35mmTemp5Ep01

This is a discussion about the movie "Eraserhead" directed by David Lynch. The hosts talk about the film's production history and its unique and surreal storyline. They discuss the themes of fatherhood, anxiety, and the film's experimental nature. They also mention the positive reception the film received from other directors, such as Stanley Kubrick. Overall, they find the film to be a strange but interesting experience. Everything is fine in heaven. Everything is fine in heaven. Everything is fine. You've got your good things, I've got mine. Hello everyone, welcome to this podcast called 35mm through Ampere Radio from the Latin American University. And like every Thursday, we are joined by Olivier. Olivier, how are you? Hello Ismael, good here. Happy to be starting a new season of the program, in this case the fifth already. Yes, we started the fifth season of this podcast. Remember that we also have another podcast called Sonidos del Caire and there we would start the fourth, right? Third, I think. Yes, ok. Remember that in this podcast we talk about cinema, we talk about movies, we talk about directors, we talk about actors. And in this case we are going to talk about one of the movies that many people say that nobody understands anything about it. It is a meaningless movie, it is a movie that most people come out with more questions than answers. Opera Prima, one of my favorite directors, we already talked about him in an episode. And possibly one of the movies with the most complicated production history in the history of cinema. It took approximately six years to make, in which you can find that between one scene and another years could have passed and nobody notices. Yes, it is a movie that, as you say, you can say is very rare, for many people it may seem like a super rare movie. And that does have certain continuity things, especially with the weight of the main actor, which does change sometimes, precisely because many years have passed. And in his hairstyle, a little bit, because he had to leave a very characteristic hairstyle, half-afro, but he changed it over the years and it was noticeable a little. But it seems to me that it is the best movie that when I saw it, it never caused me a conflict to understand it according to me. Ok, but did you grab the first one? Or did you need a video or see it again? No, this movie, the first time I saw it, according to me, I understood it, what it meant to me. Because they also say that David Lynch, who is the director of Eraserhead, which is the movie we are going to talk about, that he has never really wanted to give his opinion on what it is about, because he wants it to be the people who interpret it. Exactly, we are going to talk about Eraserhead, a movie by David Lynch, an American director, from 1977. And as we had already said in the episode in which we dedicated David Lynch, this was his first opera, since he had previously dedicated his life to making short films, among them he has three short films that are relevant, which would be El Alfabeto, Six Men Getting Sick, and La Abuela. So thanks to these short films, the American Film Institute sponsors his first opera, which is Eraserhead, but due to situations, he has several problems, and the film instead of being produced in one year, it extends to six. Yes, well, it seems that, well, it doesn't seem, what happened was that they sponsored it with $5,000, but the school, as the script was only 20 pages, they assumed it was a short film, a short that was going to last 20 minutes, and they gave him money that they considered was enough to produce a 20-minute project, and it turned out that no, David Lynch really had a very short script because he wanted to dedicate more time to improvisation and the visual part, and he ran out of money quickly, and that's one of the reasons why it took so long to get the project going. Exactly, but well, in addition to all that, he had to do several roles within the production part of the film, he was the director, he was the producer, he was the production designer, he was the screenwriter, he made the music, he made the sound along with an old collaborator who is Alan Splett, he did the editing, he did the special effects, and he also had to hire a crew quite committed to the project, because several of the actors that appear in the film, at the same time, acted as part of the production team. Yes, many of the actors were on the production team, and even money, they lent money, for example Jack Fisk, who was the production designer, who in fact has been married since then, and is still married to Carrie, the actress who played Carrie. The movie of... Stacy Spacey The movie of Palma, right? No, the one of... well, yes, the book of Stephen