All language subtitles for Blue Velvet Revisited.en

Here we go.

Now, with Blue Velvet,
I've come back down to small budget,

and I have total artistic freedom.

Dino's, uh, completely, uh, promised
to leave me totally alone

if I cut my salary and cut the budget.

So, uh, I was back, almost,
to the Eraserhead days.

Uh, but I had the —
I didn't run out of money. I had the money.

So I got to a place,
um, that I want to be in.

Uh, I'm very lucky.

No problem.
Okay, just keep your eyes on him.

You know, once you see his ring,
come back to his eye.

A-A-And then just keep looking.

Turn around and see if he's gonna talk,
see what he's gonna do.

And when he goes too far away,
then just come back and, uh, sort of, uh,

in your irritable way, and disgusted,
and start back down again.

And you can be a little bit more,
uh, upset with the day.

- Okay.
- The whole — The whole deal.

The whole building, the whole —
Your whole life has gone bad.

The remodeling sale
at the Sunshine House, I-95, Lumberton.

Don't miss it.

Bonanza Homes
in Lumberton on Elizabethtown Road

is ready to sell you
a great new home today.

Yeah, we're gonna have a band together

called "No Frank" someday.

I already have a song
called "No Frank."

- No F — Oh, my.
- I have it in there.

- In there?
- Yeah.

- Oh, my God.
- You wanna sing it?

Yeah, I'll sing it.

I wanna record it for the film.

- What you wrote?
- Yeah.

- "No Frank" in, uh —
-It's a very simple song.

It's, um, kind of in the punk tradition.

Yes, in the...

"No Frank in Lumberton, No Frank in Lumberton,

No Frank anymore, no, no, anymore,

Okeydokey, okeydokey,

That's the ticket.
Okeydokey, that's the ticket,

No Frank in Lumberton.
No Frank in Lumberton, No Frank no more,

Nobody in — Nobody anymore."

Ah, this is very good.

This is a very good song.
"Okeydokey, okeydokey."

- That's the ticket.
- That's the ticket.

That's the way you do it.

My health is okay. Um...

Uh, we all have to look after
our — our health, they say.

So, uh — And not get too tired.

But it's difficult when we're working,
you know, as hard as —

you know, long hours,

uh, to get a lot of sleep.

But so far I feel great.
I think everybody feels good.

And, uh, we're in the —
almost the middle of the second week.

What is your first idea
when you awake in the morning,

when you have to go to the set here?

I'll — I am — I am so excited,

I can—I,uh—

I've never had this good a feeling
about going to — to work,

except on — on Blue Velvet.

And Eraserhead, I woke up,
I was at work already,

uh, because I slept where I worked.

And now I can hardly wait to get in the car
and, you know, drive to, you know, shoot.

I think that, uh, this —

the whole, uh, film is about,
uh, all these various things

that, uh, people have
going on inside of them.

And we all have an appearance, right?

But beneath that, uh, appearance

there's so many strange things happening.

And there are so many things that can happen
that we would never think that could happen.

There are so many things
that we could do in the future

that right now
we'd never think that we would do,

both good and bad.

And that's a lot of what,
uh, is going on in Jeffrey.

Blue Velvet is totally my own

and, uh — like Eraserhead, yeah.

Very — Very different, but totally un —
No one commissioned it.

And they don't stop.

And they have all this armor on 'em.

And they're well organized.

Action!

To the left.

So, then the next idea was, uh,

this ear in a field.

And I felt like

if this ear would be found
by the right person

that it would lead him into another world

and he would have an experience
that would change many things.

And they don't stop.

And they have all this armor on 'em.

And they're well organized.

Well, see, I don't think the old ways
of making films is the best way.

But, like, I want to invent, uh,

some things... for making films.

I like computers in a way,
although I don't understand them.

But the movie business doesn't use them.

I mean, a couple people —
Like, Lucas has the money to use them.

But if people could just...

um... start using computers for film,

to help make films go faster —

like for lighting and for, uh —

uh, things to do with the camera,
and moves, and things like this,

it could be incredible,
it could speed things up so much.

And I just have this, you know, like,
uh, dream of — of, you know, doing it.

But it — it would take
a lot of money to get it set up...

to research it and get the bugs out of it.

You really want
to work with computers? It's —

Yeah, I love organic things,

but I don't like spending so much time.

So I need to use, um —

You know, people need to use technology.

But then what they film
is something different, you know.

But you have to be able to use
all the new stuff

to get the right, you know, uh...
stuff on film.

