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Kawaru, do you write professionally? You are good at it
limp dick calvin fucked around with this message at 06:13 on Mar 8, 2020 |
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Mar 8, 2020 06:06
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Jade give two rides  e: Is "noon-thirty" a regional expression? I don't think I'd ever heard that until seeing this the first time. e2: gently caress GENE KELLY, YOU MOTHERFUCKER Hey Diane 
Rageaholic fucked around with this message at 06:20 on Mar 8, 2020 |
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Mar 8, 2020 06:09
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I got a problem with my liver. e: Harry Dean! El Jeffe fucked around with this message at 06:27 on Mar 8, 2020 |
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Mar 8, 2020 06:25
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El Jeffe posted:I got a problem with my liver. e: Oh no, the kid!  e2: IKE THE SPIKE 
Rageaholic fucked around with this message at 06:38 on Mar 8, 2020 |
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Mar 8, 2020 06:31
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Oh gently caress yes it's Ike 
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Mar 8, 2020 06:39
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WHAT KIND OF WORLD ARE WE LIVING IN THAT PEOPLE CAN BEHAVE LIKE THIS?! e: Ike's murder rampage! Poor Ike, his spike bent 
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Mar 8, 2020 06:47
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God drat I forgot how gruesome this was. 
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Mar 8, 2020 06:49
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Chad is the biggest douchebag e: Actually, that's probably Richard, but Chad's certainly up there
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Mar 8, 2020 06:55
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Quote of the week: "The hell?" (Chad) Once again, the lone train blows it's mournful horn, as we cut to Carl's trailer park. Windswept, the song that plays during the Dougie scenes, really adds a lot of pathos to his story. You can tell Coop's still kind of there, solving his case files the best he can. The loss of his old, dashing personality also kind of ties into his obsession with cowboys and law enforcement insignia. He's obsessed with these heroic and lawful icons, some of a long gone era. El Jeffe posted:I got a problem with my liver. I never noticed before, but I guess that scene with the drug dealer happens at the newly built sawmill. That scene is also scrambled in the most interesting way. It's like you can kind of still figure out what the conversation must actually be like, and which parts the drugs have inserted or twisted. I particularly love the guy stomping his foot like that one waiter from a Monty Python sketch. Janey-E's interaction with the two gangsters really shows how concerned the show is with questions of social inequality. She may not be wrong be about them being "the 99 percenters" in the grand scheme of things, but there's clearly a number of people who can't even keep up with the Joneses in terms of social standing. That guy from the Fat Trout Trailer Park who has to hitch rides from Carl and depends on some measly help to even afford a wheelchair. Both his girlfriend/wife and Doris' son seem to be victims of a government that's not taking care of veterans. Even the cheerful grade school teacher leaves a tip that she really can't afford. The Twin Peaks typical enjoyment of pie has become a question of financial stability. Could I get a screenshot of - that traffic light before Mike appears - Diane - just the intersection where Richard runs over the kid (before anything happens)
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Mar 8, 2020 09:33
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And More posted:Could I get a screenshot of    (Hope that last one's alright. There's only one shot of that intersection before, from far away while Richard's driving, and it's hard to get a clean shot of it.)
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Mar 8, 2020 09:57
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Thanks, I appreciate it! Those are great.
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Mar 8, 2020 10:15
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I love trying to imagine perception of Dougie's from people who don't have our context to work with, especially those who knew him before the change. Think about that scene from Battlin' Bud's perception: Dougie walks in wearing a way nicer suit than normal, dumps a bunch of casefiles filled with gibberish on his desk and when Bud complains about it, Dougie's response is just a quiet,"Figure it out", after which Bud slowly starts to see the patterns and gives an awestruck thanks to the hyper-competent professional Dougie for saving his rear end  The intersection scene is incredibly disturbing, it actually strangely brings to mind the horror of the traffic stop scene in Fire Walk With Me, and I love the long lingering shots of horrified bystanders clutching their loved ones closer in response. Carl is the only one who approaches the grieving mother, and it makes sense I guess in that he's alone, old and close to death himself (smoked a cigarette every day for 75 years!), but I like that he can't offer her any words or even a gesture beyond infinite sadness he can't express. He can't even tell her that he saw what would appear to be the kid's soul, because at best she would just be confused and at worst she'd freak out at the crazy man ranting at her while she clutches her son's corpse. Also one thing I'd forgotten about watching these episodes, it feels like 5 minutes have passed and then suddenly Kyle McLachlan's name appears and you realize gently caress an hour has gone by and you're at the end of the episode 
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Mar 8, 2020 11:58
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What the heck is up with the gun the heavy has in the drug dealer scene? It’s like it’s wrapped in cardboard or something Also — that isn’t the same intersection from FWWM, is it? It sure has the same general feel, angles, surroundings, etc.