King, Stacy Spacey, who was his wife, and he was the production designer, and the two, they had to invest several times in the movie. David Leitch had to start working, I think, on a print, to be able to have... Besides newspapers. Besides newspapers. Besides newspapers, and so they had to be saving money little by little to be able to continue, and well, they stopped the production, they continued, they stopped, they continued, and well, everything was recorded in a... well, like in the university courtyard, right? It was a cellar, right? According to me. Like a cellar that was in the... like in the... well, in the university courtyard. Exactly, but well, what is the movie about? The movie, in reality, is a pretty short movie, if it lasts... it doesn't even reach an hour and a half, actually, it lasts a little less, an hour and 29, 28, and it talks about this character, right? Called Henry Spencer, who is a lonely guy, a strange guy, who lives in a city that seems as if the whole city was industrialized, as if it were the industrial park of a city, and he has a girlfriend, who is called Mary, Mary X, who is known in the movie as Mary X, and in a scene she tells him that she is pregnant, so they give birth to a... how would you say? A being? Because it's not a baby. An entity, a being. It's a being, and in fact, to this day David Lynch has not wanted to say what it is. I read that it is rumored that it is a dissected cow fetus, but there is no... there is not really a... well, yes, a security of what that prop was, but the truth is that it is a quite disturbing image, right? The first time I saw the baby I said, what is this? I don't know if you... Yes, exactly, apart from that, it is wrapped as if it were almost a hood, like a caterpillar, and it only has its neck up and only cries and makes noise, and in reality the movie tells us how this character Henry has that aversion to be a father, because he didn't expect it, his girlfriend abandons him, so he only has to raise this being, and it's a being that spends it crying, and it is evident that Henry does not have the slightest experience as a father, since the baby suddenly has some eruptions, it seems that it has this thing that is right now... Ah, like the monkey's virola or something like that. The technique, that thing, and what it does is that it just puts a vapor nebulizer to open the bronchi, and the baby keeps crying, crying, crying, and Henry sees it as if it had been a success, right? His technique. Yes, it is something very strange. Supposedly the idea was born to David Lynch precisely because something similar happens to this character, he got pregnant with his girlfriend at the time, it was still something unexpected, he married her because she was pregnant, and also the baby, his daughter, was born with a deformation in the feet that caused him many problems in childhood, they had to operate on her, it seems that she suffered a lot, her name is Lee Sambo, something like that. It was a baby, it had it turned back. And then David Lynch was very impressed by this stage of his life, also at this time precisely because they had just had a baby, they had no money, they went to live in a very poor neighborhood in Philadelphia, which he also says that it was very scary, that he felt that at any time they were going to kill him, because something criminal was going to happen to him, so he lived stressed because he had no money, because the city where he lived was very poor, and also his little daughter had many health problems, so he generated this as... Well, I don't know if it was aversion to be a father as such, but... It was a good experience. Yes, more like fear or anguish. Exactly, and I say, the atmosphere of the film also generates the same, since I say, the whole film is in black and white, in reality you could tell the dialogues that are in the film, there are very few dialogues, and most of the dialogues are things that from a certain point of view it may seem that they do not make sense, I say, we are talking about a surrealist film, of the cut almost of Luis Buñuel, of his first experiments with Dalí, almost like a dog in the light, it is like that style of surrealism that suddenly appears in sound images, the most significant could be this one in which Henry is left looking at a radiator, of those that are like room heaters, and suddenly he gets into the radiator and a girl appears who has like a deformity in the face that looks like a paper, but very similar, and the girl sings and dances, then suddenly she has these dreams, but never like they insinuate that she is dreaming, as it seems that it is part of the same plot. Yes, many people compare it with a nightmare, like this one, a very vivid nightmare, where you don't know if you are