The 25 Best Movies of the Century: No. 6 - 'Mulholland Drive’

21:35Sean Fennessey:But it does have this kind of gentle cadence, I would say, for the first hour before things really start to turn. And you can be kind of like subdued into curiosity about the movie before it starts to really kind of annihilate your feelings. and that's a very powerful trick he's pulled here. And you know, it's like he's, one thing that is a little unclear to me is sort of like the timeline of when he is reshooting versus when he is just shooting the pilot stuff. Like Robert Forster, who's in this film as a police detective famously, did not know he was in this movie. He was a part of the pilot.

22:09Sean Fennessey:He's playing one of the cops in the pilot. And then two years later, a movie premiered a can that he was in and a friend told him he was in it. And he was like, I had no fucking idea. Like I thought that that show just didn't go. And that's fascinating. You know, that's fascinating that he kind of had to Frankenstein this movie into shape. And yet somehow it sort of hangs together, even though it is a series of vignettes. And there are all of these side doors that your mind would go down while you're having a dream where it's like, all right, let's spend five minutes with a hitman. All right, let's spend five minutes talking to this guy in this diner.

22:39Sean Fennessey:All right, let's go over here and go to this audition and meet all these new characters. And then they're going to introduce you to another character. And then let's watch this film being made because there's a mob intrusion into this Hollywood production. And it's just like these very soft focus, brief interludes in the life of sad Los Angeles. Yeah. Sad and like messed up Los Angeles. Yeah. I guess I do respond to the sadness in it. And I did. I rewatched it again last night. then I went back and watched Noi Banda, the Silencio scene, which is like incredibly sad. And then I had sad dreams. But I did notice like your contribution to the outline, you're like, this is one of like the most like despairing portraits of LA, which I think is true.

23:28I do instinct, when I think about this movie, I think that this is one of the like portraits of LA like is evil and cracked and bad as opposed to sad. and that it just kind of sucks the life out of everyone, which is sad in its own way. But I think I respond to just the malevolence more than the sadness.

23:50Sean Fennessey:It's interesting. I mean, I think you can look at this, especially the final 30 minutes or so with Diane through both of those lenses. Yeah. Because Diane, it's revealed, is just a destroyed person, a person for whom things have not worked out at all. Yeah. And she's in love with a woman who doesn't love her anymore. She has not been successful in her career in the way that she had hoped. You know, she is a person who, I mean, she's played by Naomi Watts. She's stunningly beautiful. Yeah. And yet she feels she has nothing. Right. And so you can feel her anguish and then it leads to her doing truly evil things.

24:24Sean Fennessey:I mean, she hires someone to kill this person that she's in love with. She really goes to these awful lengths. It's interesting. Like, I'm very happy in Los Angeles and I've been here for a long time and I'm very fond of saying I'm not leaving. Yeah. And, but I, I must confess I'm for both myself and for most people I know who moved here, it's tremendously lonely here. It's, and you have to make a real effort to be not lonely. And they don't tell you, even though they did in all of these films. But yes, some of that is informed by maybe where you lived before this or how you grew up. But even with that, now it's not just the car culture.

24:58Sean Fennessey:It's not just the struggles to get connected with people. It's not just the kind of flip social anxiety of the modern condition where you're like, yeah, I'll be there in 20 minutes. And then people are two hours late. Right. Or they just don't show up. And everyone in L.A. is like the biggest flake on Earth. Right. Exactly. Yeah. But that's a factor. But it's not just that. It is this agglomeration of sinking into your couch and wishing that you were doing a little bit better so that you can go out into the world. And I think that's become increasingly true for many people in many cities. Yeah.

25:32Sean Fennessey:But this movie really hits on kind of how you combat that. Right. The Betty spirit in this movie where she's like, I'll go out for the job. I'll meet a new person. I'll have a conversation with a stranger. Yeah. I won't kick her out of my aunt's home. Yes. I will be seduced by this amnesiac bombshell. Three years saying yes. It is. It is. We love Betty. We love Betty's spirit. But she's a fantasy. You know, she's not that's not real. Very few people are like that here. Everybody is everybody here is like. Right. She's doing my best. She's also really good at her job. And then it goes really well.

26:04I mean, that audition scene. Let's talk about that. Yeah.

