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I could listen to David Lynch talk about drat near anything for hours and hours. Everything about him, from his tone of voice to the actual words coming out of his mouth are absolutely mesmerizing and brilliant. https://www.youtube.com/watch?v=V8TFcLgu5Ow
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Jan 18, 2015 17:32
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Lord Krangdar posted:Cronenberg tends to ground the horrific in the mundane, whereas Lynch can make anything mundane seem nightmarish. It's like how sometimes you wake up in the middle of the night not only aware of your mortality but of how useless it is to keep living, and suddenly your bedside lamp is the most depressing in the universe because you imagine turning it on and off, over and over again, for years and years until either it dies or you do. I think David Lynch, at his darkest, lives in the conflict of that moment. Rabbits is probably the purest distillation.
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Jan 18, 2015 17:52
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Bugblatter posted:Not film but a lot of Haruki Murakami novels are really Lynchian. Especially like Hard Boiled Wonderland and the End of the World. I read 1Q84, my first Murakami novel, semi-recently, and I was thinking "Lynchian" the entire time. If I liked it, would I enjoy the others? Big Bad Voodoo Lou fucked around with this message at 05:03 on Jan 19, 2015 |
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Jan 18, 2015 19:13
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Ausmund posted:If I like Lynch what other films/albums would I like? A lot of mainstream stuff that's suppose to be good like Game of Thrones and Breaking Bad bores and disappoints me. I feel like Lynch is a gateway to a world of quality and artistic integrity. I'm enticed by stuff that's raw and evokes emotion. Let's see here... Albums (from light to dark): Mount Eerie - Wind's Poem Portishead - Third Liars - Drums Not Dead Swans - The Seer and To Be Kind Scott Walker - The Drift Those all give me some of the same feelings I get from watching Lynch films, though I suppose a few of them don't "sound" like Lynch. The Mount Eerie album directly samples a theme from Twin Peaks, so maybe it's the closest. They're all a little dreamy and nightmarish at points. Films tend to be a little harder to place. Nobody does it quite like Lynch, though some try, and they usually fail pretty horribly. Some recent ones that I've thought were more successful than most are The Enemy, Nightcrawler, Under the Skin, Kill List, and Zodiac. Edit: Oh, I'd also highly recommend watching Hannibal if you're looking for a TV show. That one hits every spot. TheIndividual fucked around with this message at 02:20 on Jan 19, 2015 |
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Jan 18, 2015 20:18
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It suddenly occurs to me that Guy Maddin is probably the closest you can get.
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Jan 18, 2015 20:31
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Big Bad Voodoo Lou posted:I read 1Q84, my first Murakamu novel, semi-recently, and I was thinking "Lynchian" the entire time. If I liked it, would I enjoy the others? Hard Boiled Wonderland feels like a mix between David Lynch and Terry Gilliam. I haven't read IQ84 yet but other stuff by Murakami definitely has a Lynch-ish feel while also not feeling derivative.
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Jan 18, 2015 21:27
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Jim Jarmusche's Dead Man is basically what I imagine a Lynch-directed Western would end up as. The Orson Welles version of The Trial preceded Lynch's style in a lot of ways(there was a later adaptation starring Kyle Maclachlan, oddly enough) Institute Benjamenta - saw this around the same time as I first saw Eraserhead, so the two are always kind of linked in my memory. https://www.youtube.com/watch?v=YCrxjk0ULR0 There's also My Son, My Son, What Have Ye Done, which is actually a Werner Herzog movie that Lynch produced, and is about as unhinged as you might imagine that could be. It has a few Lynch regulars showing up and it features Michael "Zod" Shannon being loving hilariously insane throughout. https://www.youtube.com/watch?v=HZdz7pvLhVc
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Jan 18, 2015 22:26
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Wisconsin Death Trip is like a lynchian docudrama, about the absolutely horrible poo poo that happened in a small town in 1800s era Wisconsin. I don't think the documentary is 100% successful, but god it has mood. Along those lines, The White Ribbon has some intriguing nastiness to it. Music-wise, Julee Cruise is a long-time Lynch collaborator, and an obvious choice, as is "Silenco: Music inspired by the work of David Lynch."
