[electricity crackling]
I strange warbling music ♪
III
[man] At the time of this recording,
there are 7.5 billion human beings
living on Planet Earth.
III
There are trees in the forest
that have lived for more than 4,000 years.
As I wave! these different landscapes,
I wonder if there is something more than what we see.
What comes first?
The lightning or the thunder'?
[motor whirring]
- [woman] Right behind you. - [Leslie] Are you Mr. Lynch?
[Lynch] lam. A pleasure.
What a plea-Well, first... hi.
- Hi. [laughs] - What a pleasure to meet you.
Fantastic. It's a pleasure to meet you.
Oh, my. I'm-I'm honored I get to be...
in your movie.
[Lynch] Fantastic. Well, let me tell you what you're gonna do.
Real quick. Scott needed a real quick note.
- Okay. - [Scott] Question about whether or not
Tad gets out of the car.
- [man] Can we have it quiet, please? - [Lynch] No.
These woodsmen are back here, going around this one.
[man] Okay.
[Lynch] You know, they're going around this person,
maybe 'cause all the doors are locked.
- [man] Okay. - [Lynch] And they're going around.
So they're busy.
This Woodsman comes out like this
and stops his car.
- [man] As this one's coming up. - [Lynch] Yeah, he comes out like this.
Whoa, kike this, and he stops.
Comes over. They don't-
they get kind of mesmerized,
and they open up the door,
his wife comes out, lightning shoots out.
[Lynch] There's kind of- some bright lights come up,
and you see this face, and this man comes up
and not, like, a normal man,
and he says, "Got a light?"
And he's kind of like an alien.
And so y0u're-[panting]
You start... you start hyperventilating and start trying to scream
and trying to-build it up, build it up.
"Go away, go away," you start saying.
"Go away!"
And-and-and you're-"Go! Go!"
Like this, to your husband, okay?
And you can start screaming, you know, as it goes,
and he's gonna have the door open to see if this man needed help at first,
and now he's gonna start going, and he's gonna start going crazy.
Another one's gonna come out, and you scream when that one comes out,
and he swerves, and he misses it, and you're home free.
- [Lynch] on! on! - [Leslie] on! Oh!
Keep saying it! Keep saying, "Oh! Oh!"
- [Lynch] on! on! - [Leslie] on! Oh!
Beautiful. That's the deal. Just do that-.
- [Leslie] Just do that. - [Lynch] Yes, yes.
- Don't say, "Let's g0." - No, none of that.
- Just keep doing that. - Thank you, sir.
- So beautiful. - [Leslie] Thank you.
[indistinct talking and laughing]
I strange warbling music ♪
III
[man] Little children seem to be not listening.
The man with the gray elevated hair bends his face in pain.
Can the past, present, and the future all happen at the same time?
[indistinct talking]
- Oh, hello. - Hi. Nice to meet you.
- I'm David. Good to see you' - Hi.
- [man] That's Pam and Tony. - Tony, good to see you.
- Maggie. - Maggie, great to see you.
- Okay. - Where... yeah, where do we...
- Okay, Dad, you're- - [man] Douglas Jones.
[Lynch] On the side here.
And your hands are handcuffed behind you.
[man] Hey, Drew.
And you're right in here, standing.
- [woman] Standing? - [Lynch] Mm-hmm.
And you are here, standing.
And then the kids will be all in here.
Okay, and the door will open.
You turn to the door.
They'll look at you, they'll close the doer,
and that's the shot.
[man] All right. That's David. That's Casey.
Hi. That's perfect. That's perfect.
You guys- you could cry all you want in this scene.
- It's beautiful. - [woman] Okay.
Just... no, you come over here.
[Lynch] Champ, you stand right there in front of...
You guys start making your noise down there.
Start making your noise.
- [man] Okay, here we go. - Okay, get over the rest of 'em.
[Lynch] Hey, hotshots. Hotshots, get over with the rest of 'em.
Stan making your noise. Start making your noise.
Roll around on the floor and make your noise, Alden.
- [man] Here we go. - [Lynch] Can you make your noise?
