This Week’s “Peaks” : Part Eleven (Spoilers Abound)

Trash Film Guru

The first ten minutes (or thereabouts) of part elven of David Lynch and Mark Frost’s Twin Peaks 2017/Twin Peaks : The Return/Twin Peaks season three were all about what I thought was going to happen : I thought that at least one of the kids out playing catch at the beginning, who make a very grisly discover indeed, was going to get hit by a speeding car coming out of nowhere; when the domestic drama that Amanda Seyfried’s Becky is currently (or maybe that should be always) enduring finally reaches a boiling point that sees her long-suffering mother, Shelly (played by Madchen Amick) going for a ride on the hood of her own vehicle, I thought something far worse than a skinned knee was going to happen to her when she was finally thrown from it; when Becky bursts into the motel where she thinks her…

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16 Initial Thoughts on Twin Peaks: The Return Part 11 (dir by David Lynch)

Here are my initial thoughts on Part 11 of Twin Peaks: The Return!  As always, a full recap will be posted either later tonight or sometime tomorrow.

  1. Was I the only one frightened that kid would get hit by a car as soon as he ran out into the street?  Seriously, Richard Horne’s still out there.
  2. Has Norma just been sitting in that corner booth for the last 7 days?
  3. To be honest, I wasn’t expecting Harry Dean Stanton to be as prominent in this series as he has been.  That’s not a complaint.  Harry Dean makes everything better.
  4. I’d still like to know if Shelley and Bobby ever got married. It’s kind of sad that they’re no longer together because they were a cute, if murderous, couple.  (No sooner did I write this comment then the show answered my question.  Thank you, Twin Peaks!)
  5. Oh shit — was that a woodsman wandering around South Dakota?
  6. “He’s dead.” I love David Lynch’s delivery of that line.
  7. So, I guess that’s it for Matthew Lillard.  Well, he had a good three episodes and hopefully, someone will cast him in another decent role.
  8. So,  Shelley went from Leo to Bad Bobby to Red.  I have a weakness for bad boys too but come on, Shelley…
  9. Stop honking your goddamn horn!
  10. I’m liking Bobby as the voice of moral authority in Twin Peaks.  I’ve been reading Reflections: An Oral History of Twin Peaks by Brad Dukes and everyone interviewed described Dana Ashbrook as being, even at the height of the show’s success, a genuinely nice and humble person, certainly the opposite of the way Bobby was portrayed in the original series. So, it’s nice to see him getting a chance to explore a different side of his best-known role.
  11. One question I would ask Bushnell Mullens: How does a former boxer end up running an insurance company?
  12. For some reason, Jim Belushi eating Raisin Bran just feels like one of the most Twin Peaks things ever.
  13. Las Vegas really is the perfect David Lynch town.
  14. “Everywhere I looked there could have been a hole…”
  15. Awwwww!  Dougie bought a cherry pie.
  16. Dougie’s going to be President by the end this show is over.