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Mar 8, 2020 13:35
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  Data Graham posted:
It is.
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Mar 8, 2020 13:37
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Data Graham posted:Also — that isn’t the same intersection from FWWM, is it? It sure has the same general feel, angles, surroundings, etc. Actually, that's partially why I asked for a screenshot of the intersection.  I don't think it's literally the same place, but the similarities are pretty uncanny.
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Mar 8, 2020 15:19
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It actually is the same place. The building on the left is visible in this image from FWWM:  And the building across the street is visible in the above image Season 3 (looks like it was fixed up a bit since the Street View photo was taken):
Volte fucked around with this message at 17:59 on Mar 8, 2020 |
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Mar 8, 2020 17:56
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Wow!
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Mar 8, 2020 19:15
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Pinterest Mom posted:Wow Bob wow!
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Mar 8, 2020 19:59
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Geez I always felt like the two scenes were linked in my mind for the same reasons as the rest of you all, and I knew Lynch was referencing the intersection scene from FWWM, but... the very same intersection? That's special. This kind of thing is, for me, a big part of what elevates this show above the rest. There's an internal consistency not just to plotting and thematic elements from the original two seasons and especially FWWM to The Return, but also to very simple and basic visual elements. I wouldn't be surprised to learn that he went to the same intersection to film the traffic lights, too. Or that the Telephone Pole that stood in place for The Arm in FWWM was the same exact one (or at least the same place) that he filmed in The Return for this episode, for example. Also, I am like... pretty sure this has been brought up before, but I love how natural the utterly bizarre "evolved" appearance of The Arm in the Black Lodge/Red Room is. At first, I was so completely nonplussed by this sputtering electronic tree speaking from a weird blob on top. It seemed totally and completely incongruous. But when you take into account its real-world appearance as a Telephone Pole, it actually starts to make sense. After all, a Telephone Pole could be accurately described as an "electronic tree" of sorts, no? Further, it's not just any tree The Arm evolved into, but a Sycamore tree, specifically. At this point, The Arm having *some* involvement with the death of that child also makes total sense to me. MIKE and The Arm (and BOB) are all linked together by The Ring - remember, MIKE discussed his original relationship with BOB as a "golden circle of appetite and satisfaction". I think The Ring is both a literal and metaphorical representation of the cycle that keeps the Garmonbozia flowing, so to speak. I think BOB had already struck out on his own when he first possessed Leland. Also, a random little thing that keeps bothering me and that I'm hoping I find some answer for: I dunno how many of you read The Final Dossier but I quite liked it, much more than the earlier (longer) book attached to The Return that Mark Frost wrote. There were some things revealed in The Final Dossier that I found extremely illuminating and which I think we can take as being more or less canon. For instance, apparently the motel known as "The Dutchman's" existed in the 1930s, and only in the 1930's. Which is pretty interesting, frankly, and explains some things such as the manner in which Cooper and the Woodsman vanished when walking up the steps to the "above the convenience store" location. They sort of staticky crackle out of existence in the same manner that Cooper does when he time-travels; the same manner in which Laura Palmer's body vanishes from the beach when the past is changed. So, it seems to me that going "above the convenience store" might actually be a euphemism for time travel, in some form or another. So there are some questions relating to episode 8 (obviously) that I'm going to bring up when we get there, lol. I sort of wonder if Trinity isn't an event that sent ripples through time not only towards the future but also towards the past? Oof, who can say
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Mar 8, 2020 20:02
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Yeah, that's crazy. Quite a testament to how much our world changes in 25 years. That place has changed so much. kaworu posted:Also, I am like... pretty sure this has been brought up before, but I love how natural the utterly bizarre "evolved" appearance of The Arm in the Black Lodge/Red Room is. At first, I was so completely nonplussed by this sputtering electronic tree speaking from a weird blob on top. It seemed totally and completely incongruous. Note also the presence of telephone lines in the reflection of Richard's windshield, which are accompanied by crackling electricity. This is something I really appreciate about Twin Peaks. Its logic slowly evolves over time. We start out with a strange malfunctioning lamp in a morgue in the pilot, and now we've basically arrived at the point where electricity might as well be magic. It's kind of brilliant because it's all there from the beginning, even if it doesn't immediately have such an overtly supernatural connotation.
