Mr. Reindeer wrote:I’m not sure how much corner-cutting went on. Remember, Lynch walked away, and he and Sutherland made an all-or-nothing ultimatum on the budget they wanted, which Showtime granted. This is the narrative Lynch and Sutherland have told, so I find it hard to fault Showtime for any budget issues. I do recall Lynch in a prep session on one of the documentaries bemoaning the typical Hollywood process and saying he could have spent a month on the Fireman’s set “going dreamy,” but that’s him wishing all movies were made the Eraserhead way. I’m not sure he would have a better experience at Netflix. Showtime gave him a tremendous amount of autonomy and the budget he asked for, even if it ended up not being enough in his eyes.
I could see RR as either a feature or series. It does seem that Lynch has gotten a lot looser with runtimes between INLAND EMPIRE and the epic TP:TR, and I could definitely see Lynch expanding it to a ten-hour series or something. Maybe that opportunity to expand the world would be the key to fixing whatever he feels is wrong in the script.
I don't think much corner cutting went on, either. What I was specifically and only referring to was...wasn't there a scene or two that Lynch had envisioned that he couldn't film due to budget constraints? I thought that was discussed somewhere on this board. Something that was supposed to be much more elaborate (and no, I'm not talking about Green Glove scene). There was also that instance of Peter Deming stating via tweet or whatever that it would have been nice to have some of the money that Showtime was dishing out during the awards campaign while they were filming. I don't think Lynch truly got the budget he wanted to completely fulfill the maximum of his vision, and I think they worked very tight. I think, like anything, it was a compromise, which you seem to also be saying. All I'm saying is that Netflix would probably give him the higher, less compromised budget, and equal freedom, no questions asked.
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