Eraserhead Stories (2001) - full transcript
The enduring hope that humanity may or may not persevere. A tale of love and abandonment.
It's strange how Eraserhead is
it is a personal film.
It's my first feature
and it took the longest
of any film.
And I lived and loved that world.
I can't remember
when I got the idea
when the word Eraserhead
or any part of the idea
came to me first.
I can't remember whether
it was in Philadelphia
or when I first came to California.
Completely don't remember.
Don't remember writing the script
and I don't remember
the ideas coming in.
Especially the initial idea.
A lot of times I remember
when the first thing kind of came.
Maybe I don't.
But, for sure
I don' t remember this.
It all came from Philadelphia.
But I don't know when
it bobbled up to the surface.
I got a independent filmmakers
Grant in 1968.
That's an independent
filmmakers Grant.
That was a brand
new program and I was
in the second group to
get one of those grants.
That was to make
The Grandmother.
That's when I met Alan Splett
and Herb Cardwell who was
a cinematographer.
And I asked him
give me some tips on lighting.
Then when we came time to mix
and I look over
and I see this guy
he's like a bean pole
in a shiny black suit.
15-20 year old suit.
And I shake his hand
and I can feel
the bones rattle in his arm.
That was Al.
And this guy was as straight
as an arrow.
And I figured this
is never going to happen
not in a million years.
What followed was 63
non-stop days:
Saturday, Sunday...
of making sounds.
Never had so much fun in my life
working with Al.
But I need extra money
to finish the film
so I called Tony Valani
in Washington DC
where the AFI's
headquarters were then.
Tony, bless his heart, came
all the way up on the train
and I met him at the station
and he came over
I showed him the
film at Calvin Dufresne.
He, you know,
really liked what he saw.
They gave me
2 200 dollars more
to finish the film.
And on the way back
to the train station, I'm driving him
and he said, David
you should come to
the Center for Advanced Film
Studies out in California.
And luckily I didn't
have an accident
you know when he said that
because I was like
I started floating.
I was still trying
to reach the, you know
the break and the gas pedal.
But they made a booklet
showing the Center
and some of the fellows
instead of students they call
them fellows
and they took
15 fellows a year.
so now they sent
this booklet out
and I'm getting this booklet
and on the front cover
is this 55 room mansion
On 18 acres of land
in the middle of Beverly Hills.
So you kind of, you know,
say this is...
what kind of a fantastic
world do we live in
you know when they
got a school like this?
Then they open it
up and it goes through
all these great
directors that came and
talked, give talks
there and how much, you know
the industry
was helping the school.
Different programs,
different seminars
and one of
the seminars they showed
the students
sitting in this room
with beautiful wood paneling
and a fire in the fireplace.
Giant like hearst like
fireplace.
Some of the students
are wearing sweaters
and I'm thinking:
What kind of
a place is California?
Because it's not just
hot all the time
it's sometimes
cool enough
in the evenings
for a fire in the fireplace
and you wear a sweater.
This seemed like
the perfect thing.
The Center for Advanced
Film Studies started in 1969.
I went out in
the summer of 1970.
Al was placed as head
of the sound department
So Al went out
actually a month before
I did and he took a little
apartment on San Vicente.
Right down the street
from the Whisky a Go Go.
Then Jack Fisk and
my brother John and I
drove out in a truck
and rolled into town after
three days on the road
at night.
And I'm still not
getting the feel of LA
but I get a little feel
of a nighttime LA.
When I woke up the
next morning it was like
I was almost blinded.
The light was
so unbelievable.
I couldn't get
over it how bright it was.
I had to stand out
in the front of the house
getting blinded by this light.
And it felt so good,
it was unbelievable.
Then we walked up to
the AFI which was
it was actually
Doheny the senior's son
that was built for him.
And was built in 1929,
finished in '29.
It was 55 rooms
reinforced concrete.
High on a hill.
The real deal.
When you go into this place
it's spectacular.
And so we all went
up there, and
kind of walked around
with their, you know
jaws falling open and
that started, you know, the
next sort of phase.
I worked on a script
called Gardenback
and Frank Danielle and Gil Dennis
both sort of took
me under their wings.
Frank Danielle is
the greatest film teacher
in the history of the
world and he's since died.
Bless his heart
but he was unbelievable
as a great teacher.
I took a film
analysis class with him
and then he and and Gil
who was this a fellow there but
He was sort of working
with Frank and they would
have script meetings with me.
But it didn't work out.
I was completely fed up.
It was going nowhere.
It was getting longer
but all my good
bits that I liked were
just being
filled up in between
with stuff I didn't have
a clue why it was there.
So the first day of
the second year
So, now it's 1971.
For some reason I got
put into first year classes.
I thought
that it was
That I might have flunked
my first year.
Plus I was fed up
with Gardenback.
I went up to Frank
Danielle's office and I quit.
I quit the the school.
And stormed out
and went down...
I told Al quit and he said,
you know I quit as well.
So we both went out.
And went down to the
Hamburger Hamlet
and had some coffee.
And when I got back
home Peggy, my wife at the time
said they've been...
what, what happened?
They've been
calling you and...
So I explained to her
and she said
Frank said you gotta come back,
you gotta come up and talk.
Eventually I went
back up
and had a really
good talk with Frank.
And Frank said, if you're upset
we're doing something wrong.
What do you want to do?
And I said I want
to make Eraserhead.
He said:
Okay, you'll make Eraserhead.
and he said, it's a 21
page script
so it's a 21 minute film.
I said: No, I think it's
a hair longer than that.
He said, okay
it's a 42 minute film.
I said, okay but...
And off I went and that was the
beginning of it.
Somehow I had a script
of Eraserhead by 1971.
There wasn't really a script
it was
a 22-page thing.
I don't know what people
really got from that script.
I know that
Frank Danielle who was
the Dean of the school
he died
maybe five years ago
and at his funeral
his son told me that
Frank himself didn't
really like Eraserhead.
But he didn't...
the script.
Maybe the film too,
I don't know.
He said, that it was important
that I'd be able to do it.
A man was on the
board of directors at AFI.
This is what his son,
Frank's son, told me
and told Frank this
is not the kind of film
that we make here at
the American Film Institute.
Frank said this is
exactly the kind of film
we should
be making here at the
American Film Institute.
It got strange.
As it turns out I never
knew about this
until five years ago.
Frank turned in
his resignation
thinking it wouldn't
be accepted
and they accepted
his resignation.
From his son's story,
because of Eraserhead.
Frank left the AFI.
Certain things
had to be done
before shooting
commenced.
I started working
on those things.
Somewhere in there,
even...
I sort of been going
down to the stables
toward the end
of the first year.
I call them the stables.
There were stalls,
there were garages
there were car garages.
All equipped
with hydraulic lifts
for the old cars.
There were
maids quarters
there was
a huge hayloft
and there was a place
where they stored firewood
which was, you know,
kind of enormous too.
There was also
a greenhouse
and gardener's quarters.
I took a a room
down there and
no one went ever
went down there.
I just sort of started
doing some things
down there.
Then I got the whole
stables to work in
and a garage and
some stalls and a hay loft.
And some other
surrounding areas.
It was like
a mini soundstage.
Then I got all this
equipment from AFI.
It was
like heaven.
We had two cameras,
two CM3s, Éclair CM3s.
We had a whole
lighting package.
We had video cameras
black and white
video cameras.
We had a a room
that was called
the camera room
where all
the different camera
things were stored.
Lenses and everything.
We had a room that
was for we called
the food room
where we ate.
We had green rooms
where Jack
would put on
his makeup.
Strangely on Eraserhead
the first person I met
was in the film.
I never saw...
I can't... I'm pretty
sure I never saw
more than one actor
before the
thing was cast.
I would... mostly
friends would tell me
about someone or
someone else would tell me
about someone
and this person would come in:
Bango!
This was like perfect.
I said you're perfect.
It was it was weird.
I felt bad about it
because, I said, I'm not
seeing enough people.
But they just come
in and they
they just had a...
it was like
fate was just dropping
them on the doorstep.
The most important actor
was Henry Spencer.
There was a guy at AFI
named David Lindemann
who was a theater
director in San Francisco
before he came down
to AFI as a student.
He knew lots of actors.
So one day
I described the
character I was looking for
as best that I could.
He said there
are two people
that I would recommend.
One of them, his name
was Jack Nance.
So I said, okay.
I made this
arrangement to meet Jack.
Jeanne Bates
was the only one I had
doubts about, because
she was so beautiful.
When she walked in
she looked
way too beautiful.
I told her. I said you
gotta understand
you're too beautiful.
But she had a fixation.
It was weird.
She said she would
work very hard
to get into that and
look that way.
I built her
a drooping eye
and a wart
and some facial hair.
And she did the rest.
She just did
a beautiful job.
Charlotte Stewart
was a friend of Doreen's
who was signed
on as production manager.
Charlotte was in
A Little House on
The Prairie in those days.
And many times
she'd come in with all
this TV makeup on and
we'd have to get
all that stuff off
and then frump her up.
Then she'd be
ready to go.
Alan Joseph
played Bill X
He was also the
first person cast
for that role and
first person I saw.
It made
a great family.
In those early polaroids
you can see a family picture
of the three of them.
It's a
good-looking family.
It was a great group,
all the people.
Everybody was
great to work with.
Everybody got
there and
the rest of the
world disappeared.
We were in
a space that
everyone seemed
to understand.
The crew was Doreen Small,
Catherine Colson
Herb Cardwell,
me and Jack.
And that was the crew
for most of the picture.
Herb Cardwell was the first DP.
Herb worked for nine months.
Herb is a great DP.
Herb died when
he was 35 years old.
He died in his sleep.
That was long after
he finished
working on Eraserhead.
One day Herb took
me and Peggy flying
and he said there's
a beautiful airport
north of here in the desert.
And we flew up there.
Beautiful day.
Landed just like the
most perfect smooth landing.
Herb is the only guy I know
he's the best
driver in the world.
Herb drove
with both feet.
And he would
feather his stops
and feather his starts
and he would
accelerate at exactly the
right moment in a turn.
I you just you never
feel any tension.
You are very relaxed.
Everything is smooth
and you're
not rocking to and fro
or side to side.
But anyway,
it's beautiful.
Herb is driving in the
same way he flies.
So smooth,
perfect.
We came, we went
out and
after we'd landed in the
desert and you know
kind of walked
around in the desert.
And then flew back.
When we landed in LA
it was night.
And we were taxiing
to the place
where he was gonna
stop his plane.
He radioed to the tower
The sound of his voice
and that the
character of his voice
all the hair went up in
the back of my neck.
and I got
goosebumps all over.
And it occurred to me
that Herb
in another life
was a long distance
space pilot.
The way he said
good night to the pilot...
to the tower
it was like he would
have been flying
for millions of years.
It was it was
the weirdest thing.
The guy was a pilot.
It was very beautiful
the way he said
goodnight to the tower.
It was incredible.
When Herb had
to leave because he
couldn't afford
to stay anymore
Tony Valani told me
about Fred and
he came to AFI as a
cinematography student.
Fred and I met
Fred had a very good attitude
you know,
talked with Herb...
And it felt
like the right thing.
And then this
transition
brought Fred into the mix.
Then Fred Elms took over.
Herb brought Fred up to
speed over a two or three
or four-week transition.
And Fred then shot
for three more years.
One day Jack Fisk
and I, we found out
that a studio
was being shut down.
It was kind of
a cloudy day
and we went and rented
a 35-foot flatbed
and drove over to this place.
And the clouds made
it seem like there was
kind of a roof
on the world.
So when we went into
the place it was like
even though a lot of
the place was open
it seemed like
it was under a roof.
And this was an ancient
real deal studio.
And they were
selling stuff for nothing.
When we drove out
of there we had
35 feet long
12 feet high of flats.
Bales of wire,
kegs of nails.
30 foot by 40 foot
black backdrop.
