Short documentary clip on Fire Walk With Me

[cowwithfivelegs]

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[N. Needleman]

I love the Albert/Cooper convo.

I recently rewatched MD for the first time in many years and I was struck by how sort of shaggy it feels in the TV/pilot half of things, though that just may be my foreknowledge of its story now. It's by no means a bad thing, either, it's a great film. But it feels like something has been clearly honed down into a new form from something else, with the overall architecture of the TV pilot and its storytelling often still intact, going from scenes with Adam Kesher to scenes with Betty and Rita, often with one party or the other still in the same place or proceeding along straight lines that would match a TV rhythm.

I don't think FWWM has that, at all; I think it's very, very carefully focused and shaped - in the editing room, like MD - as a fever dream that was Laura's life. Unlike MD, which was also made in the editing room, it does not have to contend with some of the remaining contours of a pre-conceived TV narrative it was originally crafted for. But I think both films are masterpieces.

[David Locke]

I know a lot of the ensemble (Peggy Lipton, etc.) supposedly felt as Kyle did about FWWM. If he's reversed his feelings publicly that's interesting, I didn't know about it. I am sure he's up for whatever Lynch wants to do here though, as they clearly dealt with any post-series friction long ago.

Yes- Peggy was pretty vocal about it at the time. I will say, having now seen the Missing Pieces, all of her wonderful work was cut. And its really her best work as Norma. So I can totally see why she was disappointed.

It really is. It's like THE Ed/Norma scene and it's a shame it couldn't be seen until 2014 but wonderful that it can be seen now.

Although Lynch did dispense with most fanservice in FWWM, I think there are still some rough edges. The whole Jacques/Bobby/Shelly/Leo scene feels out of place, and the Albert-Coop convo had always stuck out like a sore thumb. Even the extremely brief Norma-Shelly convo at the diner feels a bit extraneous. It's like even as he faced the fact that he had to lose most of the material, Lynch still clung to a few bits (Madchen Amick being the primary beneficiary!).

I really think FWWM's greatness is paradoxically because of and in spite of its haphazard making. It seems like Lynch only zeroed in on the experience he really wanted to convey, and the story he really wanted to tell, in the midst of shooting and even editing. So the film is less smooth than Lost Highway or even Mulholland Drive but also feels so raw and passionate due to that sense of discovery. Its flaws are completely inextricable from its strengths.

Well put. I'm pretty okay with the Jacques/Bobby/Shelly/Leo stuff, but I do think that the Albert-Coop scene cuts rather awkwardly into Laura's story, and would've been better left as a Missing Piece. It's not that it's a bad scene, it's quite good just like many of the MP are; it just doesn't flow well in the film as is.

There is certainly a tangibly raw and "real" feeling to much of FWWM, an immediacy which makes the film seem much less studied and well-composed than LH and MD. I mean, LH is formally sharp as a tack -- and though MD is noticeably rough because of the TV Pilot origin (the main reason I feel it's a bit weaker than the other two), it also has a very stylized surface, especially in the acting. FWWM is far aesthetically "closer" to the audience.

[LostInTheMovies]

I think MD also works because that noticeable shift is essentially baked into the presentation.

[cowwithfivelegs]

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[Twin Peaks Unwrapped]

We just started working on the 1st podcast show focusing on FWWM and we used a clip of this video for the end or show! I had never seen this video before! It's great!!! So glad it was shared with the community.


Ben