She's inappropriately lucid. Talking about how busy the roads were with cars - like it was earth-shattering news, but being completely oblivious at other times.
It's a bit like when kids think it's funny to do the opposite of what you ask them to do...
Anyone else think it's more than just a parallel that there was a traffic jam making people in Twin Peaks late the same evening a traffic jam on "the strip" made Candie late?
Anyone else think it's more than just a parallel that there was a traffic jam making people in Twin Peaks late the same evening a traffic jam on "the strip" made Candie late?
Good catch! Totally missed that...
Maybe she's just tuned to a different station...
She's inappropriately lucid. Talking about how busy the roads were with cars - like it was earth-shattering news, but being completely oblivious at other times.
It's a bit like when kids think it's funny to do the opposite of what you ask them to do...
If I didn't know any better, it would seem she's tripping on hallucinogens.
She's inappropriately lucid. Talking about how busy the roads were with cars - like it was earth-shattering news, but being completely oblivious at other times.
It's a bit like when kids think it's funny to do the opposite of what you ask them to do...If I didn't know any better, it would seem she's tripping on hallucinogens.
I can state from personal experience, no.
The actress, Amy Shiels in an interview w/Vulture, stated that she pictures Candie as having a past w/human trafficking. Candie is a deeply scarred woman that has suffered physical, mental and emotional abuse. She's "tuned to a different station" to compensate.
http://www.vulture.com/2017/07/twin-peaks-amy-shiels-on-her-tragic-backstory-for-candie.html
She's inappropriately lucid. Talking about how busy the roads were with cars - like it was earth-shattering news, but being completely oblivious at other times.
It's a bit like when kids think it's funny to do the opposite of what you ask them to do...If I didn't know any better, it would seem she's tripping on hallucinogens.
I can state from personal experience, no.
The actress, Amy Shiels in an interview w/Vulture, stated that she pictures Candie as having a past w/human trafficking. Candie is a deeply scarred woman that has suffered physical, mental and emotional abuse. She's "tuned to a different station" to compensate.
http://www.vulture.com/2017/07/twin-peaks-amy-shiels-on-her-tragic-backstory-for-candie.html
Seems to sow that one up, then!
Haha. In the interview, she seemed to reveal more than she should have. But, "the Candie(s) are not what they seem."
Haha. In the interview, she seemed to reveal more than she should have. But, "the Candie(s) are not what they seem."
Yes, and as I posted on another thread, how come the wound that she inflicted 'miraculously' healed?
You forget that the Bellushi Mitchum had the DREAM. Think that is why they embraced Dougie the way they did. He is not their enemy but their friend. Hopefully I am remembering this correctly need to watch again...
Right, but what is it that the Mitchum's dream about?: looks like they are going to try and take him on as their 'Mr. Jackpots', source of money, luck coming from dreams to get profits from situations they cannot fully predict, etc., that might turn out other than they expected, sort of like insurance for the unexpected, he can point to the right gamble/risk/slot machine, etc. where you put something as invested and dont know the return of surplus, etc.; they thought they were going to kill him and 'hit the big one' 30 million, etc. They could use something like that, someone on their team, hes got the 'cherry pie' with the extra 'damn fine' kick that adds something extra.....