I can't remember
all the things we had
A lot of like
radiators and
things that
I needed for the film.
But the whole... all the sets
were built with those flats.
Since I had
a paper route
if there were
holes in them
I would just do
paper mache patches.
With the newspapers,
Wall Street Journal
and flour and water.
All that 35 feet
by 12 foot high
all this stuff,
100 dollars.
100 dollars.
My brother John
helped me build sets.
Like I said,
Jack Fisk helped
getting all
these things.
They were stored
down at the stables.
All the flats,
all the stuff.
Then I had to
you know, build many
things for for sets.
Jack Nance
helped me a lot
on certain
building projects.
I loved working with Jack.
We were troweling
plaster one time and I
it was had
a curved surface so
I talked to this guys
about plastering
how do you trowel
uh you know get this
stuff smooth like glass he says you
gotta trowel it
And so Jack
and I just kept saying
you gotta trowel it,
all day long
troweling this thing
and finally go
it pretty smooth.
It wasn't all day long
it was all month long.
It was more like that.
Jack at first
wore the skin
off his hands
because he wasn't
wearing gloves.
A lot of plaster
has sand in it.
So when you're
rubbing stuff down
with your bare hands
you don't realize
it at first
but the skin sort
of starts turning to jelly
and rubs off
and you can start seeing
your bones.
And their hands' on fire
and it's really bright red.
Jack did this.
Jack did a lot of crazy stuff.
There were several
props that I needed
A deal was struck
through AFI
and Warner Brothers.
I just could drive on
and I met...
I mean this was 1971.
I met an old timer
that had been
at that studio for
years and years.
Head of the
prop department.
Welcomes me.
In we go.
What do you want?
Up one aisle,
down the other.
Unbelievable stuff.
I'd say, could I get
this thing here?
He says, put it put
it out there on your truck.
I just went through...
About four years later
I returned those props.
All different people,
all different looking place.
They had no
record of it, nothing.
Al was head
of the sound department.
We had all the equipment
that Al had at our disposal.
That included inauguras
and microphones
and cabling and
you know all that.
And since there's
not a lot of
sync sound, dialogue,
in the film but still
Al recorded all that.
The room as every room
is it was a hair too live.
As everybody knows
you can add echo
but you can't take it away.
We built sound blankets.
The sound blankets were
burlap around fiberglass
and then grommeted
along the edge.
The grommets, you could
hang them on nails
at the top of the set walls.
And then the sound
blankets would drape down
you could move
them around real nice.
They were they were light
I think AFI wanted
them built.
Theoretically
they would keep them
and use them,
so we made a budget.
and put all the
materials in there and
found out how much
they cost
and all this
kind of stuff.
Al, before his incarnation
as a sound man
was an accountant in
Philadelphia breweries.
So Al was pretty much of
an ace on an adding machine.
He and the other
accountants would
go so fast they'd
jam the machines.
Al was so rapid he would
jam the best machines.
He wanted to go after
we finished this budget
next door to the AFI
accounting department
and tally these
numbers up.
So we went over there.
There was
a girl at the desk
and Al said
can we borrow
the adding machine.
And she said what
do you want
the adding machine for?
I'll add those.
He said, no no
I'll add them up
could we just use it?
She said, give me
the numbers
I'll add them up.
And Al said, no no
let me add them up
I've got 'em right here
and he kind of
went around.
And this girl's
eyes went about
like silver dollars.
He had those things
in a heartbeat.
This machine
jumped to life and
the paper was spit
out and he popped it
and borrowed her
stapler and put it together
and we walked
back across the hall.
He was super fast
on machines.
Unfortunately Alan Splatt
and Herb Cardwell
are both gone now.
Al is legally blind
But Herb can hear
and see.
Al and Herb decided
they were gonna fly
across the country.
and Al was going to
be the navigator and
he had all the maps
and everything like that
but Al would
be reading his maps
you know very close
because he was so blind.
The first
leg of the trip
they were going up
to Pocatello, Idaho.
They took off
and Al navigated Herb
up there and they
they radioed ahead,
they were going to
land at night.
And the guy said
it's so late he's going back
into town but he'll
leave a rental car there.
Just come in, lock up.
It was the good
old days.
Herb did a perfect
landing at night.
They parked the plane,
there was the rental car.
they did everything
the guy wanted
and started
driving into town.
And around Pocatello,
Idaho there's just
these narrow little
two-Lane roads and
pitch black.
Al's riding shotgun,
Herbs driving
because Al couldn't
get a driver's license
because of
his blindness.
Al tells this story
as they're driving from
this little airport
into the city
of Pocatello, Idaho.
Herb is talking.
He's telling some story
or something
and talking fairly
rapidly.
The talking suddenly
doesn't start...
it starts not making
sense to Al.
But it's rapid,
nonsense.
Al notices that
the lights
are now illuminating
the side of the road.
and the car is
starting to
go off the road.
Herb, his voice is
now going up in pitch
and he's talking
just as fast
but his voice is rising
and he's in the
shoulder of the road.
His voice is going up
higher and higher
in pitch even though Al is
screaming at Herb
right next to him.
Herb doesn't hear.
He keeps talking
and his voice, it comes
to little squeak
coming out of him.
Finally Al, he goes over
and hits him
or he yells loud enough
and Herb comes out
and comes back
onto the road just in
the Nick of time.
They continue the trip
just fine.
Course, that's like,
Al's got to keep
good eye on Herb.
Or you didn't
have a good night.
There needed to be
certain things discovered
I love organic phenomenon
That has led me to
various things.
And it led me to
one day
calling a
veterinarian.
I asked him if he had
a dead cat.
He said, no sir,
I don't.
And I explained
to him..
He said, what do you
want a dead cat for?
And I said, I want to
study this cat.
Something...
He at first pegged
me for a total nut cake.
Then something
caught him
and he took
my number.
And lo and behold
10 minutes later
this same guy
veterinarian
calls me and he says,
I have a cat.
I can't believe it.
I got off the phone
two minutes later
in it comes.
I had to put it
to sleep and
you can have this cat.
He asked me that it
would never show up
in a film.
In the film.
Or be recognizable.
So I had had
this set up
in my basement there.
And I drove down
and got the cat
in acardboard box.
Just before lunch
I put it into a jar
filled with
formaldehyde.
And it went in
like a slinky.
It just laid down
in the formaldehyde.
And then I went
upstairs and had lunch
and came back down
and I went to get
the cat out of the jar
and it had gotten
rigor mortis.
This had
a narrow top.
It was like trying
to pull a steel cat
out of a out of
a glass jar.
I finally got this thing
out of there.
I had a whole
set up on
the workbench
my idea of a like a
an operating theater.
And I went to work
getting inside this cat.
When I opened up
the inside
it was
unbelievable.
And it's... if you've
seen Fellini's Roma
it was...
there's a
The organs inside the
cat were brilliant colors.
And as soon as
the air got to
the organs they
started, the color
just started draining
out right before your eyes.
Just draining away
before your eyes.
Just like when they'd open
up these things
under the city and
these ancient things
were perfect. And the air
starts getting to them
and they start fading.
But studying this cat was
kind of important.
There was no time
put on it
but the school went
two years, so theoretically
I would be finished
with this film
by the end of
the second year.
And by the end of
the second year
I hadn't yet
started shooting.
So we started
shooting in June of '72.
- Hello?
- Hey, Cath.
- Hey, David.
- Do you have some stories
you want to talk about,
Catherine?
- God, I got
a lot of stories.
I really remember
well the very first
night of shooting.
I remember being up
in that hay loft part.
- Right
- And it was like
we set up a whole
little set and then
there was the room
with the couch and
I remember keeping
Jack's hair photo
ready, you know.
- Right.
I remember when
Jack had his first haircut.
which was the afternoon
of the first day
of shooting.
I wanted it short
on the sides
tall on top.
Jack and Catherine
had a friend who was
a professional barber
who drove out
to the stables he got his
hair cut in the hay loft.
In the hay loft held
the X's interior.
In the afternoon
Jack got his hair cut
and I stayed there with
the barber and Jack.
Said, it's
looking good.
And the barber left.
But I still had a big
surprise ahead of me.
I'm not sure
if it was Catherine
or Charlotte Stewart
Catherine Coulson
or Charlotte Stewart
who combed his hair first.
Eventually Catherine's
job was to
comb Jack's hair.
But Jack has, as luck
would have it
a certain type of hair and
when you comb it up
it stays up.
So, it was long on top.
And when Jack came in
it was a very big shock.
And some people said,
David, you can't do that
that's too too strange.
But it was so perfect
in proportion
to Jack's body.
Henry, you know,
forget Jack
he was turning
into Henry.
It was so beautiful.
So it stayed.
But even so,
that first day
it's not quite as high as it
eventually got.
There's little stages
to the hair
but it was pretty high.
When we would
drive Jack around as Henry
he would sit in the back
in the middle
of the back seat
because people would
there was no strange
hair in those days
I mean there was hippie
hair but not hair
like that and he would
draw a small crowd
and people would start
coming around.
We had to kind of
keep him hidden
as we went around.
- That was kind of
hard on him.
Because we'd go for
long periods of time
before we'd shoot
again then I'd have to
cut it all over again because
cutting his hair
was really I think it's
what destroyed the
marriage ultimately.
Because I had to keep
teasing it, remember?
- Jack had the most
incredible hair.
- He did. He used to wear all
these different hats
to try and kind of
mush it up under his hat.
And I remember
my my family
never really knew him
without that weird hair.
He would go to
like family reunions
and you always
see him with this
you know, kind of
odd flattened hair.
Because he he
didn't like to tease it
and wear it up when he
wasn't just on the film.
- I know.
- But I know I am
really sorry that
I didn't ask for that credit.
That even though it
was your design that
I wanted that
Mr. Nance's hair thing.
- And his suit
came from Goodwill.
And it was in those
days the Goodwill was like
you go into a place
you couldn't believe
what you were seeing,
it was so beautiful.
So we just walked in
and picked all the parts
for Henry's suit.
Shoes included.
I'm pretty sure those
were from Goodwill.
The first scene we shot was
a scene on the couch with
Henry, Mary and
Mary's mother Mrs. X.
We did all the
X's stuff first
and then we did the
X's how they relate
at Henry's apartment.
But most of those
things are gone.
But there was a
scene at the front door
of Henry's apartment
with Mr. and Mrs X
paying a visit.
And that was...
It kills me. That part
of the film has been lost.
Then Alan and Jeannie
were finished.
They actually got
finished almost
like in a regular film.
Fairly soon and
professionally.
Then when we got
into Henry's apartment
it just went into
another zone.
And that's when
we bit off
quite a chunk of time.
And we would
work at night.
So people would
start showing up at
about 4:35 in
the afternoon.
And eventually we
would have some dinner
and start
going to work.
But unfortunately
the pace
was quite slow.
- We'd set it up for
hours and hours and
and light it and stuff.
See, I think that time
was really
a kind of a wonderful
distortion because
it wasn't really
important how long
something took it
was what it what was
important is how it
really looked and felt.
And nobody was
really pushing
because after a while
you know they just
sort of like
forgot about us, right?
- Exactly right, Cath.
- And we just got to
keep going and keep going
and keep going...
- See, what I want to
do is have
mainly the look
on Henry's face
God, it's just
like so real.
I feel like he's here,
but anyway.
The look on Henry's
face just when
he's getting ready to
cut you know the big cut.
- Well, you do
a run through...
Jack may be
in his robe
or something like this and
he's going to be in his suit
and you rehearse
with no lighting.
- And then his point
of view of the scissors.
Those are the
point of view shots
that are really
important, okay?
Those two are really
important.
Now, the opening up we
can do third person
and the cutting.
- So it's really one
shot indoor
at the very top of the list.
- Second shot is
over here with the 28.
- Right. Henry.
- Cutting.
- Henry...
- Cuts.
He gets halfway up,
we stop, we move over here
with the 90.