Twin Peaks on TSL:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman
  27. TV Review: Twin Peaks 2.18 “On The Wings of Love” (directed by Duwayne Dunham) by Jedadiah Leland
  28. TV Review: Twin Peaks 2.19 “Variations on Relations” (directed by Jonathan Sanger) by Lisa Marie Bowman
  29. TV Review: Twin Peaks 2.20 “The Path to the Black Lodge” (directed by Stephen Gyllenhaal) by Lisa Marie Bowman
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson
  31. TV Review: Twin Peaks 22.2 “Beyond Life and Death” (directed by David Lynch) by Lisa Marie Bowman
  32. Film Review: Twin Peaks: Fire Walk With Me (dir by David Lynch) by Lisa Marie Bowman
  33. Here’s The Latest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  34. Here’s The Newest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  35. 12 Initial Thoughts About Twin Peaks: The Return Parts One and Two by Lisa Marie Bowman
  36. This Week’s Peaks: Parts One and Two by Ryan C. (trashfilm guru)
  37. TV Review: Twin Peaks: The Return Parts One and Two (dir by David Lynch) by Lisa Marie Bowman
  38. 4 Shots From 4 Films: Special Twin Peaks Edition by Lisa Marie Bowman
  39. This Week’s Peaks: Parts Three and Four by Ryan C. (trashfilm guru)
  40. 14 Initial Thoughts About Twin Peaks: The Return Part Three by Lisa Marie Bowman (dir by David Lynch)
  41. 10 Initial Thoughts About Twin Peaks: The Return Part Four by Lisa Marie Bowman (dir by David Lynch)
  42. TV Review: Twin Peaks: The Return Parts Three and Four (dir by David Lynch) by Lisa Marie Bowman 
  43. 18 Initial Thoughts About Twin Peaks: The Return Part 5 (dir by David Lynch) by Lisa Marie Bowman
  44. This Week’s Peaks: Part Five by Ryan C. (trashfilm guru)
  45. TV Review: Twin Peaks: The Return: Part 5 (dir by David Lynch) by Lisa Marie Bowman
  46. 14 Initial Thoughts On Twin Peaks Part 6 (dir by David Lynch) by Lisa Marie Bowman
  47. This Week’s Peaks: Part Six by Ryan C. (trashfilm guru)
  48. TV Review: Twin Peaks: The Return Part 6 (dir by David Lynch) by Lisa Marie Bowman
  49. 12 Initial Thoughts on Twin Peaks: The Return Part 7 (dir by David Lynch) by Lisa Marie Bowman
  50. This Week’s Peaks: Part Seven by Ryan C. (trashfilm guru)
  51. TV Review: Twin Peaks: The Return Part 7 (dir by David Lynch) by Lisa Marie Bowman
  52. Ten Initial Thoughts on Twin Peaks: The Return Part 8 (dir by David Lynch) by Lisa Marie Bowman
  53. This Week’s Peaks: Part Eight by Ryan C (trashfilm guru)
  54. TV Review: Twin Peaks: The Return Part 8 (dir by David Lynch) by Lisa Marie Bowman
  55. 16 Initial Thoughts on Twin Peaks: The Return Part 9 (dir by David Lynch) by Lisa Marie Bowman
  56. This Week’s Peaks: Part Nine by Ryan C (trashfilm guru)
  57. TV Review: Twin Peaks: The Return Part 9 (dir by David Lynch) by Lisa Marie Bowman
  58. 20 Initial Thoughts On Twin Peaks: The Return Part 10 (dir by David Lynch) by Lisa Marie Bowman
  59. This Week’s Peaks: Part 10 by Ryan C (trashfilm guru)
  60. TV Review: Twin Peaks: The Return Part 10 (dir by David Lynch) by Lisa Marie Bowman


A Movie A Day #196: Mercenary Fighters (1988, directed by Riki Shelach Nissimoff)

Everyone’s favorite hippie action hero, Peter Fonda, plays Virelli, a long-haired Vietnam vet turned mercenary who is hired by a corrupt African general (Robert Doqui) to protect the construction of a dam that will result in the flooding of a native village.  Got all that?  Though Fonda is top-billed, he is not the star of the film.  The star is Reb Brown, who plays T.J. Christian.  T.J. starts out as a member of Fonda’s team but then he falls in love with a nurse (Joanna Weinberg) and he switches sides.  The villagers need someone to lead their revolution and all it takes is hearing Reb Brown do one of his trademarks power yells to know that he’s the man for the job.  Reb Brown was famous for yelling whenever he did anything and he yells a lot in Mercenary Fighters, even more than he yelled in Space Mutiny.