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Jan 18, 2015 22:34
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Magic Hate Ball posted:It suddenly occurs to me that Guy Maddin is probably the closest you can get. He came to my mind, too. Quite obviously different yet with a few of the same underpinnings, at least based on the two things I've seen. Innocence mingling with the grotesque.
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Jan 19, 2015 01:30
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Big Bad Voodoo Lou posted:I read 1Q84, my first Murakamu novel, semi-recently, and I was thinking "Lynchian" the entire time. If I liked it, would I enjoy the others? Yeah for sure. I kind of feel that 1Q84, while good, isn't one of his better novels, actually. The Wind-Up Bird Chronicles is normally regarded as one of his best and possibly has the strongest Lynch vibe going on, like exactly as defined in the DFW essay posted earlier. Like he has a unique voice and is a great author in his own rite, but he and Lynch are exploring similar ideas and so they wind up with a very similar mood. Bugblatter fucked around with this message at 01:47 on Jan 19, 2015 |
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Jan 19, 2015 01:43
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Some of comic author Grant Morrison's work and William Burroughs' Nova trilogy remind me of Lynch (I'm sure the latter influenced him), but with less careful restraint and more trippy drug influences. I could be wrong but I think I read Lynch has never done any psychedelics or anything, and I know he refused to be put on anti-depressants. As for albums, this album is like a distillation of Twin Peaks' and Mulholland Drive's atmosphere: https://www.youtube.com/watch?v=6Zl5vpy__dQ Lord Krangdar fucked around with this message at 01:49 on Jan 19, 2015 |
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Jan 19, 2015 01:47
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I love David Lynch. God, do I love David Lynch. Please enjoy my unsolicited opinion about my favorite Lynch films: 1. Lost Highway If you're looking for a good place to get into David's style, this is a good one - although I would recommend Mulholland Drive for that specifically, Lost Highway is definitely a close second. The story is self contained (unlike Fire Walk With Me), but has more of a supernatural bent than Blue Velvet. The only real downside to it is that it's so hard to find a copy that's decent. One of the people in the film was actually accused of murdering his wife in real life, and although he was acquitted, everything I've read seems to imply that this was the reason that it never got a proper DVD release until a few years ago. There was a canadian DVD that was apparently ripped from a VHS - it's garbage. There was another, more recent DVD release that's pretty good. There's a new blu-ray release that didn't come out here but I've read is region free, and I need to get my hands on that because seriously, this movie is beautiful. The swirling darkness of the environments is laid into a backdrop that is somehow simultaneously modern (well, period now) and timeless. The colors are used to incredible effect, especially the red, and Patricia Arquette's look later in the film is practically angelic and the backgrounds contrast with her to amazing effect. It really helps you get into the mindset of a man that puts her on a pedestal - that sees her as angelic despite her...proclivities. It's set in a version of LA that exists outside of time - apart from the few plot important pieces of technology that get used, which do date the film a little. It feels almost like it could have taken place a week ago, or 50 years ago. Whoever David gets to do his warddrobe consistently does an amazing job of choosing fashions that seem modern, but wouldn't seem out of place in a black and white film from the fifties. From Fred's basic black tee and jeans to every single goddamn thing that Renee puts on in the film, to the quasi-greaser look that Pete (and, humorously, Pete's family) adopt. Even Pete's 90's friends somehow don't break the spell. The colors are heavy on the golds and reds, and the locations seem to have a warmth that the characters do not - as though we are getting a glimpse into a world that is fading, with few truly bright spots left in it. It's a world that seems almost in perpetual twilight or full on night, and there could be anything in the shadows.  The plot itself is heavy on that Lynch factor, and the resolution to the film was unlike anything I'd seen in cinema before, and haven't really seen since. The one thing I do tell people that I show the film to is this - if you're gonna watch it, shut up and watch the drat movie. It demands attention the whole way through, literally from the very first line. Lynchian humor does come through in a few spots, though perhaps not to the extent that you'd like if you're a fan of the Twin Peaks TV show. It is disturbing, dark, and really gets in the places in your brain that make you wonder what it is that you just saw. There's only one graphic scene in the whole movie - and it's a blink and you'll miss it kind of deal. It works though, because you get only the slightest glimpse into what (may have) happened, and it's as intensely disturbing for us as it is for Fred. Just like him, we question what we remember and what we saw. 2. Twin Peaks: Fire Walk With Me This is one of my favorite films, and I think I'm probably in the minority when I say that I enjoy it more than the show itself. Probably because David ended up leaving the show, and so it has influence from other people. After the show ended, folks