- After Jack and
I had rehearsed
on our own. Then Jack
goes away and
Herb would start
lighting based on
what he saw in
the rehearsal.
It was painstaking
lighting, it was exact
it was it was beautiful
what Herb was doing.
Sometimes you know 15
or 20 little inkies
floating around up
in the ceiling.
That's why I say
Philadelphia
is my greates
influence because
a lot of things
started in Philadelphia.
And there is
a certain mood
to some of
these interiors.
And they carry way
more than what you see.
A thing is indicated
from these interiors.
Something about the light
and the moulding
and the proportions.
A thing is indicated.
And the mood outside.
It sort of seemed like to me
that there were
factories
industrial buildings
and neighborhoods
dark and forlorn
tucked in somewhere.
Sort of like, you
can't get there from here.
They're sort of lost
in another kind of place.
And that is what
comes from Philadelphia.
And this is the world
of Eraserhead.
Where you can
be in a room
and feel the exterior and
know what it is like
just from a mood.
That's the way it was
in Philadelphia as well.
I don't remember... I
remember one sunny day
and that's about it.
- What?
- Unfair.
- Jack was one of the
all-time greats
at hitting marks.
Completely together.
We'd work out the
tiniest details and
first time every
time after that he'd
get it just right.
- This is a 90 mm lens
and I have a big slate.
- Did you already put it on?
- Well the thing is
that with a small crew
working at night,
and see, Catherine
I think she's the hero
heroine of the of
the thing because
she wasn't even
supposed to be helping.
But she ended up...
She had a waitress
job in the day and
then would stay up
all night.
She'd bring
grilled cheese and fries
and different
things sometimes home
from the restaurant
up to the you know
to AFI to the stables.
and or we had
a hot plate and
she would cook
things for us.
So she was really
burning that candle.
- Catherine?
- Yeah.
- You had a job during
the day, didn't you?
- Yeah, well I had a few
of them I mean
one of the jobs I had
was when I was...
- A waitress?
- Working at
Barbecue Heaven.
- I worked at Barbecue
Heaven at lunchtime
so that I could sleep till
like around 11
and go in and and
then we would get you
odd jobs at the
restaurant, remember?
- I don't remember that.
- You fixed the roof for them.
- I did?
- One time yeah because
they give you grilled
cheese sandwiches
and French fries.
- Wow.
- So you did like
odd jobs this was
that restaurant in Beverly
Hills on the corner.
- Yeah, I remember
you working there
but I don't remember...
- No no, you...
that was a way for
you to get, like, free food.
- Getting takeout
food was really
expensive so I started
making dinner.
- Right. - And pretty soon
we were making
breakfast and lunch.
- Right.
- And we cooked it
on that little
hot plate, remember that?
- I sure do, Catherine.
- Yeah, there's a lot of
grilled cheese and
then for a long time
there you were into
egg salad, as I recall.
- Uh-huh.
- You like to eat the same thing every day
and a lot of us kind of got used to that.
- But each person had
kind of fixations on food.
Al ate these
small yogurts
pure yogurt
out of plastic
containers though.
And he would use
a plastic spoon.
Jack Nance couldn't stand
the way Al ate yogurt.
Especially when he
got near the bottom
was trying to get
the last little bit out
and that spoon
scraping on that plastic.
It was it was pretty funny.
- Didn't you start out
holding the boom, Catherine?
- Yeah, the first thing
I did was
hold the boom for Alan.
- Right.
- Then I learned
how to be a camera
assistant during that time.
And I really am glad
I learned how to do that.
I can still tell
what three feet
eight inches is, you know?
- That's fantastic, Catherine.
- When I first met you
I remember going in for my
interview for the nurse.
I'm really kind of sorry
we never shot that scene.
- There was a scene which
was never even shot
of a nurse
in a hospital basement
where they um
went to get the baby.
And Catherine was
going to play that nurse.
But she never
got to play it.
- There was this picture of me
and Frankie being tied to a bed.
- Right.
- Were trying to find somebody
to do that scene,
do you remember that?
I was calling all my women
friends and asking them
if they wouldn't mind
you know if they'd
like to be in this movie
and they'd be in
this scene where they
just would be tied
to a bed you know
and this guy had like
these kind of battery cables.
and everybody said no.
For some reason. I never
really understood that.
- They weren't good
sports, Catherine.
- I guess we were pretty good
sports, though.
- Yeah, you and Frank...
- Frank and I did it, right?
- You and Frankie
did it great.
- Does that exist
anymore?
- I actually have that
little scene, Catherine.
- Oh, you do?
- Yeah, a part of it anyway.
- God, I'd love to
see that someday.
- Yeah.
- Well, mostly what
I remember, David
I remember being
there really long hours.
And really having
fun figuring stuff out.
I remember the night that
you asked Doreen and me
to fill this whole drawer
full of pudding.
- Right.
- It had like a little
thin layer of peas
on top.
- Right.
- And we were trying
to calculate
the square
or the cubic footage
of the drawer
based on what
was in a package
of vanilla pudding.
- Right.
- It was like, you used two
cups of cold milk
and we were trying to
figure out how many
of those little packages
that we got
from the Sun Bee Market
'cos that was the one
that was open
really late on Sunset.
- I remember that Sun Bee
Market. Peggy used to go there.
- We'd go down there
to the Sun Bee
and buy as... but we
didn't have a whole
lot of money either, right?
- No we didn't, Catherine.
- So we tried
really hard
to make the vanilla
pudding stretch and
we tried to make it
with water instead
of milk so that it
would you know be
a little less expensive.
You just coated it
with this little layer of peas
And they were, um
they were frozen
peas as, I recall.
We had to kind of cook them so
they'd be plump enough
because they couldn't
be really shriveled
- Right.
- So we lay the... after
we fill finally we
line the drawer with
plastic and then
we fill the whole thing
uh with the pudding.
And then you just
laid this little layer
of peas and then
the scene was just
Henry... I haven't
seen it for a while but
Henry just reached
in and pulled it out, right?
- Exactly. All the
the utensils were
down inside that stuff.
- Right. Well, I
remember that I was
really learning
how to do follow focus
but it was like a macro
lens, wasn't it?
- Uh-huh.
- Then I had to figure out
how much distance
there was kind of like
between peas you know
as he reached his hand in.
- But, I just had another
memory when
the new fellows were
coming the following year
and they were having
this big fancy dinner
up at the
main house.
- That was the bed scene.
- Right. And we were
filling those tanks
and it was really
really cold outside.
- Yeah, Jack had a couple
of lines about that.
- But we were
going driving
back up and down
that long driveway
with these big
sparkles bottles
trying to get the
water warm enough.
- Exactly.
- You'd just run hoses
into the tanks, hadn't you?
- Yeah.
- And it was really cold
and they were in it
like all night.
- Exactly right.
- And what did you use to
make the the milk...
it looks like
a milk bath.
- I believe, uh...
I believe...
- I believe we used milk.
- I think we did.
- I think so.
- I think we used
milk and that was
another reason
why the warm water
wasn't such a good idea
although it didn't
really heat the
tanks completely.
We'd bring down
these sparkles bottles
and pour a little bit
of warm in but you
know how milk is
when it gets warm.
- Yeah, it's nice.
- Yeah. It tastes okay
but I remember
it smelling really great.
- Uh-huh.
- But I remember
Judith and Jack
being really really
good sports through out it all.
- They were fantastic.
- I think Jack kind
of enjoyed being
in there with Judith.
- I think he might have.
- Yeah, as a matter
of fact I don't even remember
that bothering me, at all.
- After one year like I
said almost to the day
Fred had been
shooting for three months
we ran out of money.
AFI would give a
certain amount of money
to each film
and that was it.
And we'd run out.
It just stopped.
Hope was in the air.
But I think it was a
quite a long time before
I got more
money to continue.
And two great
supporters of the film
were Jack Fisk and
Sissy Spacek.
And Jack
in those days
right around that
time I'm after we'd been
down for a while
Jack had two jobs as
production...
what they called
art director then and
since he had two jobs
he would have me
follow him to the bank
and he'd sign over
one of those
paychecks to me.
So we could
keep working.
Things like that. Both
Jack and Sissy
put money
into the film.
Also, Jack's sister
Mary Fisk
played a huge part
near the end
of Eraserhead by raising
all the finishing money.
Then from then
on it went piecemeal
with many months
downtime trying
to get money or
build a set
to go forward.
And then we'd
shoot for a burst
and then go
down again.
I know
pretty clearly that
there's one particular
shot when Henry
walks down the hall
he puts his hand
on the doorknob
and turns it,
and there's a cut
a year and a half later
he comes
through the door.
I started living in the
stables in 1972.
To live and work in the
same place is the best.
It was a
perfect scenario.
I lived in the
stables and had it
for all those years.
And Al, a lot of
the times lived
he had lived in the
one wing
and I lived in
Henry's room.
That was I lived there maybe
often on two
or three years.
It was illegal
what I was doing.
Henry's room was
inside of a room
that might have been
a living room at one
time, for the maids.
It had two doors.
Both of the doors
we went in and out of.
One of the doors
had a door on it.
And you open it up
and it had another
door, there was a door
in the hallway.
So it was a two-door deal.
When I slept I bolted
a piece of plywood over
the doorway
the original doorway
from the inside.
And they padlocked
me in from the main door.
So you someone
coming up would see
a piece of plywood
with just the
rounded ends of bolts
and no other
visible way to
open it.
Then they'd see a padlock
on the main door.
I was secure
in there I felt and
then I'd hunker down
and sleep in the day.
And it was
very dark in there
there was no windows.
It was a it was a kind of a
beautiful room to sleep in.
They knew I was there
certain key people
but they kept quiet and
turned their
head away.
Jim King, who lived in
the gatehouse with his wife
Jim knew very well I was
staying down there.
And he would give me
a yearly inspection.
He would announce I'm
here for your yearly inspection.
And come through and
look at all the rooms.
Because he had to do it.
And then give me a
you know passing mark
that we're keeping
things okay and
off you go, until I
saw him the next year.
One night, this was
after Herb had gone
a big bin like a big giant
trash bin, not a lowboy
but one of the
the things with the
ladders on them you
got to go up
a ladder to see inside.
This had been delivered
in a courtyard up
at the main house.
Fred and I
went up there
and no one was around.
It was just sitting there.
No one knew what was in it.
And we discovered that
inside there were like
10 000 light bulbs in
ancient wrappings.
From some studio
that was getting rid of
this stuff from
years, ages, ago.
And we crawled in there
and probably got
two or three hundred,
maybe 500 inky bulbs.
Fred got bulbs bigger than
basketballs that he still has.
They were... I don't
know if they were 5 000 watt
bulbs or more. I don't know
what they what they were.
But all differen kind
of ancient light bulbs.
It was like
beyond Christmas.
- I have all these images
in my head
like going around
and looking for alleys
and driving and driving and
driving around and then
going ahead and
bringing everything down
in our cars.
- Right.
- And that we all just sort of
did everything.
- All the locations were
well not all
of them but, um
pretty nearly every
one of them was
downtown LA.
On the other side of
the street from
Cedars-Sinai hospital.
There was a whole block
that used to exist
a huge block
under where the
Beverly Center is now.
And in that area it
was just like in
Spanky and Our Gang,
Our Gang comedies
The Little Rascals. It was
out of the 20s or 30s.
And there was
a pony ride
from way back
somewhere in like the 30s.
There was a little key shop
little key stand
and there were these
tanks and oil wells.
And you couldn't
see them from
the street because
they had this donut of
earth around in case
the tanks blew out.
So you'd climb up
over these things and
down into
a brand new world.
That was one
of the greatest finds.
And right next to
where this happened
there was a
narrow tank
coming up out of
the ground.
And it was surrounded
by a donut of water.
But just down at the
bottom of the water
there was tar.
Who knows how
thick it was.