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Mar 8, 2020 20:52
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Wasn't the malfunctioning light in the pilot actually an error? I thought I heard that. That scenes also got that great part where the doctor mishears cooper and thinks he's asking for his name, which was a genuine mistake from the actor that got left in. e: from imdb 'When Cooper examines Laura's body for the first time, he turns to a doctor and asks him to leave him and the sheriff alone with the body. The actor, mishearing the line, replies "Jim" - his name. Cooper pauses for a moment and repeats the question and the actor apologizes and leaves. According to commentary on the 2007 DVD release, this was a genuine blooper but director David Lynch liked the surreal moment and kept it in the finished product. According to the same commentary, the flickering fluorescent lights were genuinely malfunctioning but Lynch felt it helped the scene so chose not to replace the lighting.'
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Mar 8, 2020 21:34
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Yeah, same as the guy who ended up playing Bob. He was accidentally caught on camera, and Lynch ended up casting him as "the evil that men do". It's amazing how these little accidents slowly turn into the most important aspects of the show.
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Mar 8, 2020 22:28
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Also makes one wonder how much they were just making up as they went along. Feels like “most of it” honestly.
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Mar 8, 2020 22:53
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That's why I can't take it seriously when people come up with grand unifying theories that explain everything about Twin Peaks. So much of it is happy accidents and Lynch going on what feels right in the moment.
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Mar 8, 2020 23:50
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That was probably true for the first two seasons, but I feel like Lynch had a lot of season 3 planned out. Whether he planned that out 25 years ahead of time or more recently, it feels like he had a solid outline for (at least) most of season 3.
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Mar 9, 2020 00:03
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Definitely. There is just no way Lynch could have anticipated Dougie 25 years ago. That took some thought.  In a way, season three is actually more interesting exactly because it comments and riffs on the original show from such a removed vantage point. If FWWM was a re-evaluation of Laura Palmer's role in the show, the Return is a re-evaluation of the entirety of Twin Peaks and all the nostalgia it has accumulated. edit: Let's not forget that it was initially just going to be 8 episodes, though. He somehow came up with 10 more episodes than were initially planned. And More fucked around with this message at 00:15 on Mar 9, 2020 |
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Mar 9, 2020 00:13
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Yeah watching the whole series in one go it really feel like a lot of stuff was planned out from the very start and S1&2 sowed seeds, but while I assume they must have revisited and reevaluated some notes for a potential S3 from back in the day, mostly it's probably that David Lynch and Mark Frost are pretty good at identifying and picking up loose threads.
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Mar 9, 2020 08:39
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With Lynch, he might be the one guy who I truly do not mind openly "making it up as he goes along", as some people like to put it. Mostly because I've seen documentaries and read books about him and his creative process, and I'm very much aware that he works in an extremely intuitive manner. I mean, it's not as if this is news to any of us, I expect - like you guys noted, many famous elements of the show (like BOB's casting or the malfunctioning light or a dozen other things) were "happy accidents", or the result of Lynch making a stylistic choice based on instinct, or intuition. Using elements that come from dreams he may have had personally, or strange interactions that may have occurred in his life as inspiration is par for the course, for Lynch. Like how Lynch's house is used as the set for Fred's house in Lost Highway, and one of the inspirations for it was that in real life Lynch actually had a stranger buzz his intercom and say "David - Dick Laurent is dead." And then he quickly left to the incidental sounds of police sirens, without Lynch saying a word. He later realized that he had a neighbor named David and whomever it was probably just had the wrong house and was embarrassed, but the random strangeness of the moment stuck with him and we all know how he used it. I think stuff like that is what a lot of us love about him. I certainly do. I sincerely feel like his films have a certain preternatural quality to them that's pretty unique to Lynch. Something about his work is actually evocative of some of my own half-remembered dreams, and it's hard to remember whether I had that feeling from before I ever saw anything by Lynch or not, and why certain things in his films that seem from the outset to be random or out-of-place feel immediately familiar or emotionally affecting for reasons I cannot immediately put my finger on. It's a big reason why I keep coming back to his work - it almost feels like it inspires its own form of self-reflection/therapy, sometimes, heh.