You can't just go and — and, uh,
use old lenses and old cameras.

It won't look right.
It just won't look as good.

You gotta use the
state-of-the-art technology.

But then you can — you have control
over what you're making, the images.

If you want 'em to look dirty,
then you can make 'em look dirty.

But if you want 'em to look clean,
then you — you can do that too.

And if you want it to — You know, if you
wanna have control over what you're doing,

you've gotta use the state-of-the-art stuff.

Let's just say

that, um...

I wanted to get a shot of, uh, um...

like, a lamp cord, you know,

and a plug, right,

a-and track along this cord
to, you know, this lamp,

and the lamp going on,

and then the shade getting knocked off.

- Right?
- Mmm.

So at the end of the —
at the end of the working day...

we're so using all our time for other things

that I have to let that thing
go to inserts or something.

O-Or I lose it. Right?

And if you could go faster
and still get good quality,

if you could, um —

if lights, you know, floated, right, instead
of you have to put them on a stand —

If you could just float them,
and you had a chart made up of the set —

But instantly. 'Cause the computer
would measure the room.

And three-dimensional.

And then you'd touch the board and
you'd put a light there and a light there,

and you'd aim it,
you'd show it right where to be.

And you'd see it, you know?

Then you'd be lit in about three minutes.

And if you didn't like it,
you'd touch somewhere else. Right?

And it would be done.

But you'd need no gaffer and no —

No, you don't. No, y-you don't.

You might need a —
I'd sit with Fred. Right?

And we would talk, right, about the look, and
he'd say, "Well, you need a little bit here."

I'd say, "Well, yeah, maybe we need
a little bit here," and we'd do it. Right?

Then we'd be lit.
Now the camera floats in.

And the camera would be real little.

And you'd — you could do, you know —
you could rehearse the moves, you know,

and — and, uh,
it would just be a different —

That's what it could be. Right?
Uh, that's one step.

Like Coppola says, you could just think your
film onto the screen, and it would appear there.

That's what he wants to do.

A week before I came here,
I met a very nice girl.

- Uh-huh.
- We fall in love very intensively.

- And this week, uh —
-You almost didn't come, huh?

Uh, no, it was nearly —
I almost said, who is more important to me?

It was a — of a, you know —

Now, what's happened to her now?

She's — Don't know.
I wrote her two letters.

- Uh-huh. You haven't heard back?
- I'm waiting.

Uh-huh.

Oh, you should come and use
my telephone to call her up.

Yeah. I first have to find out
the telephone number.

Yeah, that'd be a good idea.

- So everything's still —
-Calling all over Germany.

- And then the whole time —
-Can she come over and be with you?

- Yeah.
- She will?

Yeah, she wants
to make a film in the USA.

- Oh.
- In November. On Super 8 film.

- Really? You guys are gonna become —
-She has to come to US — Yeah.

You're gonna become
the Super 8 kings of the world.

That'd be great.

See, I like the idea
that you're shooting Super 8 on this.

To me, it's just perfect.

- I hope it works.
- Yeah, well, yes, it will.

We have a lot of very bad sounds.

- But only bad for the technicians.
- Uh-huh.

- But you have —
-Bad pictures.

Only bad for the technicians.

You can do so much
with the material.

Yes.

- Freeze it and everything.
- Fantastic. Yeah.

Great.

And...

Baby wants to fuck.

And cut it.

- Cut.
- Pretty good. Let's go back to go.

Now, are you gonna tell me
why we're here?

Sandy, there are opportunities in life

for gaining knowledge and experience.

Sometimes it's necessary to take a risk.

Now, I got to thinking,
I bet someone could learn a lot

by getting into that woman's apartment.

You know, sneak in, hide, and observe.

Sneak into her apartment?

Yeah.

You said it was a strange world?
You're the strangest part of it.

Are you crazy?

Jeffrey, she's possibly involved in murder.

This is givin' me the creeps.

Now just settle down.

I have a plan which I think will work.

There's very little for you to do,
but I do need your help.

Don't you even want to hear my plan?

Well, you can tell me any plan you want,

but there's no way it's going
any further than this diner.

Sandy.

Don't take that attitude.

All right, now,

the first thing I need to do
is get into her apartment,

open a window that I can crawl into later.

And how are you gonna do that?

Right out in the car I happen to have
some old overalls and a bug-spraying rig.

I will go to her apartment.
I will be the pest-control man.

I will spray her apartment.

