There's a lot of that sweet sentimentality running through this. It's just stuff in the book that I shuffled around and made into one scene. Doc has become unglued along with Bigfoot. Doc says that beautiful line, which is from the book: "Are you okay brother?" Bigfoot rejects it: "I'm not your brother." Doc says: "But you sure could use a keeper. But in truth, the most emotional he gets is bawling his eyes out while watching Bigfoot have this meltdown in front of him. What I really like about that scene, and what ended up happening when we got there, is that for as emotional as Doc is throughout the movie, you never see him break down and cry. It was like Tom and Jerry stopping to apologize to each other about their behavior. ![]() They're trying to apologize to each other for how they treated each other the night before, and Doc and Bigfoot begin to talk at the same time. What are you trying to say in those sequences?It was just an effort to make sure that made it in the translation from the book to the movie. It's emotional but in a way that isn't obvious. Really fun and amazing for that reason, and scary for that reason-but it was a brand new thing in my brain.There's a scene at the end of "Inherent Vice" between Doc and Bigfoot that recalls a similar moment at the end of "The Master": two men in opposition coming to an understanding that they must remain opposed. On camera, though, there was nothing I could really lean on. But that’s kind of how I was thinking of it. ![]() I’m slightly projecting I don’t know for sure if that’s how he was thinking of it. But all of these are sort of musical considerations. Maybe he wanted to make a really fast edit or cut here or there, and wanted an abruptness to the narration. He was listening to see how and when the vocal narration was linking up and sort of riding the wave of the action on camera, if it was rising to any sort of crescendo as the action was rising to some kind of a dynamic apex and, in a similar way, falling parallel to the action. I felt that Paul was also sort of listening in a musical sense. Obviously, I’m not the one choosing which take is working best. There was a way of listening to the music in the voice. The way I would listen and work and revise and try again all at least somewhat connected back to the way it feels to be recording multiple vocal takes on a song. I feel like our attention has been pulled in so many different directions by so many different stories that it’s almost like watching the haze and the dust settle-rather than watching it resolve. ![]() I do think the point of this story is not to present a mystery that’s meant to be solved, necessarily it’s to watch the corona and haze of other storylines sort of form and drift and move around the outline of the mystery. But I don’t think the purpose of this particular narrator is to assist the viewer in solving the mystery. It certainly adds a whole other layer of meaning. She kind of serves as the narrative voice of the Pynchon narrator, which moves in and out between giving further explanation and exposition, and then kind of just observing and describing feelings and describing what’s going on in Doc’s head, and advising Doc, and making larger proclamations about the period of time, and the era, and the spirits at work, and the vibes at work and so forth. Similarly, when we hear a narrator speaking, we have an expectation that the narrator is going to tell us what’s going on in the movie, and again it’s a little bit of an interesting bait and switch because I think for the most part this narrator sort of just talks about whatever. I think when we watch stories that are in that genre, an expectation we have is that we are going to be presented with the elements of the mystery, and then we are going to watch the detective solve that mystery. It’s interesting because the framework of the movie is this detective, noir, gumshoe genre, and it’s a little bit of a bait and switch.
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