World of Blue - Archived Forum 2007-2022

this focus on the headshot is silly

It was in the distance, tiny, and the effect is therefore pimped/ pumped up and cartoon like.
It actually reminded me of the nut-crusher green glove.
There is a very ' manga' ( current terminology) aspect to this series, sometimes. Very 50's 60's comic book POW ZZZAP AARGH.
I have said this several times but i think there is a very 'Twilight Zone' tone to alot of this series. But built around a central spine of ' twin peaks' rather than isolated eps.

Would like to see a separate thread about the many connections people have made about this.

Ha... Going back to the Production Code era of classics.... Never bothered me when James Cagney or Humphrey Bogart shot up their ganster rivals with a barrel of bullets with not a spec of blood or even a bullet hole.

Mr. Reindeer wrote:

cgs027 wrote:Crap, my bad, I didn't even know this existed. I had actually seen that comment totally out of context of the dugpa forum. It's actually funny to see how off topic this ep 16 thread has become -- I swear everyone is getting slaphappy for Sunday night! (Thanks for the link, will check it out).

No worries! I was just shamelessly plugging a thread I started.

I think the coolest find so far is that DKL made a sketch of the frogbug seemingly back circa 1970!

Thanks for the reminder of that thread.

Seems like "frogbug" has become the name for this, but FWIW, Lynch has actually used "frog moth" -- twice.

One is In the "Quinoa" extra on the Inland Empire DVD, where he talks about this train journey through the former Yugoslavia (in the summer of 1965), and stopping at this little stand in the middle of the night, selling sugary drinks. And he enthuses about these giant "frog moths" leaping up from the ground. So this idea seems to have come from something he saw in real life.

The second mention is in the screenplay titled "Ronny Rocket". I'm not sure if it's mentioned in the other version (entitled "Ronnie Rocket").


I'd be curious to learn what kind of insect Lynch might have seen on his trip.

[EDIT: phrasing]

audreyhorne

Ha... Going back to the Production Code era of classics.... Never bothered me when James Cagney or Humphrey Bogart shot up their ganster rivals with a barrel of bullets with not a spec of blood or even a bullet hole.

anyone pointed out how close this sequence was - i mean it was a quote - to the end of bonnie and clyde ( dead girl in van slumped over wheel of a bullet ridden van with shooter/ partner dead in back) ...
?

garethw wrote:The second mention is in the screenplay titled "Ronny Rocket". I'm not sure if it's mentioned in the other version (entitled "Ronnie Rocket").


I'd be curious to learn what kind of insect Lynch might have seen on his trip.

Great call about the Ronny Rocket script; had completely forgotten about that! That night definitely seems to have a big impact on DKL.

referendum wrote:audreyhorne

Ha... Going back to the Production Code era of classics.... Never bothered me when James Cagney or Humphrey Bogart shot up their ganster rivals with a barrel of bullets with not a spec of blood or even a bullet hole.

anyone pointed out how close this sequence was - i mean it was a quote - to the end of bonnie and clyde ( dead girl in van slumped over wheel of a bullet ridden van with shooter/ partner dead in back) ...
?

I have seen it mentioned... But it might seem more like a ironic nod to them... hutch and Chantal are a post modern Bonnie and Clyde without a real mission in life. In the iconic death scene, Clyde is not in the car, and we view the two lovers connected with the rapid close ups, eyes locked together in unity. The gun fire treated like poetry. I don't see Lynch being influenced by the film or that scene at all... Maybe by the people Bonnie and Cyle and what happened to them in real life. I love both scenes though.

TheGum wrote:While we're complaining...

I keep wondering why so many people keep referring to Richard's "electrocution"

I feel like it is SO much more than something that simple. His whole body is broken down into essentially vapor, and we see it happening from the legs and arms up. It has always struck me as a complete annihilation of his entire being. The visual strikes me as a cue to realize this isn't just something happening to his physical body, but his soul and existence as well.

Agreed. His death might involve electrocution, but it certainly seems to go well beyond it into something more extreme.

Audrey Horne wrote:

referendum wrote:audreyhorne

Ha... Going back to the Production Code era of classics.... Never bothered me when James Cagney or Humphrey Bogart shot up their ganster rivals with a barrel of bullets with not a spec of blood or even a bullet hole.

anyone pointed out how close this sequence was - i mean it was a quote - to the end of bonnie and clyde ( dead girl in van slumped over wheel of a bullet ridden van with shooter/ partner dead in back) ...
?