26:06Sean Fennessey:Let's talk about Naomi Watts in general. A couple of months ago, The Ringer did their list of the 25 greatest screen performances, film performances of the 21st century. Yeah. I thought they very cleverly and smartly chose this performance. Very wise. For a variety of reasons, Naomi Watts at this point, essentially an unknown. She had been working for some years, famously very close friends with Nicole Kidman. Right. But David Lynch saw a photograph of her and cast her off of the photograph. He said, that's the girl looking at it, which is kind of like Hollywood story. Well, it's literally, and then that happens in the film itself.

26:38He uses it. This is the girl.

26:39Sean Fennessey:Yes. And she is remarkable in this movie. The whole thing rests on her shoulders. With no disrespect to Laura Herring, like she is not one-tenth the actress that Naomi Watts is either. So she has to carry every single moment of the film. And she also has this dual role that emerges in the final quarter. and it's one of the most stunning arrivals of a true star and great actress, certainly this century. I'm sure there are other examples we can think of from the past, but I don't know, what do you make of Naomi Watts in the movie? Well, she's playing literally two characters, but there are so many doubles and mirrors and confusing, you know, confusions in this movie that she's playing like probably just one person, but also like eight different people.

27:30She's got to populate different shades of where Betty is, where Diane is, where like Rita, because Rita at some point is just doing what Diane is right down to the wig. Yeah. And, and, and, you know, also maybe to the performances. So, and then she also has this amazing audition scene where then she has to, like, she has to be an actress playing an actress. auditioning and she's unreal in the scene it's so good and this movie does have a few moments like the silencio like cafe being another one of them where it's the the film like closes in on faces and you are just completely drawn in by the exact and there's not a lot of even like surrealism or weird stuff going on.

28:26It's just someone acting or singing or doing something like very real in front of you. And then every single time it absolutely pulls the rug out from under the moment as well. Because she's so good in like a ridiculous soap opera audition that also turns out to be in her imagination that we, as best we can tell.

28:48Sean Fennessey:Yeah, I think that's a fair reading of the sequence. It's an example of a thing that you see over and over again in Lynch's stuff, which is these moments of hypnosis where for three minutes, you just find yourself stuck inside the movie. And when she is doing that audition, which is really challenging because it's one of those things that is a huge test for an actor or a filmmaker when you're talking about an imaginary great film or an imaginary great performance when you're writing a script. And then you say to someone, make it real or a pop song. You know, that thing you do, thing that we were talking about with Chris a couple of weeks ago where it's like, now that song has got to be that good.

29:22Sean Fennessey:Yep. And she has to be that good because everybody in the room is like, whoa, holy shit, that was so good. And it rarely is. Yes. And you never land it. And it's because I think in the scene, it's very hard to talk about acting as an untrained person and what is good or not good about acting. But in that scene, she's doing a thing that you hear actors talk about all the time, which is making choices about the way that she's reading lines, about the timbre of her voice, about how loud or quiet she is, about how she physically connects with the other actor who's this really hammy, grab. be old-timey soap star.

29:54Sean Fennessey:Right. And you can feel him being transformed during her performance. And he is becoming a better actor without saying anything as she is exploring this monologue. And it's transformational. It's like, it is the thing that, you know, probably doesn't really happen that often in movies. We can say like, oh my God, that guy was so good in this movie. I loved his performance. What it meant is like, we liked seeing him and being around him. You know, that his charisma was carrying. This is more of a technical execution of like the choices. I mean, in a lot of ways, it's the Meryl Streep doing Clint Eastwood choice of just of being quiet.

30:28And she said that she based Devil Wears Prada on Clint Eastwood, never raising the voice. But there was choice of restraint and keeping things lower and drawing everyone into you is at least what the character in the movie is doing, which is, you know, there are layers to it as well, just in terms of who we're talking about. Are you looking for support in your weight management journey? ZepBound terzepatide may be able to help. ZepBound is a prescription medicine used with a reduced calorie diet and increased physical activity to help adults with obesity or some adults with overweight who also have weight-related medical problems to lose excess body weight and keep the weight off.

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31:45Severe side effects may include inflamed pancreas or gallbladder problems. Tell your doctor if you experience vision changes before scheduled procedures with anesthesia, if you're nursing, pregnant, plan to be, or taking birth control pills. Taking ZepBound with a sulfonylurea or insulin may cause low blood sugar. Side effects include nausea, diarrhea, and vomiting, which can cause dehydration and worsen kidney problems. Talk to your doctor. Call 1-800-545-5979 or visit zepbounce.lily.com. This episode is brought to you by Netflix. The T-Mobile Home Run Derby is right around the corner. Might be one of the best showcases of pure power in all sports.