After a few minutes, you come to the door,
drawing her attention away from me,

at which time I will then jimmy the window.

And what am I supposed to say
to her when she comes to the door?

You will be a Jehovah's Witness.

- What?
- I have some Awake! magazines for you.

I don't need much time.
Just a few seconds.

What do you think?

I don't know.

I mean, it sounds like
a good daydream, but...

actually doing it's too weird.

Too dangerous.

Sandy, let's just try the first part.

If that goes well,
then we can worry about the rest.

Yeah, even if they saw us,
they wouldn't recognize me,

'cause they only know my dad.

No one will suspect us because
no one would think two people like us

would be crazy enough
to do something like this.

- You've got a point there.
- Yeah.

Cut it.

- Real nice.
- Let's cut here.

The hurricane, uh —

Were you disappointed?

I was horribly disappointed that we didn't —

We are all ready for a really great storm,
and it never — never happened.

- I expected it.
- Yeah.

-Nothing happened.
-Nothing happened.

But we're — we're, uh —
The shoot is going great,

and we're a little bit more
than halfway done.

It's going really good.

Uh, I-I'm having so much fun.

I never had so much fun, and —

But I feel like I'm in a different world.

Um, I...

I feel like it's — it's —

I'm in, uh, Blue Velvet world.

I'm in Lumberton, and, uh, it's all going
just the way it's supposed to go.

So what do you think
of No Frank in Lumberton?

-No Frank in what?
-ln Lumberton.

No Frank in Lumbert —

I like it.

So, Blue Velvet is set
in a town like Lumberton.

Is it, uh, some kind of...

animation with...

real actors?

Hey, George.
It's good to see you, pal. Um —

What do we got,
an umbilical cord going on here?

-Here. Good to see you, George.
-How's it goin'?

Yeah, great. Really good.

Um, is it some sort of what?

Um, not real animation,

but coming to a comic —

No, no, no. No, no.

Lumberton is, um, a great name

because it makes a picture in your mind.

I went through Belgrade

in 1965...

with my friend Jack.

- Jack Nance?
- Jack Fisk.

Oh. Okay.

Yeah.

Went all through Yugoslavia on a train,

on the Orient Express

down from — uh, to Athens.

How long were you in Athens?

I was only there a couple of days.

- You don't like it?
- No.

But why?

Well, because I like, um...

At that time I figured I was, uh...

The images and all the stuff I was seeing
wasn't what I wanted to see,

uh, for inspiration, for painting.

And I r— I realized
I was, like, an American painter,

and I should go back.

It just was — It was —
Everything was just, uh...

not the right kind of images for me.

Didn't — It didn't, uh,
give me any inspiration.

So I left.

But I think that's
a very strange part of Europe.

Yeah, well, I went all around.

I went to Salzburg, Austria,

and then I went to Paris,
and then I went...

uh, to... Athens.

And...

But I didn't spend very much time
in each place.

And I — I really was...

not ready to make a trip like that.

So I went back, started painting.

Then went to Philadelphia,
which is where it really —

it was the perfect place for me to go.

On — On Kyle's look back
to the Yellow Man,

can you see him looking back there?

We are the one!

Two, three, four, five,

six, seven, eight, nine,

ten, 11, 12, 13, 14, 15.

One, two, three, four,

five, six, seven, eight,

nine, ten, 11, 12,

13, 14, 15, 16, 17—

-Three, four, five, six, seven, eight, nine, ten...
-18, 19, 20...

-...11, 12, 13, 14, 15—
-...21, 22, 23, 24, 25.

Yeah!

Yeah!

- All right, we gotta jump. Let's go!
- All right! Come on, fellas! Get it up!

♪ Forget your troubles, come on, get happy ♪

And have some fun in the afternoon!

- You got a guy's ring?
- Huh?

You got a guy's ring?
It's not Bill's?

No. Um —

Why did you do that?

Your ring. That's not Bill's
ring? That's just your ring?

- I wear Scott's on my neck, but I didn't —
-Do you really?

Oh, yeah! That's right. I've seen that.

Get ready, Fredo.

Listen, y'all, while we're all —

Crank it up. Speed!

Hey! Why would he say that?

And stop.

You hungry or thirsty, or both?

I don't know.

I'd like to talk to you about something.

Wait just a minute.

Okay? You promise?

- Uh-huh.
- Okay.

Oh, my God!

I don't wanna be any trouble.

I'm here, aren't I?

Guess Mike's got some sort
of sports practice this afternoon.

