The Pilot

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Mr. Reindeer
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Re: The Pilot

Postby Mr. Reindeer » Wed Apr 15, 2020 1:29 pm

WindUpBird wrote:Something struck me when re-watching the pilot the other night. Cooper breaks open Laura's diary in a pragmatic but rather callous way. It comes off as an almost a violent act, a man's brutal intrusion of a dead girl's privacy. Since it seems to be a popular theory that the sounds the Fireman plays in S3 being the key unlocking the diary in FWWM maybe there's a something to think about here? If only Maybe also a connection with Carrie Page/the missing page and the way Laura is ripped out of the woods in The Return.


I always took that more as a Gordian knot type moment. Cooper is a Holmesian practicalist. Everyone has been trying to find this key and Dale goes to the more obvious solution. I love the little shrug he gives Harry after doing it, as if to say, “What difference does it make at this point?”
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Re: The Pilot

Postby WindUpBird » Wed Apr 15, 2020 1:43 pm

That's very much how I always took it until this rewatch too, but I guess I find myself searching for flaws in Cooper's character these days.
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Re: The Pilot

Postby Mr. Reindeer » Wed Apr 15, 2020 1:49 pm

WindUpBird wrote:That's very much how I always took it until this rewatch too, but I guess I find myself searching for flaws in Cooper's character these days.


Same!
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Re: The Pilot

Postby Mr. Reindeer » Mon Jun 15, 2020 6:36 am

It just struck me that Audrey’s very first line is, “Here,” in air-quotes, which is a pretty apt description of her state of being in TR!
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Re: The Pilot

Postby hopesfall » Mon Aug 10, 2020 5:18 am

I sat and watched the pilot yesterday, after finding myself in a very Peaksy mood, and nothing else was going to cut it. It has been wonderful reading through this thread with the episode fresh in my mind.

Although I see myself as a lifelong fan of TP, and have seen it countless amounts of times, I do class myself as someone who pays much more attention to the feel/story of the show, and some of the forensic details of what's on screen, and indeed in the soundtrack/design, can often pass me by. With that in mind, I did however have some thoughts of my own whilst I was watching that I felt obliged to jot down, for myself initially; but I also felt like it would be nice to share a couple of random thoughts I had whilst watching.

First and foremost, is the aura of the Pacific Northwest. It suits this world down to the ground. Even though it was only really filmed here for this episode, and FWWM, I can't help but think of the dark and wet colours of the pilot whenever Peaks comes to mind. It is so ominous, mysterious, spiritual, and moody, yet breathtakingly beautiful, unique, and enchanting. I am still yet to visit, despite setting the intention way back in my teens. Now I'm nearing my forties, I think it's time to say now or never and book a flight, once all this current business washes over!

I made a note of Josie's seemingly altruistic act of closing the mill down for the day in light of the morning's events. Unfortunately, much like Cooper the morning after his dream, I'm unsure of what exactly I was getting at. I do find her character fascinating. She was most definitely written as a femme fatale, but because the character either falls short of the vicious side in the writing, or Chen doesn't quite hit the mark, the sweeter side of her seems to shine much brighter earlier on in the show, especially in her interactions with good ol' Pete. I can't quite see what she sets to gain, on a selfish level, from pulling the plug at the mill. It's quite a nice "moment's silence" type way of showing solidarity with the community, and the only thing I can think of that would make it not quite the selfless act it seems, is that it could perhaps show an upper hand over Catherine. However, Josie herself states that she could have taken that kind of authority several times before, and never has, so it's like it doesn't suit her character to be that way, although as later events show, she's capable of far worse. Like I say... a fascinating character, despite not being one of my favourites.

Lynch's reflection in the glass during Pete's phone call to Truman is definitely one of those things you can't 'unsee' once you notice it!

The old man who spots Ronette on the railway line utters one of my favourite lines from The Cowboy and the Frenchman, and it's even delivered in the same manner: "What the hell?" I know it's a common enough phrase of course, but I like to see a connection there in my head.

The wide shots of both the school and hospital corridors are iconic to me. I remember the look of the slowly creeping shot down the school, combined with the principal's announcement over the speaker, absolutely gutting me when I was younger. More than Sarah/Leland crying, more than Donna's or James's reactions, or anything else, that just filled me to the brim with sadness, even as a kid. The usually teeming space now empty as the news of the death echoes off the walls over the brooding synth of LP's theme, still gives me goosebumps to this day.

