Synecdoche, New York

A: That was stupefying. Downright stupefying.
B: I know. Kaufman's movies always, always make me think. But this has got to be the worst! Damn that guy!
A: (laughs)
B: Initially, the line--if there was one, initially, that is--between reality and otherwise was imperceptible. Then it appeared, just enough for one to sense that there was one. And then it kinda opened up, very gradually, until it became a gaping mouth. You know, like this (gesturing with the left hand, in an attempt to illustrate the point). Unbelievable.
A: Cool. You've always been better at words.
B: Oh, yeah? So, we might say that I'm more...what's the word--articulate?
A: Yup. You're more articulate.
B: Which means you're deeper than I am.
A: Oh, yeah? How's that?
B: You know, because the more one talks, the more out there it is. And once it's out there, it stays the way it is. But because you keep it all in, you keep going deeper and deeper and it never really ends. You just keep finding stuff, you know?
A: (laughs) I never thought of it that way.
B: Oh, sure you have. But, hey, did this get shown in the theaters?
A: You mean, here? Hell, no. But in the US, yeah it did.
B: Wasn't a hit, was it?
A: Nope. A movie like that? No way.
B: But what did the critics say?
A: It wasn't as well-received as Kaufman's other films.
B: Hmm..
A: 'Cause it's not really much of a movie experience, you know. More of an art experience. It's too complex. Obtuse, at its worst. Kaufman must still have been on screenwriter mode when he directed this.
B: See, you're articulate, too.
A: (laughs)
B: The ending is just something else. Damn, that was a good one.
A: So, time for Roger Ebert?
B: In a while. So, hey, what about that Genius Grant?
A: Yeah, sure would be great to be given that. Would mean a lot of pressure, though. Did you know that David Foster Wallace had one?
B: Hmm. Probably why he killed himself.