That god damn trailer's more popular than Uncle's Day in a whorehouse!

Did this occur in IE, and where? I don't recall this dialog, but I only got to see it once.

Thanks for the youtube links, I can't believe DL is not familiar with Bunuel, there are definitely similarities.

I wouldn't believe for one second that he's not familiar with Bunuel - but that isn't the same as him being a Bunuel "buff". Lynch picks his words very carefully, and since he did not say outright that he's never seen a Bunuel flick, I think it's fair to say that he has, at least, seen Un Chien Andalou.

The line about the factory is part of Nikki/Sue's monologue.

Laura Dern talks about the town with chemicals released into the air in her monologue towards the end of the film, if I remember correctly. It's definately in there and a lot of people have commented on it.   

I saw FWWM when it came out in the US and it definitely had subtitles but I remember not being able to understand anything that was being said in English - and I thought that was way cool - but then I bought the DVD and the subtitles aren't needed because you can hear what they're saying. From what I read, Lynch corrected the sound issue for the DVD and kept the subtitles - but I preferred the original release!

1. Bad Sound in Pink Room - quick fix added in the way of subtitles. (this was great)

2. Sound was fixed (subtitles were kept). (not as good). 

That's really interesting about the LOLITA poster.

Is it really true that there is music used in THE SHINING in INLAND EMPIRE? I can't imagine that's true...?

In terms of themes and so forth, it's so hard to write about the film in those terms since we all know Lynch doesn't think of a film in terms of themes, although of course they are there.

The portrayal and depiction of women in trouble in this film really troubled me!

In relation to THE SHINING, I remember watching that with my friend Richard Harris when we were younger on VHS video in his living room around the early afternoon on a warm summer's day in Ripley, Derbyshire and feeling so tense we both stopped the video and went outside for a bit.

I have never felt that tense again until INLAND EMPIRE. I found the first hour or so ridiculously unnerving in a very similar manner to THE SHINING in fact...maybe I'll be able to relax more in the comfort zone of sitting watching the dvd. Or probably lying down to watch it in fact for utter relaxation!

Anyone else had this 'nerve problem' I had? I am not kidding on this one!

tp3 - I think both movies used extracts from a Penderecki concerto - but as far as I'm aware, they do not use the same part of the piece, so the source is the same but not the specific content, if that makes sense. I'm not 100% sure on this though.

Richard Harris? As in English Bob? Dumbledore? Cool friend to have!

"tp3 - I think both movies used extracts from a Penderecki concerto - but as far as I'm aware, they do not use the same part of the piece, so the source is the same but not the specific content, if that makes sense. I'm not 100% sure on this though.

Richard Harris? As in English Bob? Dumbledore? Cool friend to have!"

 --No it was not the actor who was in Orca: Killer Whale or This Sporting Life (both classics in their own way!) but someone equally interesting.

Thanks for the music tip, well it's just Lynch and Kubrick like similar music I think, there is obviously a 'nod' there.

NERVE PROBLEMS -->>

The portrayal and depiction of women in trouble in this film really troubled me!

In relation to THE SHINING, I remember watching that with my friend Richard Harris when we were younger on VHS video in his living room around the early afternoon on a warm summer's day in Ripley, Derbyshire and feeling so tense we both stopped the video and went outside for a bit.

I have never felt that tense again until INLAND EMPIRE. I found the first hour or so ridiculously unnerving in a very similar manner to THE SHINING in fact...maybe I'll be able to relax more in the comfort zone of sitting watching the dvd. Or probably lying down to watch it in fact for utter relaxation!

Anyone else had this 'nerve problem' I had? I am not kidding on this one!

SO -- has anyone else felt totally unnerved by INLAND EMPIRE or IS IT JUST ME? I was shitting meself for the first hour or so but then calmed down.

Regarding subtitles on Lynch's DVDs. Some DVDs with subtitles will not have a menu to access them so it appears that there are no subtitles; however, they can be accessed via the DVD player's menu so check there.