Mercenary Fighters is a typical Cannon film from the late 80s.  Like many of Cannon’s mercenary movies, it was covertly filmed in South Africa, at a time when apartheid was still being enforced and Nelson Mandela was still sitting in a prison cell.  (Cannon was not the only film company to secretly make movies in South Africa during the Apartheid Era.  They were just the most blatant about it.)  Richard Kiel apparently turned down Peter Fonda’s role.  It’s hard to imagine Kiel in the role but perhaps that’s because Virelli is a quintessential Peter Fonda-in-the-80s role.   Fonda glides through the film, delivering his lines like a California surfer who just smoked the kine bud.  The presence of Ron “Superfly” O’Neal and James “son of Robert” Mitchum serves to elevate the film’s cool factor while Robert Doqui brings some “I’ve worked with both Robert Altman and Paul Verhoeven” credibility to his one-note role.  Mercenary Fighters is good for anyone who is into either mindless Cannon action movies or Reb Brown yelling while shit blows up behind him.

Film Review: Cutter’s Way (dir by Ivan Passer)

Yesterday, after it was announced that actor John Heard had been found dead in a Palo Alto hotel room, I lost track of how many people declared that Cutter’s Way, a 1981 film in which Heard co-starred with Jeff Bridges, was one of their favorite movies of all time.  (That includes quite a few people who write for this very site.)  In fact, people were so enthusiastic about Cutter’s Way that I quickly decided that this was a film that I needed to watch for myself.  So, last night, after watching All About Eve on TCM and My Science Project with the Late Night Movie Gang, I curled up on the couch and I watched Cutter’s Way.

Technically, Cutter’s Way is a murder mystery but it’s actually a lot more.  In the grand noir tradition, the mystery is less important than the milieu in which it occurs.  Cutter’s Way takes place in Santa Barbara, California, which the film presents as being a microcosm of America.  It’s place where the rich are extremely rich and the poor are pushed to the side and expected not to complain.  The Santa Barbara of Cutter’s Way is controlled by new money and haunted by old sins.  It’s a world that is perfectly captured, by director Ivan Passer and cinematographer Jordan Cronenweth, in the film’s haunting opening scene:

John Heard plays Alex Cutter.  Years ago, Cutter served in Vietnam and returned with one less eye, one less arm, and one less leg.  An angry alcoholic, the type who always looks like he’s in desperate need of a shower and a shave, Cutter exists on the fringes of society.  Like many alcoholics, Cutter is a master manipulator.  When he has to, he can turn on the charm.  When the police are called after a drunken Cutter purposefully destroys his neighbor’s car, we suddenly see a totally different Alex Cutter.  He’s polite and apologetic, explaining that he was merely swerving to avoid something in the road and, by the way, he served his country in Vietnam.  As soon as the police leave, the real Cutter comes out.  He gets his bottle and starts to rant about how much the world owes him.  Watching the film, you find yourself understanding why some people might want to push this one-legged, one-armed, one-eyed veteran down a flight of stairs, that’s how obnoxious Alex Cutter can be.

And yet, there are people who love Alex Cutter.  There’s his long-suffering wife, Mo (Lisa Eichhorn).  Mo lives in squalor with Cutter, taking care of him and putting up with his bitterness.  There’s the local bar owner, who could probably put his kids through college on Cutter’s bar tab.  (He even drives Cutter home in the morning, after everyone else has deserted him.)  And finally, there’s Richard Bone (Jeff Bridges).

Bone is Cutter’s best friend.  Whereas Cutter is perpetually pissed off, Bone is almost always laid back.  Whereas Cutter feels that everything is his business, Bone prefers to remain detached from the world.  Mention is made of Bone being a graduate of the Ivy League but he spends most of his time giving tennis lessons and sleeping with wealthy women.  Bone takes care of Cutter, though their friendship is occasionally hard to figure out.  Why does Bone stick with Cutter despite all of Cutter’s abuse?  Perhaps Bone feels guilty because he avoided being drafted while Cutter lost half of his limbs in Vietnam.  Or maybe it’s because Bone is in love with Mo.

One night, when Bone is leaving a hotel, he sees a man in an alley.  The man appears to be hiding something in a dumpster.  Later, when the body of a woman is found in that same dumpster, Bone realizes that he probably saw the murderer.  Even more so, Bone thinks that the man resembled J.J. Cord (Stephen Elliott), one of the richest men in Santa Barbara.