were clamoring for another trip back to the rustic, quirky, offbeat town of Twin Peaks. Well, be careful what you wish for. When it was originally screened at Cannes it was booed, and if you're a fan of the series, it's easy to see why - remember in the last sentence when I said Twin Peaks was rustic, quirky, and offbeat? Well, that was the surface, and underneath was an ugly world. We only saw hints of this world in the series, and I could understand someone saying they preferred that. In this film, David holds your feet to the fire, and you have a front row seat to the horror that was Laura Palmer's life. The fun, lovable supporting cast is basically gone. Laura gets a plotline all her own, one that we'd only pieced together in the actual series. It is unflinchingly presented and it is so far beyond anything that was in the series. Laura has sex, does drugs, and gets killed, on screen. The movie is basically in two parts - a prologue that ties in the (later) FBI investigation into the BOB killings. It's easily my favorite part of the movie. Chris Isaak and The majority of the movie depict the last days of Laura Palmer. It's a view into her life that was only alluded to in the series, and for good reason - Ms. Palmer's escapades are definitely R-rated, and even though you can talk about them on TV, showing them is a whole different ballgame. It is a brutally disturbing look into child abuse, as well. Even with the idea that Leland, well, wasn't quite himself when he did it, what comes across is a very earnest depiction of what that relationship could look like, and it's ugly and frightening. I know that David didn't like the idea of revealing who Laura's killer was in the show, but drat if he didn't take that idea and run with it, and it's incredibly powerful. 3. Inland Empire This is a movie that I usually describe to people as "The Lord of the Rings of crazy people movies." It was made right when Digital filmmaking was coming around (which I think hurts the film visually, as the tech wasn't quite there just yet), and David decided to go whole hog. I don't think he had a lot of restraint for this, and quite frankly, it shows. Supposedly he was writing the script as he went along, with pages of fresh dialogue given to the actors the day of shooting.The plot is messy (even by his standards), and there are a lot of ideas that don't seem to go anywhere, or rather, take the viewer anywhere. It seems like a strange complaint to have about a David Lynch movie, as you essentially watch a Plot fall apart for most of the last 2/3s of the movie, but it just doesn't seem to work in a lot of cases. There are ideas and characters that don't get properly introduced, and it hurts the film overall. It's overly long, as well, and if you get the deluxe DVD edition then there's even MORE stuff that was cut out that you can watch as a sort of featurette on it's own (although it may be feature length, or drat near) if you so choose. So why do I like this movie? Well, despite all it's flaws (and it is quite easily the most flawed of David's films) it is still a heck of a ride at points. Around the 1/3 mark this movie goes off the loving rails, unapologetically, and never ever comes back. The rabbits make a thoroughly disconcerting appearance, and their presence alone is worth the price of admission. At least, if you can find a copy in a dollar movie bin, like I did just recently. The colors and camera work are vivid and dreamlike - although nightmarish might be a better way of putting it. The dialogue and characters are suitably otherworldly, and in many ways this movie does feel like getting caught into an inescapable nightmare. As I said before, when this movie goes nuts it really goes all in. The run time is far, far too long though, and I wouldn't blame anybody for not being able to sit through the whole thing. It can be a slog at points, and the resolution at the end doesn't make up for it. Still, if you're here to see some crazy poo poo (and aren't we all?) then you'll definitely find that here. The films overly simple tagline - "A woman in trouble" - doesn't even scratch the surface of how crazy this movie is.  The rabbits that were part of a mini-series of 'webisodes' (easily the worst portmanteau ever devised, ugh) make an appearance, and these talking rabbits with their bizarre stilted dialogue and out of place laugh track set the bizarre bar for this film really high. Honestly, they're probably my favorite part of the movie. Its like a crazy person's greek chorus. You get the feeling they're telling us about the events of the movie, but there's no real way to know for sure. Honestly, knowing that David wrote the dialogue day to day makes the flaws of this movie...well, understandable probably doesn't have the right connotations that i'm looking for, but I can't think of a better word. Everything feels disjointed because it probably was. Being able to go from page to film in such a short time didn't really help David's process, honestly. Still, there's some interesting scenes in this film, and if you're a fan of the rest of the work then you'll probably at least find the film worth watching once. Full Battle Rattle fucked around with this message at 09:00 on Jan 19, 2015 |
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Jan 19, 2015 08:51
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Full Battle Rattle posted:3. Inland Empire Early in Inland Empire there's a very disconcerting shot where coffee is being poured and the handheld camera abruptly lurches in to get a better view. I had an image of Lynch holding a digicam and pushing in like a gonzo porn cameraman trying to catch the money shot and couldn't stop laughing.
