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now if you could only magically clone my long-lost LH theory written back on the original DLDB.... :P

was just watching LH again last night and wanted to read the pages i wrote on it. i'm sure i could re-write my theories, but it's nice to see what one notices from one viewing to the next.

anyway, back on topic, now that i've watched LH & MD in close succession, LH still far surpasses MD as my favorite Lynch movie (that's actually been made, RR still holds the absolute title). then probably FWWM, MD, WaH/Dune, etc.

not including the short films or 'Rabbits'....

speaking of the older films, are those 8"x8" box "sets" still available from DL.com? i missed them way back when, and now i'm missing them... :(

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TC wrote:anyway, back on topic, now that i've watched LH & MD in close succession, LH still far surpasses MD as my favorite Lynch movie (that's actually been made, RR still holds the absolute title). then probably FWWM, MD, WaH/Dune, etc.
Agreed, LH is also ahead of MD for me. Mullholland Drive, although a master piece, does just not possess the infinite number of layers Lost Highway does. Compared to Lost Highway, it is almost too simple, in visuals, execution and structure.
But as I still hold Mullholland Drive as one of my favorite movies of the last few years, this just says more about the brilliance of Lost Highway. "Two thumbs down." 8)

Oh yeah, PLS FUCKING RELEASE TWIN PEAKS SEASON 2 ON DVD SO I'LL BE ABLE TO WATCH FIREWALK WITH ME WITHOUT REGRETS WHOEVER IS RESPONSIBLE FOR THE RIGHTS CURRENTLY!

I am surprised you don't seem to hold Blue Velvet as high as the others you mention? I prefer it to Wild at Heart which I liked a lot, but just didn't press my buttons as welll.
"Good taste is the death of art."
-Truman Capote

Re:

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TC wrote:
Alexhead wrote:Lynch probably never thought about the dance partner angle
you had me until then. i'll never buy the idea that Lynch hasn't thought about every single friggin' nuance of any of his films,
Hah, re-reading this thread...you should go check out the Lynch (one) Documentary if you want to see how freewheeling he can get. One of the reasons I can't get into Inland Empire as anything more than a big long Lynch sketchbook (not that there's anything particularly wrong with that) is that it's quite apparent after watching the making-of that he was making it up as he went along and had little to no game plan.

Now, that said, I watched Eraserhead again last week and I have to say that this and IE do make somewhat apt bookends for Lynch's filmography; Eraserhead representing his birth as a filmmaker and a great collection of his obsessions, and IE representing a summation of everything he went on to accomplish throughout the rest of his film and television work. I don't give IE a pass on its sloppyness for that, but it does have a fairly appropriate feel to it on that level.
"I'm like a dog chasing cars, I wouldn't know what to do if I caught one. . . . I'm not a schemer. I just do things."

Re: Mulholland Drive theories (long)

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i don't have the (one) set so i haven't seen the doc. i stumbled across this today though: http://www.collativelearning.com/MULHOL ... LYSIS.html

watching a great video analysis that guy did about spatial anomalies in the shining (http://www.mentalfloss.com/blogs/archives/95039) led me to his site where i saw he did an analysis of MD. i'd advise copying the test & pasting into word to avoid eye-burn-out with that blue bg. i just finished reading it and while i can't argue his sound "facts only" approach to it and his "logical" conclusions, something just doesn't feel right. need to rewatch again....

Re: Mulholland Drive theories (long)

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Vulture wrote:Mulholland Drive’s Evil Hobo Breaks Her Silencio

It’s been 13 years since David Lynch’s horror-noir Mulholland Drive enthralled audiences, and while not everyone can agree on what the film meant, most of its fans agree that the hobo behind the dumpster is absolutely terrifying.

The woman responsible for that scare, actress Bonnie Aarons, who is appearing in the upcoming indie flick Spreading Darkness, spoke with us from her L.A. home about creating what is arguably filmdom’s scariest cameo.

Was there a traditional audition process for the role?
I don’t mean to brag, but David Lynch said he was looking for the most incredible face he could find. I actually met him at a Twin Peaks party, and he was like, “Look at that face!”

Did anybody ever explain to you who your character was?
They really didn’t. They said I was going to be a character called the bum, and it was going to be a bunch of special effects. But that is all real makeup. That is real moss on my face. That is oatmeal and dirt in my hair, and steel wool. They were gonna make a mask, but [Lynch] says, “No! I don’t want any of that. I want to see every bone structure, I want to see the green eyes.” So he had them put it on with a tweezer. It took over 12 hours.

And what are you wearing in the scene?
It was really heavy and flannel, and they just kept putting dirt on it and beating it up.

Did David instruct you to do different expressions on different takes?
Oh, no. He had an idea of what he wanted. David was going over the facial expressions. I did a couple, and he’s sitting there with me, and he says, “No. Nothing like that at all.” And, ya know, David Lynch is really hot, and I’m looking at him all dreamy-eyed, and he says to me, “That’s it: the look, Bonnie!” So I get up and I do it behind the dumpster, and David says, “No, do what you did before.” And I said, “Well, it’s really easy when I do it with you, David.” So guess what? He did it with me. He stuck his head [out], and I came out and looked at him. So when I put out my head, I saw his face.

So the bum was giving sex eyes?
Love can kill, can’t it, baby?

What context were you given for the scene with the blue box?
There was fire all around me, and the thing I remember [Lynch] saying was, “This is your box. It belongs to you. And then I want you to look at it, study your box, and then just drop it into the bag.” Well, what can I say? It took me two seconds. [Laughs.] I nailed it.

Did David eventually give you an idea about what the bum represented?
He says, “Not yet.” He says to me, “Everything.” But he didn’t want to tell me.

Do you have your own idea about what she represents?
I think she represented the devil and an angel.

Did you know that your part was intended to be so frightening?
No. However, when I saw the film with the cast and crew, I did scare myself. The stories I’ve heard are so outrageous.

Such as?
Someone told me their girlfriend was rubbing their dick in the movie theater, and that came on and [she] squeezed, and he was screaming in the theater like a maniac. [Laughs.]

Has anyone on the street recognized you as the bum?
No, never. I don’t understand, because my face is very … ya know. But I’m very chameleonlike. Put a little makeup on me, I look completely different.

Even still, where in your career does being the bum rank?
On the top. Way on the top.

Re: Mulholland Drive theories (long)

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The pilot really is awful. And a good lesson in just how important editing is. Even with most of the same footage the flow of the thing is just outright bizarre. The few extra bits included are puzzling taken with what is missing. Lynch is right that it should never see the light of day.
Just cut them up like regular chickens

Re: Mulholland Drive theories (long)

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darkness wrote:The pilot really is awful. And a good lesson in just how important editing is. Even with most of the same footage the flow of the thing is just outright bizarre. The few extra bits included are puzzling taken with what is missing. Lynch is right that it should never see the light of day.
After reading Room To Dream (not to mention the old New Yorker piece), it sounds like it was just fucked with constantly by the studio, so this doesn't surprise me.
"I'm like a dog chasing cars, I wouldn't know what to do if I caught one. . . . I'm not a schemer. I just do things."

Re: Mulholland Drive theories (long)

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watched the latest 4k release of MD over the weekend. it had been a while since i rewatched. i know this goes without saying, but goddamn is this film good. the complexities of the plot are deftly handled by a master and presented in a meaningful way. every scene adds to the experience. i think every re-watch puts it higher on my list of Lynch films. the new transfer is quite enjoyable. the audio mix is understated and not pummeling you. it sits perfectly.