Mulholland Drive - theories please.

this movie had good scenes but struck me as super lazy

how

really? compared to what, Saw VI?

at some point dude was just like hay lets put this here, let's make this shit about some box, lets uhhhh, uhhhhh
credits

"Sum'n bit me BAD!"

sspfw, I think you are confusing Lynch w/ the television program "Lost"

i think what uhoh is referring to is the difficulty of turning a tv pilot into a cinematic film... i have a dvd copy of the unedited pilot, 80% of which ends up in MD the film. you can tell where lynch had to adapt more to reach more a cinematic arc than keeping it fit for TV.

that said, i think uhoh couldn't be more off the mark that it was lazy filmmaking.

all in all the movie was pretty bold and great but everything felt super rushed, I love lynch btw

yeah maybe lazy was too harsh, dude was just working with what he had

I'm not gonna retract what I thought about the old people running around all the time tho

anyone gonna help me out with my thoughts here or at least call me dumb or w/e...i think it's important i understand how this film relates to film...its combination of trope and innovation surely contains filmic quintessence?

a combination of trope and innovation

OH MY GOD tell us abt the DVD pilot! Are all the scenes in mostly the same order? What sort of direction does it take? What's in the scenes that were removed?

anyone gonna help me out with my thoughts here or at least call me dumb or w/e...i think it's important i understand how this film relates to film...its combination of trope and innovation surely contains filmic quintessence?

― Electric Universe (wherever that is) (acoleuthic), Monday, January 4, 2010 3:11 PM (3 minutes ago) Bookmark Suggest Ban Permalink

not sure what you're getting at there but the parts of the movie where the film seems to wobble and actually go off the gate could be what you're looking for

...I'm sorta hitting at the film's insistence on placing genuinely classic scenes within a framework that first isolates them and projects them as classic scenes, before somehow incorporating them within a fractal narrative of repeating movie-ness, which comes to define the projection

stevie d,
check here:
http://video.google.com/videosearch?q=mulholland+drive+tv+pilot

i'll try to find a copy online and if not i'll u/l mine.

In my blurb for this I said that few films capture exactly what it feels like to be dumped: the scene in which Naomi Watts makes coffee – where every moment, from spooning coffee to stirring the cup, is weighed equally – is one of the truest depictions of depression I've ever seen.

btw there's a bit near the end where the music is incredible - think it's either the bit with andy the director snogging camilla in the car, or the second lesbian love-scene, or both

score throughout is excellent, i gather the dude who wrote it is the dude spitting coffee everywhere, lol

u know what i love is the opening dance collage scene

that blew me away on 1st viewing

i ate at "Winky's"

it was a Denny's but now it's Caesar's in Gardena.

love the eyebrow guy at winky's

who later showed up in mad men and lost. great agent that guy has.

he was also the video store guy in ghost world.

oh yeah!

i'm watching those madmen eps with this guy and he is great in them

his schtick is so weird i don't know how he gets these parts but he's great in them

ya great screen presence

Attended NYU Tisch School of the Arts, trained at Circle in the Square and graduated in 1992.

Founded and is co-artistic director of the Neurotic Young Urbanites, a Los Angeles theater group created by NYU graduates to give young actors a working environment to continue developing their skills. In addition to appearing in many of their productions, he has co-directed musical productions.

one of the great that guys of the 2000s imo

funny he made such an impression on me in his short scene in MD that when he showed up in LOST i was like.. THAT GUY

he little speech in MD is really delivered so amazing. the little smirks, the fear, the cadence...

https://www.youtube.com/watch?v=NM2t2wqaOsM

samwisediggory (3 days ago)
best scene in the whole movie, love it.

redandjonny (1 month ago)
favorite scene Lynch has ever filmed.

Cmdsouza (1 month ago)
Terrible but the movie is interesting.

iAMcooooooool (2 weeks ago)
Quite the opposite: the movie is terrible and this is the only interesting part of it.

Quite the opposite

noted film scholar iAMcoooooooooooooool

what's crazy is that his dad owns Patrick's Roadhouse in Santa Monica and named the restaurant after him 36 years ago!

Also crazy: Patrick's is on the verge of collapse, they were given their 30 day eviction notice last month and things look bleak.

ya great screen presence

He's fine in that scene, but I didn't remember the eyebrows or that he was in Ghost World.

i mean, the food was average and the drinks sucked but it's a huge landmark for folks who spent time between Malibu and SanMo back in the day.

you could definitely say that about him

o i didn't see the first post.

also no joke the cowboy + andy scene (well, any andy scene really but this one most so) is stone-dead wonderful. but everything about it is self-knowingly wonderful. it's there AS a classic scene AND an experience-within-film. does this make sense? it's just mannered in such a way that is redolent of 'classic hollywood' (the conversational dynamic, the light), but its placement within the fractal narrative is, while seemingly incidental, essential to the narrative's dare I say kaleidoscopic (meant in the true, mirrored-chaos-becoming-idealism way) nature.

it's like "the pictures" have come and ganged up on diane's and our consciousnesses - their faraway, hyperreal quality taunts and thrills. film as raison d'etre and executioner

Jesus is that Rolf from Muppet Babies?

of course the fact this was meant for TV may scupper my pondering

no i dont think so louis, this is a movie about hollywood and delusion and dreams gone really effing wrong, i think that's a fair read

in the movie theater while watching this for the first time, the cowboy scene really put a huge smile on my face.

the cowboy is like john turturro's character in the big lebowski except there's actually a purpose for him to exist, and a genuine mystique created by his slightly ungraspable, oblique hardman wisdom...the spirit of old america, brought to caricature by film, but played for terror rather than comfort

and hey i got no problems with the big lebowski but terror is a way more interesting way to play it...not uncle sam but someone who kills without mercy - the mystique of the cattle drive - what determines a man as alluded to and then spat away by someone who has no time for smartassery - the idea that andy has fucked up on a mortal and profound level, but is allowed to continue directing films...

To what extent is this film about the fractal nature of film?

i don't know if lynch would use the word fractal, but yeah i think the answer is "to a large extent." i'd say something more vague and holistic like, it's about how movies work -- which encompasses everything from the technical to the diegetic. the way something "real" -- real enough to convey emotion and to affect the viewer -- is constructed out of raw materials all built on artifice and make believe. the two thesis statements are the watts audition scene and the nightclub scene, but a lot of the movie either explicitly or implicitly draws on those ideas.

and like i said above LJ - at the points where the movie really seems to rupture, emotionally, the film itself literally breaks and goes off the gate... which kind of sez it all

the nightclub scene is like a magician's grand reveal - a tear was forming in my eye at exactly the moment the singer falls to the floor - it is timed and shot devastatingly, almost preternaturally well. and i didn't see it coming, but of course when it happens the whole thing is blown wide open and you've been there at the silencio too and you've understood a fundamental truth about cinema which lynch has put better than most

oh is this such a scene? it is isn't it