Ooh, you are smart.
Just don't get too smart.

Was that last one flawless?

What kind of sound do you and David
want to create for Blue Velvet?

Uh, wh-why don't you cut there,
'cause I have to think about that.

Do you wanna cut?

Well, we talk a lot, initially.

And then, uh, at some point
I begin to play material for David

that I think is appropriate.

And he reacts, I react,
and we talk about it further.

And then, possibly, that means going back

and developing more — more sounds,

and then going back to the lab
and redoing things.

We did a lot of that on Dune

until we finally, uh,

get something that we basically both like.

Well, mainly he likes,

but if! don't like it, I argue.

Help me.

Help me.

Help me.

Help me.

Help me.

Help me.

Help me.

Help me.

Help me.

Help me.

Whenever you play a character,
even if it's somebody as weird as Dorothy,

you have to anchor it to something,

and I have to anchor it
to myself, you know.

So that sometimes
the two things are kind of the same.

This is Christian Michael Dallner, and I'm
in Wilmington, North Carolina right now.

We're shooting the film Blue Velvet,

and I'm working as a stand-in
for Kyle MacLachlan.

Is this Detective Williams' residence?

Yes, this is Sandy Williams.

Somebody needs my father's help
right away.

We'll have to send someone else.

No! He said someone was hurt
and he only wants my father there.

Look, this is an emergency.

He said someone was hurt
and he wants Detective Williams there.

We do not know
his whereabouts at this time.

Well, find him!

I'm lucky to be able to call you.

Jeffrey, what do you mean,
you're lucky to be able to call me?

It's okay. I'll tell you all about it.
How are you doing?

Well, how am I supposed to tell you
how I am when you tell me this stuff?

It's okay. What's happening?

We broke up.

It's okay.

Hey, Jeffrey, do you wanna go
to a party with me Friday night?

Mike's not gonna be there. Don't worry.

I think it'll be great.

You don't dance?

Well, I'll teach you, silly.

Hey, great.

Okay, Tiddlywinks, I'll see you later.

Okay, Tidbit.

Bye.

Cut it!

- Good. Back in the gate.
- Pick up the gate.

-Whoo!
-Whoo!

Hey, pull over! Get out of the car!

You stole my girl, you bastard!

I'm gonna kick your ass right here.
Come on! Get out of there!

Right here, right in front of
your own stupid house.

- Stop it, Mike.
- You shut up! Just shut up, all right?

Nobody's talking to you, all right?

- Hey, Mike —
-I'll kick your ass.

Watch out for Mike.

What?

Watch out for Mike.

Hey. Come here.

Huh? You stole my girl, you bastard.

I'm gonna kick your ass right here.

- Stop it, Mike.
- Shut up. Just shut up.

Nobody's talking to you.
Get out of the car, all right? Huh?

Who's that, huh, Jeffrey?

- ls that your mother?
- Dorothy? Dorothy!

Look, I gotta help someone who's hurt,
in case you haven't noticed.

Elephant Man
is a real pure, pure story.

It's like a — sort of like a fairy tale.

And Blue Velvet is not, in a way —

It is, in a sort of a way,
but it's so different.

It has a purity to it, though, to me,

and I think maybe when it's all together
it'll be a —

l-l love it, 'cause l-l know—

I love all the parts to it right now,

and I can hardly wait to see
how it will hold together.

That's the real test.

All — Just because the parts are good
doesn't mean the whole thing will be good.

And...

l just — I feel confident

because I — I believe in the script

and I believe in the parts.

So it should work when it goes together.

But I don't know yet.

There is also
an innocence about him as a man.

You know, you absolutely feel
that he's very intelligent

and he is very talented and very together

and very emotional and all that.

But also there is a kind of
a childish little thing, you know.

And — Which makes him
very poetic as a person.

And that could be, uh, you know,
a streak of his art

that, uh, it's there.

I see the film
almost as one person, you know, who has —

If you see — If you're completely abstract —

It's not, you know, a comment on the story
or on the script or anything like that.

It's more maybe on David that wrote it,
or me that read it that day.

And one day I read it
without reading the names of the character

and without thinking of Laura Dern

and, uh — and, you know —
and Kyle for the character,

but just read it as a monologue.

And it was always —
almost as if it was one person.

And almost it was a trip
that my mind could go, you know?

Your mind can go very nice
and very proper and very bourgeois,

and then at the same time
it can have a thought of murder

and it can have a thought of suicide,

and it can have a thought of destruction,

and it can be —
feel completely, um, also, defeated

and victimized and confused,
like Dorothy is.

