Twin Peaks Return: The Profoundly Disappointed Support Group

[IcedOver]

My favorite character has been EvilCoop, and I think it's imperative that he be let loose and for us to discover the full breadth of what he can do and what he wants . . . soon, same with Dougie turning back to Coop proper. I really hope Evil Coop isn't just aspiring to keep himself out of the Lodge or to be a drug dealer and hang out with lowlife scum. It's becomimg clear that Evil Coop will probably be around the whole run, so his story has to be huge and scary, like worldwide implications scary. Hopefully the next part has a lot of the horror and mayhem that has been lacking. I doubt that will be the case.

I'm actually thinking that, aside from the EvilCoop scenes, Part 7 was actually the worst yet. I think each episode from 4 on has gone down in quality.

[mlsstwrt]

My favorite character has been EvilCoop, and I think it's imperative that he be let loose and for us to discover the full breadth of what he can do and what he wants . . . soon, same with Dougie turning back to Coop proper. I really hope Evil Coop isn't just aspiring to keep himself out of the Lodge or to be a drug dealer and hang out with lowlife scum. It's becomimg clear that Evil Coop will probably be around the whole run, so his story has to be huge and scary, like worldwide implications scary. Hopefully the next part has a lot of the horror and mayhem that has been lacking. I doubt that will be the case.

I'm actually thinking that, aside from the EvilCoop scenes, Part 7 was actually the worst yet. I think each episode from 4 on has gone down in quality.

I'm sure this has been answered on other threads but EvilCoop is not Bob right? I mean it's like there is Bob in him but he seems to have his own identity as well. This is what I don't really get. Why would Bob be running with gangsters and slinging dope?

I also find him the most compelling to watch though.

[IcedOver]

I'm sure this has been answered on other threads but EvilCoop is not Bob right? I mean it's like there is Bob in him but he seems to have his own identity as well. This is what I don't really get. Why would Bob be running with gangsters and slinging dope?

I also find him the most compelling to watch though.

I doubt that anyone behind the show has given much thought to where the entities like Bob stop and their hosts begin. Bob is more relevant from a thematic standpoint as a regular Lynch "corruptor of innocence" character that he's had in several other projects -- bringers of pain, loss, and depression. Given the presence of outer space alien stuff in the original series and, more predominantly, Frost's book, I wonder if that will figure in to this in terms of something with large implications of either alien invasion from some hellworld/dimension (perhaps that creamed corn planet?).

[mlsstwrt]

I'm sure this has been answered on other threads but EvilCoop is not Bob right? I mean it's like there is Bob in him but he seems to have his own identity as well. This is what I don't really get. Why would Bob be running with gangsters and slinging dope?

I also find him the most compelling to watch though.

I doubt that anyone behind the show has given much thought to where the entities like Bob stop and their hosts begin. Bob is more relevant from a thematic standpoint as a regular Lynch "corruptor of innocence" character that he's had in several other projects -- bringers of pain, loss, and depression. Given the presence of outer space alien stuff in the original series and, more predominantly, Frost's book, I wonder if that will figure in to this in terms of something with large implications of either alien invasion from some hellworld/dimension (perhaps that creamed corn planet?).

I really hope not. I hate the alien stuff in TP.

One thing I noticed. I'm sure others have too - in an early episode, maybe 1 or w Bad Coop told that guy, Let's get it straight. I don't NEED anything. I WANT things'. He says the same in Laura' diary.

[IcedOver]

I really hope not. I hate the alien stuff in TP.

One thing I noticed. I'm sure others have too - in an early episode, maybe 1 or w Bad Coop told that guy, Let's get it straight. I don't NEED anything. I WANT things'. He says the same in Laura' diary.

If that's where it's going (if it's going anyplace), I doubt it would be classic aliens but rather an invasion of some hell dimension to "take away all the happiness" or the robins or whatever -- some such Lynchian concern. However, this show has been so unemotional that I doubt it would introduce an idea like that. Without a doubt, though, EvilCoop can't be solely some drug dealing kingpin.

[Gabriel]

Not strictly true. The Arri Amira is the baby brother of the Arri Alexa, which is a top tier camera yielding very cinematic results - see films like Skyfall, Sicario, Birdman, the new Blade Runner (cinematographer Roger Deakins said he switched over to digital in 2011 because he couldn't tell the Alexa apart from film anymore). The differences between the Amira and Alexa are pretty minute.

The thing you're getting at with lenses is I imagine the deep depth of field, which I guess is true for some of The Return, although E7 bucked the trend in that regard.

You misunderstand. The director and DP have decided to go for a specific look. Therefore they chose the Amira, not because it can't achieve a cinematic look, but because it can achieve the look they want. Every subsequent choice, from lenses (not just for depth of field) to filters will be to get that flat, electronic look. The electronic look of the new series isn't a by-product of the technology; it's a choice Lynch and Deming have very specifically made. I was keeping my comment simple, because I didn't want to vomit loads of pages of my cinematography books all over the forum.

What I was basically saying about digital is: keeps the budget down – no film stock, no wasteage; better for effects work – more stable, no judder for the FX team to compensate for. It can look filmic, as most TV shows go for, but in this case, the electronic look is a definite choice.

[mtsi]

^ This

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[Venus]

Not strictly true. The Arri Amira is the baby brother of the Arri Alexa, which is a top tier camera yielding very cinematic results - see films like Skyfall, Sicario, Birdman, the new Blade Runner (cinematographer Roger Deakins said he switched over to digital in 2011 because he couldn't tell the Alexa apart from film anymore). The differences between the Amira and Alexa are pretty minute.