Dougie himself, now that Cooper is back in him, is sort of a walking 'something extra' for anyone around him, without being able to sustain the 'profit/enjoyment' for himself, since this was ruined after the end of the original twin peaks with his failure to help Laura or find the ideal community in twin peaks, sort of like a talented slave who is crippled by trauma, 'being whipped', whipped by Mr. C imposing the tyranny that structures the world and manufactures the helpless docile Dougie who will not have any freedom as the ideal, if you exercise freedom like Hasting, going to love and pursuit of truth/knowledge, you get killed, since anything true/just/freedom, etc. is immediately a threat to the capitalist mafia tyranny emerging with the new class of billionaire bosses accumulating all wealth while denying freedom to the masses who will be left out.... Dougies role is to be a passive slave who is drained of that 'something extra'/surplus/highest things in life for it all to be funneled to Mr. C/billionaires for their tyrannous capitalist empire, etc.. This inability of Dougie-Cooper to enjoy/profit himself is show where after he asserts 'damn fine' in a clear 'old agent cooper' voice, he cannot sustain it, the background has been destroyed by unsolved problems and debts that he has not settled with the society, that he is enslaved(by Laura and BOB), things just are not working etc......and now his role is to be used as a cash machine by the Mitchums, when he really wants to regain and re-realize that 'something special' that was in old agent cooper, but is now barely alive and crawling out of the woods beaten(Miriam who loves the pies).....to do this he will have to solve some debts of his own with Laura and twin peaks, bring people to account, etc., or at least realize the trauma/tragedy of what has happened and take on this 'solving of debts' as the cause of his existence.....Mitchums are not going to be in line with this of course, but will drain him as a cash machine....Mitchums dreams do not work with Dougie's dreams....
Candie is in a structurally similar situation to Dougie, reduced to a robot source of surplus/profit, but like Hastings she is yearning for genuine and dignified engagement(crying because they dont love her, talking about 'other cars' in the hope that they will try to appeal to her desire with their own), but Hastings was stuck with his maniac wife, while she is stuck with the Mitchums who are adolescent and only care about their business and shallow enjoyment/profit....melancholy for both Candie and Dougie here, life is not worth living without genuine engagement, there must be the painful 'labor of the spirit', not a safe hiding from it (Mr. C, Dougie, attitude of 'enjoying the beautiful day' without solving the problems, sleepwalking, avoiding dealing with pain and thus necessarily enjoying the pain that will always be coming from the black fire around the void of impossibility of 'no stars'...thus the 'safe' approach always turns into Mr. C or the stone faced hunters, as Bobby is on the verge of heading to after his 'safe nice guy' approach to Shelly and Becky who are making him into a cuckold, there is excess and it should be dealt with properly, not ignored to where it explodes into Mr. C/Dougie, etc. Candie here understands this and is deeply hurt by realizing the shallow boring reality of this trash situation, she cannot be an idiot like the Mitchums who think its great, and beginning to see her dreams will not be even recognized with the Mitchums, and how this is true of people in general living like docile Dougie to be drained of his lifes efforts all enjoyments, profits, struggles etc., then die or killed off rotting in that vegas cesspit, while under the 'terror-protection' of Mr. C/billionaire, there is no freedom, spirit, or thinking allowed here, if you engage this, you will be killed like Hastings.....its a capitalist slave society with no freedom allowed.....but its 'quirky'.....
Also, we get here something that might be the beginning of 'the problem with Norma and Shelly'....they have turned the pain of Candie into a shallow reality principle(like some stupid primitive empiricism like in Sam Harris or Dawkins, which turns to vicious terrorism necessarily) as if there are atoms/stars and not 'quantum flux/void', thus all there is is pain, and they enjoy it, inflicting pain on men, sick life, etc., and their job is to do this for themselves then smooth over this 'black fire' with the 'white facade' of hometown sweetheart etc., enjoying the pain like Mr. C but avoiding the real problems at all costs, since this would upset their sick game.. Candie doesnt have to go down this path, and maybe this is why she is proximate to Cooper....better to take Hastings path, the 'labour of the spirit', and Cooper will have to do this as well
I don't think a TP actor's view of their own backstory needs to be considered story canon. It's likely that's her own interpretation of why she was directed to act the way she acted but I doubt there was anything in the script she was shown, nor in Lynch's direction to describe Candie's history (or her present or future for that matter). It's well-known that Lynch kept as much detail as possible from all of the actors and that only Kyle McLachlan knew where the story was going.
Didn't Norma once say of Annie:
"She comes from another time and place. She would struggle in the real world".