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Mar 9, 2020 08:57
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And More posted:Yeah, same as the guy who ended up playing Bob. He was accidentally caught on camera, and Lynch ended up casting him as "the evil that men do". It's amazing how these little accidents slowly turn into the most important aspects of the show. Lynch did some filming before with him and wanted to incorporate the actor in some way. Someone pointed out the reflection later. It's described in his book.
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Mar 9, 2020 10:45
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AstroWhale posted:Lynch did some filming before with him and wanted to incorporate the actor in some way. Someone pointed out the reflection later. It's described in his book. This is not exactly true. Frank Silva was not an actor that Lynch had worked with before in any way prior to the filming of the Twin Peaks pilot. He was just another guy who worked in film production, and I believe was an assistant of the Prop Master who was hired for the filming of the Pilot. I don't think he was like "the designated set dresser" or anything, but he was dressing the interiors of the Palmer House during filming one day, and apparently while he was in the corner of Laura Palmer's bedroom one day when they were shooting a scene in and around there, someone calls out "make sure you don't get yourself trapped in there, Frank" in reference to the fact that they were filming inside an actual house (not a constructed set) and I believe the individual was concerned that Lynch was going to start a take while Frank was still in there quietly trying to make it all look right, and his presence would of course ruin any take that would have been started. Lynch was obviously on the set as well at the time, and when he heard that said ("Don't get yourself trapped, Frank") he immediately had this image in his head of Frank Silva, this sort of werewolf-looking guy with long grey hair in denim, hiding/crouching in Laura's bedroom, and that image struck a very deep chord with him. Clearly. As I recall Lynch asked him if he had any experience acting, and his response (like any industry pro from LA) was to say "Oh for sure, I've done some acting," even though he had never of course acted professionally in anything at all, heh. The initial shots Lynch took of him as a sort of test, of him crouching by the bed like in Lynch's imagination, were ultimately used in the pilot I think. And of course, he ended up shooting a bunch of stuff with him for the "European ending" at the finish of production. The reflection of Frank/BOB in the mirror, which happens during the shot where Sarah Palmer has a vision of Jacobi's (I think) hand digging up the heart-necklace, was an absolute accident. I don't know if that was even noticed by anybody until after the show was cut! It certainly wasn't noticed until well into post-production/editing. IIRC, the other creepy thing is that Frank's head getting caught in the reflection of the mirror happened before Lynch had even had the moment I described above where BOB was first conceived of and cast, in his mind. It's pretty fascinating to just stop and think and realize that BOB was never part of Twin Peaks as initially conceived and envisioned by Lynch and Frost, but truly something that just happened during the filming of the show, almost like an actual independent entity from the darkness of futures past.... Or something. kaworu fucked around with this message at 11:21 on Mar 9, 2020 |
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Mar 9, 2020 11:19
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There's an interview with Lynch in the booklet for the Fire Walk With Me Criterion and yea he describes how the idea to use Silva came to him. The accident with Silva appearing in the mirror was really just a separate coincidence, Lynch saw him on set one day and had the idea to have him crouching down next to the bed. Everything else came organically from that image of him by the bed. I saw the international pilot first, so Bob crouching at Laura's bed is an iconic nightmare image for me. That should've been in the original pilot, it's a much stronger image to close the episode on than the gloved hand digging up the necklace.