You want me to read you a poem?

You do ?

TV is a great thing,
because bad quality looks good on TV.

TV is a great thing,
because bad quality looks good on TV.

- The screen is broken in.
- Okay.

-l'm gonna sledge-hammer it.
-Ellen...

Okay. Don't go away.

Do the pictures come through
through your imagination?

Yes, only before, uh —

Eraserhead was the only other film
that was so close

to, uh, imagination.

ln Dorothy's apartment, uh,

it feels absolutely, uh, the right way,

uh, the way it was in my mind.

And the other —
The mood of the other places,

even better than the way I imagined them.

When the dailies are very dark,

is it sometimes too dark,
darker than you expected, or is it okay?

No, no, no — Well, there's a couple places
that are maybe darker than I expected,

but mostly it's — it's that way.

It's supposed to be that way.

How do you feel
working with Dennis Hopper?

I love Dennis. He's fantastic.

He's the perfect Frank.
I am so lucky to get him.

And, uh, he's —

he's, uh —

he's a great person off the set, you know.

He's a really great human being.
He's — He's really together.

Is he criticizing your making decisions?

No, he's, um — He's understanding Frank.

And he's enthusiastic, and he's, uh —

he's tuning in to, uh, this, uh —

He understands the picture.

And, uh, so it's —

Like, it's no — There's no, uh, friction.

It's just going smooth.

Your relationship with, uh, Jack —

-Jack Nance?
-Yeah.

Uh, I love Jack.

I've known Jack for about 16 years,

and, uh, so I like to have him, uh —

I like to work with him.

And I like to hear his stories.

He's a good storyteller.

Great storyteller, yes.

I need, uh — I need the director. We
got first team in, so we gotta go to work.

-First team is now, right?
-First team is in the stage now.

Gotta go to work. Sorry, guys.

I could never work
under these conditions.

- You know?
- As a director?

Yeah. My God, I'd —
I'd get 27 setups a day.

You know?

Does that mean you would work faster?

And I wouldn't wait for the light.

I mean, what is this?
I never heard of such a thing.

You'd think you were making
a brain transplant here or something,

the way they light these scenes.

I mean, really, seriously, I don't —

In my mind I don't understand it.
It's over my — It's totally over my head.

And, uh, it looks — It's very well done.

But, um —

I was so pleased that, uh —
that David, uh, hired Dennis Hopper,

because I have, as Isabella,

I've always admired him so much.

Um, I've admired him tremendously.

He is slightly older than I,

and, uh, he —

But not as old as my parents.

He was like my older brother, you know,
what I wanted to be in the 60's.

And he represented so much
of this uneasiness

and this kind of existentialist,
uh, uneasiness and unhappiness.

And, uh, so I was so glad

that by coincidence he hired Dennis,

because I thought that my admiration to
Dennis, my personal admiration to Dennis,

brought so much to the character
and I should just let it live.

My admiration to Dennis should live in —
The admiration should live in Dorothy.

♪ Blue ♪

♪ Velvet ♪

♪ Bluer than velvet ♪

♪ Was the night ♪

♪ Softer than satin ♪

♪ Was the light ♪

♪ From the stars ♪

♪ She wore ♪

♪ Blue ♪

♪ Velvet ♪

♪ Bluer than velvet ♪

♪ Were her eyes ♪

♪ Warmer than May ♪

♪ Her tender sighs ♪

♪ Love was ours ♪

♪ Ours a love ♪

♪ I held tightly ♪

♪ Feeling the rapture grow ♪

♪ Like a flame ♪

♪ Burning brightly ♪

♪ But when she left ♪

♪ Gone was the glow ♪

♪ Of ♪

♪ Blue ♪

♪ Velvet ♪

♪ But in my heart ♪

♪ There'll always be ♪

♪ Precious and warm ♪

♪ A memory ♪

♪ Through the years ♪

♪ And I still ♪

♪ Can see ♪

Oh, yeah.

But, see, um, uh...

Germany's very industrial.

Yeah. But it's very, uh...

clean industry, it seems to me.

I like, uh, industry to make smoke

and, uh, make, uh, waste.

That's when you see the neat textures.

Everything —
When everything is too clean —

Like, radiation, to me, is very boring,

because you don't see,
uh, anything, really.

You just get the effect of it
years later, you know.

It affects people.

But smoke is something you can see.

