Maybe, suggests the defeated interviewer, "Inland Empire" should be approached like James Joyce's "Finnegans Wake": Accessible as lyrical art, but filled with puzzles for those wanting to go deeper. Lynch nods, swigging one of his tepid cappuccinos. "Yes, with James Joyce, word combinations conjure things. He uses them as an art form and a language for abstractions. Cinema is its own language. As the sound and picture get going and things begin to happen, it can get pretty abstract, but it's a language that says something that can't be said in words -- or maybe could, by a poet."

"I like films that hold abstractions," he says. " 'Getting it' is a subjective thing, because we're all different, and each interpretation is as valid as another. The audience is putting things together as they go. If there's a bump in the intellectual understanding, let it happen. Have that experience, and then later mull things over. Let intuition kick in. It's a higher knowingness. If you try to put it into concrete terms, you're gonna block it."

I don’t think we were clear enough by saying fewer people came in under President Biden than came under Donald Trump. It’s clarity of the message, and if that’s what Bernie’s talking about, and that’s what Joe Manchin’s talking about, we weren’t clear in our message as to what things are, then I agree with that. And that was one of the concerns I expressed about saying we haven’t put forth what was done. It’s our legacy, too. [Pelosi bangs on the table.] The rescue package. [Pelosi bangs on the table.] Infrastructure Bill. [Pelosi bangs on the table again.] The CHIPS Act. But that didn’t come across as well as it should have. So I think if you’re talking about messaging, you’re talking about communications, that’s one thing. If you’re talking about what we stand for versus what they stand for, the public’s in for a big surprise.

I think that any vice president is, like it or not, tied to the record of the president. I think what Biden did was great, and being tied to his record is a great thing but not the way the record was perceived. This is a record of job creation. Sixteen million jobs as opposed to the record of her opponent who had the worst job-creation record since Herbert Hoover. Yes, 16 million jobs, turning around inflation, all the things that we did to build the infrastructure of America, reduce the cost of prescription drugs.

President Trump has promised to use the Justice Department and the attorney general to go after his perceived enemies. He has said that over and over again, and you’re one of them. Well, you would think that that would be enough reason for people not to vote for him. But that’s what he said. So when people say to me, “Why do you think our democracy is in danger?” I’ll say, well, let’s define our democracy. What is democracy? Free and fair elections? Peaceful transfer of power, independence of the judiciary, the rule of law, all of those kinds of things are part of a democracy. So if he’s going after those things, and thank God, the only, shall we say, peace of mind that we have today is that we don’t have the assault on the system that would have been there had Kamala Harris won. That isn’t right. It shouldn’t be that way. And that he would say — maybe thought it, might even want to do it, but to say it and the American people will say, “That’s OK with me ”?

What’s your relationship now to the work back then? Are you as passionate? I really had to think about that. My analysis of that is, you’re a different person with different needs. A lot of that is based on confidence. When you’re starting out in an art form or anything in life, you can’t have confidence because you don’t have experience, and you can only get confidence through experience. But you have to be pretty confident to make a film. So the only way you counterbalance that lack of experience and confidence is absolute passion, fanatical spirit. And I’ve had this conversation over the years with filmmaker friends: Am I as passionate as I was in my 20s? Would I risk my whole life? If it was my best friend or my negative drowning, which do I save? The 20-something self goes, I’m saving my film! Now it’s not that answer. I’m not ashamed to say that, because all that passion doesn’t go away. It disperses a little healthfully. I’m passionate about more things in the world. I care about more things, and that serves me. The most fascinating relationship we all have is to ourselves at different times in our lives. You look back, and it’s like, I’m not as passionate as I was at 25. Thank God. That person was very insecure, very unkind. You’re better than that now. Hopefully.

Guadagnino brought them Challengers, which will be released this month. Reznor said, “He started us down a path, saying, ‘What if it was very loud techno music through the whole film?’ ” (This is exactly what it turned out to be.)“I wish I had his notes,” Ross said of Guadagnino. “His notes were so fucking funny on what each piece was meant to do.”“Oh, yeah,” Reznor said. “ ‘Unending homoerotic desire.’ It was all a variation on those three words.”