in reality or in fantasy, but yes, the truth is that it could be compared more with a dream or a nightmare than with reality, because as I said, it has many sequences that are dreamlike, that do not have a real meaning, but rather they are very surrealist images, as they say. Exactly, and well, many will wonder why the film is called Erase Your Head, and well, within the same film there is a sequence where Henry, his own baby tears his head from the inside, his head flies away, and a child takes that head to a pencil factory, where his head is crushed to make erasers, those of pencil, and they try them until one works well, so that's why the film is called Erase Your Head. That also comes from a dream he had, it seems that he dreamed of that, with an eraser factory where the rubbers were heads, right? So, he mixed experiences with dreams and created this strange work, which to me, the truth is, it doesn't seem as strange as many might think, because I feel that it is understood, and also the photograph seems very beautiful, even though it was with a low budget, that it is not in black and white, that sometimes it is not understood very well, it seems very beautiful to me, it is a film that has a lot of images. Yes, in the end the film cost $ 20,000, it is nothing. No, the truth is that it is something very, very economical, for a film that was so good with time, it raised $ 7 million at the time that it was not so bad. No, not at all, for such an independent and experimental film, I think it is not bad at all, I say $ 20,000, I don't think even the catering of an Avengers movie. No, surely not. I swear, not even that. Well, the film was not quite good at the time, on a critical level, for example, Variety magazine said it was of very bad taste and it was sick, which surely for David Lynch was a compliment, I think for him. The New York Times said it was a film too strange to be understood, but it also stained it a lot of pretentiousness, I don't think it's pretentious, it seems to me that it's very David Lynch style, that's his style. I mean, surrealism itself is pretentious, I don't know, it's not true. I mean, if you compare it with his next work, which is The Elephant Man, which is a much more conventional film. Well, if you say so. I think Razorhead was an experiment that resulted in a movie. Yes, I think he wanted to continue with the line of his shorts, a little in that vein of not being a conventional story, that it is not a typical narrative, but based on the images and animation, which is also something he likes, stop motion, practical effects, to generate a feeling, I think it's more a feeling than a story. I think the film is more of an experience, beyond the fact that it's a film that you're going to see just to pass the time, like most movies. It's not a movie as such, of entertainment, I think it's a movie, as we say, of experience. In fact, the music, the sound design, took a year to create the leitmotif, which almost no one notices, but there is a leitmotif in the whole film, which is made with a cello and a trumpet. It took a year between David Lynch and Alan Splett to make that perfect tone. They dedicated a whole year to that sound. Yes, the sound is actually very important, it gives you that atmosphere. It has some particularities, like sometimes certain objects don't sound as they should sound in reality. There's a scene where I fall into a puddle, and the puddle sounds like something else, I don't remember what, but it doesn't sound like a puddle. It's like, sometimes it seems like it's a mistake, but it sounds like a drill. And all the time, or most of the time, it has a sound of this white noise in the background, which also generates anxiety when you're listening to this sound all the time. And also, sequences like the one with the girl in the radiator singing the song Everything is fine, which is very... I don't know, very... It can be very distressing. I think it's a film that generates anxiety for a lot of people, and even they get out of it, they don't finish watching it. Where did you see it for the first time? I rented it for the first time, and the second time I saw it, I saw it at the Film Club Café, this is the place that's in Satélite. I saw it there for the second time, and I don't think I've seen it again. I only saw it for the podcast, like half an hour, but I think I've only seen it twice in its entirety. I found it in a cycle that was in the Cineteca, that was by David Lynch, and seeing it on a big screen, I think it's one of the strangest experiences I've had, because in the middle of the movie, where the girl in the radiator comes out, the seismic alert started to ring. And we all left, and it was an experience, like it cut off the experience for us all, but