Questions for Bob Engels

[Chareth]

Hope I'm not too late. I'd like to know what the motivation and game plan was behind the post-series scenes. They obviously set up a sequel film that didn't happen, but the scenes did so little to move beyond the cliffhanger that it's hard to glean what they set up. The diary element and the nurse with the ring give us a few tidbits of course, but the bathroom scene really just re-states the final scene of the series. It, and the other scenes, don't lay much new groundwork, so what were Lynch and Engels going for exactly? It's odd that they reconvened the actors to only extend that scene by a few seconds.

Also, once Kyle pared back his involvement in FWWM, what gave them the confidence to shoot those scenes anyway, setting up a film where Kyle would be so crucial when as far as we know he was looking to distance himself from Cooper? Had Kyle stated he was interested in a Twin Peaks film where he was the lead again?

And did they have ideas in mind for Jeffries in a second film, and perhaps Chet Desmond/Sam Stanley, and how they would dovetail with Cooper/BOB's story? Or had they not thought that far ahead?

Thanks for the opportunity!

[Agent Sam Stanley]

Also, once Kyle pared back his involvement in FWWM, what gave them the confidence to shoot those scenes anyway, setting up a film where Kyle would be so crucial when as far as we know he was looking to distance himself from Cooper? Had Kyle stated he was interested in a Twin Peaks film where he was the lead again?

I believe Kyle's choice to distant himself from Cooper was one of the main reasons the subsequent films didn't happen. And of course the awful reception the movie got, even by TP fans.
But that's just my theory based on things I read over the years.
Obviously Bob Angels will know better

[LostInTheMovies]

Probably too late, but I'm curious about the thinking behind making it a prequel. I've heard Engels talk a lot about the zanier stuff that ended up on the cutting room floor (or wasn't even shot) but not as much about what actually ended up in the film itself. Why - aside from Lynch's personal desire to see Laura in the flesh, did they center the story around her? Why did they make the Leland/Bob relationship more complex than it appeared to be on the show? How did they envision the community's role in her life (something that was absent in the final film, but has reappeared in the Missing Pieces)? I'm also kind of interested in how Lynch collaborates with other writers, especially when he is initiating the project (vs. Frost where it was more of a mutual thing). Is it more or less the same as in interviews, where he tosses out ideas without explaining what they are or how they tie into the larger whole? If so, how did Engels see his role in the process - did he emphasize structural and dramatic elements the way Frost supposedly did? We know about the spontaneity and whimsy that went into the work, but what was the organizational process? Also, was he surprised by the finished film, particularly its tone and style, based on what they had written?

[BobCooper]

Doing it at 5:30PM EST/2:30PM PST so not too late!

[Chareth]

Also, was he surprised by the finished film, particularly its tone and style, based on what they had written?

Yes, I'm very curious about this too. Reading the script, and especially seeing the deleted scenes at last, it's hard to imagine how they could possibly have expected some of the scenes involving the characters from the series to fit into what FWWM became, both tonally and structurally - the Pete/Josie scene, the sheriff's station scenes, and the Norma/Ed scenes in particular. Basically, did Engels and Lynch originally intend the film to be more multifaceted than it became, and therefore more like the series, and only in post-production did Lynch zero on on a more singularly dark and focused vision? And what did Engels think of this?

[BobCooper]

The interview went great, about 40 minutes! I might post it in a couple parts. I'll have at least Part 1 up by Wednesday, possibly tomorrow. I've got to prepare though for my interview with Dana Ashbrook tomorrow.

Bob revealed a lot regarding the Black Lodge inhabitants and their origins beginning in the 1950's, and that being the reason for all of the backwards stuff. He talked about a lot of things, including a scene that almost made Fire Walk With Me, the backstory behind Jeffries reasons for being in Buenos Aires/Judy, and a lot of other stuff.

[Agent Sam Stanley]

Wow. Can't wait to read it

[LostInTheMovies]

Also, was he surprised by the finished film, particularly its tone and style, based on what they had written?