Bone, however, isn’t sure that Cord’s the murderer.  Even more so, even if Cord was the murderer, Bone prefers to not get involved.  However, Cutter is sure that Cord’s the killer.  To Cutter, it makes perfect sense.  If men like Cord were willing to send boys to Vietnam and then refuse to take care of them when they returned both physically and mentally maimed by the experience, then why wouldn’t they also think that they could get away with murdering some hitchhiker?

Soon, Cutter has met the dead girl’s sister, Valerie (Ann Dusenberry).  Cutter says that his plan is to blackmail Cord.  He badgers the reluctant Bone into working with him.  It quickly becomes obvious, however, that Cutter is after more than money.  He is obsessed with proving that this rich and powerful man is a murderer.  And he’s not going to let anyone stand in his way.  Not even a stuffed animal:

As I said, Cutter’s Way is about much more than just a murder.  It’s a film about class differences, with even the otherwise slick Bone discovering how difficult it is to infiltrate Cord’s wealthy world.  It’s a film about disillusionment, cynicism, and the fleeting promise of happiness.  As angry as Cutter is, he still ultimately possesses the idealism that both Bone and Mo have lost.  He still believes in right and wrong.  While that angry idealism may make Cutter a pain in the ass, it’s also his redeeming feature.  As the youngest of them, Valerie is still an optimist but she is also the least prepared to deal with the sordid reality of the world around her.  Bone and Mo, meanwhile, both appear to have surrendered their belief that the world can be and should be a better place.  Ultimately, Cutter’s Way is a film that forces you to consider what you would do if you were in the same situation.  Cutter’s Way is not a great title, largely because it makes the film sound like a CW western, but it’s an appropriate one.  The entire film is about Cutter’s way of viewing the world and whether or not Bone will follow Cutter or if he’ll continue to refuse to get involved.

(The novel that the film’s based on was called Cutter and Bone.  According to Wikipedia, the title was changed because audiences thought the movie was a comedy about surgeons.)

I have to agree with those who have called Cutter’s Way a great film.  Not only is it gorgeous to look at but it’s one of the best acted films that I’ve ever seen, from the stars all the way down to the most minor of roles.  John Heard dominates the film, giving a performance of almost demonic energy but he’s perfectly matched by Jeff Bridges.  Bridges, back in his incredibly handsome younger days, gives a subtle and powerful performance as a man struggling with his conscience.  In the role of J.J. Cord, Stephen Elliott doesn’t get much screen time but he makes the most of it.  When he first see him, he’s riding a white horse and rather haughtily looking down on the world around him.  When he last see him, he delivers a line of such incredible arrogance that it literally left me stunned.  Though, when compared to Bridges and Heard, their roles are underwritten, both Lisa Eichhorn and Ann Dusenberry more than hold their own, providing able and poignant support.

Cutter’s Way is a great film and one that everyone should watch if they haven’t.


Lisa’s Early Oscar Nominations for July

With each passing month, the Oscar race becomes just a little bit clearer.  We are still a few months away from the true Oscar season but a few contenders have emerged.

My predictions are below.  Previously, my predictions were all based on wishful thinking and instinct.  Well, there’s still a lot of wishful thinking to be found below but, at the same time, the festival season is providing a guide and there are some early reviews that have started to come in.  I’ve never been a 100% correct in my predictions and I doubt this year is going to be any different.  (For one thing, I always predict 10 best picture nominees, even though that’s close to being a mathematical impossibility under the current Academy rules.)

One final note: Some day, the Academy will get over their resistance to Netflix and streaming.  I don’t think that’s going to happen this year, though.  I kept that in mind while considering the chances of such heavily hyped (and, for that matter, less heavily hyped) contenders as Mudbound and The Meyerowitz Stories.

Anyway, here are my predictions for July!  Be sure to check out my predictions for January, February, March, April, May, and June as well!