[Lynch] Okay, when they do open the door, don't look at the kids.
Just look at the man who opens the door.
Yeah, and if-Alden, if you could start
crawling on the floor and making some noise,
that would be so beautiful.
See if you can cram and be crying.
Cry for me.
Crawl on the floor and cry like a llllle baby.
Can you do that, Alden?
Can you cry out like a little baby for the film?
It'd be so beautiful.
Crawl over there and crawl around and cry like a baby.
See... real loud. Can you do it?
Can you do it?
Crawl and cry like a baby. Alden, do that thing.
That would be so beautiful. That's great. Like that.
Can you make noise?
[Alden babbling]
[Lynch] That's... but don't crawl out of the shot.
Crawl around right in front.
Keep making noise.
- [man] Make your noises over here. - [Alden yelling]
[Lynch] Make some crying noises.
Some sad, loud crying noises.
Don't be happy. Don't be happy.
[Alden yells]
[Lynch] That's a happy sound. Make it not be happy.
That's too happy. Too happy.
Roll around and be, you know, be upset.
Roll around and be upset.
There you go. That's beautiful.
Roll back the other way. Roll back the other way.
Roll back the other way. Same thing.
Action, you guys, action.
Roll back. Roll back.
No, no, no, no. It's too happy.
Roll again. Get over there and roll really in pain.
[Lynch] Really in pain.
- [Alden screaming] - That's beautiful.
Let's shoot this thing right now.
[Lynch] Scream like you're at a concert.
Can you scream like you're at a concert, Alden?
Scream out like you're at a concert.
A rock-and-roll concert. Scream out.
- Scream out at the man at the door. - [Alden screams]
I strange vocal music ♪
III
[man] Toothpicks on top of a putting green.
Somehow, the half-sized man has again come to visit.
This time, his white-gloved arm is like a swollen balloon.
The black-haired woman places her hand on the nipple.
Who do you think is the happiest brothel'?
Rodney, Bradley, or Fuscos?
One, two, or three?
[laughter]
I don't see any white van.
[man] David, there's a couple things to talk about for-
Well, actually, I have about 400 things to talk about for Friday, but most-
What is Friday?
[man] Friday is the newsroom.
- [Lynch] The newsroom? - [man] Yes.
[Lynch] The newsroom should be very simple.
- [man] I think so, too. - [Lynch] Very simple.
- [man] 'Cause newscasts are simple. - Yeah.
[man] And ifs gonna actually- ifs supposed to look like
what is really on television.
- Yeah. - [man] So it's not complicated angles.
No, and it's like, "Sheena, what have we got next?"
And she hits the red button, which I have somewhere.
Michael has it.
And he says, "Roll the dice,"
and she hits this button,
and the dice, which will be a spoof thing, or us, you know,
will roll out and say "local news,"
and they/ll continue, "Today in local news,
at such-and-such,
you know, Lucky 7 Insurance Company,
Ike the Spike was, you know, like this," and talk, talk, talk,
and we cut to different, you know, interviews,
you know, and different things.
And Pm not sure-Read the scene. How much do they say?
[man] It's a two-shot, and it's a close-up and a close-up...
Yeah.
Yeah. No problem.
[man] Okay... um, so...
[man] Static?
- Static. - Okay.
And what... what's the graphic that goes in?
[Lynch] I have no idea.
- [man] Oh. - [Lynch] We just put something in later.
When the playfulness or- We're coming out of 115 degrees...
- [Lynch] Right. - It's Las Vegas.
Roll the dice, which, ifs that.
- Playful? What's the... - [Lynch] Business as usual.
And when you hit that thing,
just let your hand bounce off of it, just like, barn,
and then lift up, yeah.
[Lynch] No, you're pushing it down.
Just hit it, and let it bounce off.
- [Lynch] First, have your hand higher. - Local news!
- And down. Bang. - [Sara] Local news!
[Lynch] Here we go, and just be relating to one another,
you know, throughout-you're a team,
going down the road, giving 'em the news.
- Here we go. Action! - [Sara] Local news!
[Lynch] And son of make Douglas Jones a little bit of a hero in that,
and then, "In local news," when you pick it up,
I need, "In local news," you just, you know, that's the category you love.