it was cool, it was a strange experience, but seeing it on a big screen is very different. I have it on DVD, and it's nothing compared to seeing it in the movies. I've never seen it on a big screen in the movies, and I imagine it looks impressive, because the photography is very beautiful, and the sound is very well done, and the images, the practical effects, sometimes they look a bit crappy, and you can tell it's... For example, the head, when it falls, the head looks a bit... It does look like a doll, right? I mean, but for the time, I think it's... Yes, for the time, 77, yes. And the budget, too. Yes, a little budget, and yes, yes, no, yes, and for the time, it's pretty good. I really like how the intro sequence starts, with the moon and the head of this guy floating by his side, and then he's doing a dolly-in to the moon, and on the moon there's a guy, who's actually the actor, the production designer, who was Carly's husband, and who also gave money. Ah, I see. And then he pulls a lever, and a sperm appears, right? Yes, what I had seen is that a lot of people say it's God. It could be, it could be like a God, which I understand, like it's the moment when he gives birth to the girl. I understand it. The conception, right? Like a conception. And then he appears walking down the street with a sad face. Exactly. Something interesting is that Stanley Kubrick, the director we've already talked about, named it one of his three favorite movies of all time. I mean, for Stanley Kubrick to praise you for such an experimental movie, and also make your opera a hit, that's what they say, right? Yes, and more Kubrick, who was a pretty demanding guy. Exactly. And they also say that he showed them to his... when he says the spotlight, that he showed them to his production team before, as an example of a horror movie, that he wanted to imitate a little bit of the atmosphere and all that. I saw that he only put them on for the first half hour. It could be. I don't know how many days. Every day, the first half hour, and in fact, almost all the room scenes are very tense, I think because of the same space, right? It's very empty. Very closed, sorry. Very closed. Yes, it could be. It feels very suffocating. It's a movie that's recorded in location, almost all of it. I mean, location in sets. And there are very few sets, right? I mean, there's really an apartment, a room around there. The street comes out once or twice, but really, almost everything is in a set. Exactly. Also, something interesting is the lighting, since Henry's character is almost always... In fact, all the time? No, well, he only has a pijama, right? He's dressed the same. He's almost always in a suit. Yes, he's in a suit. But as if he were a counterpart, because almost all the other characters are white. I hadn't noticed that detail, but it's true, he's in a suit. Obviously, it's to give Henry a certain focus of attention, and to understand that the one who's suffering in a world where it seems like nothing's happening, if you notice, most of the characters in this movie seem to be living in a world where everything is normal, and Henry is the only one who cares about what's happening. Yes, it's like his dream, right? Yes, he's expressing himself. Because, yes, it's almost monologue. He has a lot of characters, but he's the one who has the most weight. And the actor worked a lot with David Lynch after this movie. Yes, he did Twin Peaks with him, who's an important character, he's one of the locals. And he's one of the most important characters, because, I mean, I'm not spoiling, it's the first two minutes of the series, he's the one who finds Laura Dern's body, right? Laura? No, Koushama? Koushama, the dead girl from Twin Peaks. You see, I've never seen Twin Peaks. I don't know why, but I think it's Laura Dern. No, Laura Dern is the actress, right? She's the... She's the slut. What's this woman's name, damn it? It's... It's Laura Palmer. Laura Palmer. The actor's name is Jack Nance, right? Jack Nance died in the 90's. He had a disease, I don't think it was cancer, but he always trusted David Lynch, he was always by his side and supported him in almost all his projects. Yes, they were quite good friends, and many of the crew of Razorhead repeated in other projects with David Lynch, actors and production, right? The same production designer, Jan Seed, worked with him several times. And many of them started to have successful careers from this movie, including David Lynch, who, the truth is that he's doing pretty well to this day, even though I don't understand why, because it's like... I feel like he's very famous for the kind of movies, or even commercials, that he does, right? He's a very... very rare guy to be so popular, I feel. Maybe because many