to watching them RUNNING PAST the OPEN DOORWAY of ROOM 205 where she sits.
George BURNS is on ANTENNA TV now ... and he was also just using the MAGIC MONITOR again ... that he has sitting inside of his DEN ... as a way to SPY on his wife GRACIE and see what she's up to.
And now there's also a FAKE TWIN COPY of the ACTRESS with the TEXAS ACCENT who wants to play the PART of the JAPANESE character.
Dern says:
But you know, it’s the beauty of working with David, is that you are—again, speaking of being in the moment—you are there in the moment and you may have a sense that something is funny, but when you’re in it you’re just trying to make it as authentic as it is. And then when you reflect back or when you see it as an audience, something that even seemed straight when we were shooting it, to me, is just hysterical. Like I pretty much think he’s, you know, the best comedy director going. [Laughs] But you know, other people may not see it that way. It just depends on how you take it.
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xxpo
12 years ago
There also seems to be a HINT of somekind that the PRESENT TIME has somehow CAUGHT UP to the FUTURE TIME ...
and the RABBITS also tell us it has SOMTHING TO DO WITH THE TELLING of TIME.
And at the BEGINNING of IE we also see the RABBITS TURNING their HEADS to look over TOWARDS THE DOOR ...
just like we see DERN TURNING her head to LOOK OVER at the other side of the ROOM in the PALACE ...
which means both the RABBITS and DERN seem to have finally CAUGHT UP with the RIGHT TIME FRAME at the end of IE.
LOST GIRL also turns her head at the end of IE ...
but she TURNS her head from looking at LANI and LORI running down the HALLWAY on the MONITOR ...
to watching them RUNNING PAST the OPEN DOORWAY of ROOM 205 where she sits.
In addition to THE RABBITS/DERN/ and LOST GIRL all turning their heads to LOOK OVER at the other side of the ROOMS where they sit ...
we THE VIEWER also TURN OUR ATTENTIONS over to the RIGHT SIDE of the SCREEN we watch ...
as the CAMERA PULLS UP and BACK AFTER the end of DERN'S DEATH SCENE.
So like xxpo points out previously on this topic ...
at that point in the AXXON N TALE ...
we the AUDIENCE have also become a CHARACTER in the story ...
very much like THE RABBITS/DERN/ and LOST GIRL.
AND, imo, that's also what makes IE a UNIFIED STORY ...
inspite of what others may think.
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xxpo
12 years ago
Anyhow ... BACK to the TOPIC AGAIN ...
and the way in which IE does seem to have a UNIFIED STORY afterall ...
due to all of the HEAD TURNING that we see being DONE to the RIGHT SIDE:
THE RABBITS HEADS TURN RIGHT
DERN'S head TURNS RIGHT
OUR HEAD TURNS to the RIGHT
and LOST GIRLS head also turns to the RIGHT (to watch LANI and LORI run past the door in ROOM 205).
DEFINITELY A UNIFIED situation with all of this HEAD TURNING happening.
...
There also seems to be a HINT of somekind that the PRESENT TIME has somehow CAUGHT UP to the FUTURE TIME ...
and the RABBITS also tell us it has SOMETHING TO DO WITH THE TELLING of TIME.
And at the BEGINNING of IE we also see the RABBITS TURNING their HEADS to look over TOWARDS THE DOOR ...
just like we see DERN TURNING her head to LOOK OVER at the other side of the ROOM in the PALACE ...
which means both the RABBITS and DERN seem to have finally CAUGHT UP with the RIGHT TIME FRAME at the end of IE.
LOST GIRL also turns her head at the end of IE ...
but she TURNS her head from looking at LANI and LORI running down the HALLWAY on the MONITOR ...
to watching them RUNNING PAST the OPEN DOORWAY of ROOM 205 where she sits.
In addition to THE RABBITS/DERN/ and LOST GIRL all turning their heads to LOOK OVER at the other side of the ROOMS where they sit ...
we THE VIEWER also TURN OUR ATTENTIONS over to the RIGHT SIDE of the SCREEN we watch ...
as the CAMERA PULLS UP and BACK AFTER the end of DERN'S DEATH SCENE.
So like xxpo points out previously on this topic ...
at that point in the AXXON N TALE ...
we the AUDIENCE have also become a CHARACTER in the story ...
very much like THE RABBITS/DERN/ and LOST GIRL.
AND, imo, that's also what makes IE a UNIFIED STORY ...
inspite of what others may think.
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Xav6101
12 years ago
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Xav6101
12 years ago
Sorry for this Freudian XXX spoiler stuff, so narrow-minders better not click on the link ...
Niko is played by "I AM TROUBLE", aka Masuimi Max. I'll bet she likes rhinoceroses, Phantom penetrations and blonde wigs, of course. http://iamtrouble.com/
BTW In 1947 they a found a girl at a vacant lot in LA, that looked like a broken doll (mannequin - a word derived from Dutch "manneke" meaning little man.); she had fresh green grass stuffed in her vagina; what kind of animal would like to do such things? Maybe Mr Sh!twell knows !!!!!????
"It was Red."
Xav
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12 years ago
[deleted]
Xav6101
12 years ago
I know I don't have to. Maybe I did because I felt a bit embarrassed. Sure this movie is much more than an anti-sex morality tale. It's a multi multi-layered story. No, I'm not going to explain.
Your TP fixation is narrowing your view. TP influenced later Lynch movies as did EH, BV, TSS, TEM, SMGS (1967), TA (1968), TG (1970), TA (1973), and TCATF (1988), and all the others I forgot.
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