The sawing man at the end of IE is obviously a reference to the sawing man from Industrial Symphony No. 1: The Dream of the Broken Hearted. I expect there to be references to other Lynch films in that final scene.

I meant to say subtitles during theatrical shows, not dvds of course.

I read the interview, I knew Lynch likes Fellini but I didn't know he also had the chance to meet him. Anyway, I didn't find the part where he should talk about the end credits' music.

Can someone please copy and paste?

Concerning the Penderecki music also used in The Shining, I actually think some musical excerpts match and, I don't want to force this, but it seems obvious to me Lynch - directly or indirectly - quoted the film and it can be read in the way Laura Dern walks, which is a way similar to the one that Nicholson does after being injured in the whole final part.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

I just love the way in which my 'nervous problems' concerning INLAND EMPIRE are totally by-passed and onto discussions regarding the formal aspects of the film!

Ruddy eck if I'd know INLAND was supposed to be watched with jotter in hand noting down Lynch's deliberate referencing of his own past works in terms of monkeys, men sawing logs or the way in which Laura Dern consulted Jack Nicholson by mobile phone prior to the film on methods of walking when injured by screwdriver (as opposed to Jack in The Shining who is like that because he was hit by a baseball bat and fell down some stairs)...

Now it's obvious to me! The stairs featured in INLAND EMPIRE are actually shot from the same angle as the stairs featured in THE SHINING. Now it all makes sense!

I was not unnerved. Paris Hilton giving a blowjob to a guy in House of Wax was unnerving.

"Did they scoff the whole damn Smörgåsbord?" (Audrey) 

"Gimme a donut!" (Coop)

Well that's like the film then and a good thing!

Don't get me wrong, I thought the film was thrilling but definitely unnerving. Maybe that word isn't the right one. I was shitting myself for some of the film.

I thought it was very scary.

But then this opens a can of worms, as in many people find The Shining and The Exorcist very funny and whilst I can see their points - they're wrong!

I did find one thing truly unnerving though. Some parts of INLAND EMPIRE are very funny but I was the only one in the theatre laughing. But then I was in the Screen Room in Nottingham with only one other guy!

Great film - obvious aspects of it were very Ghostwood/TP/Red Room but I am not suggesting the film is LIKE Twin Peaks! It's its own thing, anyway I've lost the plot here! Which is also a good thing! It's all good I guess.

We're ALL missing something, ig0r! Your speculation is much the same as everybody else's - nobody has been able to come up with a definite answer yet, and they probably never will. Smithy could well be another name for the husband - seems kind of odd, but it would certainly fit in with the house being "Smithy's set". Other stuff you might want to consider when thinking about Smithy:

- INLAND EMPIRE contains a few ideas and images which evoke the idea of abortion. Lynch famously asked that his name be taken of the writing and directorial credits of on of the many cuts of Dune. As is always the case when a director takes his name off a Hollywood movie - the credit was given instead to the mythical Alan Smithee.

-Look for the scene fairly early on where Laura is on set, having her make-up done. It's an extreme close-up of Laura's face, and in the background you hear Irons talking. He says something to the effect of "the 90-year-old niece keeps asking me in her ancient accent, who is playing Smithy?"

- Some have suggested that the name Smithy could refer to the idea of an actor's craft, of forging a creation (as in Blacksmith, Goldsmith etc"

Perhaps Smithy created the set? One thing is for sure, you never can be sure with this movie....I love that. I've seen it three times now and it feels like I have seen three different movies. This picture stays with you and for weeks after each viewing, playing on a loop in my mind, it is the most hypnotic experiance I have had in a cinema ('Waking Life' runs in at a close second) thus far. I have not felt this way about a Lynch project since I fell for Twin Peaks.

Anyways, to all the fans in the 'Northwest Passage' of England, INLAND EMPIRE is playing at the Cornerhouse in Manchester this thursday at 5:10pm. It may be the last viewing to be shown for a long time. I'm just hoping that it satisfies me till the DVD comes along, although I'm not sure this movie will play as well at home as it does on the big screen. I love this movie....and as we all know it can be 'strange what love does'

Just got back from my second viewing and was 99% convinced that Smithy was the name of the husband. Now, thinking about it, i'm not so sure. What convinced me is the editing, because right where Kingsley mentions someone inquiring about who will play him, the next shot is of him. And that's the house isn't it? His house...on the set. Now I'm having doubts because it doesn't seem like something Lynch would do and also an answer like that spoils the question which sounds like an invitation of ambiguity.

