Bill and Turner Ross

“Oh, speaking of Dave's Video, so Turner worked at a at a video store when we were growing up in Ohio, and that is where we found Jim Jarmusch. So let's get a Jarmusch film. Got to. All right, you want to talk about Dead Man? Go ahead, go ahead, talk about Dave's Video. Hi, so I worked at Dave's Video in Sidney, Ohio, which—and I hung out with him while he was working—it's now Davis Meat Market, which is—he didn't need to do an ad for that—very apt. Well, it was also the only porn store in town, so we watched a lot of art films though, and from the $1 bin, cuz there was a dollar bin. There was a dollar bin in the that we grew up in, the movies that people didn't watch, that included movies by Jim Jarmusch. I'm sorry, Jim, but it was the dollar bin. But our entire film education initially came from the dollar bin at Dave's Video.”

“I would like to get the Touki Bouki one, cuz I don't I don't have that. You got it? Okay, there's only one. All right, Touki Bouki. This movie has inspired every movie we've ever made. Djibril Diop Mambéty. And very, very, very, very much inspired Gasoline Rainbow. And I wish I wish that we were able to pull off the trick that Mambéty pulls off, where the film just feels like it's floating, and that's always an aspiration for us. We'll keep trying, we'll keep trying. But this, this film.”

“You got like the [ __ ] Les Blank box set? Oh, I mean, I already got that, so you're right, I'm good, I'm good. Well, you wore the T-shirt to the, to the show. I wore the T-shirt to the show. I'm that guy. I'm all right with it. Yes, hell yeah.”

“All right, so our good buddies made this movie Time that totally, totally [ __ ] me up when I saw it. Lauren Domino, who actually—, that is really rad—so who produced this—go ahead, go ahead, what do you got? They got the Dekalog. But anyway, Time, Time, Time. This like, this renewed my faith in cinema. Garrett and Lauren [ __ ] made something brilliant here.”

“The Dekalog. Oh, [ __ ] yeah. Well, talk about it, talk about it, that's the whole, that's the whole idea. It's a reference point for everything that we've ever done, and we've still never made anything like it, but also everything. We have time, we have time, we have time. Time, and we have The Dekalog.”

“The Cameraman. I think more than any one specific film, Buster Keaton as an entity, as an experience, as a kid who grew up and came out of Vaudeville and then just was this personage. My daughter's most cutting critique of anything is, "Well, it was good, but it's no Buster Keaton." I'm gonna take that for her.”

“And Close-Up, the greatest movie ever made. We'll end on that one. Okay, why? Have you seen this? Kiarostami. Yeah, yeah, but you got to speak to the people. It's, I think Godard even said it, where it was, it was just like he ended cinema with, by making this film, the understanding of what cinema is, we don't really need to keep going.”

“Grand finale: Harlan County, USA, Barbara Kopple. When Turner and I were first starting out, when our first movie came out, I think she was like the first famous person I ever met. It was at a film festival and I was like starstruck, and I saw her across the room, I was like, "Holy [ __ ], that's Barbara Kopple, she made Harlan County, USA, one of my favorite movies of all time." And I literally like, I went up to her and I, I said that, and then I walked out of the room and like cried, burst into tears. Anyway, all-time, all-timer of a film here.”