World of Blue - Archived Forum 2007-2022
a Twin Peaks and David Lynch Electrical Resource
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As someone who participated in that discussion, it was fun. There's nothing wrong with having fun, and it was a very innocent discussion.waferwhitemilk wrote:To me this thread is a lot more interesting than the main one for epi 13 anyway where i swear they've been discussing a digital glitch that you can't even see for like the last 10 pages or more!
I once read an article about a famous director that used to fill cabinets with stuff, and closet with clothes even if they were never going to be opened. Sometimes they do stuff as a small touch of art, at times it means something, sometimes it's just because the director feels like it. I don't think that Big Ed's is a glitch because of his look after it and because the reflection disappears. Also I can't believe that the guy in charge of creating the effect is so bad, I mean I would have noticed it!Aqwell wrote:To be fair, even on my modest laptop I was able to see it (after hearing about it in a review on youtube). And Big Ed Hurley's facial expression can easily be interpreted as a reaction to his own reflection. But even if it is deliberate what would be the point of all of this little easter eggs/glitches? It adds nothing to the plot and has no logical explanation. I prefer to believe that's just meaningless post-production errors rather than L&F having fun with the fans.waferwhitemilk wrote:i swear they've been discussing a digital glitch that you can't even see for like the last 10 pages or more!
Hi, LateReg, and thanks for your reply. But I have to disagree. Inland Empire, IMO, had very little to do with Lynch's pure style, as you describe it. It was much less whimsical and structured than, say, Eraserhead, or The Alphabet. It was messy, visually unpolished, and rambling. I might be mistaken, but I get the feeling that many Lynch enthusiasts seem to consider every latest Lynch project as his purest and most unfiltered, no matter how good or bad it is. That said, I still have to admit that TPTR has moments of pure, unfiltered brilliance, but they are too few and far between for me.LateReg wrote:I'll bite. You're on the right track. Obviously it's not about nostalgia as we don't want it to be like Eraserhead, it's about Lynch being unfiltered, following his muse, being in touch with the purest version of himself which he seems to have returned to with Inland Empire. An artist displaying a pure personal expression is what I'm after, warts and all. That's all there is to it.boske wrote:This will surely summon them here. From what I understood, they find that Esaserhead is the Lynch with no constraints. So if given free hand and big budget on any project, any content that comes out from him will look just like that. There.AhmedKhalifa wrote:I think it's also bizarre that detractors of THE RETURN are criticized for being nostalgic for favoring the original series. While the diehard supporters of THE RETURN keep saying that Lynch is returning to the styles and motifs of ERASERHEAD and his short films, which they love!!! How's that not being nostalgic, too??
A.k.a., I think The Return is a clear evolution of Lynch's style. A more minimal yet more extreme version of himself as Nevins said. But as pure as he's ever been, and I think that's incredibly rare for any filmmaker this far into their career.
Hi. I guess I mean (and this is the line on it going back to its original reviews) that Inland Empire is Lynch's subconscious being poured onto the screen with no filter. The visually unpolished aspect (low fi digital cameras that he could shoot on the fly with as ideas came to him) greatly aided this. Since its so free to flow out onto the screen with little regard for what we'd typically consider narrative, it comes across as his purest expression since Eraserhead. I totally get what you're saying though (Eraserhead is a perfect film whereas Inland Empire is not by any means), I just think we are coming at it from slightly different angles.AhmedKhalifa wrote:Hi, LateReg, and thanks for your reply. But I have to disagree. Inland Empire, IMO, had very little to do with Lynch's pure style, as you describe it. It was much less whimsical and structured than, say, Eraserhead, or The Alphabet. It was messy, visually unpolished, and rambling. I might be mistaken, but I get the feeling that many Lynch enthusiasts seem to consider every latest Lynch project as his purest and most unfiltered, no matter how good or bad it is. That said, I still have to admit that TPTR has moments of pure, unfiltered brilliance, but they are too few and far between for me.LateReg wrote:I'll bite. You're on the right track. Obviously it's not about nostalgia as we don't want it to be like Eraserhead, it's about Lynch being unfiltered, following his muse, being in touch with the purest version of himself which he seems to have returned to with Inland Empire. An artist displaying a pure personal expression is what I'm after, warts and all. That's all there is to it.boske wrote:
This will surely summon them here. From what I understood, they find that Esaserhead is the Lynch with no constraints. So if given free hand and big budget on any project, any content that comes out from him will look just like that. There.
