The BrainBurner

David M Brown: 0:00

Hey, Dave, what's up smell this episode. Does it smell spoiled a little bit? Should we try that?

David Veerkamp: 0:08

I'm not down to try it right now, but Hey, just warn everyone else that there might be spoilers in this Review

David M Brown: 0:16

Yeah, like weak, old milk. It's bad. It's spoiled. So if you don't want spoilers, don't go in the refrigerator. Just watch the movie before you're listening to the show.

Sarah Petersen: 0:27

Welcome to postcut the show where we analyze films from the latest to the greatest, the worst and the lamest. Sit back, relax and enjoy the show.[ Music] Hello and welcome to postcut. I am your host actress on the stage and screen Sarah Peterson with me today. I have VFX artists, David Veerkamp. Hello? Hello, hello, and writer and editor. David M. Brown. Hello. We're actually here to review a very surrealist film. This is a film that was suggested to us by, uh, David Brown,

David Veerkamp: 1:03

many times on this podcast

David M Brown: 1:04

For anybody of a given age or someone who is a re you know, a real cinephile in the sense that they watch movies a lot. And they like off kilter things. You only need to hear two words, and that is David Lynch and you'll know exactly what we're talking about.

Sarah Petersen: 1:26

They've finally got us to watch it. We watched Eraserhead from 1977 directed by David Lynch, um,

David M Brown: 1:33

Written by David Lynch directed by David Lynch, edited by David Lynch sound decided by David Lynch,

David Veerkamp: 1:39

It Is, David Lynch.

Sarah Petersen: 1:40

I want to do the first reaction to this Film because my reaction is this. If cocaine, Meth,

David M Brown: 1:49

"hell of a drug"

Sarah Petersen: 1:50

ecstasy, mushrooms, and I think a little PCP had a baby That would be this film. and I dont take that lightly, cause I've done. I've I've, I've described another film like that and this hair. Um, but yeah, that, that's how I would describe this film. Um, you could definitely say the 1970s was a time for experimentation when it comes to different types of film. I mean, we've covered 1970s films before. Obviously we did the man who fell to earth, which is another one of those films that is like drugs on steroids, which is another drug drugs on drugs.

David Veerkamp: 2:34

If you were to make a feature film, would it be drugs on drugs, on extra drugs?

Sarah Petersen: 2:39

its Drugs the House down, Come on. Um, so that's exactly how I feel this film is it's, it's one of those things that can only be described as a lucid dream come to life. Um, I can't imagine how much payoti David Lynch was doing

David M Brown: 3:03

I don't, I don't think David Lynch's ever done drugs other than caffeine.

David Veerkamp: 3:07

That's the craziest part.

Sarah Petersen: 3:09

That's the part, the most abstract artists are the ones who don't do drugs.

David Veerkamp: 3:14

except for Tim Burton.

David M Brown: 3:15

Yeah. He thinks he, you, you can delve into the mind of David Lynch in this film and still just be like, I have no idea what he was thinking.

Sarah Petersen: 3:24

David Veerkamp. What was your first impression? Cause I already know David Browns.

David Veerkamp: 3:29

Okay. Well, if you've heard the show already I'm into surrealist art. So it's already in my vein. It was definitely probably the weirdest movie I've watched. I'm going to say this. This is now the new, this is the new bar.

David M Brown: 3:43

It sets the bar, Okay. So it's Better off Dead then Eraserhead.

David Veerkamp: 3:46

I can't describe this movie in words. It's not a movie of words. It's not of this earth. It is such a, there are so many moments I enjoyed. And then so many more moments that actually truly horrified me. What a weird movie though, because if this is a student film, it's got the, the co the throwback to the classical film style of the black and white film style in the movie is so on point, the camera work is so on-point of that style and era that you, it really, I don't feel like it's a student film, even though it has that the, the,

David M Brown: 4:17

its an advanced student film, you can say,

David Veerkamp: 4:20

it's like, if, u h, if it's, yeah, it's weird. I d idn't h ave a.