Tar preserves things
and the cat had
served many purposes
but I lowered this cat in there
and then about a
year later came back
and pulled the wire
and the cat came out.
Impregnated with tar.
And I laid the cat
down on the ground
and came back
another year later
and it was a perfect
marriage of cat and earth.
Tar impregnated
cat in earth.
And I have
a photograph of that.
But the cat did end up
in a scene but it
was unrecognizable.
There was a scene
where Henry catches
his foot on a wire that
was connected to this cat
as if some sort of strange
thing had been going on.
That never made
it into the film but
I have a little piece of
that you know film left.
- And I remember
having to call CFI and
get in my car
and drive as fast as
my car would go
to get there by midnight.
- Right.
- And give it Mars, remember Mars?
- Mars Baumgarten.
- Oh, he was a great guy.
He really helped us a lot.
- He sure did.
- But the thing...
one of the reasons why also
it's so indelibly printed
is that so often we
would then do it again.
- Exactly.
- We had a chance
to really get into it.
- And somewhere
along in there
George Stevens Jr.
made a deal with
Sid Solo, who
was running CFI
that we could get
all our film
developed free.
And then printed at a
very good reduced rate.
And that really
saved us.
So there's the guy named,
there was George Hutchison
who just recently left CFI
and Mars Baumgarten
was the night man
and we'd see Mars
all the time.
That went on for...
they saw us you
know for many
many years
bringing in
the film.
We'd screen our
dailies up at the main house
and Ron Barth was our
projectionist.
He was night
watchman for a while.
And Ron is one
of the several people
who claimed to have
seen the ghost of Doheny.
As a night watchman
he sometimes
took a little nap on a couch
in the main entrance hall
and something
woke him up
he looked up and on
the stairs was Doheny
in his bathrobe.
And then just gently
disappeared.
Jack Nance saw Doheny.
One night we were
shooting on the stage
for the Lady in the Radiator
and it came time for me
to deliver my papers.
During the time I was gone Jack
wandered back down
into the basement of
the main house
because we shot that up
in the laundry area.
And a mansion like that...
people like the
smell of clothes that
have been dried in
the air and the sun.
So there was a pit
off the laundry room
and this pit you
couldn't see from, um
it wouldn't ruin the
look of the mansion.
It was a it
was a concrete pit
with maybe 20 foot walls.
They had all these
lines in it where
they'd hang out the laundry
and it would dry with
no one seeing laundry on a line.
And in that pit I
built this set for you
know the Lady in the Radiator.
Through the laundry
room you could enter
the basement
corridors and then
they kind of slanted
down to a deeper
basement and Jack went
down there that night
and took a nap.
And he was awakened
and saw Doheny.
The Lady in the Radiator
was never in the original script.
One night I was
sitting in the food room
and I started drawing
on a three by five card.
And I drew the
Lady in the Radiator.
I'd been thinking about
some things and
it sort of came to me
right then that she was
going to be in the film.
And that she was
connected with the radiator
I don't know how it
happened
but that whole thing
she lived in there
where it was warm.
I thought I better
check on that radiator
to see if it's possible
that somebody
could be in there.
And I went running
in, because I couldn't
picture it in
my mind, to the set
already months established
and looked at that radiator.
And it's unlike any
radiator.
It has a place
in the middle
that just was a perfect
entrance to where she was
And how many
radiators have that?
It went like that until 1976
when I was asked
to leave the stables.
When George Stevens Jr.
kind of thought they
would make a great place
for him to have
an editing room.
So I had to get out and
it was I was practically
finished but we
rallied and
finished up everything
in time and left
I think it was '75.
It might have been '75.
- Catherine.
- What?
- How many years did you
work on Eraserhead?
- I think about four.
- No, no you worked six years.
- Six?
- Yeah.
- Well, maybe five...
- It was a long time of my life
- Maybe five years.
- Yeah, I remember
being really young
when I started and I'm
just looking at these
pictures of all of us...
We kind of... when we
finished it we all
looked a little bit older.
It became kind of
like the more challenges...
I mean, it was from
filling the drawer
of pudding to,
you know
dyeing the sheets
so with tea so that
they weren't too white.
All those things just
be kind of became
what we normally did
in the course of a day.
So when I went on to
work on other movies
everything which was
so compartmentalized
always seemed not
quite the real thing.
- Exactly.
- Eraserhead really felt like
the real thing.
You were always in charge
you always knew
exactly what you wanted
but you had
each of us
feeling like we
were really part of it
which I think we were.
But it was really helping
you with this vision.
- Then in '76 sometime
maybe... I can't remember
when.
Sometime in there
we finished Eraserhead.
A sense of place
is critical to a film.
And sound particularly
can expand
what you're seeing
and expand the world.
And those things
can break a mood or
enhance a mood.
Naturally you want
to make a world
and it's a particular
world in every film
but this one is
a particular particular,
you know, feel.
I was editing all along.
It was...
It was always kind of
right up to where we were.
and I just plug in
you know the pieces.
Then it was quite long
at one point and
I had a stand-up
old Moviola.
and it was a beauty
it was very kind to film.
And I loved that machine.
Then I moved that Moviola to
the bungalow and had
a setup in a garage
and Al and I could
work together in there.
Then when we came
time to mix was all mono
eight Dubbers and Magmix.
Some people came
to AFI
and they were part of
Cannes Film Festival.
They wanted to see Eraserhead.
To see if it was
going to go to Cannes.
Al and I had a talk that
we would try to work
and make the Cannes
Film Festival with Eraserhead.
And Al said I'll do it.
I'll go 24 hours
if you will not take your
Bob's break in the afternoon.
Which almost killed me.
But I said, okay Al, I'll
do that but it's killing me.
So every afternoon at 2:30
I would get in this thing
wanting to go out,
we just kept working.
Eventually Al said,
okay look, we won't
go all the way to Bob's
but we'll go up to
the Hamburger Hamlet
and have a coffee.
So that's what we did.
We went up there
and then there
I discovered this
Dutch apple pie.
Then I got the bill
for that piece
of Dutch apple pie
I had to stop doing that.
Then I was
in the grocery store
and I saw
a Dutch apple pie.
The same, almost
exactly the same price
for a whole pie
as it was for one slice
at Hamburger Hamlet.
So I bought this pie
you just
put it in the oven
and then you put it
in the refrigerator.
I would take a slice
of pie and wrap it in a
wax paper and
put it under my jacket.
And then I'd eat that in
the Hamburger Hamlet,
Surreptitiously, and
that was a real thrill.
We didn't have any
money for sound stock.
So, somehow we heard
there were bins
of sound stock that the sound
editors from Warner Brothers
would throw away.
Big trash bins filled with it.
And so we got...
there was somebody
connected to AFI
that was working over there
we got on the lot
and then we
found these bins.
And in preparation
I'd removed the back seat
of the Volkswagen.
and we filled every square
inch of that Volkswagen
full of almost
total clean reels.
And then Al had
a degausser, so we
de-gaussed everything
when we got back.
And all the stock
for Eraserhead came
from the throwaway
bins at Warner Brothers.
We finished, Al and I...
The mix was done
but the film was not
married, sound and picture.
So there were 12
reels of sound
and 12 reels of picture.
And this had to go
right now to New
York City because they
were screening films
for Cannes.
So I took the
last money in the bank
and got an airline
ticket, a red-eye
to New York.
And I got there really
early in the morning and
found out that there were
four or five films ahead of me
that they gotta look at before
they look at Eraserhead.
So I'm eating this
donuts and having
coffee and sitting
on the curb out there
and kept going in
the guy says two more films
like that, until they started
running the eraser
So finally it was over,
packed it up
came back and
never heard anything.
Snd so I made
a phone call
and it turns out
that the people who
I thought were looking
at the film in that room
had left New York
for Paris two days earlier.
And the guy was showing
films to an empty house.
Eraserhead never
went to Cannes.
I invited friends and
we had a kind of a
a formal screening
of Eraserhead
when it was finally finished.
And my parents
came to the first screening
of Eraserhead
and afterwards
someone sitting
next to my mother
told me, she said when the
lights came up
- Oh, I wouldn't want
to have a dream like that.
The film showed
at Filmex '77.
That was the official first
screening of Eraserhead.
I was too afraid
to go in with the people.
So I paced outside and it
seemed like the film was
400 hours long.
And I was dying.
And I had that there
was a little button
behind the last row
of seats in this
giant theater
and you just
push this button
and it bumps
the sound 2 db.
And I had pushed
it a bunch of times
but I pushed
it too many times.
So not only was the
film very very long
but it was, I think it
was killing people
in the front rows.
Fred drove me home
that night and
I sat I told him,
I said I'm cutting
I'm cutting
the film tonight.
and I'm gonna cut
this scene, this scene
this thing
and Fred was
completely against it and
and told me I was crazy.
Are you sure?
I said, I am positive.
And I went and I cut
the composite print.
That's something you
really shouldn't do.
Then I had to go over
to CFI, because I
I didn't know how to stitch
this thing together
after I did it to make that
work. And I had this editor
over there and he
became very confused.
Because I had to
bring him up to speed
and all this stuff, and bring
them bunch of elements.
Finally it got straightened
out and a new
picture and soundtrack
were made.
20 minutes shorter
the way it is now.
The way it was
supposed to be.
I just needed to
suffer that screening.
I wish I had those scenes
because I loved
them as little scenes
but they didn't
belong in the film.
I could have done a lot
better job taking care of things.
Sometimes everyone has
the experience when
they need to move
to another place.
They find they can't
take as much stuff
with them as they
would like.
Later on they look
back and they wish
they had taken
a couple more things.
I've lost a lot of
things from Eraserhead
that I wish I'd kept.
Well, in those days no one
thought too much of Eraserhead.
It was
Midnight Films
that put it on the
map and that was
Ben Barenholz, known
as the grandfather
of the Midnight Film.
If it wasn't for
Ben getting Eraser...
picking it up and
and distributing it
nothing would
have happened to it. Zero.
And it opened at
The Cinema Village
in the fall of 1977.
And there were 26 people
in the theater
the first night.
That was a Friday night.
Then Saturday night
there was 20-24.
And Ben said I'm not going
to spend any money and
I'm not going to do
any kind of big promotion.
He said, in two months
there's gonna be
lines around the block.
and that's exactly
what happened.
it played in 17
cities for as long as
four years on the
midnight circuit.
That usually meant one
night a week Friday or
Saturday at midnight.
I'm going down
Sunset Boulevard
and I see five Woody
Woodpecker dolls
with hooks in their back
and I feel
the pain of them. They're
hanging in the service station.
I swing a u-turn, slam
on the brakes pull
into this place.
And I said I want those guys off
those hooks. I'm buying
all of them right now.
And the guy
helps me get them
down I sit them all
in the back seat and uh
those were my boys
and I kept them for many years.
Sometime, The New
Art Theater where was running
Eraserhead every Friday night
said they needed a
they would like me to
maybe think about
doing a new trailer.
Some kind of thing to
you know kind of goose
Eraserhead attendance.
So, I had Fred and
Catherine shoot me
giving a talk
on Fred's couch
with the woodpeckers and
That ran at The New
Art along with the
official Eraserhead trailer.
- You know I haven't
seen the movie
in a really long time but
I do remember
that night that you
showed it to the
cast and crew of
Dune. I think I might have
brought the print
down with me
when I came down to visit.
- Uh-huh.
- So then you
screened it for the crew
and we watched it.
We stood in the back
and watched it. Jack
and you and me and
Fred and
I think Jenny. And
we were all you know
we're all watching
it for the first time
in quite a while.
And nobody was
saying... you know they
weren't responding
a whole lot and
and then it was
over and we were like
really kind of feeling
good about the work
and you know,
it was like
you were really
looking forward to
hearing what
people had to say
and they walked out
they all just walked
by you and said
gracias senor.
It was very funny.
They just didn't know
quite what to say.
- It is a personal film.
And no reviewer or critic,
or viewer
has ever given
an interpretation
that is my interpretation.