A.k.a., I think The Return is a clear evolution of Lynch's style. A more minimal yet more extreme version of himself as Nevins said. But as pure as he's ever been, and I think that's incredibly rare for any filmmaker this far into their career.
I loved it. Really, really loved it.mlsstwrt wrote:Interested to hear you people's thoughts on Ep 14. I haven't seen it yet but can't resist taking a look at the main thread.
Sounds like people loved it and am looking forward to watching it. I have a genuine fear from what I'm reading that they're going in a direction with Sarah/Laura that I really hoped they wouldn't.
Looking forward to watching it! Am guessing maybe I'll think the overall quality is better but may have an issue with the direction Lynch is going with Sarah/Laura. I really wanted them to be human beings exposed to the supernatural but not created/'infected' by it. I'm really concerned about this because there's no way this won't have retroactive effect. My biggest fear throughout this isn't that The Return would suck, it's that it would change my feelings towards the original. Mind you second half of Season 2 was absolute garbage and that didn't do it so maybe I'll be ok.yaxomoxay wrote:I loved it. Really, really loved it.mlsstwrt wrote:Interested to hear you people's thoughts on Ep 14. I haven't seen it yet but can't resist taking a look at the main thread.
Sounds like people loved it and am looking forward to watching it. I have a genuine fear from what I'm reading that they're going in a direction with Sarah/Laura that I really hoped they wouldn't.
My wife said that this is one of the best episodes ever. I will see what my kids think about it tomorrow (I will have to slightly forward one scene due to continuous usage of the c-word).
I would be surprised if any of the disappointed crew likes it. It's the epitome of where season 3 is going, so...
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Oh God, I'm sort of dreading watching this after reading your last line. I can't read the main thread anymore. Wow that was the most amazing hour of TV ever created! But.... but what the hell was going on?ShelleyAgedWell wrote:Glove guy's story of his encounter with the Twin Peaks otherworld was ridiculous. At least the reveal of the portals in Buckhorn, and Jack Rabbit's Palace have decent backstories. Glove guy however merely walks home from the pub and stands on a box of crates. What is the purpose of him being given a glove that provides super strength? What is the purpose of him fullstop? He made it sound as if he upped sticks to America like it was merely catching a bus into a town centre. Is whoever paid for his airplane ticket continuing to help him?
I'm really not a fan of the portals/entrances now having international range. It strengths my feelings that The Return is more of a Twin Peaks spin-off than a continuation. I'm genuinely interested in the origins of the spiritual side to Twin Peaks but my intrigue is being increasingly smothered ever-growing blob of a plot involving the FBI, the Pentagon, cover-ups, nuclear bombs, transatlantic supernatural entrances and more. It just feels like a mess right now, and one that becomes weirder for the sake of being weird as the weeks go by.
On that note, also not a fan of Sarah Palmer sharing her "dead" daughter's supernatural ability to remove her face and using it to unleash evil teeth to kill a perv in a bar.
Sarah enters a bar (not the Roadhouse) looking nervous and orders a drink. A man, who looks sinister himself, approaches her. Sarah asks him to leave her alone, to which he responds by calling her a "lesbo" and asking if she "eats c***". Sarah says she'll "eat him" and...well, does by removing her face to reveal supernatural teeth, which appear to bite the man on the neck causing serious injury. Sarah pretends to not know what's happened although the bartender remains suspicious.mlsstwrt wrote:Oh God, I'm sort of dreading watching this after reading your last line. I can't read the main thread anymore. Wow that was the most amazing hour of TV ever created! But.... but what the hell was going on?ShelleyAgedWell wrote:Glove guy's story of his encounter with the Twin Peaks otherworld was ridiculous. At least the reveal of the portals in Buckhorn, and Jack Rabbit's Palace have decent backstories. Glove guy however merely walks home from the pub and stands on a box of crates. What is the purpose of him being given a glove that provides super strength? What is the purpose of him fullstop? He made it sound as if he upped sticks to America like it was merely catching a bus into a town centre. Is whoever paid for his airplane ticket continuing to help him?