Anyway, it's great that abortion was mentioned, because that is all I thought of this time around. The interpretation I came up with is that it's all that girl's daydream inspired "through" the programs on television, the Hollywood industry, etc. "Where STARS make DREAMS", actors create a romanticized world. "...and DREAMS make STARS" is self explanitory, as the girl in front of the television dreams of another life. In this way, I think this film is very similar to Mulholland Dr. except the humanistic theme is different.

I don't feel like writing much except I also couldn't help thinking that this film has a lot to do with meditation and the unified field. Lynch said that he had doubts about the scenes having no continuity but they are bound to fit together because everything is united. I think Inland Empire has a lot to do with that not only in its structure but also in its theme. The rabbits stuff seems like a sort of portal through which the girl goes (I look for an opening). The phantom (is Crimp his name?) seemed to me a real friend of the husband's who the girl may be paranoid of being a hitman to kill her or the baby or her or both. It also seemed the baby was from another man other than the husband, the manifestation of this man being Devon/Billy. Nikki/Sue seemed a metamorphic manifestation a la Lost Highway for the girl to lose her "self". The phantom is said to have mentioned Inland Empire before he left, the empire of withIN, the empire of the self, being an empire because it is so grandiose and vast in its unconscious and also has a connection to the unified field. So the phantom is inside the girl's/Nikki's/Sue's mind as a manifestation of paranoia, and the confrontation of him has to be a confrontation not with him, nor with the idea of him, but with the self because he is only the product of a neurotic daydream, hence her face appears instead of him and she sees herself from across the street and other times. Also something I kept thinking of: the idea of the other. The other is a sort of hope for the subject of a receptacle of one's expression. There is the ignorant other (the prostitutes on the street while Nikki is trying to escape the killer) and the one who listens (the guy with the glasses). The guy with the glasses is also a manifestation of the rabbit I think (the rabbit is shown taking a seat at the same table in the same room), because when the phone rings in the rabbit's room as Nikki is calling, she goes "Billy?". In the industrial room where the monologue takes place, the phone rings and he answers "yes this is Billy". Perhaps television world is a surrogate receptacle "other" then, because with the girl having lost hope with any "other" around her, she enters the world of television, expresses her "inland empire" to it, gets lost in it, confronts the phantom self, etc. The ending where Nikki/Sue hugs her, I thought Nikki/Sue was all along a manifestation of everything the girl wants to get rid of, and send someone to kill, but when she hugs her it is like her realization that she must accept this manifestation of her neurosis as it is impossible to kill it. I want to add stuff regarding the theme of time but I am too tired.

I have so much more to say but don't feel like typing.

LOVE THIS - similar to my own interpretation!
 

Is that right? I thought he says "yes, she's with me", or words to that effect?

 I agree with this interpretation of the phantom being a manifestation of something however I believe he is a demon created by an evil misdeed (infidelity). He works his way into the tale through the opening at the start.

Note during the scene in which nikki shoots the phantom, the first 3 shots fired at him don't seem to hurt him. In fact he actually appears turned on by it! Then when we see nikki's ugly face superimposed onto him, she fires a 4th shot and this one does the trick. This for me is the realisation that the phantom is a creation of her ugly side and therefore to remove this aspect of her character, she has to acknowledge existence of her dark side, and metaphorically kill it. 

Here's a link to Waggish's take on things:

http://www.waggish.org/2006/12/28/david-lynchs-inland-empire-hypotheses-and-spoilers

That god damn trailer's more popular than Uncle's Day in a whorehouse!

okay question...which may have been answered...which movie star's (Dorothy...) star on the walk of fame does the screwdriver fall on...

thx 

i read online that's it dorothy lamour

correct????