Cooper. The man we absolutely love to love. He has a very aloof side to him in the pilot, which i always took issue with, but I've actually come to love now. The way he stands Harry still to set the record straight "off the bat", his slight snap at Jacoby, his sarcasm when interrogating Bobby including his crushing blow at the end, his manner with the doctor looking after Ronette, etc. None of this I could see happening after Episode 1. It's like the charming, child-like enthusiasm ("snowshoe rabbit...") that came alongside this slightly colder side won the writers over, and they went with it full throttle. I don't know if they were going for the superhero trope of having a slightly flawed or darker side to him at the beginning, but it's something I enjoy upon re-watching for some reason, and something that perhaps contributes to his fate in the Black Lodge at the end of the second season.

That's all I really have, for now. I loved diving back into the world again, and got very engrossed in the story/emotions like old times. I may bore you all with thoughts on other episodes soon. :lol:
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Re: The Pilot

Postby Henrys Hair » Sat Jan 09, 2021 12:34 pm

Rewatched this today for the first time in a while and noticed a few things that may or may not have been mentioned before:

The calendar at the saw mill suggests the date is Monday 20th Feb 1989. There again, previous weeks look like they've been struck out in a single line, in which case there's no inconsistency with Cooper giving the date as February 24th.

Cooper also mentions it's 11.30am while driving into Twin Peaks, yet he's already had lunch. It also suggests he'd had some sort of premonition Ronette would step outside the state line. Either that or he was close by when the call came through, which seems doubtful - although not made explicit, there's a sense he's been travelling for some time to reach TP.

Shelly's finishing her shift before school begins. The obvious suggestion is she's worked a night shift, although we know from later episode the Double R isn't open all night. At the other end of the spectrum, Lucy puts in one helluva working day. Would there really be enough daylight in Feb in the pacific northwest for fishing & football practice before the school/work day kicks in? Bobby never actually makes it to practice, which you'd suspect might get him demoted from captain.

The background school kids look a lot more 80s in their clothes and hairstyle than the main cast.

It's twilight when Bobby leaves the police station but looks like daylight during Donna's subsequent interview and definitely daylight when Cooper & Truman visit the crime scene.

None of the Fleshworld ads appear to relate to Ronette's photo. The ad beneath her picture looks like it should be for her but mentions she's 35.

The toy bird outside the wooden bird cage in Harriett's bedroom made me think of Waldo being out of his cage on the night of Laura's murder, while the ornamental cat brought to mind Audrey's disguise at One Eyed Jacques (although I doubt either of these had been thought of when the set was dressed).

No sign of Jacques Renault at the Roadhouse, and Ed does a very dramatic roll when he hits the ground!

Ronette Pulaski, Sylvia Horne, Johnny Horne, Joey Paulsen & Harriet Hayward all look like they're being primed to play larger roles than they ended up getting. Moreso in all cases than Nadine Hurley, The Log Lady & Mayor Milford who all go on to play substantial parts. While all 5 reappear in the series, I can't help but think there was room to flesh them out more.

'Sheriff, we've got a lot to talk about.' Cooper's line at the morgue would roughly be where a normal length episode would end and wouldn't have been a bad cliff-hanger (in my opinion at least). This would then mean Ed & Donna at the garage being the first scene of the next episode. Again, I think this would've worked well too.

Overall, it's a nearly-flawless introduction to the series. In my mind, I always think of the first half being perfect and then the second half wandering slightly. This time I didn't get that feeling at all, although the James/Donna conversation in the woods still feels just a hair too long, and the Sylvia/Audrey/Johnny scene could maybe go since Sylvia & Johnny are in it so little later on and Audrey doesn't speak. Maybe wouldn't have hurt to spend a little longer with Truman/Josie/Catherine/Ben in the Blue Pine Lodge scene - especially as we haven't seen Ben in a while (I remember the first time I watched it I didn't connect that this was the same guy from the hotel). These are all miniscule niggles, however, compared to the many, many things to love about the pilot. In an hour and a half it makes you feel like you know the town and its characters, and care about what happens to them next.

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