I'm really not a fan of the portals/entrances now having international range. It strengths my feelings that The Return is more of a Twin Peaks spin-off than a continuation. I'm genuinely interested in the origins of the spiritual side to Twin Peaks but my intrigue is being increasingly smothered ever-growing blob of a plot involving the FBI, the Pentagon, cover-ups, nuclear bombs, transatlantic supernatural entrances and more. It just feels like a mess right now, and one that becomes weirder for the sake of being weird as the weeks go by.
On that note, also not a fan of Sarah Palmer sharing her "dead" daughter's supernatural ability to remove her face and using it to unleash evil teeth to kill a perv in a bar.
Actually, I've been consistently profoundly disappointed (other than maybe episode 8 ) and this episode was thoroughly enjoyable for me. All I've been complaining about all season has been terrible writing. Once they cut out all the extra characters who neither move the plot forward nor give us any reason to care about them at all and cut out a majority of the dialogue it instantly became WAY more enjoyable for me. On top of that he's finally returning to that "fever dream" feeling that was so central in seasons 1 and 2 which I'm through the roof with excitement over.yaxomoxay wrote:I would be surprised if any of the disappointed crew likes it. It's the epitome of where season 3 is going, so...
all this is almost exactly the same way i felt about the latest episode as i wrote in the main episode thread.. i hated the Green Glove guy, it felt as such bad writing to me, the glove transform him into a super hero with super strenghts.. i guess this might have been a storyline that was cut from Mark Frost's "Fantastic 4" script but it has nothing to do with Twin Peaks. i prefer Little Nicky's storyline tbh.ShelleyAgedWell wrote:Glove guy's story of his encounter with the Twin Peaks otherworld was ridiculous. At least the reveal of the portals in Buckhorn, and Jack Rabbit's Palace have decent backstories. Glove guy however merely walks home from the pub and stands on a box of crates. What is the purpose of him being given a glove that provides super strength? What is the purpose of him fullstop? He made it sound as if he upped sticks to America like it was merely catching a bus into a town centre. Is whoever paid for his airplane ticket continuing to help him?
I'm really not a fan of the portals/entrances now having international range. It strengths my feelings that The Return is more of a Twin Peaks spin-off than a continuation. I'm genuinely interested in the origins of the spiritual side to Twin Peaks but my intrigue is being increasingly smothered ever-growing blob of a plot involving the FBI, the Pentagon, cover-ups, nuclear bombs, transatlantic supernatural entrances and more. It just feels like a mess right now, and one that becomes weirder for the sake of being weird as the weeks go by.
On that note, also not a fan of Sarah Palmer sharing her "dead" daughter's supernatural ability to remove her face and using it to unleash evil teeth to kill a perv in a bar.
Maybe this just goes to show how incredibly low my bar has been set, but I was so excited just to see a single plot element (the firefighter) being mentioned twice in the same episode! I'm so fucking sick of having weak storylines' scenes strung up so far from each other that I've already forgotten the last scene when we finally get the next one. For once I was like "what was the firefighter again? Oh yeah! We just learned about that like 5 minutes ago" rather than having to be like "uhhh I can remember vaguely feeling bored out of my mind over this concept but I can't for the life of me remember what it is"ShelleyAgedWell wrote:Glove guy's story of his encounter with the Twin Peaks otherworld was ridiculous. At least the reveal of the portals in Buckhorn, and Jack Rabbit's Palace have decent backstories. Glove guy however merely walks home from the pub and stands on a box of crates. What is the purpose of him being given a glove that provides super strength? What is the purpose of him fullstop? He made it sound as if he upped sticks to America like it was merely catching a bus into a town centre. Is whoever paid for his airplane ticket continuing to help him?
, but either she can't act or they don't give her enough to do so)