Yes indeed, Octavio.
As an aside, it would also explain why Lynch was adamant about no ad libs from the cast. Any deviation from the script - most likely the timing, too - would wreck everything.
Just a note on your statement regarding ad libs. Any synching would most likely be done in editing. The script could not feasibly be so detailed as to denote specific timings for every line and such when such an effect would be much easier to achieve in the editing process.
I did note while watching the credits that David is credited as one of four people for the editing.
Yes, and in a recent interview, Dean Hurley said there were specific scenes that Lynch edited himself because "only he could get the timing right for those scenes"...
I just watched all 8 17 18 together and in the middle I muted 17 because, 18 was better with 8...BUT..at the end I muted 8, because 17 and 18 is amazing. Definitely the end at Palmers House should be 17 and 18 only.
I watched 17 and 18 together then 8 and 18 together... imo they show two endings - one positive (17 - Cooper has won, Carrie recognises and destroys Judy) and one negative (8 - the slug enters the girl's mouth, evil is reborn, Laura whispers into Cooper's ear that the evil has followed us and we're going to have to chase it down for eternity)
They both lock together equally well, and are the two sides of our infinity storyline. And seeing Carrie wait right until the exact second that the bug touches that girl's lips before screaming, it occurred to me that maybe the girl screaming on the Roadhouse / Bang Bang Bar floor is also screaming when the slug enters...
I watched 17 and 18 together then 8 and 18 together... imo they show two endings - one positive (17 - Cooper has won, Carrie recognises and destroys Judy) and one negative (8 - the slug enters the girl's mouth, evil is reborn, Laura whispers into Cooper's ear that the evil has followed us and we're going to have to chase it down for eternity)
They both lock together equally well, and are the two sides of our infinity storyline. And seeing Carrie wait right until the exact second that the bug touches that girl's lips before screaming, it occurred to me that maybe the girl screaming on the Roadhouse / Bang Bang Bar floor is also screaming when the slug enters...
The "alternate" synch episode 8 -18 beginning with the song My Prayer gives different and very important clues IMHO.
BTW, if these are supposed to sync up at the very end what is young Laura's scream in Episode 17 supposed to sync with, her fear of the credits in Episode 18?
You snarked so hard that you seem to have missed something.
The scene behind the credits is certainly where we originally heard that scream. It would seem to synch up with her scream after she whispers in Cooper's ear - IF the end credit scene were not played in super slowmo.
In episode 2, it is roughly 30 seconds between the shot where we see Cooper's face from the front while Laura is whispering and her scream. In the synched 17/18, it is roughly 30 seconds between seeing this same shot and Laura's scream.
You suggest I missed something but then point out I didn't miss it? Why have the whispering play in slo-mo if it's meant to sync up? Are you suggesting Lynch couldn't accomplish this? Episode 2? Is every Laura scream supposed to be synced now? That's a lot of work. has anyone synced up all the scenes of Diane drinking yet? That has to mean something.
So - who's going to synch up the plane windows with the Frost/Lynch white-out bits?
And what goes with the sweeping scene. This could turn into a really epic project!
I interpret the scream synch as a conceptual not literal one, likely done because the real time scene would have been distracting beneath the credits. The screams in the whisper scenes and the woods scenes are identical. Other Laura screams are not.
Enjoy your version mate, but take a little less glee out of proving a point that is intended to undermine what others are seeing.
I'm about 15 minutes into watching the 17-18 sync and I don't know whether it's intentional or meaningful or not but I know it's a LOT more interesting than watching them separately, AND it's a time-saver, as well. Bonus!
Yes indeed, Octavio.
As an aside, it would also explain why Lynch was adamant about no ad libs from the cast. Any deviation from the script - most likely the timing, too - would wreck everything.
Just a note on your statement regarding ad libs. Any synching would most likely be done in editing. The script could not feasibly be so detailed as to denote specific timings for every line and such when such an effect would be much easier to achieve in the editing process.
I did note while watching the credits that David is credited as one of four people for the editing.
I was thinking more on the lines of timing for a single take, say "Candie walks around, turns to face Mitchum, step, count 1, 2, 3, 4, whacks him on the face", sort of timing.
When something's done in a single take, there's only so much you can do with it in editing. You can speed up or slow down here and there but too fast or too slow looks wrong on screen.
I still don't see how end of 8 fit end of 18. Because bug enter mouth ? But sounds don't fit, woodsman speaking, they speaking, I don't feel that . 17 and 18 are perfect at ending with sounds and MUSIC.
And now I see it like this. Laura is whispering to Cooper ear what happened in second windows player 🙂
I interpret the scream synch as a conceptual not literal one, likely done because the real time scene would have been distracting beneath the credits. The screams in the whisper scenes and the woods scenes are identical. Other Laura screams are not.
Enjoy your version mate, but take a little less glee out of proving a point that is intended to undermine what others are seeing.
Okay, so now we have conceptual syncs to explain stuff that doesn't actually sync?
Proving points, regardless of their intent, is still proving a point. It has nothing to do with my version versus someone else's. A version should be consistent with itself. If something is supposed to sync it should do that and not just some of the time, when it's interesting. Lynch uses visuals and sounds over and over, not just Laura's scream. If he's been doing that all along with intent that they should sync and are connected then that should work consistently, not just when we want it to.
everyones delving too deep, sarah palmer killed laura not leyland
Disbeliever! There is certainly synching throughout. For instance, a voice over actor's voice synched (more or less) with David Bowie's mouth, the end of a Chromatic's song synching more or less with the end of episode credits, my love for you synching more or less with Albert's love for Sheriff Truman, and so on.
I still don't see how end of 8 fit end of 18. Because bug enter mouth ? But sounds don't fit, woodsman speaking, they speaking, I don't feel that . 17 and 18 are perfect at ending with sounds and MUSIC.
And now I see it like this. Laura is whispering to Cooper ear what happened in second windows player 🙂
To me there were links right through the episode, especially once the bomb goes off. Richard goes to the diner where there's the old couple - that's the Fireman and Senorita Dido, who are on the other screen staring while Richard dispatches the cowboys. The most intricate linking section is the scene where the Fireman is watching the screen while Richard talks to Carrie on her doorstep - there are organ / keyboard sounds on episode 8 that come out to soundtrack very specific things that are said in the conversation. The Fireman is lying down bleeding a golden glow from his forehead, just as the body in the house is lying limp with blood coming up from their head. The golden orb goes out to Earth as the headlights appear behind the car. Carrie says they're being followed and her head obscures one headlight - leaving a single orb trailing behind her. And so on...
Fire walk with