Twin Peaks

[VoivodBG]

 

“I loved Frank so much.”

─Sheryl Lee

 

In memory of Frank Silva ✞ September 13, 1995.

 

[VoivodBG]

Throughout “Twin Peaks: The Return,” moody and unpredictable music was used to accentuate the show’s fractured timelines, inimitable characters, and countless moments of head-scratching multiplicity—matching them in both soothing harmony and rattled discordance. Primary composer Angelo Badalamenti, sound supervisor Dean Hurley, and others involved in the soundtrack recently spoke to us about the process of creating music for the series. And now, the creator, writer, director, sound designer, producer, and overall series architect, David Lynch, adds his wisdom about the sound world of “The Return,” including insights on David Bowie’s involvement and why we many never hear the show the way it’s meant to be heard.

Pitchfork: After making a cameo in 1992’s Twin Peaks: Fire Walk With Me, David Bowie’s character Phillip Jeffries reappeared in the new series via footage from that film and as a big, talking tea kettle. Did you ever approach Bowie himself to be in the new series?

David Lynch: Absolutely. I never even talked to him, but I talked to his lawyer, and they weren’t telling me why he said he couldn’t do it. But then, of course, later on we knew.

Why did Phillip Jeffries take the form of a tea kettle?

I sculpted that part of the machine that has that tea kettle spout thing, but I wish I’d just made it straight, because everybody thinks it’s a tea kettle. It’s just a machine.

Did Bowie know that his character was going to appear in that capacity?

No, no, no. He didn’t know that. We got permission to use the old footage, but he didn’t want his voice used in it. I think someone must have made him feel bad about his Louisiana accent in Fire Walk With Me, but I think it’s so beautiful. He wanted to have it done by a legitimate actor from Louisiana, so that’s what we had to do. The guy [voice actor Nathan Frizzell] did a great job.

What did Bowie and his music mean to you?

He was unique, like Elvis was unique. There’s something about him that’s so different from everybody else. I only met him during the time I worked with him and just a couple of other times, but he was such a good guy, so easy to talk to and regular. I just wish he was still around and that I could work with him again.

What music was running through your head when you were initially thinking up the new series?

There were a couple of pieces of music that I wanted in there from the beginning: The Platters’ “

,” the Paris Sisters’ “

,” Booker T. & the M.G’s’ “

,” Otis Redding’s “I’ve Been Loving You Too Long.”

What’s your relationship to that Otis Redding song in particular?

It’s the version from the Monterey Pop Festival. There was Janis Joplin with Big Brother and the Holding Company doing “Ball and Chain,” Jimi Hendrix’s “Wild Thing,” and there was Otis Redding. When I hear those three things, it just drives me crazy how great they are. With Otis Redding, we reach this place in him, and I just couldn’t believe that version. It was so, so, so beautiful. So much feeling comes through that thing; it’s one of my all-time favorites. I just go nuts. I start crying like a baby when I hear that thing.

How did you decide to use Polish composer Krzysztof Penderecki’s “Threnody for the Victims of Hiroshima” in the nuclear explosion scene in “Part 8”? Did you always have that music in mind for that scene?

I was going to experiment with Angelo but that thing was, in my mind, made to order. I did chop it up a lot so that I could get different sections for the visuals, but it was just meant to be.

How did you feel watching that scene set to that music?

It felt real good. The problem is that, in the studio, we played it in the mix really loud, so it would be more like you’d hear it in a theater. Then the heartache comes when you have to dial it back for television, because they have these restrictions as to how loud these things can be and how long they can be loud for; many different rules, it’s really not so great. It’s like when you know what it can be and then you have to suffer that [dilution], and people see it on their computer or even, my god, on their phone—it’s like a nightmare. There’s so much fucking power in that scene, and in this world people would love to hear what’s there, but the machines [which we watch things through] aren’t there any more. It’s got to be full range and full loud.

Original “Twin Peaks” composer Angelo Badalamenti said that you two connected digitally while working on the music for “The Return,” rather than being in the same room. What was that like?