32:26Baseball's biggest sluggers, along with some legendary announcers.

32:31Sean Fennessey:Pujols, Rizzo, Bonds, Sabathia, Al Duncan. Yeah. Hunter Pence, Matt Faskersian, a whole bunch of people. and it's the one night where you don't swing to make contact. You swing to make history. I'm interested to see what Bond says about this, actually. Anyway, it is all live from Citizens Bank Park in Philly. Watch the T-Mobile Home Run Derby live on Netflix Monday, July 13th at 8 p.m. Eastern, 5 p.m. Pacific. There's a very funny self-dig in that sequence, too, because the most kind of checked out and phony person in that scene is the director. And the director is like, yes uh a little what does he say don't make it real until it's real but yeah but what he says after the performance where he's like maybe a little bit what is the word he uses like it's like effortful but but good but very good you know it's just like very bullshitty kind of vague just trying to be like encouraging but also maintain authority which is something that a lot of filmmakers will do especially over actresses you know like yeah there's some self-knowledge there, I think, that Lynch is putting inside of this.

33:36This scene also has some of the only pure comedy jokes in the movie, and everyone making fun of the director because he gives some ridiculous notes, and then you see everybody roll their eyes and be like, what is he talking about? Yes, yes.

33:52Sean Fennessey:I mean, he seems like he's barely paying attention, which is wonderful. And, you know, I think Lynch has a real affinity for actresses. If you've ever seen Laura Dern talk about David Lynch, they were like best friends. And she was very much his muse and they worked together many times. And they just have this overwhelming affection for him, even though he makes these really transgressive, rough movies. Inland Empire, which comes after this, is a very tough, hard movie also about an actress who is doubling. And Laura Dern plays two different women. And he kind of returns to these ideas over and over again, these kind of glamorous women that are imperiled.

34:28Sean Fennessey:But you can sense that he has like a real sensitivity with them. He just gets the best out of them, right? And that's like, that's really important when you're a great filmmaker. Isabella Rossellini, when talking about Blue Velvet and kind of the backlash and the readings of Blue Velvet is misogynistic or exploitative. It was like, I was a grown woman. I was like 31 years old and I chose to play this and like David understands it. So I think, yeah, they do, the actresses like working with him and I feel understood and part of the process. Yes. Even if it gets a little ugly. But, you know, women can be ugly too.

35:03Sean Fennessey:They certainly can. Not on this show. No. They're always beautiful. And not really. I guess they're ugly emotionally in this movie, but everyone's looking pretty great. Yeah, there are no heroes. A lot of the reviews talk about how when Naomi Watts turns into Diane, she's like unrecognizable. And I was like, let's calm down here. These are two very beautiful women. Her hair is a little straighter. Well, I think what the film does really well, which is very simple, is, you know, the makeup is different. Yeah. The coloring is different. Yes. She doesn't look radically different. She just looks like what would happen if things went bad, you know?

35:42Sean Fennessey:And that is a clever choice. You know, her costuming is more muted. She just seems a little dirtier. Yeah. You know, her face isn't different. Because she is still Naomi Watts. Yes, but it's her performance. I think that's really, hopefully, nodding too. I did also want to just shout out the diner scene. which I mentioned that I saw it when I was in college. And this is the most scared I've ever been in a movie. It's Patrick Fischler, incredible character actor, who is sitting across from the table and recounting this dream that he's had. And the movie just stops in the middle to go to this sequence.

36:15And this sequence is remarkable for a variety of reasons.

36:19Sean Fennessey:The most important reason is the performances and the editing. But Lynch chooses to cut out all sound in this scene. You cannot hear any of the other patrons inside the diner talking. And so you're focused entirely on what Fischler's character is trying to recount about this dream. And then the dream starts to happen in real time when the person he is sitting across from, who's quite rude and not thoughtful about the man's dream, gets up and stands and walks over to the cashier just as he's just described that he's seen him at the very beginning of this dream. And then the friend is like, let's do it.

36:53Sean Fennessey:let's see what happens let's see what's behind the alleyway and you're like I'm in a David Lynch film something terrible is about to happen I know something terrible is about to happen and you're waiting and you're waiting and I say this as someone who loves horror movies loves to be scared isn't really that scared of things but I was like what awfulness could possibly be awaiting these characters as this man is recounting the most shaken he's ever been from a dream in his entire life and I'm so sold on what this character is saying and how this actor is saying it. And what's revealed is, you know, kind of silly.