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Jan 19, 2015 17:50
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There should be a sticker on all copies of Inland Empire that says WARNING: FOR DAVID LYNCH PROS ONLY. I'm not saying that you need to be "smart enough" to watch it or "abstract enough" to understand it or anything pompous like that. It's just that if you aren't familiar with the language of Lynch's films, it's pretty daunting. Also in the same vein, if you started with IE and loved it you might actually be disappointed with some of his other films. Another David Lynch consideration: When you watch or read an interview with Lynch, take a drink whenever he uses the word "abstraction". You'll be drunk a lot.
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Jan 19, 2015 18:20
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Thanks to Full Battle Rattle for the effort post. Very intelligent observations. I'd add that Lost Highway comes through more for me as the years go by. The only thing that holds me back is that I don't like Rammstein, so some of the soundtrack I dislike. I hope I'll be able to get the blu-ray soon and I'll post my thoughts then. TP: Fire Walk With Me is an awesome movie and very intense. I think it is the most emotionally tough to watch because we know of the main character's fate from even before the film starts. Sheryl Lee gives an amazing performance with a huge emotional range throughout the film and she is in almost 3/4 of the running time (more or less). It would be my favourite film if it weren't for the emotional toughness of the story and the fact you get to care about the main character so much. (As it is, my favourites would be Eraserhead, Blue Velvet, Mulholland Drive, in that order.) Definitely watch FWWM after the series not before. (For newbies) Here's my rough list of the order I recommend you should watch films in: 1. Blue Velvet 2. Elephant Man 3. Eraserhead 4. Twin Peaks (TV) 5. FWWM 6. Lost Highway 7. Mulholland Drive With Wild at Heart, Straight Story, Dune as optional extras. (SS and D because they are a touch atypical for Lynch, WaH because I don't like it much.) IE I would only recommend to anyone who likes (or really likes) the rest of the DL's work. Has anyone seen BV with the lost scenes recovered?
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Jan 19, 2015 19:44
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It's worth noting that Fire Walk With Me also has a great soundtrack. https://www.youtube.com/watch?v=Bij6d-KU4aA I know lots of people HATE that film but I think it's great. Lynch likes it too.
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Jan 19, 2015 20:17
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Back in 1999 the New Yorker did a great piece on Lynch's failed attempts to get Mulholland Drive developed as a TV show. The article was written before he turned it into a movie. It's a really fascinating look at Lynch's process, the difficulty of dealing with TV networks (especially if you are an iconoclast like David Lynch), and more. I remember reading the article when it came out and, as a huge Twin Peaks fan, being very sad he was not getting to make another TV show. However, since he did manage to turn it into a brilliant movie, I guess things turned out fine in the end... http://www.lynchnet.com/mdrive/newyorker.html Original source (paywall): http://www.newyorker.com/magazine/1999/09/06/creative-differences Also, I really like Fire Walk With Me as well, and I think the best way to approach it is as a David Lynch movie and not as a Twin Peaks movie. It doesn't do a particularly good job of wrapping up plots from the show, many of the great characters from the series get little or no screen time, and even the town itself seems to be not all that important. But as a delivery system for Lynch's weirdness it's just great.
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Jan 19, 2015 21:04
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Josef K. Sourdust posted:(For newbies) Here's my rough list of the order I recommend you should watch films in: I watched Mulholland Drive first, and I think that's a pretty good starting point, although Blue Velvet would be an equally good place to start from. What are the lost scenes? I heard that Frank rapes Jeffrey in the original script, that, but that could just be a rumour that I read on imdb or something.