What I really like to do is sit close to Angelo, I love him so much, he’s like my brother. I was on Skype with him, and it’s not a great image, but the sound was set up so that when he hit the keys, I heard exactly what was going down the line, and the quality was as though I was sitting next to him. I’d go through these different topics with Angelo, and he just started playing. If what he played wasn’t the mood I was looking for, then I’d just change the words and talk to him some more. It wasn’t like he made a mistake or goofed up, it was that he interpreted it that way and it required changing the words. He always gets into it and catches a thing. It just flows out of him.

You’re credited as the show’s sound designer. What did that entail exactly?

This thing about sound designer, it’s a weird thing. When you see the credit up there, people automatically think that person did all the sound, so it’s misleading, but I want to take that credit because I’m the one who makes all the final decisions on sound. In actual fact, I picked sounds and I made a few sounds, but Dean Hurley was making tons of stuff, and [sound designer] Ron Eng was making a lot of stuff too. They were working their butts off, but I would tell them in our spotting notes what I wanted in regards to mood in different places. We worked together, but they were building a lot of sound. In a traditional way, they’d probably get sound design credit, but I don’t want to do that because that means that I don’t do anything. [laughs] I’m responsible for what people see and what they hear.

Are there any other pieces of music that you’re still dying to place in one of your works?

Oh of course, there are so many millions songs and bands. Michael Horse [aka Deputy Hawk] just turned me onto a guy called Justin Johnson. He’s on YouTube. He plays the shovel—a three-string shovel. He’s great.

[Angelystor]

https://medium.com/@...ync-81352ce38e8

 

HOLY. MOTHER. OF. FUCK.

 

Naježih se od ovog teksta

[VoivodBG]

http://paralel.rs/novosti/36-novosti/327-twin-peaks-fbi-agentica-dolazi-u-beograd

 

:wub:

[SkullKrusheR]

možda je do toga što nije glumica inače, ali temi mi je verovatno najiritantniji lik u seriji. mnogo izveštačeno deluje. podseća me na ovu...

 

[salebghouse]

ajmo jos malo

 

http://www.slashfilm.com/twin-peaks-season-3-blu-ray-will-have-over-3-hours-of-special-features/

[VoivodBG]

Pošto se ne nazire mogućnost Final Dossier da bude preveden kod nas, đavo mi nije dao mira i pogledao sam ovaj video koji potvđuje neke od naših teorija i daje dodatna objašnjenja, ali stvara i mnoga nova pitanja.

 

 

http://youtu.be/8917ROqkipY

Edited November 7, 2017 by VoivodBG

[SkullKrusheR]

zašto jednostavno ne skineš ebook?

[vudun]

аудио-визуелан тип.

[VoivodBG]

Skullkrusher, volim da čitam knjige na papiru. Stripove još i mogu u e-formi, ali knjige slabo.

[VoivodBG]

t's equally remarkable that the methodical and unpredictable David Lynch directed all 18 episodes of this summer's Twin Peaks revival and that Showtime let the esoteric auteur deliver a haunting, confounding, towering series that seemed close to unfiltered. Nightmarish surrealism blended with musical performances from the likes of Eddie Vedder and spiked with the sadness of deaths from several major castmembers.

In his amiably evasive fashion, Lynch discussed his renewed love for television, the Twin Peaks season's ending, and more with The Hollywood Reporter.

After the premiere event in L.A., did you pay any attention at all to the reactions and responses to the 18 hours?

Yes. I would hear about how it was going as it went along, for sure.

What were you looking for in terms of how audiences were reacting to it?

I really loved the 18 hours myself, but you never know how things are gonna go over in the world. So I was curious of that, how it was going. That's all.

 

Read More 'Twin Peaks': 18 Burning Questions Following the Showtime Finale

Did anything surprise you or excite you about how actively engaged viewers were?

No. That was really, really good. I'll tell you, it was a total blessing how it went in the world. Sometimes it doesn't go that way. And this was really, really great.