Since the, you know
25 years or more
that it's been out.
it is a personal film.
It's my first feature
and it took the longest
of any film.
And I lived and loved that world.
I can't remember
when I got the idea
when the word Eraserhead
or any part of the idea
came to me first.
I can't remember whether
it was in Philadelphia
or when I first came to California.
Completely don't remember.
Don't remember writing the script
and I don't remember
the ideas coming in.
Especially the initial idea.
A lot of times I remember
when the first thing kind of came.
Maybe I don't.
But, for sure
I don' t remember this.
It all came from Philadelphia.
But I don't know when
it bobbled up to the surface.
I got a independent filmmakers
Grant in 1968.
That's an independent
filmmakers Grant.
That was a brand
new program and I was
in the second group to
get one of those grants.
That was to make
The Grandmother.
That's when I met Alan Splett
and Herb Cardwell who was
a cinematographer.
And I asked him
give me some tips on lighting.
Then when we came time to mix
and I look over
and I see this guy
he's like a bean pole
in a shiny black suit.
15-20 year old suit.
And I shake his hand
and I can feel
the bones rattle in his arm.
That was Al.
And this guy was as straight
as an arrow.
And I figured this
is never going to happen
not in a million years.
What followed was 63
non-stop days:
Saturday, Sunday...
of making sounds.
Never had so much fun in my life
working with Al.
But I need extra money
to finish the film
so I called Tony Valani
in Washington DC
where the AFI's
headquarters were then.
Tony, bless his heart, came
all the way up on the train
and I met him at the station
and he came over
I showed him the
film at Calvin Dufresne.
He, you know,
really liked what he saw.
They gave me
2 200 dollars more
to finish the film.
And on the way back
to the train station, I'm driving him
and he said, David
you should come to
the Center for Advanced Film
Studies out in California.
And luckily I didn't
have an accident
you know when he said that
because I was like
I started floating.
I was still trying
to reach the, you know
the break and the gas pedal.
But they made a booklet
showing the Center
and some of the fellows
instead of students they call
them fellows
and they took
15 fellows a year.
so now they sent
this booklet out
and I'm getting this booklet
and on the front cover
is this 55 room mansion
On 18 acres of land
in the middle of Beverly Hills.
So you kind of, you know,
say this is...
what kind of a fantastic
world do we live in
you know when they
got a school like this?
Then they open it
up and it goes through
all these great
directors that came and
talked, give talks
there and how much, you know
the industry
was helping the school.
Different programs,
different seminars
and one of
the seminars they showed
the students
sitting in this room
with beautiful wood paneling
and a fire in the fireplace.
Giant like hearst like
fireplace.
Some of the students
are wearing sweaters
and I'm thinking:
What kind of
a place is California?
Because it's not just
hot all the time
it's sometimes
cool enough
in the evenings
for a fire in the fireplace
and you wear a sweater.
This seemed like
the perfect thing.
The Center for Advanced
Film Studies started in 1969.
I went out in
the summer of 1970.
Al was placed as head
of the sound department
So Al went out
actually a month before
I did and he took a little
apartment on San Vicente.
Right down the street
from the Whisky a Go Go.
Then Jack Fisk and
my brother John and I
drove out in a truck
and rolled into town after
three days on the road
at night.
And I'm still not
getting the feel of LA
but I get a little feel
of a nighttime LA.
When I woke up the
next morning it was like
I was almost blinded.
The light was
so unbelievable.
I couldn't get
over it how bright it was.
I had to stand out
in the front of the house
getting blinded by this light.
And it felt so good,
it was unbelievable.
Then we walked up to
the AFI which was
it was actually
Doheny the senior's son
that was built for him.
And was built in 1929,
finished in '29.
It was 55 rooms
reinforced concrete.
High on a hill.
The real deal.
When you go into this place
it's spectacular.
And so we all went
up there, and
kind of walked around
with their, you know
jaws falling open and
that started, you know, the
next sort of phase.
I worked on a script
called Gardenback
and Frank Danielle and Gil Dennis
both sort of took
me under their wings.
Frank Danielle is
the greatest film teacher
in the history of the
world and he's since died.
Bless his heart
but he was unbelievable
as a great teacher.
I took a film
analysis class with him
and then he and and Gil
who was this a fellow there but
He was sort of working
with Frank and they would
have script meetings with me.
But it didn't work out.
I was completely fed up.
It was going nowhere.
It was getting longer
but all my good
bits that I liked were
just being
filled up in between
with stuff I didn't have
a clue why it was there.
So the first day of
the second year
So, now it's 1971.
For some reason I got
put into first year classes.
I thought
that it was
That I might have flunked
my first year.
Plus I was fed up
with Gardenback.
I went up to Frank
Danielle's office and I quit.
I quit the the school.
And stormed out
and went down...
I told Al quit and he said,
you know I quit as well.
So we both went out.
And went down to the
Hamburger Hamlet
and had some coffee.
And when I got back
home Peggy, my wife at the time
said they've been...
what, what happened?
They've been
calling you and...
So I explained to her
and she said
Frank said you gotta come back,
you gotta come up and talk.
Eventually I went
back up
and had a really
good talk with Frank.
And Frank said, if you're upset
we're doing something wrong.
What do you want to do?
And I said I want
to make Eraserhead.
He said:
Okay, you'll make Eraserhead.
and he said, it's a 21
page script
so it's a 21 minute film.
I said: No, I think it's
a hair longer than that.
He said, okay
it's a 42 minute film.
I said, okay but...
And off I went and that was the
beginning of it.
Somehow I had a script
of Eraserhead by 1971.
There wasn't really a script
it was
a 22-page thing.
I don't know what people
really got from that script.
I know that
Frank Danielle who was
the Dean of the school
he died
maybe five years ago
and at his funeral
his son told me that
Frank himself didn't
really like Eraserhead.
But he didn't...
the script.
Maybe the film too,
I don't know.
He said, that it was important
that I'd be able to do it.
A man was on the
board of directors at AFI.
This is what his son,
Frank's son, told me
and told Frank this
is not the kind of film
that we make here at
the American Film Institute.
Frank said this is
exactly the kind of film
we should
be making here at the
American Film Institute.
It got strange.
As it turns out I never
knew about this
until five years ago.
Frank turned in
his resignation
thinking it wouldn't
be accepted
and they accepted
his resignation.
From his son's story,
because of Eraserhead.
Frank left the AFI.
Certain things
had to be done
before shooting
commenced.
I started working
on those things.
Somewhere in there,
even...
I sort of been going
down to the stables
toward the end
of the first year.
I call them the stables.
There were stalls,
there were garages
there were car garages.
All equipped
with hydraulic lifts
for the old cars.
There were
maids quarters
there was
a huge hayloft
and there was a place
where they stored firewood
which was, you know,
kind of enormous too.
There was also
a greenhouse
and gardener's quarters.
I took a a room
down there and
no one went ever
went down there.
I just sort of started
doing some things
down there.
Then I got the whole
stables to work in
and a garage and
some stalls and a hay loft.
And some other
surrounding areas.
It was like
a mini soundstage.
Then I got all this
equipment from AFI.
It was
like heaven.
We had two cameras,
two CM3s, Éclair CM3s.
We had a whole
lighting package.
We had video cameras
black and white
video cameras.
We had a a room
that was called
the camera room
where all
the different camera
things were stored.
Lenses and everything.
We had a room that
was for we called
the food room
where we ate.
We had green rooms
where Jack
would put on
his makeup.
Strangely on Eraserhead
the first person I met
was in the film.
I never saw...
I can't... I'm pretty
sure I never saw
more than one actor
before the
thing was cast.
I would... mostly
friends would tell me
about someone or
someone else would tell me
about someone
and this person would come in:
Bango!
This was like perfect.
I said you're perfect.
It was it was weird.
I felt bad about it
because, I said, I'm not
seeing enough people.
But they just come
in and they
they just had a...
it was like
fate was just dropping
them on the doorstep.
The most important actor
was Henry Spencer.
There was a guy at AFI
named David Lindemann
who was a theater
director in San Francisco
before he came down
to AFI as a student.
He knew lots of actors.
So one day
I described the
character I was looking for
as best that I could.
He said there
are two people
that I would recommend.
One of them, his name
was Jack Nance.
So I said, okay.
I made this
arrangement to meet Jack.
Jeanne Bates
was the only one I had
doubts about, because
she was so beautiful.
When she walked in
she looked
way too beautiful.
I told her. I said you
gotta understand
you're too beautiful.
But she had a fixation.
It was weird.
She said she would
work very hard
to get into that and
look that way.
I built her
a drooping eye
and a wart
and some facial hair.
And she did the rest.
She just did
a beautiful job.
Charlotte Stewart
was a friend of Doreen's
who was signed
on as production manager.
Charlotte was in
A Little House on
The Prairie in those days.
And many times
she'd come in with all
this TV makeup on and
we'd have to get
all that stuff off
and then frump her up.
Then she'd be
ready to go.
Alan Joseph
played Bill X
He was also the
first person cast
for that role and
first person I saw.
It made
a great family.
In those early polaroids
you can see a family picture
of the three of them.
It's a
good-looking family.
It was a great group,
all the people.
Everybody was
great to work with.
Everybody got
there and
the rest of the
world disappeared.
We were in
a space that
everyone seemed
to understand.
The crew was Doreen Small,
Catherine Colson
Herb Cardwell,
me and Jack.
And that was the crew
for most of the picture.
Herb Cardwell was the first DP.
Herb worked for nine months.
Herb is a great DP.
Herb died when
he was 35 years old.
He died in his sleep.
That was long after
he finished
working on Eraserhead.
One day Herb took
me and Peggy flying
and he said there's
a beautiful airport
north of here in the desert.
And we flew up there.
Beautiful day.
Landed just like the
most perfect smooth landing.
Herb is the only guy I know
he's the best
driver in the world.
Herb drove
with both feet.
And he would
feather his stops
and feather his starts
and he would
accelerate at exactly the
right moment in a turn.
I you just you never
feel any tension.
You are very relaxed.
Everything is smooth
and you're
not rocking to and fro
or side to side.
But anyway,
it's beautiful.
Herb is driving in the
same way he flies.
So smooth,
perfect.
We came, we went
out and
after we'd landed in the
desert and you know
kind of walked
around in the desert.
And then flew back.
When we landed in LA
it was night.
And we were taxiing
to the place
where he was gonna
stop his plane.
He radioed to the tower
The sound of his voice
and that the
character of his voice
all the hair went up in
the back of my neck.
and I got
goosebumps all over.
And it occurred to me
that Herb
in another life
was a long distance
space pilot.
The way he said
good night to the pilot...
to the tower
it was like he would
have been flying
for millions of years.
It was it was
the weirdest thing.
The guy was a pilot.
It was very beautiful
the way he said
goodnight to the tower.
It was incredible.
When Herb had
to leave because he
couldn't afford
to stay anymore
Tony Valani told me
about Fred and
he came to AFI as a
cinematography student.
Fred and I met
Fred had a very good attitude
you know,
talked with Herb...
And it felt
like the right thing.
And then this
transition
brought Fred into the mix.
Then Fred Elms took over.
Herb brought Fred up to
speed over a two or three
or four-week transition.
And Fred then shot
for three more years.
One day Jack Fisk
and I, we found out
that a studio
was being shut down.
It was kind of
a cloudy day
and we went and rented
a 35-foot flatbed
and drove over to this place.
And the clouds made
it seem like there was
kind of a roof
on the world.
So when we went into
the place it was like
even though a lot of
the place was open
it seemed like
it was under a roof.
And this was an ancient
real deal studio.
And they were
selling stuff for nothing.
When we drove out
of there we had
35 feet long
12 feet high of flats.
Bales of wire,
kegs of nails.
30 foot by 40 foot
black backdrop.
I can't remember
all the things we had
A lot of like
radiators and
things that
I needed for the film.