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Jan 19, 2015 23:20
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Infamous Sphere posted:What are the lost scenes? I heard that Frank rapes Jeffrey in the original script, that, but that could just be a rumour that I read on imdb or something. The original cut of BV was 3 (or was it 4??) hours. Anyway, far too long. DL cut it down and the material was considered lost for a long time then it turned up around 2008-2010 and was remastered for an addition. Some scenes were lost entirely and exist only as stills, which form part of a photo gallery (including the finding of the other ear). DL doesn't like to edit in excised material, so it is separate sequence (just like WaH, FWWM, Eraserhead, IE). I am sure there are fan edits out there but  Yes, that scene you mentioned is in there but it is only explicitly hinted at after the fact - not shown on camera. For some reason it was cut - more artistic than length, I think. Anyway, all of that is on the blu-ray. Like a fool I bought the DVD "special edition" which turned out to be anything but special. Blu-ray for me, I think.
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Jan 19, 2015 23:37
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My favorite deleted scene is when they're in Sandy's basement watching a game show about prom queens dragging armchairs on a racetrack.
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Jan 20, 2015 00:06
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InfiniteZero posted:It's worth noting that Fire Walk With Me also has a great soundtrack. I think people mostly hate Fire Walk With Me for being dark and very un-Twin Peaks-y. But I think the quirky humor of the show would have done a disservice to the core story of Laura Palmer's life before her murder. People who haven't seen the show tend to like it a lot more.
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Jan 20, 2015 00:06
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I think I would have liked Fire Walk With Me more if I'd somehow been able to divorce it from my experience of watching Twin Peaks. It's a very well made stand-alone movie, but if you view it as a continuation of Twin Peaks, it simply shows you what we already know. So I wasn't upset because the tone was dark, I think the tone was great. I was more..well, not upset, but mildly unsatisfied, by the fact that it wasn't offering anything new narrative-wise. Still, my expectations were very low, since everyone had told me it was horrible, so I was pleasantly surprised. Josef K. Sourdust posted:Yes, that scene you mentioned is in there but it is only explicitly hinted at after the fact - not shown on camera. For some reason it was cut - more artistic than length, I think. I didn't think Lynch cut it because he was too scared to show it or anything (although it's possible the MPAA might have been on his case about it), more that he cut it for length reasons. As it stands, you can interpret the scene in a couple of ways (the violence was sexual, or the violence wasn't sexual), and both of them fit the narrative. But the scene of him waking up in the gravel lot reminded me of Boys Don't Cry, so it definitely led me more in one direction rather than another. What do other people think about the way Lynch handles gender roles and sexuality? I've admittedly only watched 4 Lynch projects (5 if you count FWWM as separate from Twin Peaks) but the way he writes gender roles is interesting. Jeffrey could have been a girl, and the story would have played out very similarly, since it shows him as a scared kid who's prayed upon, out of his depth and who defeats the bad guy more or less in self defence. All of these are attributes which one might stereotypically associate more with a female heroine. And both Rita and Betty could have been two men, or a man and a woman, and the story could have been more-or-less the same, since there's no explicit reference to them being unusual/discriminated against/whatever else due to their sexuality. Hell, even the line "I've never done this before" could make sense for a straight woman if she were as much of a naive ingenue as Betty. Twin Peaks plays on stereotypical gender roles a lot more, but many of the characters don't necessarily perform straightforward "male" or "female" roles. I guess what I'm saying is while Lynch is aware of roles and stereotypes, he tends to play off them, and give his characters far more to do and far more to be than just simply being a woman, or a love interest, or a generic male hero.
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Jan 20, 2015 01:31
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David Lynch has an incredible way of taking some wacked out characters with the most bizarre, stilted dialogue imaginable come off as more human and three dimensional than the characters in most big budget thrillers. The way people end up delivering lines in his movie often feels more like you're watching a play than a film, and it's always interesting me that he's able to get these performances out of drat near everyone in his movies.
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Jan 20, 2015 02:57
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The Vosgian Beast posted:I think people mostly hate Fire Walk With Me for being dark and very un-Twin Peaks-y. But I think the quirky humor of the show would have done a disservice to the core story of Laura Palmer's life before her murder. People who haven't seen the show tend to like it a lot more. I think it works because the show tends to show us the town as if from Dale's perspective, and he sees everything as quaint and charming. But the film reminds us that Laura didn't experience the town that way at all, and the centre of the show was still a story about rape and murder. InfiniteZero posted:When you watch or read an interview with Lynch, take a drink whenever he uses the word "abstraction". You'll be drunk a lot. Try that with the word "beautiful".