There were episodes throughout the season, like the eighth hour, the nuclear bomb episode where I got to the end and I tried to imagine how Showtime executives must have responded when they saw that hour of television that you brought them. Were there any kind of reactions and feedback along the way from Showtime to what you were bringing them?

Well, in the beginning, I think, obviously, executives, they worry about how things are gonna go. But I've got to say, they were super good with me and I had complete freedom. So it was very good. David Nevins and Gary Levine and Robin Gurney at Showtime ended up being big fans. And it was really happy times working with them.

Did they ask you questions along the way?

Everybody, they're human beings. So they've got questions like everybody else. And they loved seeing clues and trying to figure things out. And they were into it all along. They were really into it. Especially when it got all together with the sound and music mixed in. They really, really were fans.

After the original Twin Peaks run and after the Mulholland Drive pilot, I imagine that you had an ambivalent attitude toward television and how you fit within it. As it stands today, where do you see the match between your storytelling instincts and television?

I love a continuing story, number one. And I think the feature film is going through a troubled time right now. So television, cable television, is the new art house. And it's so beautiful because you can tell a continuing story. The quality of the sound and picture is not as good as in the theater, but it's getting better all the time. And if people see it on a big screen in their house with the lights down and good sound, or if they see it with headphones, it's possible to really get into that world. So it's a hopeful time, and cable television is getting better all the time, and it's a beautiful place for these things.

People don't always watch TV in perfect conditions. When you were working on capturing the darkness of the photography and the layered sound design, how many different screens and situations did you watch episodes in to make sure it was playing the way you wanted it to?

Oh you watch it all the time. And in the mix, I'm working with [sound and music supervisor] Big Dean Hurley and Ron Eng and we go through things. Every element of a film is important. So you keep working it until everything feels correct. And it's a delicate thing sometimes. All the time it's a delicate thing. Too loud or the wrong sound can throw you out. So it's a grand experiment to get everything to feel correct. And it's the same way when you start shooting. Every single thing, the way they look, the way they talk, what room they're in, what the light is like, all the different elements that make this thing up, you just keep working on them until it feels correct and it's really great fun work, but it's sometimes high tension.

 

Courtesy of Showtime

From left: Dana Ashbrook, Ferrer, Lynch, Chrysta Bell, Robert Knepper, Jim Belushi, Kimmy Robertson and Harry Goaz in a scene from Twin Peaks.

I was surprised when it was initially announced that you were directing all of the episodes. Were you always confident that you would have the time, have the ability, have the desire to do all of those 18 hours yourself?

Absolutely.

And there was no period of doubt along the way?

No, no, no, no, no. It's so beautiful.

How did you parse out your time and your energy and your enthusiasm to make sure you were able to do it all?

Once you sign on for that, you're just chained to it. And there's no let-up. If you're sick, you can't stay home. You just go. It's a runaway train, but it's a beautiful trip.

What parts, in particular, felt like a runaway train?

It's every day. Picture it, when you get there in the morning, it's like there's a giant ravine. And as you're working during the day, you're building a glass bridge. It's a delicate bridge and it's made of glass. And once you've got everything done for that day and it feels correct, boom, the glass turns to steel and you can cross over. And then you've got to do it again the next day.

 

Read More Has 'Twin Peaks' Been a Hit for Showtime?

Then how does it feel when you finally have picture lock?

Well you see, picture lock is one thing. But then there's sound. And nothing's finished. All these things have got to come together for it to really be what you want. So it's really not done until the very last bit of color correction.

And are you the kind of person who really would be able to just keep working and tweaking on this forever?

No. There's a point where you say, "This is finished." But it's the high tension. You know the deadline is looming out there so you just keep working away. But then you've got enough time to say, "Yeah, this is now finished."

The season is such a great showcase for Kyle MacLachlan in so many different ways. Did you know going in how much you wanted to show off his versatility?

It's not a question of showing off. You get these ideas, and I knew Kyle could do it. But it's these characters, they've got to be a certain way, and so you work together, all the different elements that make up each one of those characters. And then the actors have got to supply their talent and make it real, from a deep place, and Kyle sure did it.

