Lost Highway

That's what I think is kind of unique about the film.

And again, I contrast it with Lost Highway.

There's a Lynchian feel about this, but I also think this film is not wanting to have a coherent explanation.

It's really more about we're throwing shit at the wall about what it means to be a writer and how we feel about ourselves being a writer.

I want to watch all three of the L.A. trilogy.

Mulholland Drive, Lost Highway, and what we already did.

In the

Empire.

Yeah, we'll do, like, Eraserhead and then, like, Fast Furious 2.

And then, like, Inland Empire.

Or, no, Lost Highway.

And then we'll do, like, what's another Arnold movie that you would love? A John Claude movie or something.

Like they do new things, but they always tell the same story in different ways.

Like I'm thinking like I was reminded of like David Lynch with Mulholland Drive and Lost Highway.

They're really more or less the same movie, but told in a different light.

And I'm kind of seeing Fizzen as that.

Even directors like David Lynch, a lot of his stuff feels very film noir, neo-noir.

So Lost Highway.

Like there's a good chunk in the middle of that movie that feels very film noir, neo-noir with the whole gangster story and the gangster is really cool and controls everything and a lot of themes that you see even in the movie we're going to talk about today.

Anything else you have there before we want to jump into our deep? I don't think so.

I'm just going to tell you how I remembered it.

Well, there's a version of that in the movie Lost Highway where Bill Pullman says, I don't like pictures or videos because I like to remember things the way I remember them.

And a detective says, what do you mean? And he's like, not necessarily how they happened, how I remember them.

I don't know if that's maybe what you're referring to, but that's where my mind goes.

I just love this album.

Lost Highway.

It's one of my favorite David Lynch movies.

I'm a massive, massive David Lynch fan.