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Jan 20, 2015 05:30
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Lord Krangdar posted:I think it works because the show tends to show us the town as if from Dale's perspective, and he sees everything as quaint and charming. But the film reminds us that Laura didn't experience the town that way at all, and the centre of the show was still a story about rape and murder.
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Jan 20, 2015 05:43
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Colonel Whitey posted:(haven't seen Dune but from what I've heard about it I probably don't need to). You don't need to see the whole movie, but it's definitely worth looking at and listening to. He pulled an incredible, fitting score for the film out of Toto of all groups, and the costumes/art direction/etc. If you're a Star Trek fan, re-watching the first season can be interesting because of some subtle influence Lynch's Dune had on it (these actually were both released very close to each other). I, how to say, it's almost worth just having on as filler while you do something else because it looks and sounds amazing and has an incredible cast. Just the script is a mess of things taken verbatim from the book with new elements added in and very little context as to why anyone is saying or doing anything despite tons of ponderous internal monologues. Also, someone did an experiment where they took a couple of scenes from Dune and removed all of the dialogue. It's an interesting showpiece for what an incredible storyteller Lynch is, and it reveals some subtle similarities to Eraserhead in the opening scene of Dune with regards to how industrial noise and the camera placement quickly establishes how in control or not someone feels. It's not necessarily a good movie in this form but it puts what strengths Lynch has that made it into the final movie to the forefront: https://www.youtube.com/watch?v=7qJD19I5DK0
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Jan 20, 2015 06:00
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Just a reminder, today is David's birthday.
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Jan 20, 2015 10:47
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Neo Rasa posted:Also, someone did an experiment where they took a couple of scenes from Dune and removed all of the dialogue. It's an interesting showpiece for what an incredible storyteller Lynch is, and it reveals some subtle similarities to Eraserhead in the opening scene of Dune with regards to how industrial noise and the camera placement quickly establishes how in control or not someone feels. It's not necessarily a good movie in this form but it puts what strengths Lynch has that made it into the final movie to the forefront: That's interesting. It kind of shows up how unnecessary not only some of dialogue is but the voice over. Has anyone seen the Dune script? Is the VO in there at the beginning? I suspect it was added later. Most of the time I think it is unnecessary (as in Bladerunner). The design of the sets and some of the technology reminds me of 1940s sci-fi action serials. Not exactly silent era but certainly black and white and retro. Sound design is especially important for DL. He discusses it in the Eraserhead interview. He even did some stuff that was quite complicated for the TP pilot (animal cries overlay Mike and Bobby howling at James in the jail, at the end, for example). Most directors (even avant garde ones) miss out on the importance of sound design but DL never does. Josef K. Sourdust fucked around with this message at 12:52 on Jan 20, 2015 |
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Jan 20, 2015 10:48
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FWWM was distributed with a note to play the movie slightly louder than usual. David Lynch posted:To: Theatre Projectionists
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Jan 20, 2015 12:17
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The Vosgian Beast posted:I think people mostly hate Fire Walk With Me for being dark and very un-Twin Peaks-y. But I think the quirky humor of the show would have done a disservice to the core story of Laura Palmer's life before her murder. People who haven't seen the show tend to like it a lot more. Twin Peaks is a sparkly happy place with darkness lurking underneath. It's a fairly positive show (I'd argue it did the happy small town thing before Parks and Recreation) but that lurking darkness is loving integral to the show, it wouldn't work without it. Fire Walk With Me is that darkness. It's a loving crime that most Twin Peaks fans don't understand that and hate the film. It's Lynch saying "You know all that horrible stuff we were alluding to? This is it." It's great, I love it.
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Jan 20, 2015 14:10
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cat doter posted:Fire Walk With Me is that darkness. It's a loving crime that most Twin Peaks fans don't understand that and hate the film. It's Lynch saying "You know all that horrible stuff we were alluding to? This is it." It's great, I love it. Nailed it. FWWM is a journey into the dark. There aren't any drat fine cups of coffee here.  The movie literally starts with an axe going into a TV set, so it's not like Lynch doesn't warn you that this isn't going to be like the TV show either.