Film geeks don't have a whole lot of tangible things to show for their passion and commitment to film. They just watch movies all the time. What they do have to show is a high regard for their own opinion. They've learned to break down a movie. They understand what they like and don't like about a film. And they feel that they're right. It's not open to discussion. When I got involved in the movie industry I was shocked at how little faith or trust people have in their own opinions. They read a script and they like it - then they hand it to three of their friends to see what they think about it. I couldn't believe it. There's an old expression that goes something like, He with the most point of view wins.

The man-child. The people who so loved playing characters that they played characters in their real lives, too, without actually transforming themselves into more mature human beings. He knew the cliché about celebrities staying developmentally the age that they were when they became famous. But how is a beloved movie star meant to change the right way? How is he supposed to grow up? How does he meaningfully evolve his life and art without killing his core?

What happens when you deliberately defy the moves that led you where you’d always wanted to go, and try something altogether different? It was a risk. But it made perfect sense. It happens. Your family members start to die. Your elders get replaced by your peers. You pack up your life and plant roots elsewhere. You put down the instrument that made you known and pick up another one instead. You plug it in. Do you hear that? That’s the buzz of something new. Wait till you hear what it sounds like when you strum.

Riverdale has gone in so many directions since it started. What did you think it was going to be?Petsch: A way to get me out of my restaurant hosting job. Charles Melton: I was a dog walker and working a Chinese takeout when I did my chemistry read with KJ and Cole for season two.In season one, Reggie was played by Ross Butler, who left to continue his role on Netflix’s 13 Reasons Why. Lili Reinhart: I had just signed a lease by myself in L.A., and I was terrified because I couldn’t afford it. This was my second time moving there to try and make it work, and I had no money and no job. I remember after my final audition, I was on the phone with my mom and told her it was the first time ever in an audition process that I felt like I truly was okay and at peace with whatever the outcome was: “I gave them my version of what this character is, take it or leave it.” That night, I found out I got it.

Casey Cott: I don’t think people understand how Riverdale works. Very quickly, before you start shooting an episode — we’re talking two days — you get the script. And sometimes you don’t even have a script. You just get an email that says, “You have a recording session.” And if you’re really lucky, you get a text from Roberto that says, “Hey, we should sing this song.” Mendes: If there’s one thing that show taught us, it’s how to wing it.

Reinhart: I think it’s important to acknowledge that our show is made fun of a lot. People see clips taken out of contextBy 2019, “Riverdale Cringe” videos had become a genre online, be they TikTok reactions to particularly funny lines of dialogue or YouTube compilations of strange moments from the show. and are like, What? I thought this was about teenagers. And we thought so as well—in season one. But it’s really not been easy to feel that you’re the butt of a joke. We all want to be actors; we’re passionate about what we do. So when the absurdity of our show became a talking point, it was difficult. It is What the fuck? That’s the whole point. When we’re doing our table reads and something ridiculous happens, Roberto is laughing because he understands the absurdity and the campiness.

If you want to watch a teen show where there’s just a bunch of kids in a high school dealing with relationship drama, there’s a lot out there. Sprouse: Go watch Euphoria. Mendes:  But Roberto didn’t want to do that. I think he wanted something that was more outlandish. Sprouse: That’s the natural life cycle of a cult program. North America is the only part of the world that raises vocal opposition to the absurdity of the show. England, which has a more dry, sort of crass, sarcastic sense of humor, loves it and gets it. We find a huge audience in France that has a fascination with classic Americana. Mendes: And don’t forget Brazil! All the show’s fan accounts. We’ve done so much that anytime we get a new script or go into a new project, it’s like, I’ve done a version of this on Riverdale.

Petsch: Does anyone remember when I had my whole-ass own church in season five? I think my favorite line is “I am Cheryl Blossom, queen of the bees!” And by “favorite,” I mean that’s the only time I ever texted Roberto and said, “Please, please, please, don’t make me say this.” I had to shake honeycombs at my mother to banish her.

