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We’re supposed to be talking about , his terrific new LP. I stare at the walls as Yoakam searches for his lost thread.

Dwight does not appear to be an intensely emotional or sentimental person, and he is often unaware of his own or other people's deeper feelings and emotional needs.

Tears and tantrums bewilder him and make him very uncomfortable.

After a prologue that features the twin fetishes of John Denver nostalgia and pickup-truck repair, the action gets set in motion when Jimmy Logan (Channing Tatum), a beefy divorced dad who lives in a tin-walled shack in Boone County, W.

Va., loses his latest hard-hat gig, all because someone from human resources spied him walking with a slight limp, which could signal a pre-existing condition, which could prove actionable.

One minute, he’s addressing the early days of computers in the ’50s (his mother was a key-punch operator). Clearly, this is a man who has a lot to pontificate on.

Next, he’s waxing rhapsodic about the fake sitar sound on the Box Tops’ 1968 hit “Cry Like a Baby.” Then, Yoakam declares that his biggest influences are designers Coco Chanel (because she transformed the culture by making fashion sportier and less formal) and Raymond Loewy, who created logos for Exxon, TWA, Nabisco, and the U. Yoakam set up headquarters at the DGA in 1997, not long after he started directing his own music videos, a sort of “poor man’s film school” that eventually led him to helm his first (and only) feature, 2000’s Yoakam estimates that he could own a building of his own for what he’s paid in rent over the years, but he can’t give up the view, which looks out over Sunset and the adjoining Hollywood Hills.

And Soderbergh, directing his first feature in four years (his last one was the superb HBO Liberace biopic “Behind the Candelabra”), plays, with an invisible wink, off the natural-born comedy of mile-wide drawls that veer from the charmingly folksy into a kind of good-ol’-boy theater (lying about your alibi, it turns out, is even more effective when you do it from behind the armor of a chicken-fried accent).

“Logan Lucky” turns out to be a sharply observant tall tale all its own, a movie that taps into the shifting dynamics of Trump country (though the T-word itself is never mentioned).

Somewhere in those hills is Yoakam’s homestead, a 5,900-square-foot Spanish colonial mansion that he designed himself.

Dwight Yoakam and Buck Owens during Buck Owens in Concert – August 5, 1988 at Chicago Theater in Chicago, Illinois, United States. w=1024" class="size-full wp-image-252499" src=" w=1024&h=645" alt="Yoakam with Buck Owens in 1988." width="1024" height="645" srcset="

Yoakam didn’t sell as well as Brooks, the era’s reigning big hat, nor did he really try.