POLL: The Nature of Audrey's Situation

[ThumbsUp]

My understanding is that she didn't like the length or content of her part. Someone else can correct me if I'm wrong, but she was supposed to be running a beauty salon and was supposed to have Sylvia's part.

Audrey's situation is pretty well handled in shorthand with her dance where we are witness to how much time has passed just by how she looks.

I didn't read it as a statement on the passage of time per se, but more that she was finally feeling comfortable and safe for the first time all season. Her arc seemed to be existential anguish in nature, as pointed out by Charlie. Lots of the other characters seemed similarly disoriented all the time, tormented or being left wondering what's real and who they are and what they should be doing.

[Xavi]

Sherilyn Fenn is an actress and almost all of her "fame and glory" is on behalf of Twin Peaks, which is, just saying, fiction. I put a lot of question marks behind her motivation for not participating in the initial role, that L/F had in mind. C'mon, Fenn is an actress, not a co-author. It must've been Lynch's kindness and patience that he re-wrote her role more to her liking. This role cultivates and exposes a familiar emotion these days, and it is called: frustration. Frustration that stems from unfulfilled expectations. Time to grow up, or in Gordon Cole's vocabulary "Fix your heart or die." And so she did.

[Audrey Horne]

I think there are two sides to every story -and things are always more complicated. No one is an infallible god here, and no one is entirely in the wrong. Things worked out better in the end than originally planned, and both were really grateful.

[N. Needleman]

I think there are two sides to every story -and things are always more complicated. No one is an infallible god here, and no one is entirely in the wrong. Things worked out better in the end than originally planned, and both were really grateful.

Agreed.

[ThumbsUp]

Hi all. Came across this Reddit thread yesterday that talks about connections between Audrey and the Evolution of the Arm.

https://www.reddit.com/r/twinpeaks/comments/7qh8z9/all_audrey_and_the_arm/

Parts of it are a real stretch, but I've suspected Fenn voiced the uncredited role of the Evolution of the Arm. The thing about her shirt in that season 1 scene is pretty cool, too.

[Hester Prynne]

Hi all. Came across this Reddit thread yesterday that talks about connections between Audrey and the Evolution of the Arm.

https://www.reddit.com/r/twinpeaks/comments/7qh8z9/all_audrey_and_the_arm/

Parts of it are a real stretch, but I've suspected Fenn voiced the uncredited role of the Evolution of the Arm. The thing about her shirt in that season 1 scene is pretty cool, too.

It would be interesting to know if DKL had always intended for Audrey and the Arm to deliver that line or if it was an idea that came out of what he rewrote for Fenn. - Don't know if the poster Audrey Horne has any info on that or if it might have been discussed elsewhere on the forum.

I agree, I think some of it's a stretch, and I wonder if it was thrown in more to signal that Cooper is about to encounter a similar fate as Audrey, dueling identities and the feeling you are not who you are supposed to be - whether that is supposed to be literal or an internal identity struggle. We know Cooper went back in time to keep Laura from being killed, but he should still be Cooper in this timeline. Instead, he is someone named Richard with traits of Cooper, Dougie, and Mr. C. Maybe Audrey has been on a similar journey or the Arm in its evolution has acquired traits/identities of other lodge spirits. While it's never explained, it's heavily hinted, at least for me, that Audrey has had some interaction with the lodge with Audrey's Dance playing backwards and the zap of electricity in the mirror scene, as well as Diane's fate of being trapped in the lodge and having a different identity (Naido) after her encounter with Mr. C.

[Audrey Horne]

Oh interesting, Hester. I don’t actually know. Meaning if the Red Room stuff had been completed by the time Fenn shot, and thus was the Arm’s line already uttered and then Lynch was inspired to have Audrey say it. Unless she’s pulling a fast one, I’m about 100% sure she did not do the voice for The Arm.

And since the way this was shot by Lynch and the means in which the actors got their material, there’s really no way of knowing which came first ...aside from probably David, Mark and Sabrina. I do know she shot the looking in the mirror scene last... but I’m foggy on remembering if she knew she was going to shoot that at all. For some reason I recall her saying that was never in the material she got, that it ended with the dance. And that it was a surprise. But I might be confusing it or misremembered that it was just the last thing she ever shot.

[Mr. Reindeer]

The mirror shot was definitely Fenn’s last scene, because she’s wearing the white gown when DKL makes her series wrap announcement in the BTS footage.

[Hester Prynne]

Oh interesting, Hester. I don’t actually know. Meaning if the Red Room stuff had been completed by the time Fenn shot, and thus was the Arm’s line already uttered and then Lynch was inspired to have Audrey say it. Unless she’s pulling a fast one, I’m about 100% sure she did not do the voice for The Arm.

And since the way this was shot by Lynch and the means in which the actors got their material, there’s really no way of knowing which came first ...aside from probably David, Mark and Sabrina. I do know she shot the looking in the mirror scene last... but I’m foggy on remembering if she knew she was going to shoot that at all. For some reason I recall her saying that was never in the material she got, that it ended with the dance. And that it was a surprise. But I might be confusing it or misremembered that it was just the last thing she ever shot.