David M Brown: 4:23

its the thesis for the master degree.

David Veerkamp: 4:24

You know what the most Interesting

David M Brown: 4:25

you w ant t o kind of give it a, t he

David Veerkamp: 4:27

Scene that I, I felt the most in love with was when you saw like the planet egg thing. And it's just, this, it's just the very beginning one where the camera's moving towards it. And you have this weird perspective distortion, because the camera's physically moving to whatever prop they have and you don't get that in CGI movie, like planets or whatever. You don't get that anymore. And that's such a natural thing to get on camera, to make the movie feel uncomfortable. And every a God, there's so many things in this movie, I couldn't even start with how weird this movie is. Um, but it was just, it's such a, it was so unpredictable and it just made me think I just wanted, I just, and now I could only want to do the show. I want to go sit in a corner in a dark place and think that's the kind of experience that I've walked away with. And I said this earlier, but it's the same experience I feel when I walk into a fine art museum and I go through and I'm just walking in thinking, not even looking at the art and not talking and just experiencing it, right. This was an experience. This is not a movie. This is what I call a masterpiece. This is an art piece. This is not a movie. I can't, I can't even qualify it as a movie. It's beyond a movie.

David M Brown: 5:33

Wouldn't say, it's his masterpiece that comes later.

David Veerkamp: 5:35

No its not his masterpiece but it is a masterpiece, right? Yes. Yeah.

Sarah Petersen: 5:39

So on that note, David Brown, give us your thoughts.

David M Brown: 5:43

My first impressions, I have to go back because the first time I saw this movie was in a KIPP Guygers class a nd AI in c inematography early on in the film, just before th ey e at dinner, you could cut the tension with a knife, and they're not really doing anything. The first impression I had was tension, then I watched it again. Ca use I went home and I watched it again. And it was just it's nightmarish.

David Veerkamp: 6:15

Oh God. Yeah.

David M Brown: 6:16

on the surface. The surface thought is what it says, what most people get out of it. And a first viewing is it's a nightmare about becoming a parent.

David Veerkamp: 6:27

I c an see that from the film,

David M Brown: 6:29

the girlfriend, when she's, I can't take it anymore. I just need a night's sleep. And like Sarah comment, that's, that's a mother's life. When the kid is little, you don't get sleep, you know? But then there's his fear of it. You know, when the mother says, did you have sexual intercourse with her? And he's like, well, I don't want it. I don't want to tell you. It's like, he got caught, you know, it's like, you know, Ooh, we did a bad thing and you know, Oh crap, we've got a baby. Now I was caught crap. I, my life has done. It's over, that's on the surface and it, and it comes across, but there are so many other things in terms of the visual that when, after you watch it a couple of times, like you said, the birth canal in the opening, you know, the sperm, you know, right. Uh, right. The Moss, the dirt everywhere, you know, the, you know, you have a pile of dirt with a dead tree coming out of it in the middle of his house, you know, on his, on his dresser. Yeah. Why is that? There

Sarah Petersen: 7:25

It's a lot of stuff that you can read into. Right. And that's the part that this film does a lot of really interesting aspects for. I made the joke while we were watching it, that, you know, David Lynch was like, just at whatever the dime store was at the time. And he was like, well, that's cheap. I want to use that for my film. Right. And then you've got a bunch of people like us are looking at like,"what does the Moss mean?" Did the, did the moss mean that he's growing roots in the bla bla bla? And it's like.

David Veerkamp: 7:53

Nope it was the cheapest thing at Micheals,

David M Brown: 7:55

a picture of the mushroom cloud.

Sarah Petersen: 7:56

It's like, Oh, I found that a thrift store for a quarter.

David M Brown: 8:01

Why does he have a bowl of water in his drawer? It's a wishing. Well, right. I never thought of that. Cause I, I'm not wanting to throw pennies into a wishing. Well, so it doesn't necessarily cross my mind, but when you send it, I'm like, Oh, it's so simple.