37:29Yeah. Just like a normal jump scare? A woman in makeup? Yeah.

37:33Sean Fennessey:It's like a regular jump scare. I don't know why, but I was like disemboweled by this. I was like near tears. And I think it's because it does something effective, which is like, I do find when I remember my dreams that they are very scary. I do not find that they are very fun. I wouldn't say I have fun dreams. Does anyone have positive dreams? Like, while sleeping. If you're out there, you know, just let us know. I know, like, you know, we're all here trying to live our dreams every day in our waking life. But, like, those are different from our sleeping dreams. But that's what's so wonderful about the word.

38:07Sean Fennessey:Because when the word is invoked in day-to-day conversation, it's about aspirations. It's about where you want to go and who you want to be, which is, of course, what this movie is about. But when you and I sit down and we start talking about them, you won't even tell me what happened in your dream. because you're afraid to reveal the darkest core of your sadness and fear. But the thing is really that it's like it's not particularly creative or artistic. Who cares? It's just a dream. You have no control over it. Who would judge you for that? Well, I don't know. Wouldn't it be like it would be cool if I was like, you know, I was imagining like, well, it looks like a Picasso painting.

38:39And like I had all these like rich symbolic things instead of being like, I don't know, Zach was mean to me. He was him.

38:47Sean Fennessey:Eileen has very similar dreams. I think I but I think that that's normal I think that's okay like I think that this movie is about this movie is about what if I failed and what if I didn't and I what if I could have not failed you know and that sequence I think really neatly summarizes the polarity of our feeling about the idea of dreams that you know Betty is a manifestation of what could be it's a hope right and the the diner is the darkness yeah what really scares us what really fucks with us and of course we get that character that woman who of course is the same actress who portrays the nun in the nun films I'll have you know okay you know that character is identified as a man in the film but is played by a woman okay and she's become an icon of cinema just by having a scary face yeah quite a good living if you can get it I guess exactly you know use what you have you mentioned Noa Banda and Silencio also an unforgettable scene where so Betty is awoken in the middle of the night because she hears Rita utter the word silencio while it's sleeping and no I bonda and is an indicator that they must go to this this club yeah and they enter the club and there are a lot of scenes in a lot of Lynch films and TV shows that feature musicians performing in front of a red curtain another red curtain in Twin Peaks this idea of this like desolate place where the stragglers of society gather to watch sad music.

40:19Yeah.

40:20Sean Fennessey:So that's another motif that occurs in this film. But Rebecca Del Rio, who performs in this scene, is mesmerizing. Yeah. And we also see that thing where we watch other people be mesmerized by a piece of music. Yeah. But they do announce that the music is recording. This is recording, yeah. And so when she faints mid-procent, what do you think she fainted from? I mean, I don't know. It seems like a cursed room. Honestly, you know, like before she starts singing, the Betty character is like having convulsions for no reason. It seems like bad juju in there. And I'm not really like an L.A. woo-woo type of person, but whatever energy people are trying to correct has found its way there.

41:04Sean Fennessey:Yeah, I mean, part of what's so great about that Twin Peaks episode that I was talking about from The Return is that that's an episode that attempts to actually explore the origins of evil. Like that's actually a pretty bold choice to try to reach back 10, 20, 50, 100 years into choices that are made by human beings that kind of corrode our soul. And that scene is just another example of it. Great movie. Really good. What a fascinating film. Good job, everyone. Good job. Well done, David Lynch. The film's legacy, you know, you mentioned pretty, it's not unanimous. There were definitely detractors for this film.

41:39Sean Fennessey:But there was a very immediate celebration of its greatness, which I find pretty fascinating. It competed for The Palm, but it did not win. It lost to a film called The Sun's Room, which I had not seen. Okay. But Lynch did win for Best Director and it was nominated for just the one Oscar. You remember who he lost to in the Academy Awards that year? Yes, you've written Ron Howard for A Beautiful Mind. What do you think about that? Which also won Best Picture. I mean, so these Oscars were, what, February, March, 2002? Yeah. Weird Time in America. Yes. Yeah. Well, it might have been appropriate to give Mulholland Drive the Academy Award.

42:12Maybe, but, you know, The Academy has not historically embraced the most avant-garde solution in times of strife.

