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david_a posted:I don't remember this part real well, but Leland drugs her before he sneaks off to Laura's room, right? Yeah he makes her drink something just before.
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Sep 14, 2015 22:06
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It definitely gives more of an impact to her instant horror when she realizes Laura is missing in the pilot.
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Sep 14, 2015 23:21
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Re-watched Mulholland Drive last night. The biggest problem with this movie is that Robert Forster's detective only gets one scene. I kinda wondered why they even left him in the movie; I'm sure he would have been another wonderfully memorable investigative character in the series, but I'm not sure I see the point of the scene as-is in the movie. It's odd and a bit dreamlike so I guess it fits with this part of the movie but other than that I don't understand what it gives you. At the end of the movie when Diane is at the fancy party at Adam's house, Not-Camilla and Camilla kiss openly while sitting right beside Adam before Adam and Camilla announce their marriage. I'm not sure this actually happened or if it's just Diane imagining things in a haze of jealousy. Anybody else wonder about that?
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Sep 20, 2015 16:58
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Yeah, I definitely don't see anything that happens in Diane's flashbacks as the objective truth of "what happened." This is, after all, a woman who spent the first two hours of the movie fantasizing a complete alternate reality for herself. Some of it is probably true, but filtered through a heavily subjective lens. It's like in Lost Highway (which is pretty much Mulholland Drive back-to-front) where Fred Madison says he "likes to remember things his own way," and we see him spin of versions of reality where Renée is still alive, where he's a different person and Renée is two people (Shelia/Alice), and it gets to the point where you're not even sure Renée ever actually cheated on Fred, because he's a jealous obsessive who lies to himself all the time, so why wouldn't just make that up?
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Sep 20, 2015 18:22
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I just finished watching Ryan Gosling's directorial debut Lost River, and it's very much a Lynch homage. I can't say I enjoyed it much, but I'm not sorry I watched it. It had a dreamlike, almost fairy tale/magical realism quality to it, and was set in crumbling, decaying Detroit, with a pervasive sense of dread hovering over everything. I think people posting in this thread will appreciate more than your average moviegoer. It also has Christina Hendricks working in a fetish club, but it isn't exactly what you're thinking or hoping for.
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Sep 27, 2015 05:22
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david_a posted:Re-watched Mulholland Drive last night. The biggest problem with this movie is that Robert Forster's detective only gets one scene. I kinda wondered why they even left him in the movie; I'm sure he would have been another wonderfully memorable investigative character in the series, but I'm not sure I see the point of the scene as-is in the movie. It's odd and a bit dreamlike so I guess it fits with this part of the movie but other than that I don't understand what it gives you. Mulholland Drive had the same Pilot/Movie deal that TP did, but it didn't pan out. If the ending feels rushed, it's because it kinda is. It collapses a couple of very rich plotlines very neatly. Who knows if the show would have went the same route, I don't know if ABC (I think they put up the money for it) would have went for a Lesbian romance at the center of prime time TV. Club Silencio would have made for a pretty killer season finale. TP:FWWM is amazing and one of my favorite films of all time. I actually prefer it to the show. Anyone else like that?
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Sep 27, 2015 06:59
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Full Battle Rattle posted:Mulholland Drive had the same Pilot/Movie deal that TP did, but it didn't pan out. If the ending feels rushed, it's because it kinda is. It collapses a couple of very rich plotlines very neatly. Who knows if the show would have went the same route, I don't know if ABC (I think they put up the money for it) would have went for a Lesbian romance at the center of prime time TV. Club Silencio would have made for a pretty killer season finale. I recently rewatched MD (for probably the 5th or 6th time) with a friend who had never seen anything by Lynch before [Edit: We had just finished watching all of TP and FWWM, so MD was a "here's more Lynch" but it was still pretty new to her]. In trying to explain to her how it was a TV pilot turned into a movie I found the original pilot script. It's pretty interesting to read the script and understand what was added to the movie to complete it. I really think it's pretty amazing how he managed to turn a pilot into a movie, and still make it work. http://www.lynchnet.com/mdrive/mdscript.html Full Battle Rattle posted:TP:FWWM is amazing and one of my favorite films of all time. I actually prefer it to the show. Anyone else like that? I actually watched FWWM before the series, so I was spoiled on the original mystery, but I still loved the show. I wouldn't recommend anyone else go in that way, because I feel like I missed out on enjoying the original mystery. At the same time, it was interesting to watch the series knowing what was going to happen and the tension how everything was playing out. But, I also think that's why I didn't have a problem with FWWM. I could totally understand if someone had watched through the series first and then had FWWM thrown at them. The series does a great job of juxtaposing serious mystery and tension with comedy and some tender moments. FWWM is just relentlessly depressing.