But the whole... all the sets
were built with those flats.
Since I had
a paper route
if there were
holes in them
I would just do
paper mache patches.
With the newspapers,
Wall Street Journal
and flour and water.
All that 35 feet
by 12 foot high
all this stuff,
100 dollars.
100 dollars.
My brother John
helped me build sets.
Like I said,
Jack Fisk helped
getting all
these things.
They were stored
down at the stables.
All the flats,
all the stuff.
Then I had to
you know, build many
things for for sets.
Jack Nance
helped me a lot
on certain
building projects.
I loved working with Jack.
We were troweling
plaster one time and I
it was had
a curved surface so
I talked to this guys
about plastering
how do you trowel
uh you know get this
stuff smooth like glass he says you
gotta trowel it
And so Jack
and I just kept saying
you gotta trowel it,
all day long
troweling this thing
and finally go
it pretty smooth.
It wasn't all day long
it was all month long.
It was more like that.
Jack at first
wore the skin
off his hands
because he wasn't
wearing gloves.
A lot of plaster
has sand in it.
So when you're
rubbing stuff down
with your bare hands
you don't realize
it at first
but the skin sort
of starts turning to jelly
and rubs off
and you can start seeing
your bones.
And their hands' on fire
and it's really bright red.
Jack did this.
Jack did a lot of crazy stuff.
There were several
props that I needed
A deal was struck
through AFI
and Warner Brothers.
I just could drive on
and I met...
I mean this was 1971.
I met an old timer
that had been
at that studio for
years and years.
Head of the
prop department.
Welcomes me.
In we go.
What do you want?
Up one aisle,
down the other.
Unbelievable stuff.
I'd say, could I get
this thing here?
He says, put it put
it out there on your truck.
I just went through...
About four years later
I returned those props.
All different people,
all different looking place.
They had no
record of it, nothing.
Al was head
of the sound department.
We had all the equipment
that Al had at our disposal.
That included inauguras
and microphones
and cabling and
you know all that.
And since there's
not a lot of
sync sound, dialogue,
in the film but still
Al recorded all that.
The room as every room
is it was a hair too live.
As everybody knows
you can add echo
but you can't take it away.
We built sound blankets.
The sound blankets were
burlap around fiberglass
and then grommeted
along the edge.
The grommets, you could
hang them on nails
at the top of the set walls.
And then the sound
blankets would drape down
you could move
them around real nice.
They were they were light
I think AFI wanted
them built.
Theoretically
they would keep them
and use them,
so we made a budget.
and put all the
materials in there and
found out how much
they cost
and all this
kind of stuff.
Al, before his incarnation
as a sound man
was an accountant in
Philadelphia breweries.
So Al was pretty much of
an ace on an adding machine.
He and the other
accountants would
go so fast they'd
jam the machines.
Al was so rapid he would
jam the best machines.
He wanted to go after
we finished this budget
next door to the AFI
accounting department
and tally these
numbers up.
So we went over there.
There was
a girl at the desk
and Al said
can we borrow
the adding machine.
And she said what
do you want
the adding machine for?
I'll add those.
He said, no no
I'll add them up
could we just use it?
She said, give me
the numbers
I'll add them up.
And Al said, no no
let me add them up
I've got 'em right here
and he kind of
went around.
And this girl's
eyes went about
like silver dollars.
He had those things
in a heartbeat.
This machine
jumped to life and
the paper was spit
out and he popped it
and borrowed her
stapler and put it together
and we walked
back across the hall.
He was super fast
on machines.
Unfortunately Alan Splatt
and Herb Cardwell
are both gone now.
Al is legally blind
But Herb can hear
and see.
Al and Herb decided
they were gonna fly
across the country.
and Al was going to
be the navigator and
he had all the maps
and everything like that
but Al would
be reading his maps
you know very close
because he was so blind.
The first
leg of the trip
they were going up
to Pocatello, Idaho.
They took off
and Al navigated Herb
up there and they
they radioed ahead,
they were going to
land at night.
And the guy said
it's so late he's going back
into town but he'll
leave a rental car there.
Just come in, lock up.
It was the good
old days.
Herb did a perfect
landing at night.
They parked the plane,
there was the rental car.
they did everything
the guy wanted
and started
driving into town.
And around Pocatello,
Idaho there's just
these narrow little
two-Lane roads and
pitch black.
Al's riding shotgun,
Herbs driving
because Al couldn't
get a driver's license
because of
his blindness.
Al tells this story
as they're driving from
this little airport
into the city
of Pocatello, Idaho.
Herb is talking.
He's telling some story
or something
and talking fairly
rapidly.
The talking suddenly
doesn't start...
it starts not making
sense to Al.
But it's rapid,
nonsense.
Al notices that
the lights
are now illuminating
the side of the road.
and the car is
starting to
go off the road.
Herb, his voice is
now going up in pitch
and he's talking
just as fast
but his voice is rising
and he's in the
shoulder of the road.
His voice is going up
higher and higher
in pitch even though Al is
screaming at Herb
right next to him.
Herb doesn't hear.
He keeps talking
and his voice, it comes
to little squeak
coming out of him.
Finally Al, he goes over
and hits him
or he yells loud enough
and Herb comes out
and comes back
onto the road just in
the Nick of time.
They continue the trip
just fine.
Course, that's like,
Al's got to keep
good eye on Herb.
Or you didn't
have a good night.
There needed to be
certain things discovered
I love organic phenomenon
That has led me to
various things.
And it led me to
one day
calling a
veterinarian.
I asked him if he had
a dead cat.
He said, no sir,
I don't.
And I explained
to him..
He said, what do you
want a dead cat for?
And I said, I want to
study this cat.
Something...
He at first pegged
me for a total nut cake.
Then something
caught him
and he took
my number.
And lo and behold
10 minutes later
this same guy
veterinarian
calls me and he says,
I have a cat.
I can't believe it.
I got off the phone
two minutes later
in it comes.
I had to put it
to sleep and
you can have this cat.
He asked me that it
would never show up
in a film.
In the film.
Or be recognizable.
So I had had
this set up
in my basement there.
And I drove down
and got the cat
in acardboard box.
Just before lunch
I put it into a jar
filled with
formaldehyde.
And it went in
like a slinky.
It just laid down
in the formaldehyde.
And then I went
upstairs and had lunch
and came back down
and I went to get
the cat out of the jar
and it had gotten
rigor mortis.
This had
a narrow top.
It was like trying
to pull a steel cat
out of a out of
a glass jar.
I finally got this thing
out of there.
I had a whole
set up on
the workbench
my idea of a like a
an operating theater.
And I went to work
getting inside this cat.
When I opened up
the inside
it was
unbelievable.
And it's... if you've
seen Fellini's Roma
it was...
there's a
The organs inside the
cat were brilliant colors.
And as soon as
the air got to
the organs they
started, the color
just started draining
out right before your eyes.
Just draining away
before your eyes.
Just like when they'd open
up these things
under the city and
these ancient things
were perfect. And the air
starts getting to them
and they start fading.
But studying this cat was
kind of important.
There was no time
put on it
but the school went
two years, so theoretically
I would be finished
with this film
by the end of
the second year.
And by the end of
the second year
I hadn't yet
started shooting.
So we started
shooting in June of '72.
- Hello?
- Hey, Cath.
- Hey, David.
- Do you have some stories
you want to talk about,
Catherine?
- God, I got
a lot of stories.
I really remember
well the very first
night of shooting.
I remember being up
in that hay loft part.
- Right
- And it was like
we set up a whole
little set and then
there was the room
with the couch and
I remember keeping
Jack's hair photo
ready, you know.
- Right.
I remember when
Jack had his first haircut.
which was the afternoon
of the first day
of shooting.
I wanted it short
on the sides
tall on top.
Jack and Catherine
had a friend who was
a professional barber
who drove out
to the stables he got his
hair cut in the hay loft.
In the hay loft held
the X's interior.
In the afternoon
Jack got his hair cut
and I stayed there with
the barber and Jack.
Said, it's
looking good.
And the barber left.
But I still had a big
surprise ahead of me.
I'm not sure
if it was Catherine
or Charlotte Stewart
Catherine Coulson
or Charlotte Stewart
who combed his hair first.
Eventually Catherine's
job was to
comb Jack's hair.
But Jack has, as luck
would have it
a certain type of hair and
when you comb it up
it stays up.
So, it was long on top.
And when Jack came in
it was a very big shock.
And some people said,
David, you can't do that
that's too too strange.
But it was so perfect
in proportion
to Jack's body.
Henry, you know,
forget Jack
he was turning
into Henry.
It was so beautiful.
So it stayed.
But even so,
that first day
it's not quite as high as it
eventually got.
There's little stages
to the hair
but it was pretty high.
When we would
drive Jack around as Henry
he would sit in the back
in the middle
of the back seat
because people would
there was no strange
hair in those days
I mean there was hippie
hair but not hair
like that and he would
draw a small crowd
and people would start
coming around.
We had to kind of
keep him hidden
as we went around.
- That was kind of
hard on him.
Because we'd go for
long periods of time
before we'd shoot
again then I'd have to
cut it all over again because
cutting his hair
was really I think it's
what destroyed the
marriage ultimately.
Because I had to keep
teasing it, remember?
- Jack had the most
incredible hair.
- He did. He used to wear all
these different hats
to try and kind of
mush it up under his hat.
And I remember
my my family
never really knew him
without that weird hair.
He would go to
like family reunions
and you always
see him with this
you know, kind of
odd flattened hair.
Because he he
didn't like to tease it
and wear it up when he
wasn't just on the film.
- I know.
- But I know I am
really sorry that
I didn't ask for that credit.
That even though it
was your design that
I wanted that
Mr. Nance's hair thing.
- And his suit
came from Goodwill.
And it was in those
days the Goodwill was like
you go into a place
you couldn't believe
what you were seeing,
it was so beautiful.
So we just walked in
and picked all the parts
for Henry's suit.
Shoes included.
I'm pretty sure those
were from Goodwill.
The first scene we shot was
a scene on the couch with
Henry, Mary and
Mary's mother Mrs. X.
We did all the
X's stuff first
and then we did the
X's how they relate
at Henry's apartment.
But most of those
things are gone.
But there was a
scene at the front door
of Henry's apartment
with Mr. and Mrs X
paying a visit.
And that was...
It kills me. That part
of the film has been lost.
Then Alan and Jeannie
were finished.
They actually got
finished almost
like in a regular film.
Fairly soon and
professionally.
Then when we got
into Henry's apartment
it just went into
another zone.
And that's when
we bit off
quite a chunk of time.
And we would
work at night.
So people would
start showing up at
about 4:35 in
the afternoon.
And eventually we
would have some dinner
and start
going to work.
But unfortunately
the pace
was quite slow.
- We'd set it up for
hours and hours and
and light it and stuff.
See, I think that time
was really
a kind of a wonderful
distortion because
it wasn't really
important how long
something took it
was what it what was
important is how it
really looked and felt.
And nobody was
really pushing
because after a while
you know they just
sort of like
forgot about us, right?
- Exactly right, Cath.
- And we just got to
keep going and keep going
and keep going...
- See, what I want to
do is have
mainly the look
on Henry's face
God, it's just
like so real.
I feel like he's here,
but anyway.
The look on Henry's
face just when
he's getting ready to
cut you know the big cut.
- Well, you do
a run through...
Jack may be
in his robe
or something like this and
he's going to be in his suit
and you rehearse
with no lighting.
- And then his point
of view of the scissors.
Those are the
point of view shots
that are really
important, okay?
Those two are really
important.
Now, the opening up we
can do third person
and the cutting.
- So it's really one
shot indoor
at the very top of the list.
- Second shot is
over here with the 28.
- Right. Henry.
- Cutting.
- Henry...
- Cuts.
He gets halfway up,
we stop, we move over here
with the 90.
- After Jack and
I had rehearsed
on our own. Then Jack
goes away and
Herb would start
lighting based on
what he saw in
the rehearsal.