42:19Sean Fennessey:I can't say I disagree with that. Roger Eberton, in his four-star review, wrote, this is a movie to surrender yourself to. If you require logic, see something else. I would quibble with that ever so slightly in that I think the movie is very readable if you choose to. It just resists the tidy solution that you're talking about. Yes. It's impenetrable in terms of solving it, but you can apply. And there is an incredible amount of extraordinary reading into what the film is representative of. And it stands up. I read a later Ebert piece about a conference he attended in Colorado every year where they would pick one movie and they'd go frame by frame.

43:02and so anyone in the audience could say stop or what you know and they would analyze like the composition and the symbols and kind of spend 12 hours on a movie with roger ebert and so one year they picked mulholland drive and i think it was roger ebert's pick and he's like i'm really going to get to the bottom of this and the piece is about the many theories that were explored in this group and at the end he was like nope and and i'm no closer to you know it's like this this format does not you know does not have all of the answers.

43:34Sean Fennessey:Yeah, it's a movie that's also only about a feeling. Or a series of feelings at least. It's just like In the Mood for Love in that way. In the Mood for Love is not a movie to be solved. It's a movie to be felt. And that one is a little bit more romantic. This one is a little bit more evil. This film is number two on both the main poll and the readers poll for the New York Times. Now that to me is fascinating. It's surprising, right? So I began to wonder if this is just sort of like, this is more about the methodology. I don't know how they're weighting and ranking stuff, but if enough people are putting it somewhere in the top 10, then I think most people, especially that list was done this summer.

44:14So, you know, Lynch's passing was in the mind. And so a lot of people pick Mulholland Drive. It's a very good point. So I wondered if it was like a little bit recency bias or just kind of the number of mentions.

44:28Sean Fennessey:Well, I think it's a convergence of that very specific recency bias along with the fact that it has been rising in the canon. So in 2012 on the Sight and Sound poll, it was at number 22. In 2022, it was at number eight. So this is, you know, simultaneously, and some of this is about a great artist getting older. So even before he passed, kind of recognizing his great works. I think this movie, just like you were describing when you were 17, is a little bit of a keystone to outsider, you know, surrealist cinema. You know, you wouldn't start with Bunuel. You'd probably start with this movie because you're like, oh, Naomi Watts is in this.

45:02Sean Fennessey:I'll check it out. And then that leads you down a rabbit hole of trying to understand all the things that influenced Lynch. And as you become a real cinephile and try to understand all these styles and genres, like, he's just a very helpful portal into this kind of film and filmmaking. I already asked you this does it make sense if you haven't seen Blue Velvet or Twin Peaks I'd like to get you know I'm curious for some younger movie fans opinions about this we have a lot of younger listeners who haven't seen the collected works of David Lynch you know but so if you sit down and you are 20 and you are in film school and you watch this movie with Roger Ebert and he breaks it down for you scene by scene are you like are you getting it?

45:41Sean Fennessey:are you really are you grasping the tonality? I believe in the younger generation I do too I'm not I'm not trying to undermine that. First of all, if they want to let us know politely, they can. But also— How would they do that? They can solve it. Where can they find you? That's part of the process is problem solving, okay? That's the education we're offering here at the Big Picture. But yeah, I think particularly the younger generation, if you're also, if you are a cinephile at this point and you're seeking out, you're like, okay, here is David Lynch's like a blind spot in my repertoire. Then you at least like know something, right?

46:16Oh, of course. You know enough to know like, oh, I got to seek out David Lynch. So then I think you're emotionally prepared for this.

46:22Sean Fennessey:Yeah. He's also obviously someone who has engendered a tremendous amount of respect from his peers as filmmakers and actors. So if you hear them talk about him. And a lot of ripoffs that are quite bad. It's a very good point. We didn't even talk about that. But this also just sets up a long trail of movies that are kind of like this, but aren't very good. Yeah. And that's the thing is he also, you know, this movie didn't make any money. He jokes about this in this Criterion interview that I referenced where he's just sort of like, yeah, critics loved it, but nobody saw it. He does still have that kind of down-home, corn-pone, direct conversation style where he's just like, we're making movies for people out here.

46:54Sean Fennessey:You know, he's making the strangest, most elusive, mysterious films, but he still, he wants to be seen and he wants to be understood, but he doesn't want to have to explain. Well, same. Wow. Wow. Well, that's moving. So what movies is this movie standing in for? Yeah. I would say that there are two tracks here. Yeah. So what is the first track that you wrote down? Movies about Hollywood. Yeah. Uh, so I think eligible movies about Hollywood, adaptation, Babylon, La La Land, and A Star is Born, the Bradley Cooper. What do you think Bradley Cooper thinks of David Lynch? Now we know he has portrayed the elephant man on Broadway.