Best Picture

Call Me By Your Name

Darkest Hour


The Disaster Artist


The Florida Project

Goodbye Christopher Robin

The Greatest Showman



Best Director

Sean Baker for The Florida Project

Kathryn Bigelow for Detroit

Michael Gracey for The Greatest Showman

Christopher Nolan for Dunkirk

Joe Wright for Darkest Hour

Best Actor

Chadwick Boseman in Marshall

Willem DaFoe in The Florida Project

Hugh Jackman in The Greatest Showman

Gary Oldman in Darkest Hour

Donald Sutherland in The Leisure Seeker

Best Actress

Judi Dench in Victoria and Abdul

Kirsten Dunst in Woodshock

Frances McDormand in Three Billboards Outside of Ebbing Missouri

Emma Stone in Battle of the Sexes

Meryl Streep in The Papers

Best Supporting Actor

Steve Carell in Battle of the Sexes

James Franco in The Disaster Artist

Armie Hammer in Call Me By Your Name

Will Poulter in Detroit

Patrick Stewart in Logan

Best Supporting Actress

Penelope Cruz in Murder on the Orient Express

Holly Hunter in The Big Sick

Melissa Leo in The Novitiate

Julianne Moore in Wonderstuck

Margot Robbie in Goodbye Christopher Robin


Music Video of the Day: Don’t Come Around Here No More by Tom Petty And The Heartbreakers (1985, dir. Jeff Stein)

It’s about time I got to a music video that lead to the PMRC. It may not look like one that would, but it did.

At the beginning of the book, I Want My MTV, there’s a whole chapter about the issue. The authors start off by talking about Tipper and her daughter’s experience watching Hot For Teacher. According to the book, her daughter said the following:

Mom, why is the teacher taking off her clothes?

I would love to know if that was Kristin Gore considering she went on to have a career in comedy. She and Tipper even played on a Diva Zappa comedy single. Frank Zappa having testified at the congressional hearings over this stuff. Although it sounds like it was Sarah LaFon Gore Maiani judging by her age when she saw the two videos.

On another occasion, Gore and her six year old saw Tom Petty’s “Don’t Come Around Here No More” video–some other parent, having gone through the “Hot for Teacher” incident, might have learned a lesson and banished MTV from the home–and the girl was “disturbed,” Gore said, “because the last scene showed [an actress] turning into a cake and being sliced up.

I have feeling the authors of the book think this is ridiculous.

In September 1985, Senator John Danforth, also married to a PMRC member, convened a congressional hearing to discuss the excesses of rock music in the age of cable TV. And that is how the Commerce Committee of the 99th Congress of the United States, like millions of other Americans, watched “Hot for Teacher” and Twisted Sister’s “We’re Not Going to Take It” when they should have been working.

You got me as to what bothered them with We’re Not Gonna Take It, considering it’s a song about civil rights and standing up for what you believe in. At least with Hot For Teacher you could make the reasonable argument that while harmless entertainment, it should be aired when a six-year-old isn’t likely to stumble across it. I’m really glad we live in a time when music videos aren’t taken down from YouTube for explicit content. Oh, right, that happens.

Anyhow, lets talk about the video, including some bits from Alice herself, Wish Foley (Louise Foley).

Here’s the genesis of the video according to Tom Petty:

Dave Stewart and I wrote and produced “Don’t Come Around Here No More.” We were talking about the video while we were in the studio, and he said, “I’ve always wanted to be the guy sitting on a mushroom with long nails and a hookah. You know, like in Alice in Wonderland.” And I said, “That’s it. We’ll do Alice.”

Thus, Dave Stewart got his wish:

Tom Petty: We didn’t use any special effects. Everything that’s big was big, and everything that’s small was small. It was a two-day shoot, and each day was fourteen hours, way into the night. Even for musicians, those were challenging hours. But we knew while we were doing it how shit-hot it was.