It was painstaking
lighting, it was exact
it was it was beautiful
what Herb was doing.
Sometimes you know 15
or 20 little inkies
floating around up
in the ceiling.
That's why I say
Philadelphia
is my greates
influence because
a lot of things
started in Philadelphia.
And there is
a certain mood
to some of
these interiors.
And they carry way
more than what you see.
A thing is indicated
from these interiors.
Something about the light
and the moulding
and the proportions.
A thing is indicated.
And the mood outside.
It sort of seemed like to me
that there were
factories
industrial buildings
and neighborhoods
dark and forlorn
tucked in somewhere.
Sort of like, you
can't get there from here.
They're sort of lost
in another kind of place.
And that is what
comes from Philadelphia.
And this is the world
of Eraserhead.
Where you can
be in a room
and feel the exterior and
know what it is like
just from a mood.
That's the way it was
in Philadelphia as well.
I don't remember... I
remember one sunny day
and that's about it.
- What?
- Unfair.
- Jack was one of the
all-time greats
at hitting marks.
Completely together.
We'd work out the
tiniest details and
first time every
time after that he'd
get it just right.
- This is a 90 mm lens
and I have a big slate.
- Did you already put it on?
- Well the thing is
that with a small crew
working at night,
and see, Catherine
I think she's the hero
heroine of the of
the thing because
she wasn't even
supposed to be helping.
But she ended up...
She had a waitress
job in the day and
then would stay up
all night.
She'd bring
grilled cheese and fries
and different
things sometimes home
from the restaurant
up to the you know
to AFI to the stables.
and or we had
a hot plate and
she would cook
things for us.
So she was really
burning that candle.
- Catherine?
- Yeah.
- You had a job during
the day, didn't you?
- Yeah, well I had a few
of them I mean
one of the jobs I had
was when I was...
- A waitress?
- Working at
Barbecue Heaven.
- I worked at Barbecue
Heaven at lunchtime
so that I could sleep till
like around 11
and go in and and
then we would get you
odd jobs at the
restaurant, remember?
- I don't remember that.
- You fixed the roof for them.
- I did?
- One time yeah because
they give you grilled
cheese sandwiches
and French fries.
- Wow.
- So you did like
odd jobs this was
that restaurant in Beverly
Hills on the corner.
- Yeah, I remember
you working there
but I don't remember...
- No no, you...
that was a way for
you to get, like, free food.
- Getting takeout
food was really
expensive so I started
making dinner.
- Right. - And pretty soon
we were making
breakfast and lunch.
- Right.
- And we cooked it
on that little
hot plate, remember that?
- I sure do, Catherine.
- Yeah, there's a lot of
grilled cheese and
then for a long time
there you were into
egg salad, as I recall.
- Uh-huh.
- You like to eat the same thing every day
and a lot of us kind of got used to that.
- But each person had
kind of fixations on food.
Al ate these
small yogurts
pure yogurt
out of plastic
containers though.
And he would use
a plastic spoon.
Jack Nance couldn't stand
the way Al ate yogurt.
Especially when he
got near the bottom
was trying to get
the last little bit out
and that spoon
scraping on that plastic.
It was it was pretty funny.
- Didn't you start out
holding the boom, Catherine?
- Yeah, the first thing
I did was
hold the boom for Alan.
- Right.
- Then I learned
how to be a camera
assistant during that time.
And I really am glad
I learned how to do that.
I can still tell
what three feet
eight inches is, you know?
- That's fantastic, Catherine.
- When I first met you
I remember going in for my
interview for the nurse.
I'm really kind of sorry
we never shot that scene.
- There was a scene which
was never even shot
of a nurse
in a hospital basement
where they um
went to get the baby.
And Catherine was
going to play that nurse.
But she never
got to play it.
- There was this picture of me
and Frankie being tied to a bed.
- Right.
- Were trying to find somebody
to do that scene,
do you remember that?
I was calling all my women
friends and asking them
if they wouldn't mind
you know if they'd
like to be in this movie
and they'd be in
this scene where they
just would be tied
to a bed you know
and this guy had like
these kind of battery cables.
and everybody said no.
For some reason. I never
really understood that.
- They weren't good
sports, Catherine.
- I guess we were pretty good
sports, though.
- Yeah, you and Frank...
- Frank and I did it, right?
- You and Frankie
did it great.
- Does that exist
anymore?
- I actually have that
little scene, Catherine.
- Oh, you do?
- Yeah, a part of it anyway.
- God, I'd love to
see that someday.
- Yeah.
- Well, mostly what
I remember, David
I remember being
there really long hours.
And really having
fun figuring stuff out.
I remember the night that
you asked Doreen and me
to fill this whole drawer
full of pudding.
- Right.
- It had like a little
thin layer of peas
on top.
- Right.
- And we were trying
to calculate
the square
or the cubic footage
of the drawer
based on what
was in a package
of vanilla pudding.
- Right.
- It was like, you used two
cups of cold milk
and we were trying to
figure out how many
of those little packages
that we got
from the Sun Bee Market
'cos that was the one
that was open
really late on Sunset.
- I remember that Sun Bee
Market. Peggy used to go there.
- We'd go down there
to the Sun Bee
and buy as... but we
didn't have a whole
lot of money either, right?
- No we didn't, Catherine.
- So we tried
really hard
to make the vanilla
pudding stretch and
we tried to make it
with water instead
of milk so that it
would you know be
a little less expensive.
You just coated it
with this little layer of peas
And they were, um
they were frozen
peas as, I recall.
We had to kind of cook them so
they'd be plump enough
because they couldn't
be really shriveled
- Right.
- So we lay the... after
we fill finally we
line the drawer with
plastic and then
we fill the whole thing
uh with the pudding.
And then you just
laid this little layer
of peas and then
the scene was just
Henry... I haven't
seen it for a while but
Henry just reached
in and pulled it out, right?
- Exactly. All the
the utensils were
down inside that stuff.
- Right. Well, I
remember that I was
really learning
how to do follow focus
but it was like a macro
lens, wasn't it?
- Uh-huh.
- Then I had to figure out
how much distance
there was kind of like
between peas you know
as he reached his hand in.
- But, I just had another
memory when
the new fellows were
coming the following year
and they were having
this big fancy dinner
up at the
main house.
- That was the bed scene.
- Right. And we were
filling those tanks
and it was really
really cold outside.
- Yeah, Jack had a couple
of lines about that.
- But we were
going driving
back up and down
that long driveway
with these big
sparkles bottles
trying to get the
water warm enough.
- Exactly.
- You'd just run hoses
into the tanks, hadn't you?
- Yeah.
- And it was really cold
and they were in it
like all night.
- Exactly right.
- And what did you use to
make the the milk...
it looks like
a milk bath.
- I believe, uh...
I believe...
- I believe we used milk.
- I think we did.
- I think so.
- I think we used
milk and that was
another reason
why the warm water
wasn't such a good idea
although it didn't
really heat the
tanks completely.
We'd bring down
these sparkles bottles
and pour a little bit
of warm in but you
know how milk is
when it gets warm.
- Yeah, it's nice.
- Yeah. It tastes okay
but I remember
it smelling really great.
- Uh-huh.
- But I remember
Judith and Jack
being really really
good sports through out it all.
- They were fantastic.
- I think Jack kind
of enjoyed being
in there with Judith.
- I think he might have.
- Yeah, as a matter
of fact I don't even remember
that bothering me, at all.
- After one year like I
said almost to the day
Fred had been
shooting for three months
we ran out of money.
AFI would give a
certain amount of money
to each film
and that was it.
And we'd run out.
It just stopped.
Hope was in the air.
But I think it was a
quite a long time before
I got more
money to continue.
And two great
supporters of the film
were Jack Fisk and
Sissy Spacek.
And Jack
in those days
right around that
time I'm after we'd been
down for a while
Jack had two jobs as
production...
what they called
art director then and
since he had two jobs
he would have me
follow him to the bank
and he'd sign over
one of those
paychecks to me.
So we could
keep working.
Things like that. Both
Jack and Sissy
put money
into the film.
Also, Jack's sister
Mary Fisk
played a huge part
near the end
of Eraserhead by raising
all the finishing money.
Then from then
on it went piecemeal
with many months
downtime trying
to get money or
build a set
to go forward.
And then we'd
shoot for a burst
and then go
down again.
I know
pretty clearly that
there's one particular
shot when Henry
walks down the hall
he puts his hand
on the doorknob
and turns it,
and there's a cut
a year and a half later
he comes
through the door.
I started living in the
stables in 1972.
To live and work in the
same place is the best.
It was a
perfect scenario.
I lived in the
stables and had it
for all those years.
And Al, a lot of
the times lived
he had lived in the
one wing
and I lived in
Henry's room.
That was I lived there maybe
often on two
or three years.
It was illegal
what I was doing.
Henry's room was
inside of a room
that might have been
a living room at one
time, for the maids.
It had two doors.
Both of the doors
we went in and out of.
One of the doors
had a door on it.
And you open it up
and it had another
door, there was a door
in the hallway.
So it was a two-door deal.
When I slept I bolted
a piece of plywood over
the doorway
the original doorway
from the inside.
And they padlocked
me in from the main door.
So you someone
coming up would see
a piece of plywood
with just the
rounded ends of bolts
and no other
visible way to
open it.
Then they'd see a padlock
on the main door.
I was secure
in there I felt and
then I'd hunker down
and sleep in the day.
And it was
very dark in there
there was no windows.
It was a it was a kind of a
beautiful room to sleep in.
They knew I was there
certain key people
but they kept quiet and
turned their
head away.
Jim King, who lived in
the gatehouse with his wife
Jim knew very well I was
staying down there.
And he would give me
a yearly inspection.
He would announce I'm
here for your yearly inspection.
And come through and
look at all the rooms.
Because he had to do it.
And then give me a
you know passing mark
that we're keeping
things okay and
off you go, until I
saw him the next year.
One night, this was
after Herb had gone
a big bin like a big giant
trash bin, not a lowboy
but one of the
the things with the
ladders on them you
got to go up
a ladder to see inside.
This had been delivered
in a courtyard up
at the main house.
Fred and I
went up there
and no one was around.
It was just sitting there.
No one knew what was in it.
And we discovered that
inside there were like
10 000 light bulbs in
ancient wrappings.
From some studio
that was getting rid of
this stuff from
years, ages, ago.
And we crawled in there
and probably got
two or three hundred,
maybe 500 inky bulbs.
Fred got bulbs bigger than
basketballs that he still has.
They were... I don't
know if they were 5 000 watt
bulbs or more. I don't know
what they what they were.
But all differen kind
of ancient light bulbs.
It was like
beyond Christmas.
- I have all these images
in my head
like going around
and looking for alleys
and driving and driving and
driving around and then
going ahead and
bringing everything down
in our cars.
- Right.
- And that we all just sort of
did everything.
- All the locations were
well not all
of them but, um
pretty nearly every
one of them was
downtown LA.
On the other side of
the street from
Cedars-Sinai hospital.
There was a whole block
that used to exist
a huge block
under where the
Beverly Center is now.
And in that area it
was just like in
Spanky and Our Gang,
Our Gang comedies
The Little Rascals. It was
out of the 20s or 30s.
And there was
a pony ride
from way back
somewhere in like the 30s.
There was a little key shop
little key stand
and there were these
tanks and oil wells.
And you couldn't
see them from
the street because
they had this donut of
earth around in case
the tanks blew out.
So you'd climb up
over these things and
down into
a brand new world.
That was one
of the greatest finds.
And right next to
where this happened
there was a
narrow tank
coming up out of
the ground.
And it was surrounded
by a donut of water.
But just down at the
bottom of the water
there was tar.
Who knows how
thick it was.
Tar preserves things
and the cat had
served many purposes
but I lowered this cat in there
and then about a
year later came back
and pulled the wire
and the cat came out.