Sarah Petersen: 8:17

It's like, it's his own personal, like little wishing Well of, because you think about it and this is, this goes into how I overread films. So it's like, it's his own perpetual state of, I wouldn't necessarily call it creativity, but I'd call it creativity because it's one of those things where it's so funny. Cause I think about it all the time. When I'm sitting at the couch, after working all day, it's like I'm sitting there growing mushrooms, you know, you're just sitting there and I'm, I plant myself on the couch and I don't move for a few hours. And I make the joke in my head that I'm planning mushrooms. Yeah. So it's like funny that he is Moss all over his house. Cause it's like, he's, he's planting mushrooms in his house because he just has nowhere else to go to let it out. And so I feel like all of these things that are occurring to him

David M Brown: 9:08

Because he's not, I'm sorry, but he's not a rolling stone because a rolling stone gathers no Moss. Yeah. Okay.

Sarah Petersen: 9:13

Exactly. So it's like those kinds of things that you read into it.

David M Brown: 9:17

I'm glad I showed you this movie. Cause I knew you guys would have a really good, good take on it.

Sarah Petersen: 9:22

A lot of this film you can take and you can interpret it in different ways. My interpretation of it is very much in a sexual liberation way because of the fact that the chickens they bleed from their orifices, you've got the opening, which looks like a planet, but it's totally an egg. You've got the moment in the very beginning where he opens his mouth and his creature comes crawling out and it looks like it could be his brain and his spinal cord, but it also looks like a sperm. And you've got that like motif going throughout the film. So as woman watching this film, of course they get the birth trauma and the fear of birth and things like that that are going on in this film. And I get that, like you would get it, but there are other things that are in this film too, right? Like the stifling of creativity. Um, I going from his everyday mundane nine to five, I'm just here. This is my life, you know, kind of mode two. Now I'm a father. Like it's, it's that jarring reality that could send anybody into hysteria.

David M Brown: 10:31

Right? It's it's, it's the idea of, Oh, I'm, you know, I'm 21 years old and I'm young and I'm, I'm working a little bit and I'm going to go, go have some fun. And then all of a sudden, you know, boom, you're a parent. Whether you're, whether you're a guy or a girl, all of a sudden you're a parent and you're like, there's resentment for the child because when he sees the neighbor to, in order to have sex with the neighbor, the baby starts to cry. And he, he literally puts his hand over the, the baby's mouth, like shut up. She doesn't need to know you're here. Yeah. You know, I don't want her to know that I have a kid because if I do, she's not going to have sex with me. And it's the idea of resentment. Oh, my life is ruined now because I did something stupid and had a kid.

Sarah Petersen: 11:15

You can also look at it in the sense that I don't know at the time, I don't know when Roe vs Wade was passed, but it could also be a commentary on abortion. It can be a commentary on 1,000,001 things,

David M Brown: 11:29

Baby, in like what the fifth trimester,

Sarah Petersen: 11:31

Something like that. It's weird. And it's one of those things where I don't, I don't have a lot to say about this film, but I have a lot to say about the film, but what I have to say, it's all the same

David Veerkamp: 11:42

Its Hard to not go on about the film, because it, it makes your brain start spiraling. I I like when you mentioned it was like, what's the beginning cause you were talking about dreams earlier and thought, wow, this is like, if this was just the subconscious of this man's brain, this is, you're only seeing his entire life from the perspective of subconscious and subconscious is what controls your dreams. So if you see this as him in a waking life and sleeping life as the subconscious only, especially when he goes to the stage, that's when he's dreaming, you know, this is just subconscious perspective.

David M Brown: 12:18

And you had brought something up that goes to that because costume changes happen from sometimes from cut to cut.

David Veerkamp: 12:25

Ya, in a blink.

David M Brown: 12:25

Yeah. Like he'll be, he'll be in a black suit, but then he'll be in like a Stripe robe. So which one is which one? His dream I would, I would call the robe, the dream and the suit the reality.