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Jan 20, 2015 16:06
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I love FWWM, specifically because its analogous cast's attitudes are like the exact opposite of what we see in Twin Peaks. Lost Highway really is awesome, I still need to see Inland Empire somehow. I'm surprised that Lost Highway still hasn't gotten a US blu-ray release. I'm sure whenever the new Twin Peaks starts coming out we'll see plenty of double dips of his work though. Josef K. Sourdust posted:That's interesting. It kind of shows up how unnecessary not only some of dialogue is but the voice over. Has anyone seen the Dune script? Is the VO in there at the beginning? I suspect it was added later. Most of the time I think it is unnecessary (as in Bladerunner). Yeah and his idea for how Dune looks ended up basically becoming canonical. Frank Herbert didn't live too long past Dune's release, but in what he wrote after the movie he definitely begins to describe the technology and places as they appear in the film. When Star Trek: The Next Generation first came out there was some negative reactions to the design of the Enterprise's interior and how it was like the inside of a giant car or whatever due to the beige finish/"leather" paneling everywhere/carpeting/etc. everywhere. Lynch mentioned he had a pretty similar principle with Dune, that if you're in this utopian part of the world where folks are psychic and live to be 150 years old and are super wealthy then they're not going to make their place look like what we typically see in dystopian sci-fi settings. Dune (and Metropolis as an example) both feel much more "realistic" in this sense since it allows for nice visual variety between different social classes and ways of life. The voice overs really are crazy in Dune though and make every scene way longer than it needs to be. Lynch really does tell you almost all you need to know visually in like ten seconds, but the internal monologues repeat so much. In the book this works since its delivering exposition and letting us know where the characters are at but in the movie it's so redundant because you immediately know "oh this person is angry and he's doing this." It's way worse than even Blade Runner's voice over. I'm not even particularly against the concept of there being voice overs (especially for something with Dune's scope) just the way they would keep telling you stuff you already knew was almost farcical. They were added so that some events and things would not need to be shown to keep the running time down to two hours but oh man, the exact opposite feeling is accomplished.
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Jan 20, 2015 17:06
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So what do we know about Phil Jeffries (David Bowie's character from FWWM) and the mysterious Judy? And what was the deal with all the creatures meeting above the convenience store? Demons? Denizens of the Black Lodge? And did Jeffries infiltrate them, or what? Keep in mind I haven't seen the Missing Pieces, but that was the most fascinating part of the movie for me. I'd also love to revisit Chester Desmond in Season 3, to get some closure on his story and hopefully get him a happier ending, along with Coop. The "bizarro Twin Peaks" part in the beginning with Desmond, Kiefer Sutherland, and Gordon Cole with his "blue rose" case was my second favorite part.
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Jan 20, 2015 17:11
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Davros1 posted:Just a reminder, today is David's birthday. Happy birthday, David!  Infamous Sphere posted:I watched Mulholland Drive first, and I think that's a pretty good starting point, although Blue Velvet would be an equally good place to start from. I'd say BV is better for newbies because there isn't any narrative looping or doubling of character identities that you find in MD. So BV is a more straightforward film but gives you a taste of DL's style and interests.