Impregnated with tar.
And I laid the cat
down on the ground
and came back
another year later
and it was a perfect
marriage of cat and earth.
Tar impregnated
cat in earth.
And I have
a photograph of that.
But the cat did end up
in a scene but it
was unrecognizable.
There was a scene
where Henry catches
his foot on a wire that
was connected to this cat
as if some sort of strange
thing had been going on.
That never made
it into the film but
I have a little piece of
that you know film left.
- And I remember
having to call CFI and
get in my car
and drive as fast as
my car would go
to get there by midnight.
- Right.
- And give it Mars, remember Mars?
- Mars Baumgarten.
- Oh, he was a great guy.
He really helped us a lot.
- He sure did.
- But the thing...
one of the reasons why also
it's so indelibly printed
is that so often we
would then do it again.
- Exactly.
- We had a chance
to really get into it.
- And somewhere
along in there
George Stevens Jr.
made a deal with
Sid Solo, who
was running CFI
that we could get
all our film
developed free.
And then printed at a
very good reduced rate.
And that really
saved us.
So there's the guy named,
there was George Hutchison
who just recently left CFI
and Mars Baumgarten
was the night man
and we'd see Mars
all the time.
That went on for...
they saw us you
know for many
many years
bringing in
the film.
We'd screen our
dailies up at the main house
and Ron Barth was our
projectionist.
He was night
watchman for a while.
And Ron is one
of the several people
who claimed to have
seen the ghost of Doheny.
As a night watchman
he sometimes
took a little nap on a couch
in the main entrance hall
and something
woke him up
he looked up and on
the stairs was Doheny
in his bathrobe.
And then just gently
disappeared.
Jack Nance saw Doheny.
One night we were
shooting on the stage
for the Lady in the Radiator
and it came time for me
to deliver my papers.
During the time I was gone Jack
wandered back down
into the basement of
the main house
because we shot that up
in the laundry area.
And a mansion like that...
people like the
smell of clothes that
have been dried in
the air and the sun.
So there was a pit
off the laundry room
and this pit you
couldn't see from, um
it wouldn't ruin the
look of the mansion.
It was a it
was a concrete pit
with maybe 20 foot walls.
They had all these
lines in it where
they'd hang out the laundry
and it would dry with
no one seeing laundry on a line.
And in that pit I
built this set for you
know the Lady in the Radiator.
Through the laundry
room you could enter
the basement
corridors and then
they kind of slanted
down to a deeper
basement and Jack went
down there that night
and took a nap.
And he was awakened
and saw Doheny.
The Lady in the Radiator
was never in the original script.
One night I was
sitting in the food room
and I started drawing
on a three by five card.
And I drew the
Lady in the Radiator.
I'd been thinking about
some things and
it sort of came to me
right then that she was
going to be in the film.
And that she was
connected with the radiator
I don't know how it
happened
but that whole thing
she lived in there
where it was warm.
I thought I better
check on that radiator
to see if it's possible
that somebody
could be in there.
And I went running
in, because I couldn't
picture it in
my mind, to the set
already months established
and looked at that radiator.
And it's unlike any
radiator.
It has a place
in the middle
that just was a perfect
entrance to where she was
And how many
radiators have that?
It went like that until 1976
when I was asked
to leave the stables.
When George Stevens Jr.
kind of thought they
would make a great place
for him to have
an editing room.
So I had to get out and
it was I was practically
finished but we
rallied and
finished up everything
in time and left
I think it was '75.
It might have been '75.
- Catherine.
- What?
- How many years did you
work on Eraserhead?
- I think about four.
- No, no you worked six years.
- Six?
- Yeah.
- Well, maybe five...
- It was a long time of my life
- Maybe five years.
- Yeah, I remember
being really young
when I started and I'm
just looking at these
pictures of all of us...
We kind of... when we
finished it we all
looked a little bit older.
It became kind of
like the more challenges...
I mean, it was from
filling the drawer
of pudding to,
you know
dyeing the sheets
so with tea so that
they weren't too white.
All those things just
be kind of became
what we normally did
in the course of a day.
So when I went on to
work on other movies
everything which was
so compartmentalized
always seemed not
quite the real thing.
- Exactly.
- Eraserhead really felt like
the real thing.
You were always in charge
you always knew
exactly what you wanted
but you had
each of us
feeling like we
were really part of it
which I think we were.
But it was really helping
you with this vision.
- Then in '76 sometime
maybe... I can't remember
when.
Sometime in there
we finished Eraserhead.
A sense of place
is critical to a film.
And sound particularly
can expand
what you're seeing
and expand the world.
And those things
can break a mood or
enhance a mood.
Naturally you want
to make a world
and it's a particular
world in every film
but this one is
a particular particular,
you know, feel.
I was editing all along.
It was...
It was always kind of
right up to where we were.
and I just plug in
you know the pieces.
Then it was quite long
at one point and
I had a stand-up
old Moviola.
and it was a beauty
it was very kind to film.
And I loved that machine.
Then I moved that Moviola to
the bungalow and had
a setup in a garage
and Al and I could
work together in there.
Then when we came
time to mix was all mono
eight Dubbers and Magmix.
Some people came
to AFI
and they were part of
Cannes Film Festival.
They wanted to see Eraserhead.
To see if it was
going to go to Cannes.
Al and I had a talk that
we would try to work
and make the Cannes
Film Festival with Eraserhead.
And Al said I'll do it.
I'll go 24 hours
if you will not take your
Bob's break in the afternoon.
Which almost killed me.
But I said, okay Al, I'll
do that but it's killing me.
So every afternoon at 2:30
I would get in this thing
wanting to go out,
we just kept working.
Eventually Al said,
okay look, we won't
go all the way to Bob's
but we'll go up to
the Hamburger Hamlet
and have a coffee.
So that's what we did.
We went up there
and then there
I discovered this
Dutch apple pie.
Then I got the bill
for that piece
of Dutch apple pie
I had to stop doing that.
Then I was
in the grocery store
and I saw
a Dutch apple pie.
The same, almost
exactly the same price
for a whole pie
as it was for one slice
at Hamburger Hamlet.
So I bought this pie
you just
put it in the oven
and then you put it
in the refrigerator.
I would take a slice
of pie and wrap it in a
wax paper and
put it under my jacket.
And then I'd eat that in
the Hamburger Hamlet,
Surreptitiously, and
that was a real thrill.
We didn't have any
money for sound stock.
So, somehow we heard
there were bins
of sound stock that the sound
editors from Warner Brothers
would throw away.
Big trash bins filled with it.
And so we got...
there was somebody
connected to AFI
that was working over there
we got on the lot
and then we
found these bins.
And in preparation
I'd removed the back seat
of the Volkswagen.
and we filled every square
inch of that Volkswagen
full of almost
total clean reels.
And then Al had
a degausser, so we
de-gaussed everything
when we got back.
And all the stock
for Eraserhead came
from the throwaway
bins at Warner Brothers.
We finished, Al and I...
The mix was done
but the film was not
married, sound and picture.
So there were 12
reels of sound
and 12 reels of picture.
And this had to go
right now to New
York City because they
were screening films
for Cannes.
So I took the
last money in the bank
and got an airline
ticket, a red-eye
to New York.
And I got there really
early in the morning and
found out that there were
four or five films ahead of me
that they gotta look at before
they look at Eraserhead.
So I'm eating this
donuts and having
coffee and sitting
on the curb out there
and kept going in
the guy says two more films
like that, until they started
running the eraser
So finally it was over,
packed it up
came back and
never heard anything.
Snd so I made
a phone call
and it turns out
that the people who
I thought were looking
at the film in that room
had left New York
for Paris two days earlier.
And the guy was showing
films to an empty house.
Eraserhead never
went to Cannes.
I invited friends and
we had a kind of a
a formal screening
of Eraserhead
when it was finally finished.
And my parents
came to the first screening
of Eraserhead
and afterwards
someone sitting
next to my mother
told me, she said when the
lights came up
- Oh, I wouldn't want
to have a dream like that.
The film showed
at Filmex '77.
That was the official first
screening of Eraserhead.
I was too afraid
to go in with the people.
So I paced outside and it
seemed like the film was
400 hours long.
And I was dying.
And I had that there
was a little button
behind the last row
of seats in this
giant theater
and you just
push this button
and it bumps
the sound 2 db.
And I had pushed
it a bunch of times
but I pushed
it too many times.
So not only was the
film very very long
but it was, I think it
was killing people
in the front rows.
Fred drove me home
that night and
I sat I told him,
I said I'm cutting
I'm cutting
the film tonight.
and I'm gonna cut
this scene, this scene
this thing
and Fred was
completely against it and
and told me I was crazy.
Are you sure?
I said, I am positive.
And I went and I cut
the composite print.
That's something you
really shouldn't do.
Then I had to go over
to CFI, because I
I didn't know how to stitch
this thing together
after I did it to make that
work. And I had this editor
over there and he
became very confused.
Because I had to
bring him up to speed
and all this stuff, and bring
them bunch of elements.
Finally it got straightened
out and a new
picture and soundtrack
were made.
20 minutes shorter
the way it is now.
The way it was
supposed to be.
I just needed to
suffer that screening.
I wish I had those scenes
because I loved
them as little scenes
but they didn't
belong in the film.
I could have done a lot
better job taking care of things.
Sometimes everyone has
the experience when
they need to move
to another place.
They find they can't
take as much stuff
with them as they
would like.
Later on they look
back and they wish
they had taken
a couple more things.
I've lost a lot of
things from Eraserhead
that I wish I'd kept.
Well, in those days no one
thought too much of Eraserhead.
It was
Midnight Films
that put it on the
map and that was
Ben Barenholz, known
as the grandfather
of the Midnight Film.
If it wasn't for
Ben getting Eraser...
picking it up and
and distributing it
nothing would
have happened to it. Zero.
And it opened at
The Cinema Village
in the fall of 1977.
And there were 26 people
in the theater
the first night.
That was a Friday night.
Then Saturday night
there was 20-24.
And Ben said I'm not going
to spend any money and
I'm not going to do
any kind of big promotion.
He said, in two months
there's gonna be
lines around the block.
and that's exactly
what happened.
it played in 17
cities for as long as
four years on the
midnight circuit.
That usually meant one
night a week Friday or
Saturday at midnight.
I'm going down
Sunset Boulevard
and I see five Woody
Woodpecker dolls
with hooks in their back
and I feel
the pain of them. They're
hanging in the service station.
I swing a u-turn, slam
on the brakes pull
into this place.
And I said I want those guys off
those hooks. I'm buying
all of them right now.
And the guy
helps me get them
down I sit them all
in the back seat and uh
those were my boys
and I kept them for many years.
Sometime, The New
Art Theater where was running
Eraserhead every Friday night
said they needed a
they would like me to
maybe think about
doing a new trailer.
Some kind of thing to
you know kind of goose
Eraserhead attendance.
So, I had Fred and
Catherine shoot me
giving a talk
on Fred's couch
with the woodpeckers and
That ran at The New
Art along with the
official Eraserhead trailer.
- You know I haven't
seen the movie
in a really long time but
I do remember
that night that you
showed it to the
cast and crew of
Dune. I think I might have
brought the print
down with me
when I came down to visit.
- Uh-huh.
- So then you
screened it for the crew
and we watched it.
We stood in the back
and watched it. Jack
and you and me and
Fred and
I think Jenny. And
we were all you know
we're all watching
it for the first time
in quite a while.
And nobody was
saying... you know they
weren't responding
a whole lot and
and then it was
over and we were like
really kind of feeling
good about the work
and you know,
it was like
you were really
looking forward to
hearing what
people had to say
and they walked out
they all just walked
by you and said
gracias senor.
It was very funny.
They just didn't know
quite what to say.
- It is a personal film.
And no reviewer or critic,
or viewer
has ever given
an interpretation
that is my interpretation.
Since the, you know
25 years or more
that it's been out.