N. Needleman wrote:Agent Earle wrote:Maybe the poster who made that post jumped to conclusion re Frost's presence on the set as there really weren't that many photos of him there (I remember 1, maybe 2) and everyone has been silent as a tomb re Frost's role in the actual shoot - hence, his speculation seems more than valid to me.
Earle, a huge bulk of the shit we've seen in the last hour alone (and other parts) comes straight out of Mark Frost's book. It may not be explicated through pages of dialogue in the Twin Peaks Sheriff's Department conference room (yet), but it's all there in that text and people have been poring over it for the last 24-48 hours. Mark Frost would seem to be the furthest from out in the cold. BTW Mädchen Amick, among others, has also come out and specifically said a huge portion of Season 3's story is all Frost.
Further: I get that you want to take it as a personal offense that Lynch had an offhand comment about Season 2, but you have to understand the man's own point of view. His baby was fucked with because the network wanted the story wrapped up. He was deeply invested in that story, and the show was never the same after that compromise, nor was his career. If you were a creator in a similar position you'd likely have similar complicated feelings.
I love Season 2 but I know Lynch is not referring to all of it, and I don't take it personally. It's not about me or my love for the show in all its good, bad or both. It's about what he went through. It's not about validating you. Diving deep into a grudge with David Lynch over Season 2 after 25+ years seems like a pointless use of time to me.
I'm just not convinced that the way it all went down was Mark Frost and Lynch with this finished script and Frost having written off on this nuclear explosion section.
The fact that the Gordon Cole mushroom cloud photo scene (and so much else of episode 8 and the other surreal bits) are a tribute to eraserhead and other Lynch works.
My gut feeling is that Frost had a neatly packaged script albeit about aliens --but with a very clear linear narrative in mind.
Lynch took that, parodied half the ideas and went on his own tangent--
Then later Frost retconned the stuff in Secret history by introducing the Babylon working ritual Jack Parsons and Marjorie Cameron to make sense of Lynch's space opera.
I have trouble believing that Frost would have come up with Laura floating in a bubble in the space scene. That's Lynch's obsession with Laura Palmer, it's totally his aesthetic.
We know for a fact that the black-face hobos were made up on the spot because in an interview Lynch said (in his usual cryptic pseudobabble) 'About that. An idea comes to you. It's about translating. And about that guy--you just wait and see.'
This is confirmation that Lynch probably ad libbed half of these sequences. Just like he did in episode 29
Anyway. I could be wrong. That's just my gut feeling. Bit don't pretend like you have some secret insight into Lynch's and Frosts creative process.
I suspect lost of people are holding their tongues about what really happened on set, and we won't know what really happened until after the whole thing airs and showtime has nothing to lose financially from people being negative about Lynch's processes.
Right now it's heroine lynch and they hope that people will enjoy it as much as is possible. It explains Frost and all the other cast backing it albeit with icy confusion and standoffishness as to what's happening.
I remember Madchen or one of the other cast said about the return something like ; 'I understand it now. The whole thing is about David.'