Episode 27

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Re: Episode 27

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TwinPeaksFanatic wrote:Next question I have is, why is everyone's hand shaking?
Pretty sure it has something to do with BOB's hand emerging from Glastonbury Grove at the very end. Like others have said, perhaps BOB is "trying on" new hosts like the rest of us may try on gloves....
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Re: Episode 27

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Not much to say about this one that hasn't already been said. It easily stands out as the highlight in the Episode 17-28 stretch of the show (with the only possible competition being 25 -- but for me, aside from the wonderful Diner sequence, 25 as a whole isn't nearly as engaging as this one). And, while the script does get some good narrative momentum going (dugpas!), the change comes down largely to the way Gyllenhaal elevates and riffs on the material. I think what he does here is what Lynch hoped more of the directors would do: use the script as a blueprint, and go to town, creating a mood.

Something I haven't seen mentioned in this thread: is it common knowledge that when Garland starts to fade in the interrogation, he's (sort of) reverse-saying "That gum you like is coming back in style"? (Yes, Peyton & Engels got the quote wrong....sigh.) The script spells it out....but, curiously, he's saying the words in forwards order while pronouncing each word backwards! So his proclamation, when played in reverse, would actually be "Style in back coming is like you gum that"! If you know what he's saying, you can partially make it out in the episode...I hear, "Taht mug uoy (garbled/unintelligible) gnimoc! ni (gasping, trails off)."

Oh, and also, Ben's mustache in those photos deserves a mention.
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Re: Episode 27

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Yesterday I made it up to this episode in my rewatch.

I started this tread a while ago and many tings have been discussed since. Probably also my remark below, but I'm too lazy to look it up :) :

The shift of tone in this episode is remarkable. From this point on, I really started enjoying TP again. It makes me wonder if Lynch from here on was somehow more involved again in the show.
Also: we all know that the red room was not supposed to show up in the final episode as it did (as not scripted). Yet it is briefly shown in this episode. The hand of Lynch?
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Re: Episode 27

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Richard Wurman (who edited the Access Guide) was on a podcast where he said DKL took the photos of Tim & Tom, which were obviously on-set photos from this episode's shoot. Maybe he's mistaken, but that does create the intriguing possibility that DKL was on set for at least a bit of the shoot. And of course Gyllenhaal has said he got DKL's blessing for the "hand" thing.

The Red Room appearance is one of those great enduring behind-the-scenes mysteries. Can anyone say definitively if the reflection was projected on set or added as an optical later? One way or the other, Gyllenhaal shot it as a pan-down, indicating that SOMETHING was supposed to be reflected there.

Or, maybe DKL went back and shot it / reshot it during the production of Episode 29? There's an outtake on the Blu Ray showing Harry & Coop at the Miss Twin Peaks pageant with DKL's name on the clapboard and "2022" as the episode, indicating that DKL did some pick-ups for Episode 28 during production of the finale. He could certainly have redone the finale scene of 27 while he was out at Glastonbury Grove.
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Re: Episode 27

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Mr. Reindeer wrote:Richard Wurman (who edited the Access Guide) was on a podcast where he said DKL took the photos of Tim & Tom, which were obviously on-set photos from this episode's shoot. Maybe he's mistaken, but that does create the intriguing possibility that DKL was on set for at least a bit of the shoot. And of course Gyllenhaal has said he got DKL's blessing for the "hand" thing.

The Red Room appearance is one of those great enduring behind-the-scenes mysteries. Can anyone say definitively if the reflection was projected on set or added as an optical later? One way or the other, Gyllenhaal shot it as a pan-down, indicating that SOMETHING was supposed to be reflected there.

