Xavi wrote:Most of the times when I describe very detailed observations they serve a purpose, and I would expose such purpose, according my understanding and interpretation. Just observing tiny little oddities without any clarification is like describing each molecule in the water, while possibly someone is drowning.
Elaborate theorizing isn’t the way I engage with DKL’s works. Based on years of following his work and interviews with the man, I don’t believe there is an articulable “explanation” for what we see on screen; it’s more an intuitive logic that he expressed through audiovisual means because that’s the only way it CAN be expressed. I don’t want to discount anyone else’s POV; you’ve made some interesting observations, and there’s no denying that TP:TR seems to be engaging with freeze frame/puzzle-box storytelling far more than any of DKL’s prior works (e.g., the Sarah/Jumping Man mashup). But DKL has consistently said over the years that his works are meant to wash over the viewer and make sense subconsciously, not be explainable through words/logic, and the 20,000 myriad academic interpretations of Eraserhead and INLAND EMPIRE seem to bear that out. I just don’t believe that we’re going to find the “meaning” of TP:TR, and I’m not personally particularly interested in trying.
OTOH, now that we have a true HD copy of the work, I am thoroughly enjoying exploring every corner of the world DKL chose to display onscreen. Is some of the stuff I’m observing arcane, boring and overly OCD? Probably. But it’s stuff that fascinated me, so I thought it might be of interest to at least one or two other people. For instance, the fact that tulpa-Diane’s favorite bar (and by extension her home) seems to be in Virginia fleshes out her backstory a bit and gets me dreaming about what her life might be like.