I noticed something today after watching 17 then 18 then 16 (don't judge me).
The first scene of 16 where Richard and Mr. C are driving to the rock (where Richard eventually gets fried) is freakishly similar to some of the scene of Carrie and Dale driving to Twin Peaks from Odessa. The stance and focus that Mr C & Dale have, the weird looks and awkwardness of Richard & Carrie..... they were very reminiscent of each other.
This could be purely coincidental or it could be me making more out of something that is only barely there. I'm hoping somebody else has some input on this.
That's interesting. The big thing that stuck with me was Mr. C saying to Richard, "We'll talk on the way" - and then when we see them driving they don't talk at all. LOL, David Lynch, LOL
I don't know what to make of a similarity between those scenes, other than to suggest it amounts to something about Lynch's style. Much like these shots of the dark road illuminated only by headlights always put me in mind of Lost Highway.
On the other hand, I guess I could incorporate this into my position that the Cooper of Part 18 has reincorporated his doppelganger...
That's interesting. The big thing that stuck with me was Mr. C saying to Richard, "We'll talk on the way" - and then when we see them driving they don't talk at all. LOL, David Lynch, LOL
I don't know what to make of a similarity between those scenes, other than to suggest it amounts to something about Lynch's style. Much like these shots of the dark road illuminated only by headlights always put me in mind of Lost Highway.
On the other hand, I guess I could incorporate this into my position that the Cooper of Part 18 has reincorporated his doppelganger...
If you get a chance, watch those 2 scenes reasonably back to back and let me know what you think. I would really, really like somebody else's input on this.
It's not just the long, quiet, dark driving scenes. I fully expect those from Lynch and would be confused if I watched something of his that didn't have at LEAST one. It's the behavior of the characters that is uncanny to me.
Honestly.. when I was watching Season 3 the first go around, when we saw the headlights on the road and American Woman was playing all in slo-mo, I felt for SURE an absolute POSITIVE that we were going to have the car drive up and park in front of the cabin from Lost Highway.
The driving scenes reminded me so much of LH, so I'd almost have to attribute those to being Lynch's style.
Honestly.. when I was watching Season 3 the first go around, when we saw the headlights on the road and American Woman was playing all in slo-mo, I felt for SURE an absolute POSITIVE that we were going to have the car drive up and park in front of the cabin from Lost Highway.
The driving scenes reminded me so much of LH, so I'd almost have to attribute those to being Lynch's style.
I had almost the very same thought, a few times.
I think you can definitely (not almost) attribute it to being Lynch's style. 🙂
Beyond that, I see him sort of paying homage to himself throughout the Return (as well as to any number of other directors and artists): the dark road shots clearly recall Lost Highway, the Naido scene in Part 3 put me in mind of Eraserhead, the panning hallway shot to Stephen and Gersten is reminiscent of Inland Empire, the face on the bear that says, "Hello Johnny" calls out Dumbland... Any others come to mind for people? I have this feeling like we should be able to find a reference/allusion to each of his films. It really gives the sense of this being a masterwork.
Beyond that, I see him sort of paying homage to himself throughout the Return (as well as to any number of other directors and artists): the dark road shots clearly recall Lost Highway, the Naido scene in Part 3 put me in mind of Eraserhead, the panning hallway shot to Stephen and Gersten is reminiscent of Inland Empire, the face on the bear that says, "Hello Johnny" calls out Dumbland... Any others come to mind for people? I have this feeling like we should be able to find a reference/allusion to each of his films. It really gives the sense of this being a masterwork.
I want so badly for this to be a "masterwork" and I have come to some conclusions based on realizations that were uncovered here. The approach that ALL of Season 1, Season 2 and the return are now considered to be filmed with the fact that reality is skewed due to Coopers screwing with time...all of that is pure GENIUS with a capital G. Of course I am not so convinced that Lynch/Frost filmed it this way or even considered it like this...it may have fallen into their lap.
But there are pieces that are completely counterintuitive in their approach (2d effects. loose ends etc) to being a masterpiece. Who knows though, I keep accepting more through time...
Jack
I think the long dark drives signal moments of transition. Fred in Lost Highway (going from one psychogenic fugue to another perhaps), or Adam in Mulholland Drive ascending up the mountaintop to meet the god-like figure known as The Cowboy. If that's true, maybe the long dark drives in Twin Peaks signal a transition of sorts as well. Not hard to imagine, with time lines becoming manipulated, etc.
Forgot to mention the most obvious of those dark drives/transitions: Cooper and Dianne literally "crossing over" at the 430 mile mark . . . .
Forgot to mention the most obvious of those dark drives/transitions: Cooper and Dianne literally "crossing over" at the 430 mile mark . . . .
That started as a nice sunny drive then became a not so long (in comparison to long drives) dark drive.
What year is this for this 430 miles drive ?
1968 ? 1975 ? 1989 ? 2015 ?
And old car and a timeless motel room : we have nothing more to guess.
David Lynch interviewed by Rolling Stone (posted yesterday) :
When I was watching Blue Velvet, I noticed you do these long shots of dark roads at night – something you also have done in Lost Highway and Twin Peaks. What is the appeal there?
Going into the unknown is a thing for human beings that's fearful and exciting and hopeful. It's many different things.Similarly, with Twin Peaks, what is the feeling you get when you're on the set for the Black Lodge? Is it a warm feeling?
I call it the "Red Room." And the Red Room is sort of a junction point. It can be a very good feeling and it can be not so good.It looks oddly comfortable.
Those chairs are nice, yeah [laughs].
Ah Ha! It is the "red room" after all! At least one argument is settled.
Fire walk with