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Sep 28, 2015 05:49
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Section 9 posted:I recently rewatched MD (for probably the 5th or 6th time) with a friend who had never seen anything by Lynch before [Edit: We had just finished watching all of TP and FWWM, so MD was a "here's more Lynch" but it was still pretty new to her]. In trying to explain to her how it was a TV pilot turned into a movie I found the original pilot script. It's pretty interesting to read the script and understand what was added to the movie to complete it. I really think it's pretty amazing how he managed to turn a pilot into a movie, and still make it work. Funny how it still has the line "and now I'm in this dream place" in the original script.
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Sep 28, 2015 05:58
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Lord Krangdar posted:Funny how it still has the line "and now I'm in this dream place" in the original script. I sort of expect that Lynch had a good idea of the framework of the plot for the series in advance, and we would have ended up with something similar to the movie in the end. But that's just a guess.
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Sep 28, 2015 06:35
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Section 9 posted:I sort of expect that Lynch had a good idea of the framework of the plot for the series in advance, and we would have ended up with something similar to the movie in the end. But that's just a guess. I always assumed the opposite, since I read somewhere that he had no idea how to turn the failed pilot into a film until it suddenly came to him all at once when he was washing the windows of his car (IIRC). Looks like the dream theme was also explicitly set up with the diner scene too, though.
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Sep 28, 2015 07:27
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Aw man. Catherine Coulson has died. She was the Log Lady and was gonna reprise the role, too. I was already thinking how hard this is gonna be to pull of without Frank Silva around, this stings.
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Sep 29, 2015 21:39
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My Lovely Horse posted:Aw man. Catherine Coulson has died. She was the Log Lady and was gonna reprise the role, too.  That is super sad news.... I wish they had developed the Log Lady and her story more in the original TP.That's a little piece of TP magic gone.
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Sep 29, 2015 22:43
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Am I the only one who's favorite Lynch film is Lost Highway? I just love how heavy metal and youthful it is. Lynch's films usually take place in some weird mash up between present day and 1950s aesthetic. Lost Highway was very immediate and in the present. I just love how 90s it is, and it reminds of me of growing up in the desert out in Nevada.
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Oct 14, 2015 18:45
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Full Battle Rattle posted:TP:FWWM is amazing and one of my favorite films of all time. I actually prefer it to the show. Anyone else like that? Yes, absolutely. It's so tightly constructed and so intense. Someone used the word "relentless" and I think that sums up the whole tone of the film. I kind of think of it as one of my favorite horror films. I really enjoyed the series but FWWM had something much stronger underneath it for me.
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Oct 14, 2015 23:54
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The Trap posted:Am I the only one who's favorite Lynch film is Lost Highway? I just love how heavy metal and youthful it is. Lynch's films usually take place in some weird mash up between present day and 1950s aesthetic. Lost Highway was very immediate and in the present. I just love how 90s it is, and it reminds of me of growing up in the desert out in Nevada. I even like that my copy is a lovely old pan'n'scan DVD. It looks just like videotape!!!