The people love local news!
YQU sa Y. "I r1 l0cal newsl"
When you're talking about Mr. Douglas Jones,
you've heard the story, like... here we go...
from here, you're so excited, but you just finished the weather.
Okay, keep it pumped up, you guys.
Really pumped UP-
Okay, roll the dice, Sheena. Okay, okay, start again.
You guys, here we go.
Tell the story... Mr. Douglas Jones.
Okay, Sheena? Okay? Now, try it again.
That was real good, you guys. Very, very good.
Okay, keep that enthusiasm going.
Tell the story.
Set, Pete? Action!
- [Sara] Paul, where do we go next? - [Greg] Roll the dice, Sheena.
[Sara] Local news!
[Greg] In local news, major excitement at a downtown hotel today.
They arrested downtown local hit man Ike "The Spike" Stadtler.
[Sara] Stadtler is a suspect in a number of gangland-related murders,
including an attempt just yesterday on the life of this local businessman...
[Sara speaking indistinctly]
Ike the Spike and the great Fusco brothers are a wrap!
[cheers and applause]
I strange warbling music ♪
III
[man] Why are there two men waiting at the pig farm for the dimwitted one?
Does he have something that they are wanting?
Dust blows in my eyes and makes me not see.
I think today I must wear long pants.
And then we have, um, Dougie's car arriving.
The Mitchum brothers are already there.
[Lynch] Dougie gets out,
and they lead him to a place,
and they're gonna, you know, kill him.
They send Dougie's driver away,
but he doesn't have time to get in it 'cause Bradley remembers his dream,
and he panics, and he says, "Rodney, come here a minute."
And Rodney's already got his gun out.
So, uh, Rodney says, "What is it?" you know.
And he's, like- and Bradley says,
"if he's got what I think he's got,
what I saw in my dream, in that box, we can't kill him."
He says, "What are you talking about?" And he says, "We can't kill him.
It means he's on our side. He's not against us."
And finally Rodney says, "Fuck it," you know,
"Go see what he's got in the box."
He just whispers in his ear what it is.
And, um, so he goes over there, he opens up the box,
we see inside, there's the cherry pie.
And, you know, then, uh, he tells him to frisk him,
and... so they set the cherry pie down and frisk him,
and they find this check, and he opens it up and looks at it,
and runs the check over to Rodney,
and Rodney sees the big check in front of his eyes,
and we cut to dinner.
[man] This is a hard day, but it's a makeable day, and-
It would be easy to make it if it wasn't for Pete
and the sun being directly above us.
In all the time we have to shoot,
we can't shoot anything of any meat during that time.
Ifs totally fucking absurd.
And then I'm waiting there till fucking four in the afternoon
with nothing to do.
So why did I get up at four screamin' early...
to waif?
So I will take a call at 3:30. I'll be there.
[laughter]
And I'll have my sandwich and a quarter-load.
- And we'll shoot. - [man] And shoot the whole thing.
Yeah, I'm not gonna sit around.
- [woman] Well- - I don't want to do it.
- [man] Okay, but we also have- - I'm not gonna do it.
[woman] What do you mean, you're not gonna do it?
- I'm not gonna go. - [laughter]
- [man] Oh, goodness. - [man] All right, it's gone from that.
No, I don't want to go.
I don't want to go there and wait in the noon
and look at the sun.
- [man] No- - And I'll be sweatin'.
- [man] No. - And-
[man] No, you'll be in your trailer meditating from noon to one.
Oh, no, I'll be meditating from 8:30 in the morning
till four in the afternoon.
- [laughter] - That's what I'll be doing.
- [man] Oh, my goodness. - I'll be in the trailer.
- [man] Okay. - [car door closes]
This is a fucking mess.
This is bullshit.
Can't shoot a scene in that.
That's a fucking mess.
I strange warbling music ♪
III
- Can we move those trucks? - [man] Yeah.
Then we're gonna shoot it here.
Pete, come on over here.
[Lynch] And then they get him out of the car.