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Mar 9, 2020 14:31
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kaworu posted:With Lynch, he might be the one guy who I truly do not mind openly "making it up as he goes along", as some people like to put it. He's just chiseling away anything that doesn't look like Twin Peaks
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Mar 9, 2020 23:24
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Pattonesque posted:He's just chiseling away anything that doesn't look like Twin Peaks i find it difficult to make any sort of comparison between michalengelo and lynch given that one was so obsessed with male eroticism and the other always tended to fixate on female eroticism - if anything. i mean your point isn't lost on me but people also tend to do a disservice to renaissance artists and such by not analyzing them in (more or less) the same sort of terms in which we analyze the popular artists of today.
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Mar 10, 2020 02:09
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kaworu posted:Lynch was obviously on the set as well at the time, and when he heard that said ("Don't get yourself trapped, Frank") he immediately had this image in his head of Frank Silva, this sort of werewolf-looking guy with long grey hair in denim, hiding/crouching in Laura's bedroom, and that image struck a very deep chord with him. Clearly. As I recall Lynch asked him if he had any experience acting, and his response (like any industry pro from LA) was to say "Oh for sure, I've done some acting," even though he had never of course acted professionally in anything at all, heh. The initial shots Lynch took of him as a sort of test, of him crouching by the bed like in Lynch's imagination, were ultimately used in the pilot I think. And of course, he ended up shooting a bunch of stuff with him for the "European ending" at the finish of production. I've heard that Silva was one of the world's nicest people and wasn't able to watch a lot of his BOB scenes as he found them very upsetting. It's always a head-bender to see behind-the-scenes stuff from FWWM with Silva and Sheryl Lee being cute and happy and joking around together.
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Mar 11, 2020 02:35
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Everything else might be cancelled due to coronavirus, but not Twin Peaks night! We're *one* episode away from episode 8 tonight, y'all. Tonight's part 7, There's a Body All Right.
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Mar 14, 2020 22:11
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Bad Coop went to "visit" Audrey in the hospital while she was in a coma  e: Another woodsman! e2: Hahaha, that framed print of an atomic bomb blast in Gordon's office e3: SQUEEZE HIS HAND OFF!!! e4: lmao, the Roadhouse sweeping scene e5: Aaaaaaaaand Bad Coop's out of jail https://www.youtube.com/watch?v=YBRCvVpknvg Rageaholic fucked around with this message at 05:56 on Mar 15, 2020 |
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Mar 15, 2020 05:12
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Oh gently caress I can't watch till a little later but this is the sweeping episode? Hell (and I mean this genuinely) yeah!
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Mar 15, 2020 06:08
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Jerusalem posted:Oh gently caress I can't watch till a little later but this is the sweeping episode? Hell (and I mean this genuinely) yeah! https://www.youtube.com/watch?v=0oox9bJaGJ8
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Mar 15, 2020 06:39
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I know he's far from the only person that does it, but I love when Lynch has a scene begin already in motion. The characters are already in place, have already made decisions or started conversations, and we're coming in halfway through. Jerry out in the wilderness stands out, but so does the scene between Ben and Beverly, neither feels like they began when the director called action, they feel like living, breathing worlds that we just happened to suddenly get a window into. I also love how the moment Beverly goes home there's just so much to read into her situation, she also feels like a fully realized person which is pretty remarkable considering this is her first appearance 7 episodes into the third season (25+ years after the second) of the show. On the flip side of that, the major events and earth-shaking revelations of 25+ years ago might still cast a long shadow over the returning cast, but they're not the end-all and be-all of Twin Peaks. Somebody like Beverly has no idea who Laura Palmer was, certainly not Agent Cooper. But speaking of Cooper.... Jerusalem posted:How is this show so loving good every week? Even the sweeping scene was great and it was literally just a dude sweeping I stand by my statement of almost 3 years ago! The sudden complete shift in body language, reaction time, control as Cooper (or at least Cooper's training) suddenly surfaces from deep within Dougie is amazing. Equally as great of course is how once it's all over, Dougie is reaching out in fascination for the cop's badge and Janey is just kinda absent-mindedly slapping it away as she continues to give her enthusiastic statement
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Mar 15, 2020 09:29
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Rageaholic posted:Bad Coop went to "visit" Audrey in the hospital while she was in a coma Remember when the show was airing and some people absolutely refused to accept the possibility that Richard was fathered by Evil Coop as a result of rape and said people were weirdos for predicting it
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Mar 15, 2020 09:56
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