Or, maybe DKL went back and shot it / reshot it during the production of Episode 29? There's an outtake on the Blu Ray showing Harry & Coop at the Miss Twin Peaks pageant with DKL's name on the clapboard and "2022" as the episode, indicating that DKL did some pick-ups for Episode 28 during production of the finale. He could certainly have redone the finale scene of 27 while he was out at Glastonbury Grove.
The two of them on the pageant's stage doesn't look like a pick-up... I once heard the story that there was a break early during the filming of ep29 because of a costuming mishap with the actors involved in the pageant, who had to go change. So I figured that that outtake could be Lynch, MacLachlan and Ontkean (neither of whom had to change into a pageant-specific costume, surely) goofing off to kill some time...
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Re: Episode 27

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laughingpinecone wrote:
Mr. Reindeer wrote:Richard Wurman (who edited the Access Guide) was on a podcast where he said DKL took the photos of Tim & Tom, which were obviously on-set photos from this episode's shoot. Maybe he's mistaken, but that does create the intriguing possibility that DKL was on set for at least a bit of the shoot. And of course Gyllenhaal has said he got DKL's blessing for the "hand" thing.

The Red Room appearance is one of those great enduring behind-the-scenes mysteries. Can anyone say definitively if the reflection was projected on set or added as an optical later? One way or the other, Gyllenhaal shot it as a pan-down, indicating that SOMETHING was supposed to be reflected there.

Or, maybe DKL went back and shot it / reshot it during the production of Episode 29? There's an outtake on the Blu Ray showing Harry & Coop at the Miss Twin Peaks pageant with DKL's name on the clapboard and "2022" as the episode, indicating that DKL did some pick-ups for Episode 28 during production of the finale. He could certainly have redone the finale scene of 27 while he was out at Glastonbury Grove.
The two of them on the pageant's stage doesn't look like a pick-up... I once heard the story that there was a break early during the filming of ep29 because of a costuming mishap with the actors involved in the pageant, who had to go change. So I figured that that outtake could be Lynch, MacLachlan and Ontkean (neither of whom had to change into a pageant-specific costume, surely) goofing off to kill some time...
Thanks for the reply. Some interesting anecdotes!
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Re: Episode 27

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One of the best episodes of the last few - or at least one that has some of the best, most Lynch-like moments (until Episode 29).

For once, the German episode title here is very fitting. It does feel like this episode should be called "The Path to the Black Lodge", given that it's got so much foreshadowing and exposition and characterisation about the lodges here.

Episode 27 feels more like a penultimate episode than Episode 28. I suppose it is a penultimate episode, in that it's the last stand-alone episode aired before the finale, but what I mean is this episode would have made a stronger lead-in to 29 than Episode 28 (which I know was originally aired together with 29 as the finale).

It seems pretty clear to me that Lynch was involved in these last few episodes, ever since Episode 23, where he suggested Josie in the drawer pull (and likely suggested Bob, LMFAP, and Josie in the mirror too), then appeared on set in 25 and 26, and now some of the touches here - the shaking hands, the Josie mentions, and in particular the closing shots and the red room appearing in the puddle - all feel very much like Lynch too. (There's already been some interesting discussion on these elements earlier in the thread, so won't reiterate much of that here.)

Fairly strong opening scene here, at the gazebo, picking up from where the previous episode left off.

Interesting scene with Doc Hayward and Ben here, though I'm still not a big fan of this subplot. It feels sort of distacting and out-of-place in this final stretch. Ditto the Lucy pregnancy/who's-the-dad plot.

The John Justice Wheeler and Audrey plot continues - and wraps up. Not much to say about it, except I like the Pete/Audrey interactions the most in this subplot.

More Lana. More Ugh.

Cooper's scene with Shelly, Audrey, and Donna is interesting. Some people have said Sherilyn Fenn seems a bit distant towards Kyle in this scene. Not sure whether I agree or not. But I think Lara Flynn Boyle seems a bit cool/distant here too. But maybe they're just trying to play up the apparent seriousness of the Earle stuff. Difficult to know whether there's behind-the-scenes tension here or not.

Earle looks great here. The black clothes really suit him.

Previously I've said I liked the horse scene here where Earle and Leo attack Briggs in the woods. I'd said that, despite it being ridiculous, that I found it almost eerie. But this time around it didn't do much for me for some reason.