renowned actors and directors claim their movies a lot and quote them a lot, right? Maybe that's why he became famous. Is he famous in the world of pretentious cinema? Yes. I mean, in pretentious cinema, I think he's one of the most accessible. Because if you get into, for example, Tarkovsky's or Aronofsky's cinema... That one is much more dense. Yes, Tarkovsky's is much more... more strange. Yes, it may be that it has... Well, it has much more accessible movies than Eraserhead, to be honest. Yes, I mean, you can watch, for example, Blue Hair, and it's not that difficult of a movie. Not at all. No, it's not, it's quite understandable. Lost Highway. Lost Highway is also a pretty accessible movie. I mean, among the inaccessible ones, I think I'd put Eraserhead first, and maybe Moonhole and Rise. Moonhole and Rise is very... Moonhole and Rise is a very strange movie. But I mean, that's the queen of the strange ones. It's a movie that, in itself, David Lynch has never openly said what it's about. He's never wanted to give an explanation of anything. Because, in fact, most of Henry's performances are performances that seem like they're not understood, but what I like about this movie is that if you give it an interpretation, you might be in the right place. And since there's no such formal explanation, I think everyone has a different experience of the movie, and that's what I like about this movie. Yes, that's exactly the idea, to allow people to make their own conclusions. Although I feel like this part of paternity is pretty clear, like this... apprehension, or fear, or... I mean, maybe different emotions about paternity might be included, but I feel like the theme is pretty clear. Yeah, maybe I'd refer a little more to certain scenes. For example, most of the scenes at dinner. With the parents. Oh, that weird chicken, the ugly one. Yeah, but... The chicken is interesting because when they stick the fork in the chicken, the chicken bleeds. As if... it was a reference to the menstruation of the girl because of the pregnancy. That's what he wanted to add, like a comic ink. For me, every scene is comic. The dinner. It's very comic. Well, it's a weird humor, but yeah. Also, the dad, right? He's like a plumber, and he's very weird. He's a plumber, and everything he says is very weird. Yeah, because he has a monologue about pipes. But it doesn't make much sense, the pipes. I mean, there's a guy who, the other day on YouTube, says that all the reference to the pipes is a phallic reference. Because the mom makes references to feminine things. Yeah, it could be. Because she talks about how nobody thinks about the pipes, but they're important, and without them there's nothing. It could be, yeah. Making reference to the fact that in a pregnancy what matters is the woman, right? Yeah, maybe. Like the man, who also... Well, without a man there's no baby, right? Exactly. The movie has become a cult. The American Film Institute put it as... Sorry, the Library of Congress put it as... I don't remember what they call these titles that they give to movies when they're historical and cultural. Like the heritage of the United States, right? Exactly, that they're culturally important. Cultural heritage. Historical and aesthetically significant cultural heritage of the Library of Congress of the United States, and they preserve it in the National Film Registry. And in fact, a lot of people say it's weird that they made this in such a surrealistic movie. There are very few surrealistic movies in the Library of Congress. Yeah, the truth is that it's an important movie, that also... I'm surprised, I like it, because it's... I like that it has... The recognition is well deserved, right? Because it's a very... I think it did change a lot... a trend in the cinema, right? From this movie, other filmmakers emerged that... that explored... We're talking about 1977. I mean, we're talking about the fact that in 1977 it was fashionable... Actually, they were in the rise, Martin Scorsese, Steven Spielberg, George Lucas, and Francis Ford Coppola. And their movies are nothing like this one. No, no, no, that's true, they're not surrealistic at all. But... I think it's the one that everyone knows in European cinema, a little more... For example, Cronenberg, I think it's a little bit like... Like the Body Horror. The Body Horror, a little bit, yeah. In fact, Tetsuo, which is this movie, I think it's Japanese... It's Iron Man, I know it in English as Iron Man. It also has, I think visually, a lot of influences from... from Razorhead. The following of Aronofsky, I think it's Aronofsky, right? The following, the first one that is in black and white. Yes, yes, yes. Also, and the first one of this Christopher Nolan. Of course, of course. No, Pee. Pee