I don’t want to copy the entire section on this video, so here are the highlights:

Wish Foley: When I went to the audition, there were fifteen or twenty girls coming in at the same time. They were models, in skimpy leather outfits with short skirts. Boobs everywhere. It was kind of gross; they would stand in front of a mirror and do their “come hither” look. And here I am, dressed up like Alice in Wonderland.

She was 21. She had done a bunch of commercials along with some TV work. She says she had been the original Joanie (Happy Days), but that after they shot the pilot, she was told that she looked too much like Cindy Brady. It’s funny that after this video, Foley went on to work on Disney productions such as Beauty and the Beast (1991), The Hunchback of Notre Dame (1996), and Hercules (1997). She was also in the movie, Harper Valley P.T.A. (1978) before going on to do this video.

Harper Valley P.T.A. (1978, dir. Richard C. Bennett & Ralph Senensky)

Jeff Stein: We built a giant teacup out of an aboveground pool.

Jeff Stein: The doughnut was a giant inner tube. I asked for the water in the teacup to be warm, and it wasn’t. She was in cold water on an air-conditioned stage for quite some time, and never said anything. When she came out, she had hypothermia.

Wish Foley: If you look closely, you can see me shivering. They bundled me up and shoved me into an emergency-wash shower.

Tom Petty: For the last shot, where we cut a piece of Wish’s body and eat, we had a giant cake made in the shape of her body, and Wish slipped her head from underneath. That must have been uncomfortable as hell. There was only one cake, so we had one take to get it right.

Wish Foley: When people said that the cutting of the cake promoted cruelty to women, I had to laugh that people took it so damn seriously.

Jeff Stein: I was cited by a parents-teachers organization for promoting cannibalism.

It amazes me that this video was swept up in that whole thing. It’s a trippy music video based on a book that has been adapted into everything from an X-rated musical to a Goodtimes animated cash-in movie to an official Disney version.

I think my favorite part about this whole PMRC thing comes from Dee Snider. He both testified, and played himself in the VH1 movie about it called Warning: Parental Advisory (2002). In an interview, he said that he didn’t have a problem with there being a label on albums to tell parents about the content. He thought that was reasonable. He wasn’t happy about the way they were going about it. A bunch of wives of congressmen getting their husbands to hold sessions on the evils of music, which forced people like Snider, Zappa, and John Denver to have to come and testify in front of Congress about music and censorship.

John Diaz was the producer.

Tony Mitchell, Kathy Dougherty, and Peter Cohen did “special effects” for the video, according to mvdbase–despite what Tom Petty said about them not using special effects. They were probably the people responsible for creating the things, and that one special effects shot at the end.


30 Days Of Surrealism:

  1. Street Of Dreams by Rainbow (1983, dir. Storm Thorgerson)
  2. Rock ‘n’ Roll Children by Dio (1985, dir. Daniel Kleinman)
  3. The Thin Wall by Ultravox (1981, dir. Russell Mulcahy)
  4. Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)
  5. Here She Comes by Bonnie Tyler (1984, dir. ???)
  6. Do It Again by Wall Of Voodoo (1987, dir. ???)
  7. The Look Of Love by ABC (1982, dir. Brian Grant)
  8. Eyes Without A Face by Billy Idol (1984, dir. David Mallet)
  9. Somebody New by Joywave (2015, dir. Keith Schofield)
  10. Twilight Zone by Golden Earring (1982, dir. Dick Maas)
  11. Schism by Tool (2001, dir. Adam Jones)
  12. Freaks by Live (1997, dir. Paul Cunningham)
  13. Loverboy by Billy Ocean (1984, dir. Maurice Phillips)
  14. Talking In Your Sleep by The Romantics (1983, dir. ???)
  15. Talking In Your Sleep by Bucks Fizz (1984, dir. Dieter Trattmann)
  16. Sour Girl by Stone Temple Pilots (2000, dir. David Slade)
  17. The Ink In The Well by David Sylvian (1984, dir. Anton Corbijn)
  18. Red Guitar by David Sylvian (1984, dir. Anton Corbijn)