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Oct 15, 2015 04:18
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The Trap posted:Am I the only one who's favorite Lynch film is Lost Highway? I just love how heavy metal and youthful it is. Lynch's films usually take place in some weird mash up between present day and 1950s aesthetic. Lost Highway was very immediate and in the present. I just love how 90s it is, and it reminds of me of growing up in the desert out in Nevada. I really like Lost Highway, though there's one thing that bugs me: the soundtrack. I love all of the original music from Trent Reznor, Angelo Badalamenti and Barry Adamson (all three rank amongst my top 10 favourite artists), but the actual songs included, with lyrics, are really jarring and throw out all the atmosphere for me. 'This Magic Moment' kicking in when Alice pulls up is so stupidly on-the-nose. Killer guitar riff from Rammstein when Pete starts losing it in Andy's apartment? Great. Works perfectly. But then, all of a sudden, the lyrics scream "RRRRRRAMM. STEIN." and make an otherwise disturbing and intense scene almost funny. 'I'm Deranged' during the opening and closing credits is great, but otherwise it smacked of Reznor just inserting his favourite lyrics over the top of the film and killing all the tension that the score and cinematography had worked so hard to create.
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Oct 15, 2015 11:29
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David Lynch, Ten Clues to Mulholland Drive (blu-ray booklet): 1. Be particularly attentive at the beginning of the film: at least 2 clues are revealed before the credits. 2. Be really attentive when a red lampshade appears on screen. 3. Can you hear the title of the film for which Adam Kesher is casting actresses? Is this title mentioned again? 4. A car accident is a terrible thing... Pay attention to where the accident takes place. 5. Who gives the blue key and why? 6. Pay attention to the dress, the ashtray and the coffee cup. 7. At the club "Silencio", something is felt, the viewer realizes something, the clues come together... But what is it? 8. Did Camilla only become famous thanks to her talent? 9. Pay attention to the man behind "Winkies". 10. Where is Aunt Ruth?
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Dec 20, 2015 14:45
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There's a whole lot of easier ways than those questions to get to "failed actress dreams idealized version of her life". Maybe they point out some nice attention to detail but nothing that is gonna blow the movie wide open. I love the poo poo out of Mulholland Drive but it's got a following that misses the forest for the trees very much like The Shining does.
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Dec 20, 2015 15:40
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Are those different clues to the DVD edition? It's been so long.
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Dec 20, 2015 15:49
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HUNDU THE BEAST GOD posted:Are those different clues to the DVD edition? It's been so long. I don't have my DVD copy handy but this is what is printed in the blu-ray booklet. I'll report on the blu-ray quality and features once I've viewed it.
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Dec 20, 2015 15:54
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I just looked it up, it's the exact same clues.The Time Dissolver posted:There's a whole lot of easier ways than those questions to get to "failed actress dreams idealized version of her life". Maybe they point out some nice attention to detail but nothing that is gonna blow the movie wide open. I love the poo poo out of Mulholland Drive but it's got a following that misses the forest for the trees very much like The Shining does. My favorite interpretation of Mulholland Drive is that it is the dream that Hollywood has about itself.
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Dec 20, 2015 16:03
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Quote-Unquote posted:I really like Lost Highway, though there's one thing that bugs me: the soundtrack. I love all of the original music from Trent Reznor, Angelo Badalamenti and Barry Adamson (all three rank amongst my top 10 favourite artists), but the actual songs included, with lyrics, are really jarring and throw out all the atmosphere for me. 'This Magic Moment' kicking in when Alice pulls up is so stupidly on-the-nose. Killer guitar riff from Rammstein when Pete starts losing it in Andy's apartment? Great. Works perfectly. But then, all of a sudden, the lyrics scream "RRRRRRAMM. STEIN." and make an otherwise disturbing and intense scene almost funny. 