The Cooper/Annie interaction in the diner is a very strong scene. The slow, creepy pull out, the syrupy dripping coffee - all ominous foreshadowing on their relationship, the lodge, and Episode 29 in general. But again, this has all been discussed earlier in this thread.

The box mystery continues.

More on the lodge and a mention of dugpas via the Earle videotape. This is not never really expanded on again, I don't think?

Briggs in the cabin with Earle is great stuff. I love his line about love.

And another strong Cooper/Annie scene in the roadhouse. More ominous foreshadowing. The Giant appearing on the stage is great and a strong callback to Episode 14.

The shaking hands scenes almost certainly indicate Bob as they visually connect with the shot of Bob's hand appearing at the end, feeling his way into the world. It looks like he was trying to feel out hosts. Some have said it just indicates the closeness of the lodge. Could be that too.

Not sure what else to say here, as so much has already been written on this episode, but suffice to say, this episode has some really strong, powerful scenes and some very, strong, very Lynchian visuals. The closing shots of the town and Bob appearing in Glastonbury Grove, while the camera pans down to the pool and the shot of the red curtains and jazz music appears on the soundtrack feels like the perfect lead-in to 29, but first some silliness will have to be endured in Episode 28.

All in all, a great episode, one of the strongest and one with some very intriguing stuff, that bears a lot of rewatching and analysis!
Last edited by Jonah on Thu Oct 17, 2019 5:11 pm, edited 1 time in total.
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Re: Episode 27

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Definitely the best episode since 16.
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Re: Episode 27

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Mr. Reindeer wrote:Richard Wurman (who edited the Access Guide) was on a podcast where he said DKL took the photos of Tim & Tom, which were obviously on-set photos from this episode's shoot. Maybe he's mistaken, but that does create the intriguing possibility that DKL was on set for at least a bit of the shoot. And of course Gyllenhaal has said he got DKL's blessing for the "hand" thing.

The Red Room appearance is one of those great enduring behind-the-scenes mysteries. Can anyone say definitively if the reflection was projected on set or added as an optical later? One way or the other, Gyllenhaal shot it as a pan-down, indicating that SOMETHING was supposed to be reflected there.

Or, maybe DKL went back and shot it / reshot it during the production of Episode 29? There's an outtake on the Blu Ray showing Harry & Coop at the Miss Twin Peaks pageant with DKL's name on the clapboard and "2022" as the episode, indicating that DKL did some pick-ups for Episode 28 during production of the finale. He could certainly have redone the finale scene of 27 while he was out at Glastonbury Grove.
There's a still (on the Complete Mystery box?) of JJW walking away from Tim & Tom's taxi, which suggests there could have been a deleted scene of JJW being driven to the airport.
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Re: Episode 27

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There was speculation earlier in this thread about the identity of the male actor Gyllenhaal didn’t like personally, but felt was great in the role because the character was also vain. The best guesses seem to be Welsh and Beymer, with Zane as an outside choice (his character isn’t really vain, and frankly I also am not sure Gyllenhaal would call him great in the role). Someone said Ian Buchanan, which would make sense except that he’s not in this episode! I would also posit Dan O’Herlihy as a possibility, although he’s only in one scene this episode. As a REALLY outside possibility, David Lander as Tim Pinkle, whose scene was cut from the episode! My personal first instinct was Beymer, but Welsh seems most likely to me given how heavily he’s featured in this one, and how Gyllenhaal seems to have directed him to a somewhat more focused performance than his prior episodes.

Speaking of, the character of Windom does hit a bit of a stride in this one. I wouldn’t exactly call it a restrained performance or a slam-dunk by any standard, but the insane cackling seems more creepy and less camp. Maybe it’s as simple as the fact that he’s not in his longjohns? He has some really great moments in this one, like pretending to play catch with Leo with the syringe, or feigning fear when Leo comes at him with the shock collar controller. For the first time his maniacal glee feels more infectious than forced. The “dugpa” video is of course great as a view of what he was like before he went insane—dorky and nervous, much less confident. Note the persistent nervous cough. The performance sort of reminds me of Andrew Scott as Moriarty on the BBC show Sherlock. Another really fun detail is that in the present-day, he is mockingly wearing the American flag pin on his lapel (which we have previously seen Albert and Gordon wearing).

