I saw an interview with Tarantino where he says that Terry Gilliam told him early in his career that being able to tell other people what you want is the entirety of the job of directing. The lighting, camera placement etc etc is all someone else's job but you have to be able to tell them what you want to achieve.
@@ProperGanderSaul Yes, he "simply" knows very well what he wants. If you watch e.g. Bergman preparing scenes for "Fanny and Alexander", it's very similar. All good artists are like that, there is very little hesitation and "seeking". That famous Picasso quote: "I don't seek, I find".
And yet in the editing, he takes the screams and slows them down, to an animalistic noise. So this part was creating a sort of raw material that he would refine in post.
I definitely don't think the whole season was perfect and I personally didn't like it as much as season 1 and 2 but this episode alone was so dark and surreal I enjoyed it alot ngl.
On the special features of the Twin Peaks: The Return dvd/blu ray release, there's a series of short films like this, giving a kind of fly on the wall glimpse into the making of it. Just as fascinating as the series itself.
Anna Vajda Indeed. His mind is fucking insane and his creativity and talent seems endless, but when you hear what people say about him and you see what he’s like during interviews, he’s a genuinely good human being too, that seems rare in that particular business, especially with all the Weinstein stuff going down. I take comfort in the fact that with somebody like David Lynch, nothing will come out because nothing ever happened, a genuinely good man.
GrayHistory fire, walk WITH MEEEEE 👺 when Laura Palmer said it. And season 2 moments from the Black Lodge. Dougie eating a pie with happy mafiosi. Dougie being respected by his boss. “That’s the one for the kids” after Bob’s being destroyed. Ducks on the lake. Agent Cooper flirting with Annie. “How’s Annie?”. Agent Cooper awakens from his Dougie dream. Sorry, I made nine 🙂 And yours? : )
For anyone to be able to convey the stories and images in their mind to the level that The Return portrayed is just madness to me. Lynch may as well be a miracle worker to have been able to get that otherworldliness on screen like that.
you gotta watch the old first, i watched the new season, i them watched the old the had to watch the new to figure out what I missed, there's also fire walk with me, in middle ground it's a movie I beleve
They still fucked him. The whole season almost got scrapped right before shooting, and I'm pretty sure his original plan included like 6 more episodes worth of material
@@Reb3nga Yeah, haha. We'll get some resolutions, but then be left with a new cliffhanger ending where Cooper becomes some kind of inter-dimensional Satan and Laura is stranded at the beginning of time.
I don't think people understand until they see behind the scenes footage of making films, that the directors have to at minimum approve, but more often.. DECIDE almost everything. The number one thing you have to be above all else to finish films is decisive. You are the top of the food chain, you can't ever say 'i don't know' or 'i don't care'. Things being artistic on top of that is a bonus. That is why the really good directors are actual geniuses and not like normal people.
So curious what the process is like for directors who come into a franchise like Harry Potter, Star Wars, Avengers, or James Bond. They have to be able to be creative and visionary for their episode, but I'd imagine there must be someone at the top making demands about what they can and can't do story-wise, or to certain characters. Can't imagine David Lynch having any interest in participating in that...even though it would be a great way to make enough money to do whatever he wants for the next project.
This moment checks out with Angelo Badalementi's story about David monologuing about Laura Palmer while they were writing Laura's Theme. It's on here should be easy to find.
Now the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the sleeping waters; and lo, it was like unto some horrible sort of frog. (Gen 1:2)
@@regularchickens222 I've seen good and bad things about it, there really are some people who hated it. I'm not one of them and I don't really understand where they're coming from, but they do exist.
His consciousness I'm not too fussed about. His subconsciousness, though... I wonder. Assuming one day Lynch stops filming - if you were to open your own blue box - the one you don't show people - what terrible, tiny pensioners would come out of there?
@@sexypizza55563 Mapping out the emotions of a scene through each step an actor takes is in fact advised against in film school. Describing a character's motivations is not forbidden, though. I never said that it was. Who are you arguing with?
@@bers6666 Explain the plot of Mulholland Drive. I bet you can't. Without relying heavily on the bullshit artsy frou frou justification of "it's open to interpretation! It can mean anything you want it to mean!" Which is just a terrible excuse for vague writing and no actual intended plot. Which is all Lynch relies on. And his braindead fanbase that could watch a film about a blade of grass for 9 straight hours and think it's the most groundbreaking thing to ever happen in the history of cinema.
@@chewface Why is making sense so important? If something is beautiful, resonates with you emotionally, makes you think, scares you, etc. doesn't that count for something? Lynch movies are like dreams: the characters change, the logic is warped and strange, nonhuman entities are real, events happen that don't immediately make sense. As a result they can be terrifying, incredibly emotionally poignant and send your brain scrambling to make sense of it, like the moment you wake up from a vivid dream and your conscious mind tries to make sense of everything you just experienced. As for Mulholland Drive, my interpretation is that there are two halves to the movie, the first half is Naomi Watts' character's fantasy, where she is a successful and burgeoning movie starlet who falls in love with a mysterious stranger, the second is the reality, where she is a failed actress who is dumped by her successful lover and her life begins to fall apart. Obviously there's way more to it, but that's generally what I believe to be the idea behind the movie. I do honestly understand why people don't like his work. What I don't understand is the idea (and I've seen it a few times) that people have been tricked into liking his work or that people are pretending to enjoy it. I really do enjoy his movies, and I wish there were other writers, directors, etc. that used his approach to moviemaking.
@@chewface Mulholland Drive is easy to explain: we experience the idealized version that an aspiring actress has for herself, her career, and a former romantic partner. Then we get to know how things happened in real life, and how the mismatch between her expectations, and reality, drive her to commit a crime. Unable to handle the guilt for the crime she committed, she ends up killing herself.
I just thought about this scene. That its a symbol of narsissistic behavior, that they will feed on your light. Like they are posessed by clinging spirits that feeds on fear.
Gianluca Cabria because I think all of David’s work is his best. And also I view twin peaks S1, S2 ( until ep9) fire walk with me and the return as one art piece. So it’s impossible to choose
Kinda nice to see the coal men being normal human being going ‘ah fuck this makeup sucks’. Faces like that have terrified me my whole life. I can’t watch Lost Highway because the man with the white face creeps me the fuck out.
"In languages incomprehensible to the Khan, the envoys related information heard in languages incomprehensible to them: from this opaque, dense stridor emerged the revenues received by the imperial treasury, the first and last names of officials dismissed and decapitated, the dimensions of the canals that the narrow rivers fed in times of drought. But when the young Venetian made his report, a different communication was established between him and the emperor. Newly arrived and totally ignorant of the Levantine languages, Marco Polo could express himself only with gestures, leaps, cries of wonder and of horror, animal barkings or hootings, or with objects he took from his knapsacks -- ostrich plumes, pea-shooters, quartzes--which he arranged in front of him like chessmen. Returning from the missions on which Ku-blai sent him, the ingenious foreigner improvised pantomimes that the sovereign had to interpret: one city was depicted by the leap of a fish escaping the cormorant's beak to fall into a net; another city by a naked man running through fire unscorched; a third by a skull, its teeth green with mold, clenching a round, white pearl." Invisible Cities by Italo Calvino, p21-2
Most directors now: "Eeer, yeah whatever, just stand there in front of the green screen and we'll edit the rest in in post. Everyones already fans of this s**t from decades ago so we can just do anything and they'll pay to see it. So, how much are you paying me again? I'm bored."