And I like steel mills and smoke and oil...

and sludge and stuff like that.

It's — It's the surface of it,

and it's, uh, what it does to...

inside of, you know, people too.

And it's the life that —
You know, a factory life.

Where are we going, Frank?
Where are we going, Frank?

We're taking your neighbor
out into the country.

Cunt... try.

"Cunt-try."

And then hit the dirt road,
and it's real violent until we say "cut."

I should go work in a factory,

but it's not the working in a factory
that, um, thrills me.

It's the — It's the looking at it.

You know?

But, um, the trouble with, uh, everything

is that I would like to go on a trip now...

and...

uh, see closer, you know,

what is happening, you know,
inside factories and...

in little cities and in the country

and get closer to it.

Pussy heaven.

A candy-colored clown
they call the Sandman, you know,

tiptoes into my room every night...

to sprinkle stardust and to whisper,
"Go to sleep. Everything's all right."

For me, it's going to be
a very fun film to sit down and see.

Uh, l-l love so many of the characters
and so many of the scenes.

I think it'll be very fun to see it.

If I have anything
to say about Raymond,

I would say that Raymond is bored.

Profoundly bored.

The most important thing about me is —
in this movie, is that I'm bored.

I wouldn't do what I'm doing now
for anybody else, I'll tell you.

There is no other director I would do —
I would do what I'm doing now for.

"Jack, I can't wait...

to get you and Brad Dourif
in the same frame."

"Okay... maybe... someday...

somebody will say that somebody

may have done something
more 'Spencer—esque."'

Oh, hey. Oh, yeah, yeah. We got to see Ben.

- We've got to. Right? Got to, got to.
- We've got to. We've got to.

I mean, I don't go to movies.

I don't see movies.

And...

I don't believe actors.

I cannot get beyond that —

the...

suspension of disbelief.

How many hours do we have?

We have until the sun comes up, obviously.
We'll have to go into overtime.

Six, 6:30, the sun comes up.

It's now — It's now five to 7:00.

We haven't been able to shoot since 6:30.

We have
about an hour and, uh, 15 minutes

per thing, on the average, right?

- Per scene, or per shot?
- Yeah. Per scene.

What do we wanna think —

Then you have to think about...

Getting 'em
in an hour and 15 minutes.

Yeah, and if not, if we fall
one minute behind at some point,

what you are going to want to not do.

I don't want to not do anything.

And I don't even want to think about that,
to not do everything that...

That's good for a half hour anyway.
It's always good.

You come across for you.

♪ I hear Little Rock
callin' me back home ♪

♪ l know this song ♪

♪ And I know it's a long way from home ♪

If we're in a setup,
and we're gonna —

You like to open me, don't you?

Yes.

What if I told Frank
that you opened me?

Well, that wouldn't be too good,
would it?

Frank would open you.

Please, Dorothy, I know you're scared,
and you're trying to scare someone.

- Does that scare you?
- Shut up, Dorothy.

- Be careful.
- Come on, will ya.

What if Frank would come over here
and found us here?

Jeffrey, you're not
going down by Lincoln, are you?

Okay, lets fly to, uh, put this on film.

I think a woman named Dorothy Vallens
is in trouble with these people.

I think Frank kidnapped her husband and son.

I have no hard proof of any of this.

I think these people are involved
with drugs and murder.

I think Frank is killing drug dealers
and somehow getting their drugs.

...a thousand-dollar reward.

The new charge card
from Scoville Clothing Center

in Lumberton on Liberty Hill Road.

There are very good things in the world,

but, uh, for the most part
I think we live in a —

a pretty, uh, dark world

that's, uh, like I say,
filled with these confusions.

And, uh, people really don't, uh,
it seems to me, uh —

We all really don't know,
uh, what's going on.

And...

Did you hear me say "stop ” yet?

Go on back and by it.

Wait a minute.

You gotta try it again.

Back it right up, sweetheart,
and we'll go again.

Well, uh. ..

Okay, but get it out
away from the curb there.

A friend of mine, a woman...

a patron millionaire,
came down, uh, to visit

and she read part of the screenplay
and she said, “Did you write the character?

Did you write your part?" And I said "No."

'Cause she found it very similar
to the way I speak sometimes.

Say please, fuckhead!

Ready or not.

Lockdown in progress, cars 21 through 25.

Car 21, proceed to Dock and Lincoln.

Car 21, 10-4.

Anyway, I find David Lynch's mind
a really, uh, interesting, uh...

a very full and interesting sort of, uh...

uh...

subjective kind of, um...

trip, you know.

