Keith Rowe: It seemed to me that a painting was a kind of very elaborate bank note, a kind of commodity.
Shelley Duvall: And instead of selling some paintings I wound up getting into a movie.
Rowe: A blank sheet of paper.
Duvall: It’s very frightening.
Rowe: I use a cheap wooden imitation of the American model.
•••
Duvall: Our place looks like Japan. Maybe it’s more real.
Rowe: (searches around for objects on the cafe table) Never, never.
Duvall: Never.
Rowe: This was late 1950s, early 1960s.
Duvall: Somebody at the party had called them up and told them if they were bored in Houston we gave a lot of parties.
•••
Rowe: Well, they’re quite European, aren’t they?
Duvall: Well, everybody’s got something about them.
Rowe: We knew what we wanted to do.
Duvall: You’ll see. He had the dream on a Saturday night and he called me up on Sunday morning and said, “Shelley. I just had this incredible dream. Part of the dream was that I woke up and told my wife and wrote it all down on a yellow legal pad and called my production assistant and said, ‘I want you to scout locations for me,'” and then he woke up and discovered he hadn’t told his wife and he hadn’t written it down.
Rowe: I used to babysit for him and listen to his Webern records.