It’s a small thing, but I love Harry and Dale tapping on Lucy’s counter when they say good morning. It’s these little character beats that I miss in a lot of the episodes from this era. Dale’s spin on the diner stool is another nice example.

Even though TP was a show that people analyzed deeply, I don’t think it was ever really a freeze frame show, strewn with what we would now call Easter eggs, for most of its run. Maybe I’m wrong about that, but it feels like a shift to be suddenly inundated by symbols everywhere. The Owl Cave petroglyph has astrological symbols for several planets. Presumably piggybacking off Earle’s research in the 1960s, Briggs tells Cappy to investigate whether certain symbols are related to harvest schedules or ancient calendars. The symbols seen hanging around the conference room have a far more sinister connotation: they’re symbols from the Ars Goetia used in the summoning of demons (symbols for Belial and Asmoday, demon of lust, are seen amongst others). And the puzzle box has moon phases paired with Zodiac birth signs. (Is there any logic to the pairings between sign and moon phase? Does Andrew supposedly entering dates by pushing three buttons make any kind of sense to anyone with knowledge of astrology?)

BTW, for those who missed it, Jasper, wxray and Curious Woman did some nice work a few years ago tracking down some of the actual Native petroglyphs that inspired the Owl Cave one. Starting around Page 81 of the Part 8 thread: viewtopic.php?f=31&t=3650&start=1200

Cooper claims Earle’s various shenanigans to date (killing hobos, leaving Dale the death mask, the chess game) have all been camouflage. But if Earle hadn’t done those things, no one would even know he was near Twin Peaks, and he could search for the Black Lodge undetected! That’s literally the opposite of camouflage! I guess the argument could be made that he wants to bait Dale into the Lodge in order to destroy him, but he could easily have done that without all this buildup by just kidnapping Annie as he ultimately does. (I know, I know, he’s torturing and taunting Dale like a supervillain.)

For that matter, Earle’s whole obsession with who wins Miss Twin Peaks is REALLY silly. Clearly Dale cares most about Annie, so why wouldn’t Earle just make her “his queen“? It’s the most sensible strategy to bait Dale. Imagine what Episode 29 would be like if Lana had won?

The continuing question I keep asking: did Garland already know about Judy from his official/unofficial research into the Lodges? Did he gain knowledge of her during his disappearance? If so, when does he become conscious of that knowledge? Or, now, another possibility: did Earle learn about Judy in the 1960s, and Garland and Dale will now learn from Earle’s papers? Note that Garland only seems to recall the bit about Jupiter and Saturn meeting when Earle drugs him (otherwise he would have presumably told Cooper and Harry earlier). So is more of the knowledge from the time of his disappearance coming back while he’s drugged?

I know the general assumption is that Ben sees Josie when he spins around, due to the abrupt transition to Pete saying her name and seemingly seeing her in the wood. But maybe what we’re seeing is just Ben hearing the ringing from TR for the first time? A sound is heard which isn’t exactly the same but is similar. It would be interesting to someday find out if the whole storyline with the ringing in TR was influenced by this moment, likely improvised by Gyllenhaal. Ben’s storyline in TR really does spring directly out of these late season 2 episodes, much moreso than anyone else besides possibly Cooper (and even his arc was mostly just an extension of E29, ignoring the prominent Earle and Annie storylines that took up much of his later S2).

BTW, note that the script also has no mention of Pete talking to Josie. In the script, he is stepping toward the bar when Audrey intercepts him. Another Gyllenhaal innovation?

