Mulholland Drive

yeah it rocks imo, a lot of fun

I think of Wild at Heart as his comedy, or at least his most comic film. There's plenty of disturbing stuff in it, but it's also packed with a kind of gonzo humor, much of it courtesy of Cage obviously. It's not in my top Lynch tier, but I like it a lot.

It's a very good blend of the plot-pulpiness / more drily detached humour of Gifford with the emotional intensity and tendency toward luridity of Lynch.

I think about that metal-slam-dance-to-Elvis-slow-dance scene a lot. With the repeated sample press of the Beatles show girl screams. Absolutely one of his best moments.

Wild at Heart is goofy as fuck but that's why it's enjoyable

part of the horror of inland empire def resides in the shitty fidelity of the sony digital camcorder he filmed it on. it's like david lynch's shot-on-video horror film... or rather it is

― mellon collie and the infinite bradness (BradNelson)

heavily otm

http://www.lynchnet.com/lh/lhpremiere.html

Long lynch piece by David foster wallace around the time of lost highway

Whenever I see Wild at Heart there are entire sections that I have totally forgotten about. So many digressions and short stories within the movie. Has anybody read the book? Does it have a similar format?

Inland Empire is sometimes my favorite Lynch movie but it is also the hardest to watch. I can dive into Mulholland Drive anytime but IE is intimidating.

Eraserhead and Inland Empire are the purest expression of Lynch in film. They are DIY and free of collaborators.

have you seen The Return?
Eraserhead and Inland Empire are the purest expression of Lynch in film.

the reason i ask is because the Return seemed to be Lynch doing what he wanted, at length, finally. at a length equal to all of his films combined. it was awesome

and in a way that immediately called to mind both IE and eraserhead, somehow. it was fucking amazing

the stagehand says it, according to #3 here:

OK, I hear it now - yeah, it's super quiet in the background, as she walks out. Definitely more of an "Easter egg," compared to other parallels and linkages (though you do have to watch closely to track some of them - and don't think it would be possible to catch them all on a single viewing).

The Return was great! It was a collaboration with Frost and it worked with concepts developed by other writers. It allowed Lynch to run amuck around a familiar property that would guarantee funding. I don't mean to sound cynical; Lynch obviously loves the world of Twin Peaks. The best part of TPTR was seeing modern Lynch push and pull at what Twin Peaks could be. Fire Walk With Me strayed a little outside of the familiar universe: Chet Desmond? What? David Bowie? The Return spun out to Las Vegas, Paris, anywhere could be Twin Peaks.

I would love a Laura Palmer/Agent Cooper Route 66 style road trip series.

I'm glad everyone here calls it The Return (like me) – instead of A Limited Event Series, the wack ass name used in home video contexts, for reasons which completely escape me (The Return is obv. a perfect title, in addition to what it was actually called when it aired!).

Whenever I see Wild at Heart there are entire sections that I have totally forgotten about. So many digressions and short stories within the movie. Has anybody read the book? Does it have a similar format?

killfiled by Cow_Art :(

The book (and ime the other Sailor and Lula novellae) is largely a collection of sketches and vignettes and discurses and dialogues and memories too, but iirc barely any of them are adapted for the film.

I mentioned this in another Lynch thread but anyone who loves his work and wants to know the why and how from the horse's mouth should read "Room To Dream". It goes up to The Return chronologically.

“The Return” was coined by Showtime, I believe. I remember an interview with a crew member who said Lynch always just called it Twin Peaks, or season 3.

it was only called Twin Peaks onscreen, right? I assume The Return caught on as a shorthand bcz, as noted, it was so thematically resonant.

Twin P3aks or gtfo imo

can we stop using "dated" as a pejorative?

"Dated" is a phenomenon, not a descriptor.

the digital looked shitty at the time! it's part of it!

Agreed. Either you accept the shittiness or you don't, but it's not some technical failing.

This was def the convo at the time

in fact....

on this board

SILVIO: I don’t know, T. That digital looks pretty rough. Doesn’t sit right with me.

PAULIE (nodding): PD150. It’s to be expected.

TONY: Again with this shit. It’s an AESTHETIC DECISION!

do you have more of that written?

lol wins

i dont think anyone is saying that the look was unintentional. i wont use the d-word but i'll say looking back on it a lot of what worked about it for me is tied to the context. it felt kind of like a stunt, in a good way - lynch following up this great oscar nom'd return to form with a completely experimental noncommercial 3-hour no-budget dv nightmare, thats our boy. hes almost a character in it, you can practically see him there in the room holding the camera and imagine how excited he was reconnecting with his run & gun DIY roots, running around with actor pals, coming up with crazy shit on the fly for them to say & do. and thats all well and good. but as a film, outside of that framing, other than some truly unforgettable moments it just ends up feeling minor to me. almost like a 3hr version of one of his shorts, if that makes any sense.