I have seen it mentioned... But it might seem more like a ironic nod to them... hutch and Chantal are a post modern Bonnie and Clyde without a real mission in life. In the iconic death scene, Clyde is not in the car, and we view the two lovers connected with the rapid close ups, eyes locked together in unity. The gun fire treated like poetry. I don't see Lynch being influenced by the film or that scene at all... Maybe by the people Bonnie and Cyle and what happened to them in real life. I love both scenes though.

it can't be understated the degree to which TP and Lynch's other films quote from other sources. This is a way of integrating the world we already exist in into his self constructed fictional reality. Film and life and dreams and meta-matter are all grist to the mill to him as to his viewers. All of it talks to a part of us. Of course it pisses alot of people off.

anybody know who the jazz musicians on stage for "Audrey's Dance" are? i don't think they were credited

Does anyone know the length of the final two episodes? I'm hoping part 18 at least is a bit longer than the usual 60 minute run time.

Throughout all the lead up to this season, I was expecting this would be the final piece of the Twin Peaks franchise, and I was perfectly content with that. Now on the eve of the finally knowing we may be watching the final two hours not only of the Twin Peaks franchise but possibly of David Lynch's cinematic career, I definitely find myself hoping that's not the case.

I'm primarily interested in seeing David Lynch continue to produce cinematic before he becomes too old for it to become viable. All indications are Twin Peaks would remain the most commercially viable project for him. So I hope it happens, but nevertheless I will savor this finale as though it were the final statement form David Lynch and the Twin Peaks franchise.

One thing I'm really interested in after watching the finale is piecing together a timeline of what happens when in relation to other things (ny vs Vegas vs washington etc) we know it's not all shown in a linear way- possible time glitches aside, coopers lodge exit and brief appearance in NYC for example is shown in episode 3, but occurs in episode 1, for example. (Also just rewatched ep 1- what were those horny fools thinking!? Like- even barring getting killed, there's cameras everywhere, he'd definitely be fired)

AgentEcho wrote: Throughout all the lead up to this season, I was expecting this would be the final piece of the Twin Peaks franchise, and I was perfectly content with that. Now on the eve of the finally knowing we may be watching the final two hours not only of the Twin Peaks franchise but possibly of David Lynch's cinematic career, I definitely find myself hoping that's not the case.

Not really a spoiler, but I'll talk about the finale so I'll use the tag.

TheGum wrote:One thing I'm really interested in after watching the finale is piecing together a timeline of what happens when in relation to other things (ny vs Vegas vs washington etc) we know it's not all shown in a linear way- possible time glitches aside, coopers lodge exit and brief appearance in NYC for example is shown in episode 3, but occurs in episode 1, for example. (Also just rewatched ep 1- what were those horny fools thinking!? Like- even barring getting killed, there's cameras everywhere, he'd definitely be fired)

I'm really liking this proposed sequence of events, where things are taking place in 2016 and Coop got sent back in time about 10 days when he traveled through the electrical socket. This helps explain why it took him 10 days or so to "wake up".

https://25yearslatersite.com/2017/09/02 ... -timeline/

Wonderful & Strange wrote:

Ross wrote:I think some of the effects are absolutely awful. But I certainly believe they are exactly what Lynch wanted. Just because they are intentional, doesn't mean that I am supposed to like them.

Fixed.

Fans can't seem to understand that art isn't always trying, or ever trying, to produce enjoyment in the audience.

There are many other effects artists try to produce in people, especially members of the avant garde. Estrangement, disturbance, dislocation.

It always makes me chuckle when fans assume Lynch wants you to enjoy everything like a piece of pie. It's not really about creating a commodity. At least not an easily consumable commodity.

So the effects look as intended, AND we aren't supposed to like them.

claaa7 wrote:anybody know who the jazz musicians on stage for "Audrey's Dance" are? i don't think they were credited

They weren't credited. Dean Hurley said in a podcast they're background actors who are also session musicians: http://blog.kexp.org/2017/08/27/the-mus ... ie-vedder/

He also said the Rhodes piano onstage belonged to Johnny Jewel.