This is very much on-style both for dream movies in general (ever watched anything Lynch/Tarkovsky/Fellini?) and Kubrick. The connections are supposed to happen in your mind. Their significance is up to you.
Related Kubrick quote from TFA:
> One of the things I always find extremely difficult, when a picture's finished, is when a writer or a film reviewer asks, "Now, what is it that you were trying to say in that picture?" And without being thought too presumptuous for using this analogy, I like to remember what T.S. Eliot said to someone who had asked him—I believe it was The Waste Land—what he meant by the poem. He replied, "I meant what I said." If I could have said it any differently, I would have. ("The Odyssey Begins", 1960 Horizon interview)
Spelling everything out for the (supposedly dim-witted) audience at the close is, reversely, something that frustrates me.
I get that but it doesn't even make sense in terms of the dream logic. Bill basically has two "confession" scenes - one with Zeigler and one with his wife and seemingly doesn't mention the stuff at the costume shop in either. However he was open to confess to Zeigler that he knew about the dead woman. This seems contradictory. I think there are two possibilities 1) it was unfinished or 2) it was intentionally left out. Both of which are very interesting.
Well they are supposed to be confessions yet he does not confess the worst part of what he witnessed. IIRC he literally says "I'll tell you everything" then proceeds to leave things out. Somewhat contradictory.
I don't take them that way, Ziggler is certainly not being forthcoming with Bill. I'm not sure why you'd expect Bill to be honest about everything, I don't think that's the point of the movie at all, no less so that it doesn't make sense because he wasn't honest
Related Kubrick quote from TFA:
> One of the things I always find extremely difficult, when a picture's finished, is when a writer or a film reviewer asks, "Now, what is it that you were trying to say in that picture?" And without being thought too presumptuous for using this analogy, I like to remember what T.S. Eliot said to someone who had asked him—I believe it was The Waste Land—what he meant by the poem. He replied, "I meant what I said." If I could have said it any differently, I would have. ("The Odyssey Begins", 1960 Horizon interview)
Spelling everything out for the (supposedly dim-witted) audience at the close is, reversely, something that frustrates me.