His, uh —
His dreamlike, you know, uh —

The dreamlike quality of his subconscious
is like —

He said, "What do you think people
will see —" He asked me, I think —

"What do you think people will get
out of this when they see the movie?"

And I said, "Well, I mean,
a lot of people will be terrified by it

and be, you know — find it like a..."

...throw off
the whole take, okay? it's real critical.

"...a horror film, you know.

And they will like it
for those reasons or not."

But if people really allow themselves
to look at it,

they will find themselves living...

on the edge of their subconscious.

Because I think we all have
these subconscious feelings, you know.

And I think you can follow Jeffrey
through this — this rites of passage,

which is the way I like to see it —

through this thing as, like, being

the straight, you know, common denominator
for all of this.

And, uh...

the other being our worst nightmare.

But I think all these things are in our
subconscious and in our dream world.

These things exist, so, uh —

And of course they do in reality too,

but hopefully we don't see them.

What is this?

- And background action!
- Velvet.

What color is it?

Blue velvet.

- Mmm.
- Settle down.

Action.

But I don't know
that David is conscious of it.

I don't know that David —
I-l don't know David.

So it's hard for me to tell. I —

Uh, everyone says David
is a painter and so on.

I don't know that David is well —
well-educated in film.

I'm not sure that David is a film buff
or ever has been a film buff.

l-l may be very mistaken about that.

But I don't think that David
sees a lot of movies.

I have a feeling that it was not his thing
to go and spend time seeing movies.

I don't think that David is very up to date
on the movies that are being made now.

And I don't find it necessary.

But I-I'm not sure that — I'm not sure —

If we said "Luis Buñuel,"
he would say, "Oh, yes, yes, yes."

But I don't think that David would
necessarily have seen many of Buñuel's films.

I could be very wrong about that.

But it's just — it's just my — my, uh —

my interpretation of, perhaps, a —

- I think you're right.
- That, uh —

And I find that better.

I find that better that we see it
and David — You know, that D —

Because I think it's a real unique
kind of thing, you know.

Where Bunuel dealt with surrealism

David is dealing with his own subconscious
and his own, uh —

his own way of looking at things,
and it's not, uh —

it's not emulative of anybody
or imitative of anybody.

It's his own vision.

I think through his meditation
and through the way he lives,

and through his very, very naive —

That he can see
the very good and the very bad,

the good and the evil and so on.

That's wonderful, you know.

And it's wonderfully naive.

Well, if that's the only thing, Peter,
we'll be okay.

And a little bit of the scene
when the head —

- The head, huh?
- Yeah.

Oh, but you haven't seen it
cut together, have you?

But I know the —

- I know 14 frames of that, and —
- Have you seen it cut together?

I'd like to do one more rehearsal.

After that rehearsal,
I want to shoot immediately.

Speed.

And then the bulb will blow up.

Yeah? I'm sorry, Peter.

Why is it I don't think you're okay?

But the best part about it, if I —

- If you may say.
- If I may say, is that it's, boom-boom.

A scream. Uh-huh.

"Fucker." Boom-boom. And as it's
going like this, you hear this scream.

And you go, what the hell is that?

Where did you see this?

Frank would know a guy like that.

Speak to me, fucker.

You know, that would live on the —
in this weird, kind of bizarre world.

Because in all little small towns
or something,

there's a guy like Ben, you know,
I mean, somewhere.

I mean, if you find him
he's there, I'm sure, you know.

Or hopefully he's there.

But, I mean, I find that
as a look of America as really bizarre.

I mean, I find —
This movie's gonna be very funny.

Hey, Ben! Open up! It's Frank!

Well, I feel really good, Peter.

Um... uh...

Well, we've been on nights for three weeks,
so we're sort of crazy.

And now, um,
we're getting really good stuff.

Uh, so I feel really good,

uh, and I'm just hoping that we're gonna get
everything that we need in the next two weeks.

Then we'll be through.

One more week of principal.

You have to have the most energy
of all of the crew to do this.

How to — What do you do to —

to get through the day
without so less sleep and —

Well, l'm so excited about the picture
that, uh, I— I just—

I've never been as happy, uh,
as, uh, I am when I'm shooting anyway,

and I'm happier on this picture
than any before.

What about your meditation, when you do it?

Do you find it that —

No, I-I've been, uh, meditating
for a lot of years,

and I think it's — it's, uh —

it gives me a lot of energy.