David Veerkamp: 12:34

No, I would call it all subconscious. It's like, think of it this way. Think of how the brain works. The brain interprets data. And then you process that as what's current. But if the subconscious is also active, but it only sees the world as intermittent content, you are seeing the reality, but only what the subconscious sees, not what the rest of the conscious mind sees. You're only seeing it from the subconscious. So that is awake and sleeping only from the subconscious perspective. So it's more like he's, that's what I feel like. It's like.

David M Brown: 13:02

So my understanding from your description would be he's constantly, or at least in this film, he's constantly in that moment between waking consciousness and falling asleep, where you have that CRE, which goes back to your point where you have one of your most creative, your most creative, uh, time is in that what we perceive is probably like a second of being conscious and then falling into sleep. That's where you're kind of most creative. So he's kind of, it could be stated that he's kind of in that limbo throughout the whole movie,

Sarah Petersen: 13:35

You can think of it too. If he is a new father, even if, and I said this during the episode, or during watching the movie where it reminds me of metamorphosis where you don't know if the creature, if the creature that we are following is actually a human or a bug and the family is the human or the bug it's written in a way that you can interpret it either way.

David M Brown: 13:56

Right?

David Veerkamp: 13:57

Yeah.

Sarah Petersen: 13:58

It's kind of like the episode of the Twilight zone, where the woman goes in for plastic surgery, because she thinks she's the ugliest creature. And then it's all like, when they unraveled like pigs, they all look like pigs. But like when she unwrapped her bandages, she's gorgeous. Right? So it's like that kind of idea in the sense that, um, he may perceive the baby as being this awful creature that is like encroached on his life. Right. When in reality, it's just a normal baby, but the subconscious sees it as it sees him as this, because he's not, he now he's been thrust into this world of no sleep

David M Brown: 14:38

And the resentment gets pushed back to the subconscious, right?

Sarah Petersen: 14:41

When the mother leaves. So the mother abandons the baby. So now he's seeing the resentment of that.

David M Brown: 14:46

And then he looks at her as literally like a baby machine bed where they're pulling out all the sperm. Cause she's in that bag, like you said, it's almost like her being birthed because she's sweaty and she's, you know, her skin is like, and yeah, that goes back to that, that fear. Well, I don't want any more of these because he starts throwing it against the wall. And then there's the woman with the cheeks, the woman in the radiator, she starts because they start dropping onto her stage and she starts stepping on them and she takes him to heaven, which in my opinion, is there are no babies in heaven, at least to him. Right. At that point.

David Veerkamp: 15:20

And if you'd talked about David Lynch doing this deep meditation, yeah. Deep meditation is the way it's, you can kind of connect to your subconscious. Right. So if we want to go it's to say that this is a David Lynch personified as an art piece.

David M Brown: 15:31

transcendental meditation,

David Veerkamp: 15:32

giving you a window into the subconscious of this character. Yeah,

Sarah Petersen: 15:36

Exactly. And it's, it's one of those things where it talks about an at the time you're talking, it's the sexual re um,

David M Brown: 15:43

Yeah. There's the sexual revolution. Women's liberation and things like that. Right.

Sarah Petersen: 15:48

And all of that stuff that's going on. So it's kind of like his interpretation of what fatherhood would be like.

David Veerkamp: 15:53

Yeah.

David M Brown: 15:53

Yeah. Because the wife walks out without any kind of, she doesn't fight with him. She doesn't tell him, well, you can't tell me what to do. She just walks out. She's done.

Sarah Petersen: 16:01

Well. And the interesting part about it that I found was when she was trying to get her suitcase out from under the bed and she's sitting there and she's rattling the beds, the bed post and stuff like that. And it looks like bars. Yeah. It looks like she's in jail. And that she's being jailed by her life that is going on. But at the same exact time, it's and this trigger warning. So I'll give it a second. It's like when a woman is raped, okay.

David Veerkamp: 16:29

Say it was very rapey. Yeah. Yeah. And that's in that moment, just on our facial expressions.