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Jan 20, 2015 17:34
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I don't want to make this whole post on big black bar, but many spoilers follow.Big Bad Voodoo Lou posted:And what was the deal with all the creatures meeting above the convenience store? Demons? Denizens of the Black Lodge? Early on in the show they mention "the place above the convenience store" as well. It does seem to be an extension of the Lodges and the Red Room. Everything associated with those characters is processed, artificial, or Brechtian- the script makes a point of having the table in that room be made of Formica, and of course their emotional nourishment is visualized as creamed corn. The Red Room resembles the backstage of a theatre. Reading about Lynch's philosophy and spiritual beliefs makes it clear to me that his films take everything he finds beautiful and wonderful in his life, especially in his creative process, and flips them to be disturbing and nightmarish. In real life he uses his meditation techniques to find a sense of inner peace, and to access a boundless creativity that he likens to an endless river full of fish (in his book Catching the Big Fish). His characters also enter these interior realms, whether the "dream place" of Mulholland Drive or the Red Room or the haunted folk story in Inland Empire, but instead of beauty and inspiration they confront guilt and horror. Perhaps Lynch is saying that the good and bad ideas all come from the same place: the recesses of the human mind. What Aldous Huxley called "the antipodes" of the mind is his essay about the thin line between awe-inspiring and awful drug trips/spiritual experiences, Heaven and Hell. Just as in the show they talk about the Black Lodge versus a White Lodge, but whenever we actually see the other realm the floor is white and black intermixed. As for the inhabitants, its kept ambiguous who is on whose side (is the giant good, or bad? is the short man who speaks backwards, "the arm", from the white or black lodge?). "There is nothing either good or bad, but thinking makes it so." So I don't think the Red Room denizens are demons. To me they're beings that have evolved to live inside human imagination- inside the idea space, or dream place, that Lynch goes to when he "dives within" using meditation. And, as shown in FWWM, they feed on human emotion (especially, it seems, suffering). These same sorts of figures recur in his other work- the mystery man in Lost Highway, the Phantom in Inland Empire, the homeless person behind Winkies in Mulholland Drive and also that film's blue-haired "Silencio" madame. Note that the lumberjack from the place above the convenience store also appears at the end of Inland Empire, along with a cameo from Laura Elena Herring (as Rita?). Back to Twin Peaks: In the show they kinda say that Leland wasn't really responsible for what he did to Laura, but what the film shows us seems to go back on that. After all he is himself, not posessed by BOB, when conducting his affair with Teresa Banks and finding Laura involved. If the Red Room "demons" really are just ideas that have taken on lives of their own, then they have no power over people unless they're accepted. It's like Inception; you can't force an idea on someone, they have to choose to accept it. It's implied at one point in the show that Leland had a neighbor as a kid named Bob (or Robert, I forget) who may have molested him. Perhaps the killer BOB was his memory of that event manifesting as its own person in the dream space. After all many adult abusers were themselves abused as children. BOB is Leland accepting that outcome as inevitable. I jumped all over the place there but hopefully the core of what I'm trying to get at is clear. Lord Krangdar fucked around with this message at 18:40 on Jan 20, 2015 |
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Jan 20, 2015 18:31
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Big Bad Voodoo Lou posted:So what do we know about Phil Jeffries (David Bowie's character from FWWM) and the mysterious Judy? And what was the deal with all the creatures meeting above the convenience store? Demons? Denizens of the Black Lodge? And did Jeffries infiltrate them, or what? Keep in mind I haven't seen the Missing Pieces, but that was the most fascinating part of the movie for me. I hope it premieres with Cooper sitting down in his hotel room to watch an episode of Invitation to Love and the camera zooms in on the tv the remaining episodes of the series are just Invitation to Love episodes instead of Twin Peaks. https://www.youtube.com/watch?v=ulSVBkaboK0
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Jan 20, 2015 18:48
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I think Leland didn't really mind BOB (or at least his influence) because he enjoyed the dark impulses and the ride that BOB was taking him on. After all, it was probably just a lot of drugs and sex up to that point, and I don't think he was entirely lucid when he was molesting Laura. Laura's the same way - she was riding the lightning without realizing what the inevitable conclusion might be until it was too late. There is an incredible scene where Leland realizes (although maybe not fully) the things that BOB has made him do and he has a breakdown and goes and apologizes to Laura as best as he can. It makes me wonder what the outcome would have been if BOB had taken over her body. Would she have had to kill Leland?
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Jan 20, 2015 20:52
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The coolest thing about BOB is that the entire character and concept was conceived by accident when the person's reflection inadvertently got got in a mirror in the set for a second.
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Jan 20, 2015 21:19
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Neo Rasa posted:The coolest thing about BOB is that the entire character and concept was conceived by accident when the person's reflection inadvertently got got in a mirror in the set for a second. Actually I would need to go back and check in Lynch on Lynch but I believe that the concept was there but he was never intended to appear on-screen.
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Jan 20, 2015 22:40
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He wasn't, but his reflection was in one of the shots and David loved it. If I remember right the guy is just like a sound or lighting guy or something, which explains why he dresses like a man who got a 50 dollar gift certificate to a thrift store.
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Jan 20, 2015 22:48
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