Oops, James Sweeney beat me to the punch here, but my reply follows below:
Like the rest of the cast, Amy Shiels only had access to her lines, not a complete script (as she acknowledges in the Vulture interview) As such, I wouldn't conclude anything from the actor's comments about her process of characterization-- IMO, this is decidedly outside "the text," as such, i.e., it is "not canon" as fans of cult franchises like to say. Fascinating though it might be, I'm not sure actors' interpretation/motivation/direction from Lynch is a viable or compelling basis from which to draw conclusions about Candie's actual background or significance in the unfolding narrative.
I think a good rule of thumb with Lynch is to trust that if dialogue defies rational explanation, it mostly likely marks out a registral shift that is figurative/metaphorical/allegorical (e.g., recall Albert Rosenfeld's out-of-character soliloquy to Harry Truman about the "power of love," culminating in the poignant musical cue of the "Falling" theme and Albert's apparently sincere exclamation,"I love you, Sheriff Truman!" ) It's unmistakable when Lynch's dialogue veers into the surrealist mode, where reason no longer explains a character's behavior (moreover, he typically "brackets" such dialogue, snapping back into "realism" abruptly)
Personally, I'm doubling down on the idea that Candie is supernatural-- her lines conspicuously mark out their distance from other "realistic" dialogue in the script (esp. that of the Mitchums as a send-up of the terse, "gritty" or "hard-boiled" manner of speech a la Martin Scorcese, Raymond Chandler, etc.) As I said in an earlier post in the Part 10 topic, it's a characteristic Lynch plot device to introduce a mystical/mysterious/otherworldly/surreal, and/or mythical/archetypical secondary character as an oracle of sorts (c.f. The Cowboy, "Ruth," and the Winkies' dumpster resident in Mulholland Drive; The Mystery Man in Lost Highway; Grace Zibriskie's character in Inland Empire; Dean Stockwell's character, "Ben" in Blue Velvet)
We may never have the satisfaction of knowing who Candie, Mandy and Sandy are, but my money is that they are not a) victims of human trafficking/sex slavery; b) drug addicts; c) just plain unintelligent; d) double agents/spies/informants; e) prostitutes.
Alternate hypotheses:
1) I'm attracted to reading the trio in terms of mythical archetypes, whereby they seem especially reminiscent of elemental spirits of Norse mythology such as the Rhinemaidens, the three water nymphs in Richard Wagner's Ring Cycle (or, for that matter, the Valkyries, young women/girls who collect the souls of fallen heroes and bring them to their final resting place...) Recall The Man From Another Place explaining that electrical current allows for "fire walking," "From Pure Air we Have Descended," etc.-- makes me suspect that Candie's preoccupation with air currents, meteorology and traffic is not chance.
2) Another viable read, IMO would be to interpret their function in the drama in a manner akin to a Greek Chorus or the supernatural characters in Shakespeare's A Midsummer Night's Dream (or, for that matter, Goethe's Faust)... Their dialogue is in the drama, but it is not of the drama-- it comments on it (however obliquely or poetically) from outside...
Such a position/function in the world but not of it, reminds me of the fracturing of realities/temporalities in Inland Empire . esp. the scene in which Justin Theroux's character peers into the window of the soundstage house for On High in Blue Tomorrows, oblivious to the fact that Laura Dern's character is trapped inside, crying for help....
Polish folklore figures prominently in Inland Empire, which likewise features a precedent for the Greek Chorus hypothesis via the group of prostitutes who sing/dance "The Locomotion" after obliquely discussing the events thus far...
Now you've got me remembering the Kindly Ones from The Sandman, which were based on the Furies.
Also the witches from MacBeth, the Graeae, who shared one eye... There are lots of groups of three throughout our legends and stories.
Now you've got me remembering the Kindly Ones from The Sandman, which were based on the Furies.
Also the witches from MacBeth, the Graeae, who shared one eye... There are lots of groups of three throughout our legends and stories.
Yes! Couldn't agree more. What's utterly delightful, IMO, is how whimsical these three are by comparison ... Leave it to Lynch to imbue three prosaic figures (casino cocktail waitresses) with otherworldly/extra-narrative significance.
Fire walk with