It’s a very sweet moment when Harry, days after losing Josie, responds to Cooper saying he sounds foolish talking about Annie: “No, no, man. Sounds lucky.”

I’ve never been quite clear on whether Earle and Briggs knew each other in Blue Book, but the implication seems to be that they did: “Long time no see, Briggsie!” Also note that Earle’s stint loaned out to Blue Book in 1965 predates Gordon and Jeffries finding Lois Duffy in 1975, so it is possible that Gordon had no idea of Earle’s involvement in supernatural research.

Nance appears to be doing his own driving in the shot as Pete speeds down the runway! Not in the shot where he pulls in front of the plane though.

It’s kind of funny that neither Andrew nor Catherine is at all suspicious of the gift from his archenemy. Andrew says it might be a Fabergé egg! :lol: For master schemers, they are pretty easily duped. The only thing I can think of is that Catherine left things with Eckhardt on pretty good terms between them in Episode 23. Maybe they assume the box was Eckhardt’s intended payment for Catherine delivering Josie, I guess, and they’re assuming Eckhardt never had a chance to tell Jones Andrew was alive. To their credit, it’s really not clear when Eckhardt had the opportunity to rig this elaborate Jigsaw-esque posthumous revenge.

It’s also a little odd that Andrew seemingly hasn’t revealed his “resurrection” to the Twin Peaks community, but he’s jet-setting to Paris and Beijing as the face of Ghostwood!

Andrew says there will be a golf course right next to the Great Northern. White Tail Falls would be a hell of a water trap! But also, this appears to place the golf course really far from Ghostwood Forest, based on all the official town maps that have ever been seen.

There’s a really nice mood to that whole Roadhouse scene. I love the way Cooper emerges out of the crowd of dancers in his double-breasted suit, offering his hand and then standing there stubbornly when she refuses. It’s all very romantic.

The show gets some of its best use out of Dwayne in this scene, mixing his silliness with the eerie Giant stuff in a really effective way.

Do we ever see the Giant/Fireman genuinely panicked like this anywhere else in the show? It’s unsettling. He’s usually pretty unflappable, even when he’s extremely disturbed in Part 8. It’s also interesting because I think most of us assume he WANTS Cooper to enter the Lodge as part of the overarching plan against Judy.

That Pete/Audrey scene is one of Nance’s best moments on the show. It’s such a strange pairing, and such a bizarre circumstance (Pete patiently waiting outside as the 18-year-old daughter of the man his wife has been screwing loses her virginity). But Nance is really sweet. I love the delivery of the line, “He promised” (even though Pete never actually heard Jack promise any such thing). Do we think Jack ever contacted her again? I’d like to think so, he doesn’t seem like a terrible guy. Wonder how he reacted to her pregnancy.

I’ve said it before and I’ll say it again: I would love a better-quality version of that town map on Earle’s screen.

It’s probably been said before, but in actuality, no conjunction of Jupiter and Saturn occurred between 7/24/1981 and 5/28/2000. If anyone’s looking to cross over, the next one is this year, 12/21/2020.

This episode in Dale’s Diet:
— Coffee (in his FBI mug) while talking to Garland & co. in the conference room
— Coffee at the Double R (Annie: “Coffee?” Dale: “You bet”)
Last edited by Mr. Reindeer on Sun May 03, 2020 11:24 pm, edited 8 times in total.
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Re: Episode 27

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David Locke wrote:Even things which are normally not creepy become so here, like the scene of Leo zapping himself as Earle laughs like a madman -- a rare scene in which Earle is fairly effective. He's also good in the horse-suit costume to an extent, which manages to make the best of a silly idea; I think it's mostly the sheer weirdness of seeing this horse costume in the middle of the woods that sells it. And Earle is great in that last scene of his, where he seems more unhinged than ever as he talks of the map to the lodge; it seems Earle is most interesting when he's weirder and more almost mentally unbalanced, instead of when he's a disguise-wearing prankster or evil genius who rattles off eloquent paragraphs of exposition. Gyllenhaal seems to understand this. Lynch did most of all -- just look at Earle's scene in the truck with Annie and how he seems like not an incredibly intelligent super-villain but rather a broken, delusional freak. In hands like Lynch's or Gyllenhaal, then, Earle is used for his pure visceral craziness, an incomprehensible force of nature, and not his super-logical, brilliant but evil mind.
Just wanted to say, these are my exact feelings on the characterization in this episode, better than I ever could have phrased them.
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Re: Episode 27