Yes, I'm very curious about this too. Reading the script, and especially seeing the deleted scenes at last, it's hard to imagine how they could possibly have expected some of the scenes involving the characters from the series to fit into what FWWM became, both tonally and structurally - the Pete/Josie scene, the sheriff's station scenes, and the Norma/Ed scenes in particular. Basically, did Engels and Lynch originally intend the film to be more multifaceted than it became, and therefore more like the series, and only in post-production did Lynch zero on on a more singularly dark and focused vision? And what did Engels think of this?

That, but also even with the Lodge material there's such a difference between he Eisenhower/creamed corn planet stuff they brainstormed and the eerie, uncanny, intermixed-with-the-real-world vibe in the film. Hope he was able to address this stuff in the inerview! Looking forward to it.

[Chareth]

That, but also even with the Lodge material there's such a difference between he Eisenhower/creamed corn planet stuff they brainstormed and the eerie, uncanny, intermixed-with-the-real-world vibe in the film. Hope he was able to address this stuff in the inerview! Looking forward to it.

Totally. It's strange to say that something seems too weird for a Lynch film, but that stuff just doesn't seem consistent with the particular brand of weirdness in FWWM. It's almost too literal and factual in its oddness, so to discover how they got to the point they did will be fascinating, if Engels reveals that.

And thanks BobCooper for the opportunity to submit questions. Cannot wait for the interview - sounds like you got some gold.

[LostInTheMovies]

That, but also even with the Lodge material there's such a difference between he Eisenhower/creamed corn planet stuff they brainstormed and the eerie, uncanny, intermixed-with-the-real-world vibe in the film. Hope he was able to address this stuff in the inerview! Looking forward to it.

Totally. It's strange to say that something seems too weird for a Lynch film, but that stuff just doesn't seem consistent with the particular brand of weirdness in FWWM. It's almost too literal and factual in its oddness, so to discover how they got to the point they did will be fascinating, if Engels reveals that.

And thanks BobCooper for the opportunity to submit questions. Cannot wait for the interview - sounds like you got some gold.

I think it's not so much that it seems too weird as that it seems too goofy. Although both Wild at Heart and especially On the Air can be pretty goofy so maybe that's how Lynch was approaching some of the material before the power of what he had (and, I suspect, the unexpected depth of Sheryl Lee's performance) shifted his emphasis. Then again, there was plenty of dark stuff in the screenplay - perhaps it was a matter of throw everything in and figure out the balance later. Which does generally seem to be his approach to filmmaking, especially later in his career.

[LostInTheMovies]

Also, was he surprised by the finished film, particularly its tone and style, based on what they had written?

Yes, I'm very curious about this too. Reading the script, and especially seeing the deleted scenes at last, it's hard to imagine how they could possibly have expected some of the scenes involving the characters from the series to fit into what FWWM became, both tonally and structurally - the Pete/Josie scene, the sheriff's station scenes, and the Norma/Ed scenes in particular. Basically, did Engels and Lynch originally intend the film to be more multifaceted than it became, and therefore more like the series, and only in post-production did Lynch zero on on a more singularly dark and focused vision? And what did Engels think of this?

Also, I wonder to what extent this stuff was written in as insurance if the Laura footage didn't work as well as Lynch hoped. After all they were taking a big risk asking Sheryl Lee - pretty untested at this point - to carry the entire film, with an EXTREMELY demanding part. A lot of people on set report being surprised at how she good she was. What if she hadn't been? Perhaps at that point the film would have become more about the Lodge mythology and stuff around town (although Laura's story would still have to be the centerpiece). I mean Lynch/Engels couldn't have really thought they were going to get away with a 4-hour film, right?

[BobCooper]

Part 1 is all transcribed, just got to do some final edits and it should be up sometime around midnight tonight!

[LostInTheMovies]

Part 1 is all transcribed, just got to do some final edits and it should be up sometime around midnight tonight!

Which site?

[BobCooper]

Part 1 is all transcribed, just got to do some final edits and it should be up sometime around midnight tonight!

Which site?

Entertainment section of my website AlternativeNation.net http://www.alternativenation.net/?cat=458

I'll post the direct links to the interviews here too!

[Agent Sam Stanley]

Awesome. Can't wait for part 2