Dougie walks up here and holds the box,
and they have their last conversation right here,
and they go, and they frisk him.
And they bring the check over.
[Lynch] Okay, we're gonna shoot it right here.
Okay.
III
[tractor beeping]
Where the hell are you going, man?
He said just move it a little bit,
and now we're all out in the sun-
[man] Yes, but we're gonna move you back.
No, I know, but then I'll be 10,000 miles away from the fucking car.
[man] We'll come back.
- There's a little awkward spot here. - All right, gentlemen.
Let's move the tent back
towards David... a few feet.
A few feet. [laughs]
[Scott] Maybe this.
Thank you, Scott. That's great.
Still, it'll be about 25 feet away.
I strange warbling music ♪
III
[man laughs]
Okay, now, this is perfect. You're on this side, you're on this side.
It's been since breakfast, this dream, been bothering you.
And it's a-it's like a torment.
And so ifs-you're sitting there,
waiting for the limo to bring Dougie out here to kill him,
and you're-you're troubled.
You pick up on this, you know, he's been sullen and troubled all the way out.
And so ifs the undercurrent of that for you, Bradley.
- [Jim] Okay. - [Lynch] And...
And then you-then you remember
that thing about the Candie cut getting healed,
and you reach up, and you see, you know,
you don't want him getting that bandage off, it hurt, you know,
it was a good cut.
And you peel that thing off, and ifs... beautiful, ifs healed.
It can'! be, you say, it can't be.
Peeled it off, and you look in the-
We'll see if there's a vanity mirror in there.
You can see, and you say, "I'll be damned."
And-and-and then you say, "But there's more, but I can't remember."
- [Jim] Right. - And that's the end of it.
[Jim] Okay.
Okay, you've gotten the word that the limo's on its arrival,
and you can get out and place yourselves where we talked about.
"Okay, fine. Frisk him just in case, okay?"
And-and-and then you frisk him.
“It's a cherry pie."
You know, make a thing of that.
- [stammering] "It is that." - [Jim] Okay.
And then you think, "Oh, my God," you know, like,
"Okay, fine."
You {risk him, and you find this envelope,
and then don't do anything until he says, "Open it."
You make a thing. Tum it around.
You're gonna be so happy to show your brother this.
- [Jim] Okay. - But walk it up slow.
- [Jim] Okay. - Show this motherfucker to your brother.
Like that.
S strange music S'
III
[Lynch] They say 'Tuck oft " right?
And so the Polish accountant says, "I move car."
He goes and he gels in his car, pushes up against this thing;.
Its wheels are burning smoke, right?
Peeling-you know, just squealing.
Making a loud noise. Dogs start barking.
Chantal, she gets pissed off, and she blows out his windshield.
[imitates explosion]
The Polish accountantjumps out, pulls a gun,
and goes back behind his car.
I think he might shoot her before he gets out.
- [Lynch] He shoots her in the shoulder. - [man] Okay.
[Lynch] And he goes around back.
And then, you know, the van keeps going down,
so he starts shooting in the back of the van, right?
He reloads, shoots some more,
Hutch“ be dancing, dying in me back,
and Chantal will be taking it in the back and the side.
[man] Yeah, yeah.
[indistinct talking]
Hutch and Chantal
are never out of the van.
There's many things that happen outside the van.
They're not part of that.
They see it from inside the van.
Those things and the shots of them inside the van
we can do in one part of one morning.
Part of one morning.
[Lynch] The stunt person could be in the van as it goes down
because we start shooting- you just see the hair
and a little bit of the hair on the shoulder.
As they shoot down and all the shooting.
We shoot the back of the inside, tent the van with all the gunshot stuff,
you know, and get that out of the way.
I don't like to make things seem so complicated.
The way, you know, we're settling into it-
Like, if we were in a battle, you know,
General Patton would say, "Fuck you, man."
He told his troops, "Get up there,"
you know, like 100 miles through freezing snow,
horrible conditions, slogging through mud,
drove the fuckers up there,
and no one thought he could do it.
This is the way we got to attack this next part of the, you know, film.
Not take no for an answer.