is the one of Aronofsky, and the following is the one of Christopher Nolan. I feel that both have the influence of Razorhead. Yes, because Pee, in fact, also develops as in a location... I mean, it has a little more of exteriors, but in a location where everything is claustrophobic. Exactly, and it's also black and white, and low budget, and the characters are also very strange, very surreal. And the truth is that I don't feel like it's horror. And Razorhead, a lot of people categorize it as horror, but I don't feel like it. Maybe it's because of the feeling it generates. Like it generates stress, the horror. Yes, yes, it does generate anguish, but... But I never got scared, rather, it was grotesque. In some parts. The boy, especially, I was very scared of him. He was too grotesque. Yes, because he's like, all the time, he's like, stupid, sweating. Like he has these liquids that come out of him, and I don't know, like all the time the baby's character generates that disgust. I think that as long as the baby comes out, because not all the movie comes out, it generates that disgust, right? And also, like, many parts of the movie you don't understand very well. Because if it's really happening, Henry is fantasizing it. Like, for example, when he has these relationships with the neighbor. Oh, yes, right. They're like in a small volcano, also. In the bed. Yes, next to it, there's like a nest, a very strange thing, right? It's planted like a tree, but without a pot. Aha, like you can only see the roots. And actually, to begin with, it seemed like he just broke up with the girl, right? Because when he arrives and tells his neighbor that they just talked to him, right? And he takes a picture of her that was broken. So I feel like Danny Turner just broke up with her, something like that. Yes, he stays as a single dad, right? Aha, and then, well, yes, the girl leaves him, right? She abandons him. And he stays with the baby. Exactly, because the baby doesn't let her sleep. Exactly, she leaves because the baby doesn't let her sleep and she gets desperate. And then she starts having these hallucinations, like the girl from the radiator. That she herself is grotesque to me, those pokes and the texture of her skin. It looks like the moon from the moon trip, right? Of the moon lights. Yes, a bit of that style, like... I feel like it's made of matte paper. Or like, like bandages with plaster or something like that, very strange. And she herself has a sequence where they start to rain like worms, but they're big, they look like worms. And she starts to step on them. And you can see how they get muddy on the floor and everything. Yes, that scene is very, very cool. Something interesting about the movie is that it's in 2010. It was chosen as the second best movie of the 100 best debuts in the history of film directors. The only movie that won it is Citizen Kane, by Orson Welles. Well, it's like a debut. Which you can't compare it to much, because... Well, Citizen Kane has a much bigger budget, right? Well, besides, it's said that Citizen Kane is the best movie in history. I don't agree, but I do understand that many people think so. But it is in the number one Citizen Kane, and in the number two Eraserhead. Like the 100 best debuts in the history of cinema. That's true. I mean, I like it as a debut, I really think so. I don't think of it as a debut, it's not interesting. Well, no, it's not like something so good. I'm looking for the list, but... I mean, there's only Citizen Kane, Eraserhead, The Night of the Living Dead, by George R.R. Martin. Ah, that one is also very good, to be honest. Yes, I like that one a lot too. The Maltese Falcon, by John Huston, At the End of the Escape, by Jean-Luc Godard. Dogs on the run, I like it more. More than Eraserhead? More than Citizen Kane. Ah, than Citizen Kane. Yes. Well, yes, it depends on what part, like history or fun, you see. Because Citizen Kane, aesthetically, is also very impressive. Yes, yes, yes, but... But yes, I also like it more. It's captivating. Like Sergio Malkovich, for example, from Spike Jonze. That's also a pretty surrealistic movie, actually. But yes, there's... Ah, look, Evil Death, by Sam Raimi. Ah, that too, yes. Well, yes, I understand it's Citizen Kane, but I prefer Evil Death too. Citizen Kane is a movie that I find more patentous than Eraserhead. Yes, I prefer Donnie Darko, which is also a debut by Richard Kelly. Yes, which is also pretty surrealistic, right? Yes, exactly. But I mean, having achieved this with so many problems, with such a low budget, and with such an unconventional story, I find it quite significant. Yes, and it also had to go through many adversities, like, for example, during the recording he got divorced, and then he had no