Thanks for the info, Audrey. I was wondering if the line she asks Charlie about the little girl that lived down the lane was in her original material somewhere and DKL kept it in the rewritten material. I guess it also depends on what DKL had originally planned for The Arm. Did Michael Anderson ask for more money and they decided not to cast him or was he never in the script to begin with? I know there was discussion on the forum about that at one time, but I've forgotten what happened. I'm interested if the 'Evolution of the Arm' was something DKL had always envisioned as part of the story and or if it was just a way of getting around MA not being in the show. The Arm apparently is suspetible to the same evolution that some of the other characters are going through like Cooper, Diane, and Laura. Anyway, I don't know that it would make a huge difference or if that material will ever see the light of day, but it might signal how important he felt it was to the story that Audrey and The Arm deliver the same line.

As someone who was hoping for at least one scene with Cooper and Audrey together - even if it was 'Hi, Audrey,' that scene was sort of poignant to me. I had accepted that we probably weren't going to see her in 17 and 18 as the episodes went on, so when The Arm delivered that line, it was unexpected and almost felt like it was an echo of Audrey - the encounter we were all hoping for, but it wasn't her - just a faceless entity hauntingly repeating her question to Cooper. I don't know that that was the intended effect and probably has more to do with my attachment to the character, but that was my reaction the first time watching that scene.

[Mr. Reindeer]

MJA was in the script and declined to participate for salary reasons...then engaged in some other behavior ensuring that he will never again be in any DKL production.

I think it’s entirely possible that the EotA’s line was added after Fenn’s scenes were shot, even if the Red Room did wrap before Fenn started. It’s a CGI figure, they could have easily recorded a new line whenever and animated the lips.

[Hester Prynne]

MJA was in the script and declined to participate for salary reasons...then engaged in some other behavior ensuring that he will never again be in any DKL production.

I think it’s entirely possible that the EotA’s line was added after Fenn’s scenes were shot, even if the Red Room did wrap before Fenn started. It’s a CGI figure, they could have easily recorded a new line whenever and animated the lips.

Thanks - I remembered there had been some substantial drama with MA, but couldn't remember how it all came about. - Just interested in the thought process behind DKL using that line and connecting Audrey and the Arm to it and if the new material for Fenn inspired him to make that choice or if it was something he had thought about all along. Sounds like something that probably came later. Still interesting, especially if the mirror scene was a surprise, but something he felt necessary to the story and added in. - Still haven't gotten the Blu-ray yet, but am looking forward to the behind the scenes footage.

[Mr. Reindeer]

Thanks - I remembered there had been some substantial drama with MA, but couldn't remember how it all came about. - Just interested in the thought process behind DKL using that line and connecting Audrey and the Arm to it and if the new material for Fenn inspired him to make that choice or if it was something he had thought about all along. Sounds like something that probably came later. Still interesting, especially if the mirror scene was a surprise, but something he felt necessary to the story and added in. - Still haven't gotten the Blu-ray yet, but am looking forward to the behind the scenes footage.

The BTS stuff is terrific. Some great stuff with Fenn. There are some scenes of DKL and Fenn whispering on set during the Charlie-house shooting that I hope some audiophile is able to isolate and amplify, because I’d kill to be able to hear them. At one point, they obliquely talk about shooting “the other thing” (I believe that was the phrase, going from memory), which indicates to me that the “white room” shot was something whose nature was probably elaborated on only between the two of them, not openly with the crew. (In contrast, DKL uses pet names for other surreal spaces, such as “the Mansion Room” and “Never Never Land.”)

[LateReg]

Thanks - I remembered there had been some substantial drama with MA, but couldn't remember how it all came about. - Just interested in the thought process behind DKL using that line and connecting Audrey and the Arm to it and if the new material for Fenn inspired him to make that choice or if it was something he had thought about all along. Sounds like something that probably came later. Still interesting, especially if the mirror scene was a surprise, but something he felt necessary to the story and added in. - Still haven't gotten the Blu-ray yet, but am looking forward to the behind the scenes footage.

The BTS stuff is terrific. Some great stuff with Fenn. There are some scenes of DKL and Fenn whispering on set during the Charlie-house shooting that I hope some audiophile is able to isolate and amplify, because I’d kill to be able to hear them. At one point, they obliquely talk about shooting “the other thing” (I believe that was the phrase, going from memory), which indicates to me that the “white room” shot was something whose nature was probably elaborated on only between the two of them, not openly with the crew. (In contrast, DKL uses pet names for other surreal spaces, such as “the Mansion Room” and “Never Never Land.”)

The intensity with which Lynch observes Fenn's performance during the rehearsal is tremendously fascinating, and between his laser focus on her delivery of every line and the shared whispering between the two, you'd have to think those scenes are VERY important to whatever the hell is going on.