'I'm Deranged' during the opening and closing credits is great, but otherwise it smacked of Reznor just inserting his favourite lyrics over the top of the film and killing all the tension that the score and cinematography had worked so hard to create. have you seen it theatrically? the sound design and soundtrack work better than almost any other lynch movie (except eraserhead naturally) in that setting. with the volume at punishing levels on a system that can handle it (as lynch intended) the otherwise kind of cheesy industrial metal soundtrack takes on a whole new character. it's immersive and terrifying. in slavoj zizek's indispensable essay on lost highway, the art of the ridiculous sublime, he calls attention to it. it's through his lacanian theoretical framework though so it's not really for everyone. The Time Dissolver posted:There's a whole lot of easier ways than those questions to get to "failed actress dreams idealized version of her life". Maybe they point out some nice attention to detail but nothing that is gonna blow the movie wide open. I love the poo poo out of Mulholland Drive but it's got a following that misses the forest for the trees very much like The Shining does. yeah, those clues are more or less red herrings. reading his movies as puzzles that need to be solved or decoded is kind of pointless, most of those elements (besides 7 which is the key scene in the entire movie) are just there to be evocative. it's really all right in front of you HUNDU THE BEAST GOD posted:My favorite interpretation of Mulholland Drive is that it is the dream that Hollywood has about itself. reading it this way provides some interesting parallels with inland empire in re: hollywood's creation myth/the myth creating hollywood and two sides (light/dark, dream/nightmare) to the same coin, but i prefer to read it as the successful but ultimately inferior version of lost highway with similar binary oppositions. of his three late works i think it's the worst--it's still excellent but it really shows its seams as a failed tv pilot. anyway huge david lynch fan here, i am obsessed with his movies and have read virtually every book about him. dennis lim wrote a new one which i bought and i am finally reading. it's only ok. but in honor of the book's release he programmed a retrospective series at the film society at lincoln center. so far i have seen projections of: wild at heart, eraserhead, blue velvet, lost highway, and mulholland drive. tonight i will be seeing inland empire projected for the first time. i am told it looks bad projected (since it was shot digital and printed to film) and i know lynch's preferred exhibition format is a bd, but i am excited nonetheless. i missed fire walk with me, which is my second favorite of his movies but i'm sure i will have another chance. Radio Spiricom fucked around with this message at 20:31 on Dec 22, 2015 |
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Dec 22, 2015 20:27
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I saw INLAND EMPIRE when it was out and it was fine, but by that point I was used to blown up DV movies.
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Dec 22, 2015 20:28
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Those clues are great and not intended to lend any kind of logical clarity to the narrative. They're there to reinforce the dream state of the film by calling attention to things that seem within your grasp but you can't fully deconstruct, much like a half remembered dream. David Lynch is the last person who would give you clues to "decode" his films, he's on record saying he would never try to explain to anyone what his films are about.
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Dec 22, 2015 21:39
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upon watching inland empire twice in the past 24 hours i have come to the conclusion that it's lynch's attempt to remake sartre's no exit and in fact i think all of his work is ripe for sartreian readings, as the key theme of his career is the horror of subjectivity
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Dec 24, 2015 00:47
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After mentioning to my father in law that Mrs Boat and I were really enjoying Twin Peaks, he got us Inland Empire on bluray as a birthday gift. He's a bit of a film buff so it kind of came off as "oh yeah, you think you like Lynch? Have a go on this" I did enjoy it but don't have any huge desire to rewatch it. The hell of subjectivity seems like a pretty good way to sum up the dream logic that dictates how the film progresses.
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Dec 24, 2015 02:56
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Colonel Whitey posted:David Lynch is the last person who would give you clues to "decode" his films, he's on record saying he would never try to explain to anyone what his films are about. Those aren't really the same though,right? To me the clues, though still ambiguous as always, are actually pointing to pretty important details if you do want to interpret the movie in a concrete way.
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Dec 24, 2015 03:36
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I picked up Mulholland Dr. on blu ray back when it was released on Criterion Collection and was immediately impressed not only with the quality of the film transfer but the packaging as a whole. Criterion infuses the whole thing with the spirit of the film and it's clear just by scanning through everything included in the package that they truly care about and love this film. So naturally when I was back at Movie Trading Company shopping for a gift for someone else I ended up spending a bit more money on myself by buying Eraserhead on blu ray Criterion Collection as well. Again, just shocked by how wonderful the packaging is on this thing. I'm waiting until I move in to my new house and get my entertainment system set up before watching it because it deserves a truly great sound system and picture quality.