Yeah.

What do you think of the crew when they
have to work two or three hours more in a...

Well, um, I think
we're having an awful lot of fun.

So, um, I think that it's —
it's really good.

Uh, but I know
that everybody's getting tired

and that's not — that's not —

I don't like to have people work,
you know, more than they should.

Sometimes in the last
moments of the day, like now,

are the most creative, you know —

-The most creative?
-Yeah.

Well, not always.

A lot of times you need to sit very quietly
and then you start getting some ideas.

And if it's always rushed and you feel bad
about making people work that extra little bit,

then maybe you stop getting ideas.

But, um, uh, this is a great crew,

and they've never said
we won't do something.

What was the biggest problem
in the shoot for you?

There's been no creative problems.

The only — As, uh —

Hoping that there won't be any problems
that would cause me, you know —

or all of us not to get what we need to get.

- What's your name?
- Jeffrey.

- Jeffrey what?
- Jeffrey nothing.

Jeffrey Nothing,
you'd better tell me something.

Give me your wallet.

Take that out of the scene
and give to another scene,

like the scene we were gonna
do, the good-bye scene

in that other room by the fireplace.

So we're not gonna get it tonight.

We either take the chance
of not having it in the movie at all,

and it's an important scene.

So I suggested to David, let's do it
as a day scene, exterior, tomorrow,

when we're on Princeton Street.

We'll find a house...

What if you had a camera that was little,
or the lens was little?

Like fiber optics, but real good.

You'd just start your dolly move,
you know, right here,

and push it right into your ear.

That means a lot of people could do it.

But still, a lot of people can do a lot of
things, but they don't think about them.

Right?

And you could — you could just
push right inside the ear,

but perfect quality,
like you were really going in there.

But they don't have that, so you
have to build, you know, different things

and find a different way to do it.

You can do anything you can think of.

But it takes, sometimes,
a lot of money and a lot of time.

Don. Don.

It's all right. Don't worry.

Don, can you hear me?

ls little Donny all right?

Is he with you?

Meadow Lane?

Frank, what's wrong with him?

Yes.

In an hour.

Let me talk to him.

Please, Frank.

Sir.

I like to sing "Blue Velvet."

Don?

Don, it's okay. Don't worry.

Don?

Oh, boy.

Do you know, I have a...

I agree. I mean, you just, uh —

I don't have all the answers, but, um...

Actually, I don't have any, but, uh...

This is the, you know,
the power of this medium of — of film.

It can — It can —

It can, uh —

It's not even started yet,
what it can do, I think.

Um, some-somehow, you know,

future directors are gonna be doing,
um, really magical things

with this very medium.

Uh, so most films, or a lot of films now
are one thing-type films.

And you know in the very beginning
what it's going to be like.

And it's, uh — it, uh —

it doesn't branch out.

And you can't branch out too much
or you'll lose people and lose yourself.

But, uh, films can be about
many different things

and have great contrasts.

And, uh, so I'd like to —
you to think of a new term.

Frank was obsessed by her.

She hated him. He had to have her.

He kidnapped her husband and son
to control her,

make her do things.

When she wanted to commit suicide, he
started cutting off ears as a warning to her

to stay alive.

Frank loved blue — blue velvet.

He had to have Dorothy.

Her whole life was blue.

♪ I see in the news
That we've got the blues again ♪

♪ But all I see is red ♪

♪ Don't care what they said ♪

♪ It takes 56 pages ♪

♪ To tell me I'm wasting my time ♪

♪ Tomorrow we'll change ♪

♪ Won't remember today ♪

♪ Yet there is just enough news
To fill out the bulletin ♪

♪ And how do they know
That there is always enough going on? ♪

♪ You see, one day it's bombs ♪

♪ The next it's all Babylon ♪

♪ No news ♪

♪ No news ♪

♪ No news ♪

♪ l read in the stars ♪

♪ We still got a lot to prove ♪

♪ The headline was clear ♪

♪ Come lend me your ear ♪

♪ I just can't decide what to show
What to hide from you ♪

Subtitles by TUO PADRE

♪ The text moves so fast ♪

♪ The meaning gets lost ♪

♪ But there is just enough news ♪

♪ To fill up the bulletin ♪

♪ And how do they know
That there is always enough going on? ♪

♪ See, one day it's quiet ♪

♪ The next it's all Babylon ♪

♪ No news ♪

♪ No news ♪

♪ No news ♪

♪ No news ♪

♪ No news ♪