David M Brown: 16:34

Yeah. She was frightened. She scares me.

Sarah Petersen: 16:36

She's scared. She's frightened. But it's like, that's what, you know, I feel like a mother would feel like if she had been a mother of rape and.

David M Brown: 16:44

she's stuck, she can't get out,

Sarah Petersen: 16:46

she can't get it out.

David M Brown: 16:46

Get it out. shes fighting to flee

Sarah Petersen: 16:49

Yeah. And so it's like, it's a lot of, all of this trauma that is in this film, that's kind of like personifying all of the stuff that's going on in the world at the time. Um, so I think this piece has a lot to say, um, on first viewing, those are your surface. Right. Watching it. And I'm sure if we were to watch it again, which I will not, unfortunately

Speaker 4: 17:12

I might, but I think I'm going to have to give myself like a spacing.

Sarah Petersen: 17:16

Yeah.

David M Brown: 17:16

Yeah. This is a movie. If you're going to rewatch it, rewatch it a year after I feel like if I watch.

Sarah Petersen: 17:20

its kinda like DogTooth.

David Veerkamp: 17:21

Yeah. Oh God. That, yeah. Yeah.

David M Brown: 17:24

Although can watch this more than I can watch DogTooth. I'm done with dog tooth.

Sarah Petersen: 17:29

Yeah.

David M Brown: 17:29

I will never watch that movie again.

Sarah Petersen: 17:31

Yeah. I won't touch t hat.

David Veerkamp: 17:32

It didn't Have the artistic flair that this movie h as.

Sarah Petersen: 17:35

So I want to give some credit to some of the actors in this film. Uh, Jack Nance, who is Henry Spencer. Um, he is the main character, uh, Charlotte Stewart, uh, Alan, Joseph, Janine Bates, Judith Roberts, and Laurel Near. Those are, uh, some of the top actors in the film that you really follow throughout the film. Um, I definitely have to give them applause for the work that they did in this film, because this is something kind of almost like better off dead where I don't think they exactly knew what they were getting into while doing this film

David M Brown: 18:11

Probably, well, maybe they did b ecause I think the one who played the wife, I think she worked with him before on his student f ilm. So she, she had an idea.

David Veerkamp: 18:20

she was in, uh, from the beginning.

Sarah Petersen: 18:22

Well, it's like one of those things where it's like, I don't know what I'm getting into, but I'm going to do it anyway. Cause it sounds interesting.

David M Brown: 18:29

Y eah.

Sarah Petersen: 18:30

Um, so I give them a lot of credit for being able to do a film like this, especially, um, was it John Nance?

David M Brown: 18:36

Yeah.

Sarah Petersen: 18:37

Jack Nance. Excuse me. Y eah. Jack Nance. I mean, as an actor, man, to be able to hold that kind of serious expression the entire time I would be cracking up.

David M Brown: 18:50

You notice when he released it?

Sarah Petersen: 18:52

N o,

David M Brown: 18:52

totally. In the end.

David Veerkamp: 18:54

when he got the hug.

David M Brown: 18:54

Yeah. They didn't exactly smile, but his face release tension relaxed. Right.

Sarah Petersen: 18:59

Alan, Joseph, he's only in one scene and that's at the dinner scene. Yeah. But it's fantastic. You can tell that he's got this craziness about him.

David M Brown: 19:12

And then there's when the, when the two women leave after, after the carving of the chicken, they just, they just sit there. And then after what seems like 10 minutes, he looks at Henry and says, so Henry, what do you know?

David Veerkamp: 19:29

The smiling? Because the is just stays there. It's like, it's like a picture.

David M Brown: 19:35

And at first his eyes are kind of fluttery. And then when the daughter comes out and he's like looking over him, that's when he's got that. Hey,

Sarah Petersen: 19:43

And you know what it reminds me of. It's like the joker,

David Veerkamp: 19:46

But worst.

Sarah Petersen: 19:47

w hen he's just sitting there and you can, it's like h is customer service smile. Everybody who works in customer service knows what I mean, where you're just sitting There.