How much did watching what he was doing steer how much we were seeing of certain characters? It seems like Dougie is the kind of character who could be really tough to watch if he weren't being played so magically. How did you know that Kyle was giving you what you needed from that character?

You see it before your eyes. You can fine tune things or you can talk and adjust. But all the things, the wrong thing can break the reality of the character. So you work and you talk and you rehearse and you talk some more. And then, the actor, Kyle, he locks in on these things and away we go.

Deputy Director Cole [Lynch's character] had a very big part this season. What are your strengths and weaknesses as an actor, do you think?

I always say you should talk to producer Sabrina Sutherland, because Cole gave her nothing but trouble. He's horrible to work with. Demanding.

 

Photofest

"The script is musical notes, pages and pages and pages of orchestrations," says Lynch (left, with Twin Peaks co-creator Mark Frost).

There's this tremendous weight of the passage of time and almost of mortality itself that hangs over the season. Did you always realize that was what the feeling was going to be or did it grow in production and then postproduction with the passing of Catherine E. Coulson and Warren Frost and Miguel Ferrer?

Oh yeah. We were so lucky that we got Catherine. She passed away four days after she shot her scenes. And Miguel and now Harry Dean Stanton. It's a sad, sad thing. I just loved working with Miguel. I loved working with everybody. But I guess it's just a terrible thing to lose people. And everybody's had that experience. But it's just really fortunate that we got them in the show.

Does that put a different weight on you when you're in the editing room and you want to make sure you honor these people?

You just look and say, "There's Miguel alive and well and doing his thing." And you know that he's not here anymore. But in a way, it's finishing things up the way you would with any scene, any character, but you have that in the back of your mind. And you just wish that it wasn't so.

With that on your mind, how much room was there in the process to fall in love with new characters?

Plenty of room. Plenty of room. There were 237, I believe, actors in this, and all of them, I just loved working with them. And all of them did such great things. It was like the Magical Mystery Tour.

Does that seem insane to you when you're in the process of having 237 actors in this epic work?

It's a little bit insane. But you just go one day at a time. A person comes in and you have that day, and then they're gone. But they're in the film, and you wish that everybody could be around, and that you would have dinner with them in the evening, and you'd be one big family. But it's like one family member at a time, sort of.

Was someone like Kyle, who had worked with you so many times, was he almost like a team captain, making sure that everybody was on the same page and doing the same things?

No. I'm a team captain. (Laughs.) Kyle was there a lot, and I think he was happier than I'd ever seen him. He just was so happy being these different characters. And it was kind of euphoric.

The structuring device of the roadhouse musical numbers, when did that come to you and how did you approach those almost episodic moments?

Because there's the roadhouse, and you could have the possibility for different bands, and people started submitting things through my music agent, through Big Dean Hurley, and little by little by little starting hearing things that were so perfect. And all those bands were organized and shot in one day. So Dean, much to his credit, he had to organize all that. A band would go onstage with all the things they needed. They'd record, it would be shot with three cameras and all the different things they needed, and then off they'd go. Stage would be cleared. New band would come in, all the stuff they needed. It was just one long, beautiful day.

In your mind, how does a small town honky-tonk do such a spectacular job with booking talent?

It's a magical thing. You talk to musicians and they play New York, Madison Square Garden, and then they get a call from Twin Peaks and they say, "I'm there."

When did you know how you wanted to end these 18 episodes?

Well, when the script was done.

 

Read More 'Twin Peaks' Finale: How 'The Return' Ended For Every Main Character

But it wasn't one of those things where you said, "OK, we're aiming to this line of dialogue, we're aiming to this point"?

No. You build it. It's like, I don't know exactly. You can say the script is musical notes, pages and pages and pages of orchestrations. And you're building it. But you can see the notes, how they're supposed to go and where it goes soft and quiet and where it builds. And where it goes here and there, transitions. And it's just all there in the music. You just have to translate it to cinema.

And do you view the ending as being a cliff hanger or do you view it as a broader, philosophical question that maybe doesn't require answering?