The thing you're getting at with lenses is I imagine the deep depth of field, which I guess is true for some of The Return, although E7 bucked the trend in that regard.

You misunderstand. The director and DP have decided to go for a specific look. Therefore they chose the Amira, not because it can't achieve a cinematic look, but because it can achieve the look they want. Every subsequent choice, from lenses (not just for depth of field) to filters will be to get that flat, electronic look. The electronic look of the new series isn't a by-product of the technology; it's a choice Lynch and Deming have very specifically made. I was keeping my comment simple, because I didn't want to vomit loads of pages of my cinematography books all over the forum.

What I was basically saying about digital is: keeps the budget down – no film stock, no wasteage; better for effects work – more stable, no judder for the FX team to compensate for. It can look filmic, as most TV shows go for, but in this case, the electronic look is a definite choice.

Whats an electronic look of the series? I'm not too bothered about the look of the shots as they are to me like any other programme you watch nowadays. I guess when you go and look back at the original with the red filter to warm the tones of the show the comparison is quite stark to what we have now. Maybe as it goes on the shots will warm and different filters be used? Sorry for the non tech speak there!

[Skip Bittman]

I'm one of the biggest film-and-grain-worshiping snobs on the planet, willing to sell grandma for 16mm and with a feature amidst the final batch of Kodachrome ever processed, but man -- what utter nonsense that they were purposely after a flat, electronic look. You'll never get a quote from Lynch or Deming agreeing with such gibberish, that's pure spin. It's one thing to say that to you it looks flat and electronic. To claim that's what they wanted? Prove it with anything except subjectivity.

[mlsstwrt]

I'm the biggest film-worshiping snob on the planet, willing to sell grandma for 16mm and with a feature amidst the final batch of Kodachrome ever processed, but man -- what utter nonsense that they were purposely after a flat, electronic look. You'll never get a quote from Lynch or Deming agreeing with such gibberish, that's pure spin.

What do you think of the look?

[Skip Bittman]

I'm the biggest film-worshiping snob on the planet, willing to sell grandma for 16mm and with a feature amidst the final batch of Kodachrome ever processed, but man -- what utter nonsense that they were purposely after a flat, electronic look. You'll never get a quote from Lynch or Deming agreeing with such gibberish, that's pure spin.

What do you think of the look?

I love it. I have no problem whatsoever with anything except the curtains in the Black Lodge not having that lovely glow. But that's a minor quibble amidst the feast of weirdness and beauty. I was hoping Lynch's rhapsodic words about film during the Missing Pieces work would lead to S3 being shot on Vision stock and was disappointed a few years back. But I love what they came up with, those shots of the woods sell it to me. We're a LONG way from DVCAM.

[LateReg]

Whats an electronic look of the series? I'm not too bothered about the look of the shots as they are to me like any other programme you watch nowadays. I guess when you go and look back at the original with the red filter to warm the tones of the show the comparison is quite stark to what we have now. Maybe as it goes on the shots will warm and different filters be used? Sorry for the non tech speak there!

Along the lines of what you mentioned about the show getting gradually warmer, I think that there has been more music featured in each part, and in Part 7 I noticed a lot more camera movement as well. I could be projecting since I was always in the camp that this thing would get warmer as we got closer to Twin Peaks, but there's still ample evidence of that.

[LateReg]

I'm the biggest film-worshiping snob on the planet, willing to sell grandma for 16mm and with a feature amidst the final batch of Kodachrome ever processed, but man -- what utter nonsense that they were purposely after a flat, electronic look. You'll never get a quote from Lynch or Deming agreeing with such gibberish, that's pure spin.

What do you think of the look?

I love it. I have no problem whatsoever with anything except the curtains in the Black Lodge not having that lovely glow. But that's a minor quibble amidst the feast of weirdness and beauty. I was hoping Lynch's rhapsodic words about film during the Missing Pieces work would lead to S3 being shot on Vision stock and was disappointed a few years back. But I love what they came up with, those shots of the woods sell it to me. We're a LONG way from DVCAM.

It took me a second viewing of the first four parts to adjust, but I also think it's truly beautiful. Like Counterpaul had said, I think there's a lot of subtlety to the look, and I really appreciate it.

[Adolphus]

What do you think of the look?

I love it. I have no problem whatsoever with anything except the curtains in the Black Lodge not having that lovely glow. But that's a minor quibble amidst the feast of weirdness and beauty. I was hoping Lynch's rhapsodic words about film during the Missing Pieces work would lead to S3 being shot on Vision stock and was disappointed a few years back. But I love what they came up with, those shots of the woods sell it to me. We're a LONG way from DVCAM.

It took me a second viewing of the first four parts to adjust, but I also think it's truly beautiful. Like Counterpaul had said, I think there's a lot of subtlety to the look, and I really appreciate it.

It does look great- even though it is different from the original series. Does anyone else find some of the shots too dark? It might be the computer I'm watching it on but there have been 3 or 4 shots so far where I couldn't really see what was going on.

[Mr. Reindeer]

Does anyone else find some of the shots too dark? It might be the computer I'm watching it on but there have been 3 or 4 shots so far where I couldn't really see what was going on.

There was one VERY dark overhead shot of the woods this week near the end -- possible preceding the Ben/Beverly scene, or else preceding the immortal sweeping scene. I took it as DKL indulging his IE excesses.