I assume The Return caught on as a shorthand bcz, as noted, it was so thematically resonant.

“The a limited event series of the repressed”

SILVIO: the Poland shit. Not for me.

CHRISTOPHER: I’m saying, it’s a consistent diegetic world.

PAULIE: the fuck you talking about?

TONY: kid pays $200 for one masterclass, suddenly he’s orson fuckin welles.

HESH: It’s this generation.

PAULIE: 200 bucks?!

CHRISTOPHER (defensive): David had a lot of interesting shit to say about the art life. I got goosebumps

PAULIE: Madonn’!

TONY: Ey Fellini, gimme $200 I’ll teach you about the stugots life!

SOMEONE: Oh!

SILVIO (to nobody in particular): “A little boy went out to play...”

I always think the “muted trumpet” guy is Steve Martin, when he first walks out.

(I promise I’ll stop reviving this thread after this third viewing)

i think a revive per view is to be expected

“What’s it open?”

Ah – I knew the guy sitting next to Diane at the dinner party (“Oh, Camilla was great in that!”) looked familiar:

https://static.wikia.nocookie.net/ferrisbueller/images/9/94/Adams.PNG/revision/latest?cb=20180407120617

(He seems to be sort of a Lynch regular.)

(Link was to this)

http://static1.1.sqspcdn.com/static/f/709071/28245310/1579540743427/bonnie+aarons+david+lynch.png

Rewatched this for the first time in about 15 years last night. It's staggering. I'd absolutely internalised the feel of it (and realised that I was still feeding off it in some way - in the way that the best art continues to be nourishing long, long after the encounter) and remembered a significant amount of it but had also forgotten chunks: the cowboy, the audition(s), the ending.

I've only recently started watching Mad Men (I don't like to rush these things) and I'm more than happy to accept Lynch's Vedic dreamlogic and have Jimmy Barret and 'Dan' echoing within the same universe and the dumpster scene functioning as a kind of karmic reckoning.

That interview with Bonnie Aarons is great. I love that Lynch was happy for to be projecting sexuality in that scene (however buried).

“This is one of the finest espressos in the country!”

https://www.youtube.com/watch?v=jZ9t869USqs

I'd like to know more about Cookie's backstory. The way Adam talks about his flophouse makes it sound legendary, and then he has a sweet side gig working at club silencio?!?

xp I think it’s — “That is considered one of the finest espressos in the world!”

Sadly, it’s not a very “quotable” movie (my only knock against it!); that’s one of the few lines that qualifies. Maybe also, “Don’t drink all the Coke!”

I've lived scenes like Diane's at that party: being alert to humiliations from people once in your life, being seated beside weary sour old ladies while a beat box pitter-patters in the background.

Btw, I was very satisfied w/my 3rd viewing... I picked out even a few more connections btw. the two sections that I hadn't noticed before; and even the "extra pieces" which aren't so easily incorporated – Club Silencio, the old couple, the "bum" behind Winkie's – seemed to make a sort of sense to me.

However you "interpret" those elements – or even if you just think they're random surrealism (ha) – I think they're necessary to keep the story from feeling too pat and "just-so," if that makes sense.

Sadly, it’s not a very “quotable” movie (my only knock against it!); that’s one of the few lines that qualifies. Maybe also, “Don’t drink all the Coke!”

Good call, a few of those others you mentioned are good lines (huh, I hadn’t processed the relevance of “this dream place”—glad you highlighted it!)

I watched the beginning of the Behind the Scenes segment on the Blu-ray – it opens with the Diane/hitman scene in the diner, and Naomi Watts keeps tripping over the line: "It's just an actress's photo resume!" Funny that Lynch insisted on using that phrase, rather than just "headshot."

the one that really feels quotable is the Cowboy, esp. “No, you’re not thinking; you’re too busy being a smart alec to be thinking”.

"There's sometimes a buggy. How many drivers does a buggy have?"

^
Buggy seals it

In the Blu-ray extras, Justin Theroux tells a great anecdote about filming that scene. The producer guy who played the Cowboy didn’t/couldn’t learn his lines, so Lynch ended up taping them to Theroux’s head, face, and chest... he was literally reading them aloud for the performance.

One thing I remember from one of the extras was Laura Harring talking about the direction Lynch gave her for her stumbling walk though the hills. “You’re like a broken doll”, which she found very useful. It struck me, because I’m pretty sure I heard him give exactly the same direction to an actress in another of his works, maybe Phoebe Augustine in Twin Peaks, or Isabella Rossellini in Blue Velvet or Sherilyn Fenn in Wild at Heart or, well, you get the idea.

That childhood experience he talks about with the naked bloody woman staggering out of the darkness runs deep, eh?