I don't really say things like that. But you know, I always say that there should be some room to dream.

What would be the impetus that would require you and Mark Frost to come back to this world? What would it take?

I don't know. It's too early to say that right now.

But it's definitely not something that you rule out?

I've learned never say never.

Going back to the feelings you're having about TV, have you started thinking in terms of long-form storytelling more often in your mind?

Yeah, it's thrilling to me. Continuing story. It's absolutely thrilling.

And do you think that TV is generally ready for the kind of stories you want to tell, or was Showtime a special case?

No, I think they're generally ready. And I think it's what's happening. All these things go in waves. But right now, it's a very friendly environment for a continuing story.

Does that make you want to dive in aggressively? Does it make you want to go, I want to catch this wave while it's still cresting?

In some ways, yes. (Pauses.)

And in other ways?

No. (Laughs.)

[kuruz]

Odgledao sam prve dve sezone i Fire Walk With Me i pročitao ovu temu dvaput, a danas ću da pogledam FWWM: The Missing Pieces, pa onda Q2 Fan Edit (tip je spojio FFWM i The Missing Pieces tako što je isprepletao scene iz oba i tako dobio video od tri i po sata), a zatim krećem i sa trećom sezonom.

 

Utisci o seriji su slični kao i većini ovde - do polovine druge sezone sjajno, onda značajan pad kvaliteta, sve do poslednje 2-3 epizode druge sezone, s tim da ni tu nije dostignut raniji nivo. Ne bih detaljnije, uglavnom je sve ono što bih napisao već izneto na ovoj temi .

 

Film mi je fenomenalan. Jeziviji je od bilo koje epizode i objašnjava dosta toga. Ono što mi je još bitnije (bitno zbog toga što daje kičmu priči, ne zbog samog elementa), a nisam siguran da će i drugi deliti to mišljenje, jeste da dodaje jednu dimenziju koja nije bila izražena u prve dve sezone serije - religijski element. Lorin način života kao da je kažnjen od strane upravo onoga ko je u velikoj meri odgovoran za to kako je živela, o čemu bi moglo da se diskutuje, u smislu da li je njen raniji odnos sa ocem, u vreme koje nije prikazano ni u seriji ni u filmu, bio takav da se ona i pre plašila da će on uraditi ono što je uradio u sceni u kojoj se predaje Bobu, tj. Lilandu, ili je to bila samo misao koja je nju razjedala godinama i pred kojom je najzad popustila u navedenoj sceni. Religijski elementi su kažnjavanje za grehove koje je činila, što je svojstveno hrišćanstvu, nestanak anđela sa slike u njenoj sobi i njegovo kasnije ponovno pojavljivanje u crvenoj sobi, molitva Ronet Pulaski u vagonu i njeno oslobađanje itd. Sa druge strane, scena u kojoj je vidimo u crvenoj sobi sa Kuperom bi mogla da se protumači i kao da je nakon smrti njena duša pročišćena i oslobođena zemaljskog tereta koji joj je Liland stavio, jer je tu potpuno drugačija nego u ostatku filma - nasmejana, bistrog i blagog pogleda, doterana... ni traga prljavštini u koju je bila pretvorena tokom života.

 

Malo drugačiji i značajno opširniji i dublji osvrt na religijski element serije sam našao ovde:

 

http://www.dugpa.com...opic.php?t=2954

 

Zanimljivo je da crkva u seriji i filmu nijednom nije niti prikazana kao objekat, niti pomenuta u bilo kom drugom smislu, ne računajući čisto proceduralno pojavljivanje sveštenika na Lorinoj sahrani i Dagovom venčanju.

 

Siguran sam da postoje i mnoge druge teorije koje ne uključuju religiju u tumačenje serije i filma, ali o tome kad budem pročitao dovoljno misli o tematici i simbolici serije i filma.