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Dec 24, 2015 16:55
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I've been catching up on my Lynch in 2015. I'd seen Lost Highway and Blue Velvet a couple years ago, but this year I watched FWWM, Blue Velvet again, Wild at Heart, Mulholland Drive, Inland Empire, and most recently Eraserhead, most of those in the last 60 days. I have this weird emotion about Lynch: I do not enjoy most of his films, but I respect the vision. BV is my fav, followed by MD, but stuff like Eraserhead and IE I "don't get" or perhaps more accurately don't resonate with. However, his ability to capture dreams and nightmares on film is second to none. IE feels like dreams I have all the time, Eraserhead too. As purely artistic dreamscapes, Lynch films are legendary. I just don't know if I could ever watch EH or IE again (I could watch BV 100 times). But goddamn if Lynch doesn't make the most out of the medium. Somehow he's an artist I find intoxicating and hard to watch at the same time.
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Dec 27, 2015 02:53
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The Clap posted:I picked up Mulholland Dr. on blu ray back when it was released on Criterion Collection and was immediately impressed not only with the quality of the film transfer but the packaging as a whole. I got the Studiocanal blu-ray, which I think is the only version on sale in EU. It is a laminated hardcover with a booklet. The A/V is good but it doesn't strike me as significantly improved on the DVD. The Clap posted:Eraserhead on blu ray Criterion Collection.... Again, just shocked by how wonderful the packaging is on this thing. I'm waiting until I move in to my new house and get my entertainment system set up before watching it because it deserves a truly great sound system and picture quality. Interested to hear if it is a big step up (in terms of video/audio quality) from the Eraserhead 2000 restoration on DVD. I don't really want to get it again, esp. if it doesn't include any new material/documentaries/commentaries. I know DL doesn't do commentaries but do any of his DVDs have a commentary? On the subject of new material, I saw Blue Velvet missing scenes on the Blu-Ray. It is 52 min, pretty good. Looks great and the sound is surprisingly good considering that ADR probably wasn't done (kind of tough as actors' voices change over the years). If you want more Dorothy and Jeremy material there is only one scene of the two of them (rooftop scene). The finding of the 2nd ear was a scene that wasn't recovered. I kind of assumed that the picture gallery would be included as that includes scenes cut that were never restored but that extra wasn't part of this blu-ray. Kind of bummed about that but I won't buy it a third time. The extra scenes are mainly stuff which covers Jeremy's family. It is whacky and a lot more humour and makes BV closer to TP - it seems like Jeremy's mother is kind of a prototype for Sarah Palmer. We get to see Jeremy's girlfriend. Only two scenes with Frank. I can see why these extra scenes were cut. I think only the rooftop scene would enhance BV.Lost Highway and FWWM both look and sound great on blu-ray. Really recommended. FWWM blu-ray is part of the blu-ray boxset and includes the missing scenes, which includes many TP characters who never made the final cut of FWWM. Nice stuff but not essential.
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Dec 30, 2015 22:18
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How would you compare it to FWWM's lost material? Presentation-wise, as well. The way they present FWMM deleted scenes is practically its own little weird movie.
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Dec 30, 2015 22:23
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HUNDU THE BEAST GOD posted:How would you compare it to FWWM's lost material? Presentation-wise, as well. The way they present FWMM deleted scenes is practically its own little weird movie. Well, as you know DL doesn't re-edit or incorporate new material into existing films. it is 52 min which you watch as a sequence. It isn't in chronological order. You start with a bar scene with jeremy, Frank, Dorothy and the goons in a bar menacing a character. that is is probably the longest and most aggressive and sexual scene. Then it goes to Jeremy at university and Jeremy at home. J spends time with his family, we spend time with his aunt. The bent cop visits Dorothy. There is a short scene of Frank walking in the wind. Then we have the rooftop scene with J and D. That last scene is really the most compelling dramatically. It's weird to see this extra stuff and definitely worth seeing for fans. I think DL edited it so the pieces did work dramatically as a single connected piece. I think there is a scene menu but I didn't explore that. For anyone new, I would of course say watch the film first then the extras. So that would be the same for FWWM. I haven't seen FWWM with the missing scenes edited in by fans but I imagine it makes the film really slow and disjointed. Laura is the centre of FWWM and anything extra is really distracting. I think BV would be good as a fan edit with maybe the rooftop and (possibly) the bar scene edited in. With Inland Empire, frankly you mash that up with the Extra Things That Happened and watch that any way. I don't like IE, so I'll never watch the extra footage again.