David Veerkamp: 19:55

I know exactly what to do when I meet a Karan now.

: 19:57

You're smiling, But you're dead inside. Right.

Speaker 4: 20:00

Hello. The only thing I got left to say about this movie, it's, it's definitely a brain burner.

David M Brown: 20:05

Let's give David Lynch's do tip. I would love to meet David

Sarah Petersen: 20:10

To actually have that kind of work come out of your fingertips. Yeah. It's crazy. I mean, I'm not calling him crazy because you know, it takes a certain caliber of person to actually put out work like that. And it's not crazy.

David Veerkamp: 20:26

Opposite Of crazy. It's real.

Sarah Petersen: 20:28

Its Geinus, Yes.

David M Brown: 20:29

Yeah. Like he says, he loves ideas.

David Veerkamp: 20:33

That's a great way to put it.

Sarah Petersen: 20:34

You can see his influence in films, like Better Off Dead. Yeah. Because it's like, you have these actors who are like, well, I don't know if I can do this. Well, if David Lynch can do it, I can totally

Speaker 4: 20:46

Make this. I don't want to hear it. Yeah.

Sarah Petersen: 20:49

So it's like, he paves the way for people. And I, I really give him a lot of credit for that because it takes it like, like I said, it takes a caliber of person to do that. Um, on that note, there's no CGI in this film.

David M Brown: 21:04

Well, there's practical effects

Speaker 4: 21:05

There is Compositing At least at the beginning.

: 21:07

Compositing and and practical.

Sarah Petersen: 21:09

What did you think of that while we can?

David M Brown: 21:11

Yeah. What did you think of the opening? Cause you're big on the opening.

David Veerkamp: 21:14

Like I said about that planet, like the egg. Yeah. That weird. Cause he don't get that with CGI because it's a physical camera man. There's a it's it's it's used, what do you call it? It's used properly. That's the best thing I could say about the compositing. Yeah. But other than that, it's old fashioned

Sarah Petersen: 21:29

Yeah. So the compositing, what did you think of the editing of the film?

David M Brown: 21:33

It was jarring, but it was jarring with purpose. So yeah. Yeah. It broke some rules. Um, it broke, I think it broke rules when it needed to like the first elevator scene, you see him kind of walk in and it's kind of a closeup and he walks in and he turns around and you're waiting for the doors to close. Then there is a cut to essentially what is the same shot from further back, which normally you don't do, but you get away with it on this one. Um, the jargon cut from the, from the picture of the torn picture to the woman in the door, uh, is, is, is a good cut. Uh, like you said, cinematography, the way she was framed within the pipe of the room, you know, um, the, the tilted 90 degrees of him opening his mouth, uh, the composite of the eraser shavings behind his head, stuff like that. Uh, but I, I really, I really want RJ to watch this movie simply because of the sound. RJ would love this movie for sound because he could tell you more about what the sound effects might be made from on top of how they make you feel in conjunction with the editing and the cinematography, the sound the sound makes without the soundtrack to this movie, without the, without the ambient noises and the song, this is not the same film. It's it's it would be, it would be, uh, it wouldn't be the classic that. It is.

David Veerkamp: 23:12

You guys feel the infrasound that's the sound. You don't hear it, but you feel it.

David M Brown: 23:16

Yeah. Because the rumble, yeah,

David Veerkamp: 23:18

because we have the s ub o ver, you can really feel it when they put it in the audio. Yeah. You just, it feels like it's in your chest. Yeah. Y eah. It makes you sink in. its a wierd experience

Sarah Petersen: 23:28

And I think that's why the film kind of tired us out too, because it was a consistant sinking feeling.

David M Brown: 23:34

Yeah. Tires you out? And it's also, it's also that tension thing.

Sarah Petersen: 23:38

This is, this is not a film that you want to watch when you're ready for bed, because you fall asleep. This is a film that you want to watch where you want to come from a caffeine high. Yeah. Come down from it. Right.