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I revisited the great diner tracking shot upon embarking on my “long take” challenge, and although it didn’t come close to winning, I found myself watching it repeatedly. In addition to the camera work, the sound design is incredible. Of course there’s the spooky drone noise (a great Lynchian touch which the man himself echoes in Part 7—the very Part which sent me on the “long take” challenge—during the credits diner scene). But little touches like the guy walking past camera and coughing, and the door squeaking as waitresses come out of the kitchen are so specific and lend a reality to the moment that was missing in so many of these latter S2 episodes.

I mentioned it before, I’ll mention it again: Dale’s lovestruck little spin on the stool (complete with sigh) is absolutely adorable.

It annoys me that the Double R menu cover in TSHoTP vaguely resembles the one seen here, but is clearly an entirely different photo. It would have been so cool if it were the same.

Kyle’s line reading of “I don’t know” is perfect. Also love Graham’s nervous giggle after, “I spent five years trying to comprehend it” (the nervous giggle after the first nervous giggle makes it).

Cooper: “We’re very much alike. We think too much.” Harry in Episode 13: “Sometimes you think too much.”

I kind of wish they hadn’t cut in for a closeup of the kiss. Keeping the whole thing as a continuous, increasingly wide shot up until the crash of the plate might have been really cool. But I have no right to complain, the way they released it is certainly wonderfully effective. Many of the series directors complained that the Double R set was tough to shoot. I don’t know that anyone besides Lynch used it better than Gyllenhaal does here.
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Re: Episode 27

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Mr. Reindeer wrote:Richard Wurman (who edited the Access Guide) was on a podcast where he said DKL took the photos of Tim & Tom, which were obviously on-set photos from this episode's shoot. Maybe he's mistaken, but that does create the intriguing possibility that DKL was on set for at least a bit of the shoot.
Henrys Hair wrote: There's a still (on the Complete Mystery box?) of JJW walking away from Tim & Tom's taxi, which suggests there could have been a deleted scene of JJW being driven to the airport.
Wow. Been a fan for 30 years or almost 30 years, yet I'm just now learning about Tim & Tom's taxi! Wondering what else I've missed?

I'm guessing all the info is here? https://www.twinpeaksblog.com/2019/06/2 ... axi-dermy/
Mr. Reindeer wrote: BTW, note that the script also has no mention of Pete talking to Josie. In the script, he is stepping toward the bar when Audrey intercepts him. Another Gyllenhaal innovation?
More likely Lynch, either a hand's off direction as with his Josie notes for the end of 23 - or direct involvement. Having reread this thread, it's hard to shake the idea he may actually have shot some of this episode.
I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
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Re: Episode 27

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I have no way of proving it, but I always thought the end bit with Bob's hand coming out of the lodge illuminated by the spotlight was directed by Lynch when they did the location work at the glastonbury grove for ep 29, and then they tacked it on to the end of ep 27. there's something about the choreography with the spotlight that screams DKL to me.
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Re: Episode 27

Post by Mr. Reindeer »

JackwithOneEye wrote: Sun May 09, 2021 10:43 am I have no way of proving it, but I always thought the end bit with Bob's hand coming out of the lodge illuminated by the spotlight was directed by Lynch when they did the location work at the glastonbury grove for ep 29, and then they tacked it on to the end of ep 27. there's something about the choreography with the spotlight that screams DKL to me.
I don’t think so, because it’s the payoff to the episode-long “shaking hand” motif that Gyllenhaal created. It seems like he definitely was building to that shot of Bob.
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