place to live, David Lynch, and he lived in the recording set. Ah, right, the bed they use was his bed, right? Yes, he slept there, I think he lived there for a year. So yes, it's a lot of dedication, a project. Exactly. And well, one of the most significant scenes in the movie is the elevator scene. There's a scene where he gets stung by an elevator, and it takes... I think it's a scene of about two minutes where the elevator doesn't go down, and it doesn't open. And it's an impressive tension, I think it's one of the coolest scenes in the movie. Yes, like, I don't know, he felt stuck, I feel, right? I don't know, like he's waiting for something to happen, and nothing happens, and he sits there like... I don't know, I interpreted it myself. I think it's a movie that you have to watch with enough attention, since you know the story, because, as I said at the beginning, I think you can realize that between scene and scene, even if it only happens for seconds, in real life it could have been four years. And if you notice, as you said, he's in the hairstyle, right? In the hairstyle and in the face of the character who loses weight and gets fat... quickly. And the girl, her girlfriend, Mari, looks a little more... with her hair longer, I notice that her hair grows or gets shorter a little bit. And almost seconds pass between scene and scene. Yes, but it seems that it does, as you say, years have passed in what... in what they recorded the next take, right? So, well, everyone had to change, because, well, five years in life, one does change physically. Exactly. And, well, this was our little special we wanted to do about Erasurehead, one of the most... I don't even know what adjective to use... interesting? Strange? Well, yes, interesting. It's worth it. It's worth it. It's worth it, because it's a pretty interesting film exercise. Yes, I... simply because of its role in the history of cinema, it's worth seeing it, and... I don't know if they like horror, they like surrealism, they like... cinema photography, because this one in photography I feel is worth it. And... well, maybe a little to see a little experimental cinema, right? Or art. Yes, I mean, it's a film that the plot is not easy to follow. In reality, it seems that there is not even a plot. Well, not much. And the dreams. Yes, it's not a conventional story, and... and you don't have to wait to see it that way, right? It's not an introduction, development, conclusion, but it is... it does have certain interpretations, which is also part of... to see how they interpret it, what it is that gives them... generates, what emotions it generates. And I, just to conclude, I think I would put this in the number one of the best posters... of the antipelíquo. It's very cool. In fact, when I saw the poster, before seeing it, I imagined it like these Ed Wood movies. I thought it was going to be like that, extraterrestrial, or something like that. It looks like a Frankenstein. Or a Frankenstein, aha. I, like, I saw the cover and the... like the... the baby, and I thought they were extraterrestrials. Because I thought... Yes, yes, and it's a scene from the movie, very cool, because it's when they erase... the rubber test, the pencil, and his head appears giving the movie title, Eraserhead. Yes, yes. And also his hairstyle, right? Also makes reference, I think, to these rubbers. Exactly, yes, his head looks like a pencil, a eraser, exactly. So, the poster... I think he's right, it's a good poster. Yes, it's a very good poster. I think that's the Evil Dead, the first Evil Dead. I really like that poster. Yes, the cover says it. So, well, look for this movie. It's a movie that I haven't found on the platform yet. I have it on DVD, but you can surely find it online. It's a very popular movie. Yes. In Mixup, I've seen that they sell it and it costs like 60 pesos. In case someone wants it, I think it's worth having it. Yes, it's worth it. If you collect movies, it's really worth it. They sell it in these packages, which come in three movies from the same director. Yes, yes. Right now they're finishing up the DVDs and everything, because they're getting out of circulation. It's worth buying this movie, or at least watching it. It's part of the cinema, and the opera prima of a director who has become quite popular in the course of cinema history. Olivier, thank you very much for joining us another Thursday here on 35mm of Amperradio at the Latin American University. Thank you very much Ismael, and thanks to Amperradio and to the ULA. Don't forget to check out the other projects of the season, which are all very good too. That's right. See you next Thursday, and don't forget to check out our other podcast on Wednesdays, Sound in the Air. Until next time. Until next time. .