David M Brown: 23:51

Watch it early in the morning when you're awake and ready to go, you know, if you're going to do it, you know, of course I was gonna say like ruin your day, but we can do a weekend thing.

Sarah Petersen: 24:01

Yeah. Um, so on that note, I think we've covered all of our bases. What rating would we give the film? I am going to leave mine for last David Veerkamp.

David Veerkamp: 24:13

I can't rate it. I can't, there's no star rating for this movie. I can't rate it because.

David M Brown: 24:18

it's off our chart!

David Veerkamp: 24:19

It's not, no, there is, but there is no chart for it. It's in the subconscious. No, I can't Rate it because it's amazing. But it makes me feel awful.

Sarah Petersen: 24:30

Let's take the five-star rating system away and give it a thumbs up or thumbs down. I like that. That's the way Netflix does it.

David M Brown: 24:36

Um, this one. Yeah, we can, we can change up on that

Sarah Petersen: 24:39

Because I was going to give it a one and it's not for, it's not for any lack of creativity or anything like that. It's not my kind of film. It's fun. So I would say no.

David M Brown: 24:54

And that's the other thing I want RJ to watch it once. Cause I know it's not his kind of film, but I want him to watch it simply for the sound. Yeah. I want his opinion,

Sarah Petersen: 25:02

But I would definitely give this Film thumbs up.

David M Brown: 25:05

So thumbs up, thumbs up.

Sarah Petersen: 25:09

Yeah. Thumbs up from us. Um, yeah. We're not going to give this. Could you give it a star rating? David Brown.

David M Brown: 25:17

I can give it a star rating

Sarah Petersen: 25:17

What would you give it as a star rating? I would give it four. Really.

David M Brown: 25:22

I would give it four solely on its creativity because it's the kind of movie, like I mentioned earlier in the episode that we could take our muted show for man who fell to earth and take my script. And we could all read that script and then chop up everybody's voice into it. Like you could put my voice into something she's mouthing on the screen. You can put my voice to you, your voice to me. So on and so forth, we could make something very strange out of that. It's a, it's a thing we could play with color and monochrome. Uh, we could shoot a couple of different things that don't necessarily fit with us talking in the, in that. But it's something that I want to make an abstract film. That inspires that, right? Yes. This all David Lynch movies with, with certain exceptions of his straightforward ones like elephant man, even though he does get surreal in elephant man,

Sarah Petersen: 26:18

isn't David Bowie in Elephant Man,

David M Brown: 26:20

I don't know. He might be, I know Anthony Hopkins is.

David Veerkamp: 26:24

that's a weird Combo.

David M Brown: 26:25

The docket. I know Anthony Hopkins plays the doctor and John Hurt plays the elephant man. He plays John Merrick and he does get a little surreal in that, but not as much as say Mulholland drive or lost highway,

David Veerkamp: 26:38

or this movie.

David M Brown: 26:38

or this, uh, I would recommend this to anyone to least watch it once. Even if you have an experience like Sarah, where you say, I, I, I'm not gonna watch it again. You should watch it to be able to say, you know, if you want to, um, it's a good starting point for art movies, really for art house. I would say that, uh, for anybody better

David Veerkamp: 27:01

Than dogs Tooth the first starting point. I'd tell you that. Yeah.

David M Brown: 27:03

I would definitely recommend this over Dog Tooth as a starting point. Yeah.

Sarah Petersen: 27:07

He was in a play adaptation of it

David Veerkamp: 27:11

The way, man, what a no regrets. That was a good, that was an interesting experience.

David M Brown: 27:15

Right? I it's, it can be classified as a movie that you watch once and never watch it. It's a good movie that you only watch once. Yeah.

David Veerkamp: 27:23

Like a Vision Quest. Like I would describe this as a native American vision quest.

Sarah Petersen: 27:27

Yeah. So from all of us here at postcut, thank you and have a wonderful night.

David M Brown: 27:31

Bye-bye.