 

 

 

Fun fact: u sceni u kojoj Liland ubija Loru, on pominje istgnute stranice njenog dnevnika i izgovara: "I always thought you knew it was me!". Trebalo mi je malo vremena da se setim da sam je mnogo puta čuo ovde, u uvodu:

 

http://www.youtube.com/watch?v=1JRJ5vz7paE

 

 

Nemam pojma zašto je tu ubačena, niti sam našo da je iko ikada to pitao Votija. Čak ni u komentarima na pesmu niko ne pominje TP.

Edited February 26, 2018 by Underkuruz

[23/16]

Odlican je film. Moja interpretacija je drugacija, ja religiju nigde ne vidim .

The Missing Pieces je takodje odlican.

Sada posto imas podlogu mozes da predjes na treci serijal.

[Demon Seed]

Ja se kanim da uradim to isto, odgledao sam pre par godina seriju i film, pa mi se ne gleda ovo novo pre nego da obrnem te stare opet, a ne da mi se, jeste do jaja ali udavi jedan deo u sezoni 2 samo tako :/

[Angelystor]

Mislim da je preterani skok ući u treći serijal bez nekog skorijeg gledanja prethodnih serijala i filma, a pogotovo filma. Ali, vredi, bešga.

 

Odlican je film. Moja interpretacija je drugacija, ja religiju nigde ne vidim .

 

Ni ja, ali moram reći da mi se sviđa kad vidim da neko baci pogled iz drugačijeg ugla. Eto kako black metal utiče na čoveka, svuda crkvu traži po seriji

[kuruz]

Možda je to podsvesna težnja da u izvesnoj meri racionalizujem događaje iz TP i podvedem ih pod nešto koliko-toliko smisleno.

 

Zanimljivo je da crkva u seriji i filmu nijednom nije niti prikazana kao objekat, niti pomenuta u bilo kom drugom smislu, ne računajući čisto proceduralno pojavljivanje sveštenika na Lorinoj sahrani i Dagovom venčanju.

 

U The Missing Pieces postoji jedna scena u kojoj je crkva prikazana spolja, dok zvona zvone, a ljudi izlaze na ulicu, ali nema bilo čega drugog dalje u vezi sa tom crkvom.

 

Još religijskih momenata:

 

Brigs u jednoj sceni TMP čita izvode iz Biblije, preciznije iz Otkrovenja 15:2:

 

And I saw as it were a sea of glass mingled with fire: and them that had gotten the victory over the beast, and over his image, and over his mark, and over the number of his name, stand on the sea of glass, having the harps of God.

 

U sceni pred kraj, u kojoj medicinska sestra uzima prsten sa Enine ruke, iznad bolničkog kreveta se nalazi raspeće. Da li to što joj je sestra uzela prsten i što je raspeće bilo iznad Eni možda može da se tumači kao da je Isus štitio Eni?

 

 

 

Sad na treću sezonu!

Edited February 26, 2018 by Underkuruz

[Angelystor]

Možda je to podsvesna težnja da u izvesnoj meri racionalizujem događaje iz TP i podvedem ih pod nešto koliko-toliko smisleno.

Sad na treću sezonu!

 

Srećno ;D

[kuruz]

video sam šta je pisano, a komentarisalo se i na bilo je 10:2 mesecima, znam šta me čeka

[Toki89]

http://www.youtube.com/watch?v=ZWSPItDCOkI

[23/16]

Lynch se lozi na transcedentalnu meditaciju.

Moraš se prosvetliti da bi skontao smisao serije.

[kuruz]

Video sam takve komentare u recenzijama i tumačenjima, ali npr. lik sa linka gore objašnjava da ima najviše hrišćanske simbolike.

[kuruz]

ovo sa debilnim Kuperom je kao vic o tri debela Nemca

[Demon Seed]

Šta sa debilnim Kuperom?

 

@Andjelizator: hvala na bodrenju

 

Crni metal je svuda

[kuruz]

gotova treća

šta je ovo bilo

 

 

neke ideje kad se malo slegne i kad pogledam određene momente ponovo

[23/16]

Tako sam se i ja osecao.

Nisam bas siguran sta se desilo, ali mi se svidja .