Mendes: I had this long line, and I remember I was like, “I fucking hate this!” I couldn’t get it, and it was so complicated, but now it’s my little party trick. Sprouse: Say it, Cami. Petsch: Say it, girl. Mendes: “Word of my exploits serving Nick his comeuppance has seeped into the demimonde of mobsters and molls my father used to associate with.” [Everyone cheers and applauds.]

When kids are growing up, their moral compass isn’t formed yet. So there’s a dark side to it where you’re not really allowed to make mistakes. You’re supposed to make mistakes growing up and then learn from them. It changes who you are and helps you become a better person. But now, through everything being recorded, your mistakes can be immortalized for people to see, and kids aren’t allowed to make mistakes because that stuff can be brought up to tear them down later. So it’s a strange world that we’re living in now, and we won’t really know the effects of it till down the line.

I’d be in front of camera, and Danny would be behind. Danny would do a rough cut, I’d do a final cut, and then I’d do sound effects and music. And Danny would focus on VFX and color. So, during the process, we were more involved with those departments. I did a lot more with the sound and the music, and Danny did a lot more with the color. But on set, Danny would be the main voice communicating. If I had something like a direction that differed from what he was saying, I’d speak with him first and then we’d do a take like that. It was good having two of us, especially with scenes that had a lot more people. Danny could focus on the main, and I could look at the peripheral stuff. I feel like having a co-director is a bit of a cheat code. I can’t imagine doing it all by myself.

To write about something hard to explain, write a detailed letter to a friend about why it is so hard to explain, and then remove the initial “Dear Friend” part and you’ll have a great first draft.

To be interesting just tell your story with uncommon honesty.

Most articles and stories are improved significantly if you delete the first page of the manuscript draft. Immediately start with the action.

Each technology can not stand alone. It takes a saw to make a hammer and it takes a hammer to make a saw. And it takes both tools to make a computer, and in today’s factory it takes a computer to make saws and hammers. This co-dependency creates an ecosystem of highly interdependent technologies that support each other

On the other hand, I see this technium as an extension of the same self-organizing system responsible for the evolution of life on this planet. The technium is evolution accelerated. A lot of the same dynamics that propel evolution are also at work in the technium

Our technologies are ultimately not contrary to life, but are in fact an extension of life, enabling it to develop yet more options and possibilities at a faster rate. Increasing options and possibilities is also known as progress, so in the end, what the technium brings us humans is progress.

Libraries, journals, communication networks, and the accumulation of other technologies help create the next idea, beyond the efforts of a single individual

We also see near-identical parallel inventions of tricky contraptions like slingshots and blowguns. However, because it was so ancient, we don’t have a lot of data for this behavior. What we would really like is to have a N=100 study of hundreds of other technological civilizations in our galaxy. From that analysis we’d be able to measure, outline, and predict the development of technologies. That is a key reason to seek extraterrestrial life.

When information is processed in a computer, it is being ceaselessly replicated and re-copied while it computes. Information wants to be copied. Therefore, when certain people get upset about the ubiquitous copying happening in the technium, their misguided impulse is to stop the copies. They want to stamp out rampant copying in the name of "copy protection,” whether it be music, science journals, or art for AI training. But the emergent behavior of the technium is to copy promiscuously. To ban, outlaw, or impede the superconductivity of copies is to work against the grain of the system.

the worry of some environmentalists is that technology can only contribute more to the problem and none to the solution. They believe that tech is incapable of being green because it is the source of relentless consumerism at the expense of diminishing nature, and that our technological civilization requires endless growth to keep the system going. I disagree.

Over time evolution arranges the same number of atoms in more complex patterns to yield more complex organisms, for instance producing an agile lemur the same size and weight as a jelly fish. We seek the same shift in the technium. Standard economic growth aims to get consumers to drink more wine. Type 2 growth aims to get them to not drink more wine, but better wine.

to measure (and thus increase) productivity we count up the number of refrigerators manufactured and sold each year. More is generally better. But this counting tends to overlook the fact that refrigerators have gotten better over time. In addition to making cold, they now dispense ice cubes, or self-defrost, and use less energy. And they may cost less in real dollars. This betterment is truly real value, but is not accounted for in the “more” column

it is imperative that we figure out how to shift more of our type 1 growth to type 2 growth, because we won’t be able to keep expanding the usual “more.”  We will have to perfect a system that can keep improving and getting better with fewer customers each year, smaller markets and audiences, and fewer workers. That is a huge shift from the past few centuries where every year there has been more of everything.