47:32Yes.

47:32Sean Fennessey:So of course, I'm sure he's seen the film. I'm sure he's like David Lynch was a great friend, you know, because that's what Bradley Cooper says about everyone. I wonder if they were friends. So the other kind of genre that it's standing in for are what I'm describing as anti-logic psychological nightmare movies, which have also been very common in the last 25 years, especially in a post 9-11 world where this feeling of disorientation and disruption has been coming over the often male psyche, I'll say. Sometimes the female psyche, but, you know, Donnie Darko is an example of this. Synecdoche, New York.

48:04Sean Fennessey:Bo is Afraid is a recent example of this. Very Indebted to Lynch. Black Swan. Yeah. There are others. I think if you want to go back into the past, the movie like Don't Look Now is an interesting example of this. The violation of the male psyche and male power. Yeah. You know, and then what violence is wrought upon us. Anyhow. You think a lot of Aronofsky fans at home crying because Black Swan's not on the list? I'd never really considered it. Okay. I like that movie. Sorry. I haven't seen it in many years. I don't think I disliked it. Okay. I think it's very effectively doing what it's trying to do.

48:36Yeah.

48:38Sean Fennessey:It's cribbing from a lot of Polanski. It's a lot of Polanski. But that's okay. Yeah. Okay, recommend it if you like. Now, those were what these movies are standing in for. This is like if you dig these movies, you might dig this. The first one that came to mind was Showgirls. It's a really good pull. Showgirls, also about the way that the world of entertainment, the male-run world of entertainment, destroys women's souls. Yeah. and features a remarkable performance by Elizabeth Berkeley misunderstood at the time also features longtime Lynch stand-in Kyle MacLachlan true in a role as a as a bad man yeah I mean Showgirls is now incredibly understood you know and more understood every day thank you to Adam Naiman for writing the entire book about it okay other recommended if you like I think Blow Up yeah another movie about seeing women through a male lens sure yeah and death and murder Gone Girl.

49:33This one's funny. Yeah. Really good. Right? Sure. That'd be a good double feature. Yeah, I see it.

49:37Sean Fennessey:What a great movie. I mean, Sunset Boulevard, of course, which is the movie that Lynch has probably asked about most in terms of its correlation. Right. I mean, we do actually see Sunset Boulevard right after we see, we go from Mulholland Drive to Sunset Boulevard through The Brush, which, you know, is a tough journey. It is. Have you done it? Have you climbed down yourself? I tried a couple times. Like when I first moved to LA and when I, like, I, I refused to relinquish the walkability of New York city. And I was like, no, no, no, no. We'll like walk down. Um, but, but even, even for me, this would be quite a journey.

50:14Sean Fennessey:It's difficult. Two of the great films named after streets in Los Angeles. Any other, uh, great films? I mean, we loved it or really any of the, any of the lunch movies, but. Um, yeah, I think, I mean, this was a no brainer. Yeah. Too high, too low? Feel good about its placement? Just right. Just right. Yeah. Just like Goldilocks. So this is number six. Yes. And we have five more to go. We do. Do you want to do any trades? Well, you have been mentioning one that you want to do. Well, I don't really know how to pull it off. Okay. But I'm thinking on something. All right. And I'm not going to spoil it here on the pod right now.

50:53That's the thing is that we can't actually talk about.

50:56Sean Fennessey:I want to make content in life. I don't want to make recorded content. Okay. That's beautiful. I want to have a content conversation with you behind closed doors. Okay. Okay, well, thanks to Jack Sanders for his work on this episode. We are just days away from our live event. That's right. Our screening, our secret screening. Yes. Which is actually going to be of the number four film on our list. So we're going to ask all of the people who attend to not say anything. I've got a whole plan. Okay. I got a whole... You just got to stand there for the introduction. And we're going to have a heart-to-heart.

51:29Sean Fennessey:Great news. Yeah. I'm very happy to hear that. Then you might have to pose, but... Okay. Well, I'm very good at that, as we all know. I'm very good at taking photographs. And yeah, we will be back later this week with a conversation about Frankenstein and Die My Love. Yeah. Two films, candidly, that have a lot to do with Mulholland Drive. We'll see you then.

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