This kind of stuff, we-we-we-
That week's work we could all shoot all on Monday,
if we were really- really got our act together.
The whole fucking week's work in one day.
Please, let's shoot.
Okay, get me a piece of paper.
Get me a fucking pen.
I didn't want to go through this all tonight.
[man] Right, but can we talk about it a little bit?
It's just-we'll prep you for later on for your shot list.
I'm supposed to do that, I know.
[Lynch] We're playing it all in here. This whole scene.
This is happening outside. Okay?
We got Chantal here.
He fires back. "Fuck, he winged me!"
- Right? - [Scott] Uh-huh.
And he says, "Chantal, you ruin every fucking thing!"
And we see bullets coming in.
Now we start getting down here.
And bullets are coming in this back way, right?
And Hutch is dancing around like a marionette.
We're shooting at-right in here.
They're banging, bang, bang.
We shoot from their point of view, their window blown out.
Jumping out of the car. Firing back.
[Scott] All right- now, let me kind of talk about
how we can let Jennifer be gone on Saturday
and accomplish all this.
Okay. Do you see what I mean?
Said by lunchtime, she's gone.
By lunchtime, she's gone.
By lunch, she is gone.
We send her in the car.
- [Scott] Okay. - [Lynch] Back to LA.
[man] Yeah, but that's not on Friday.
Here's how we set up Friday.
Friday, we have a crane shot.
Crane shot, Saturday.
All this other stuff is Saturday.
This stuff here is Friday morning,
first fucking thing.
Get that scene.
Get them getting killed in there,
and then we've-wave done it.
I strange warbling music ♪
III
[indistinct chatter]
[Lynch] Okay, now, Chantal...
you are in a really bad mood.
[Jennifer] Bad mood.
And poor Hutch is-knows that.
[Tim] Yeah.
[Lynch] But you're really- you're ready to go off
at the slightest fucking thing.
And then...
...coming in,
and stopping right about here-
- [Tim] In front of us. - Yeah.
- [rim] Right. - Is the Polish accountant.
[Lynch] You can tap it right here.
- Okay, we're gonna have a rehearsal here. - [man] Shh, quiet, everyone.
Let's rehearse.
Tap it there.
[Lynch] Well, you can-yeah.
Hello.
Hello, you're in my driveway.
[Jennifer] Go fuck yourself!
I move car.
- Okay. - Perfect.
- [Lynch] Hey, Tim. - [Tim] Yeah.
[Lynch] You're up, buddy.
He's aiming almost toward the back doors.
He's got a shotgun in his right hand.
And at the beginning of the shot,
he will blow a hole in the side of the van with the shotgun,
and we'll add a beautiful sound later.
After he shoots that shotgun,
he's gonna turn-holding on up here,
turn toward the back doors,
and then you let him have it.
[Lynch] So it's boom, turn, boom-boom-boom-boom-boom.
Then he's gonna fall down and, bump, and be dead.
- [man] Okay. - [laughter]
Now.
III
This shot will not work in the dark.
Please, let's shoot.
Please, get the gun for Tim.
Get the gun for Tim
while they' re adjusting these things.
[man coughs]
Get the gun for Tim.
[device beeps]
[Lynch] Blood in the mouth!
Get that blood in the mouth!
Please, Kat's shoot.
Please, start the car rolling.
[Scott] Do you have confirmation on the stop?
Just getting confirmation from camera.
[man] Who is- who's gonna give Tim the action?
- [Scott] We'll- - I'm gonna yell out "action,"
and Scott will give it over the phone.
[Scott] Here we go.
All right, everyone ready.
And go, car, go.
Say when when she's slumped over, David.
- Action! - Action!
[gunshots]
[Scott] Drifting down the street. Perfect.
Cut it! So beautiful.
Way to go, everybody!
[Scott] Cut! Bravo!
[cheers and applause]
So good! Aces!
So good, man. Really good.
- [Tim] Cool, man. - Yeah. You're gonna love it.
Everybody did great. Everybody, thank you so much.
- Thanks, everyone. - Just incredible.
[applause]
Thank you.
[woman laughs]
[Tim] Are you done now?