Welcome to another episode of the Following Films Podcast! In this episode, I sit down with the incredible Stephen Graham Jones, celebrated author and horror mastermind, to discuss his recent participation in the documentary series First Word on Horror. We’ll unpack his unique perspective on the genre, I ask highly specific questions about The Only Good Indians, we chat about Wes Craven’s iconic Scream, a film that redefined the slasher genre—along with some fun tangents, including my (possibly) miscredited nod to the house from Wes Craven’s New Nightmare. Is that Mike DeLuca's house? So sit back, relax, and join us for a conversation full of surprises, insights, and, of course, a little horror. For more information on First Word on Horror, visit etchstudio.substack.com.
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...