“degrowthers” are correct in that there are limits to bulk growth — and running out of humans may be one of them. But they don’t seem to understand that evolutionary growth, which includes the expansion of intangibles such as freedom, wisdom, and complexity, doesn’t have similar limits. We can always figure out a way to improve things, even without using more stuff — especially without using more stuff!

the technium is not inherently contrary to nature; it is inherently derived from evolution and thus inherently capable of being compatible with nature. We can choose to create versions of the technium that are aligned with the natural world.

Social media can transmit false information at great range at great speed. But compared to what? Social media's influence on elections from transmitting false information was far less than the influence of the existing medias of cable news and talk radio, where false information was rampant. Did anyone seriously suggest we should regulate what cable news hosts or call in radio listeners could say? Bullying middle schoolers on social media? Compared to what? Does it even register when compared to the bullying done in school hallways? Radicalization on YouTube? Compared to talk radio? To googling?

Kids are inherently obsessive about new things, and can become deeply infatuated with stuff that they outgrow and abandon a few years later. So the fact they may be infatuated with social media right now should not in itself be alarming. Yes, we should indeed understand how it affects children and how to enhance its benefits, but it is dangerous to construct national policies for a technology based on the behavior of children using it.

Since it is the same technology, inspecting how it is used in other parts of the world would help us isolate what is being caused by the technology and what is being caused by the peculiar culture of the US.

You don’t notice what difference you make because of the platform's humongous billions-scale. In aggregate your choices make a difference which direction it — or any technology — goes. People prefer to watch things on demand, so little by little, we have steered the technology to let us binge watch. Streaming happened without much regulation or even enthusiasm of the media companies. Street usage is the fastest and most direct way to steer tech.

Vibrators instead of the cacophony of ringing bells on cell phones is one example of a marketplace technological solution

The long-term effects of AI will affect our society to a greater degree than electricity and fire, but its full effects will take centuries to play out. That means that we’ll be arguing, discussing, and wrangling with the changes brought about by AI for the next 10 decades. Because AI operates so close to our own inner self and identity, we are headed into a century-long identity crisis.

What we tend to call AI, will not be considered AI years from now

What we are discovering is that many of the cognitive tasks we have been doing as humans are dumber than they seem. Playing chess was more mechanical than we thought. Playing the game Go is more mechanical than we thought. Painting a picture and being creative was more mechanical than we thought. And even writing a paragraph with words turns out to be more mechanical than we thought

out of the perhaps dozen of cognitive modes operating in our minds, we have managed to synthesize two of them: perception and pattern matching. Everything we’ve seen so far in AI is because we can produce those two modes. We have not made any real progress in synthesizing symbolic logic and deductive reasoning and other modes of thinking

we are slowly realizing we still have NO IDEA how our own intelligences really work, or even what intelligence is. A major byproduct of AI is that it will tell us more about our minds than centuries of psychology and neuroscience have

There is no monolithic AI. Instead there will be thousands of species of AIs, each engineered to optimize different ways of thinking, doing different jobs

Now from the get-go we assume there will be significant costs and harms of anything new, which was not the norm in my parent's generation

The astronomical volume of money and greed flowing through this frontier overwhelmed and disguised whatever value it may have had

The sweet elegance of blockchain enables decentralization, which is a perpetually powerful force. This tech just has to be matched up to the tasks — currently not visible — where it is worth paying the huge cost that decentralization entails. That is a big ask, but taking the long-view, this moment may not be a failure

My generic career advice for young people is that if at all possible, you should aim to work on something that no one has a word for. Spend your energies where we don’t have a name for what you are doing, where it takes a while to explain to your mother what it is you do. When you are ahead of language, that means you are in a spot where it is more likely you are working on things that only you can do. It also means you won’t have much competition.

Your 20s are the perfect time to do a few things that are unusual, weird, bold, risky, unexplainable, crazy, unprofitable, and looks nothing like “success.” The less this time looks like success, the better it will be as a foundation