The internet is filled with things. Here are some of them.
“Apparently for Netflix, Ryan Reynolds has made $50 million on this movie and $50 million on that movie,” Quentin Tarantino told a Deadline reporter last year at Cannes. “Well, good for him that he’s making so much money. But those movies don’t exist in the zeitgeist. It’s almost like they don’t even exist.”
I’ve never met Brian. Love his work, but he wrote a 30-second theme and basically got the same credit as us. They used him because of his name value, so people attributed our work to him and his work to us, and it was confusing. It was much hipper to say Brian Eno wrote the score than Toto at the time. If they didn’t like the movie, they’d go after us. If they liked it, they’d give Eno all the credit. I have no beef with Brian Eno, I have no beef with David. That’s what he wanted so he should have it. I love Brian Eno.And later in the interview, David Paich, the primary songwriter for Toto, on visiting David Lynch's home:
I remember when I went to his house, he had this haunting, low, whistling sound. I said, “What is that?” He said he went to Scotland up into the hills where there was supposedly a haunted castle. This was the wind whistling through the castle, and he recorded that. He puts it on all of his movies. This low wisp of a sound. It’s almost like a foghorn.
During that weird time in the 70s when porn became... not quite art, but something more than just porn, the San Francisco pornographer brothers Art and Jim Mitchell used their legal expertise to place restraining orders against everyone bootlegging their infamous Behind the Green Door video (the title a reference to a 1956 pop song about a private club). A Texas judge ruled that porn was for some bullshit reason exempt from copyright law, and therefore the Mitchell brothers had no case. They appealed. Quoth the SF Gate in 1999: Well then. Thank you, Mitchells. Also Jim later shot and killed Art for being a drunken belligerent mess, so there's that, too.