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Dec 30, 2015 23:39
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I really like the FWWM fan-edit; it's not a replacement for the movie, but it's cool. Plus, having all of Dear Meadows in sequence is cool, because I love Chester Desmond.
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Dec 31, 2015 00:38
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HUNDU THE BEAST GOD posted:How would you compare it to FWWM's lost material? Presentation-wise, as well. The way they present FWMM deleted scenes is practically its own little weird movie. oh poo poo, really? I think I need to pick up a FWWM blu ray
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Dec 31, 2015 14:01
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Lord Krangdar posted:Those aren't really the same though,right? there's an extent to which i agree because accusing a single signifier of being meaningless runs the risk of accusing the whole movie of being meaningless which obviously isn't true as we're discussing it on here and it means something to the viewers, and also that everything in his movies means something to lynch himself... but some of those clues seem like a self-aware put on by lynch poking fun at people that like to overthink his work. it's like the use of the rabbits footage in inland empire, or the mystery man in lost highway, where they serve a narrative purpose, but more serve to unmoor the viewer from our reality and put us into the movie's so that when the emotional climaxes come they pack even more of a punch. speaking of which, i'm disappointed to see the ambivalence towards inland empire. i think it's probably my third favorite lynch movie. when i saw it theatrically last week it was only my third time seeing it and i watched it again within 24 hours of that. if you're a fan of his work i don't really see how you could dislike it unless you're 100% opposed to digital filmmaking or whatever since it's probably his freest work since eraserhead. but i understand not wanting to commit 3 hours to watching a movie that frequently. seeing it projected was certainly something -- i was sitting in the fourth or fifth row and watching a dv movie printed to film has a really uncanny effect when you can see the wear of the print contrasting with the ungainly digital footage. plus there's something gained watching an exhibition where you can see the changeover cues because the reels have a function in the narrative structure. lots has been made about the structure operating like hyperlinks and the movie operating in a self-reflexive web within lynch's entire filmography but i think that if you've seen lost highway or mulholland dr. the narrative is pretty straightforward (another recapitulation of the vertigo/an occurrence at owl creek bridge style story)
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Dec 31, 2015 18:04
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I thought IE was genius the first few times I watched it, but it's far too long for one sitting. It would have been better to cut it up into a fake TV show.
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Jan 22, 2016 04:33
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Josef K. Sourdust posted:Well, as you know DL doesn't re-edit or incorporate new material into existing films. it is 52 min which you watch as a sequence. It isn't in chronological order. You start with a bar scene with jeremy, Frank, Dorothy and the goons in a bar menacing a character. that is is probably the longest and most aggressive and sexual scene. Then it goes to Jeremy at university and Jeremy at home. J spends time with his family, we spend time with his aunt. The bent cop visits Dorothy. There is a short scene of Frank walking in the wind. Then we have the rooftop scene with J and D. That last scene is really the most compelling dramatically. It's weird to see this extra stuff and definitely worth seeing for fans. I think DL edited it so the pieces did work dramatically as a single connected piece. It's Jeffrey, not Jeremy.
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Jan 22, 2016 08:30
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I think my favorite BV deleted scene is the stuff from the corny opening act at the nightclub. It just goes on and on and on AND ON AND ON AND
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Jan 22, 2016 11:15
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Two Worlds posted:It's Jeffrey, not Jeremy. ooops!
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Jan 22, 2016 16:52
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Full Battle Rattle posted:I thought IE was genius the first few times I watched it, but it's far too long for one sitting. It would have been better to cut it up into a fake TV show. i disagree, i think that a very strong part of the movie is how it sustains its atmosphere over the entire runtime. i think it would have less impact if it was serialized. also it's bullshit that laura dern didn't win every award ever for that performance. she has such masterful control over the contortions of her face, its like julianne moore level acting. and luckily lynch knew how to exploit it. this is all especially impressive to me considering the improvisatory nature of a lot of it
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Jan 22, 2016 18:49
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