Jonah wrote: ↑Wed May 19, 2021 11:17 am
For some reason, both featurettes blur together in my mind.
They were both shot in the same location, so that’s understandable.
Oh really? Cool! I'm guessing it's a real LA bar/coffee shop?
Mr. Reindeer wrote: ↑Wed May 19, 2021 11:27 am
I think the waitress was mostly part of the set dressing. I do vaguely recall the documentary starting at floor level on her high heels and following her walking as the opening titles roll, until she reaches Lynch and pours him a refill...maybe? I’m at work and can’t check right now if I’m imagining that!
The casting listing was very specific. Caucasian. Redhead or brunette only.
I think I remember that too! But again it jogs the memory of the Kyle/Madchen one more so not sure which one it was in lol.
I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
They were both shot in the same location, so that’s understandable.
Oh really? Cool! I'm guessing it's a real LA bar/coffee shop?
Yeah it’s a sort-of rustic place called the Bigfoot
Lodge in Los Feliz. Never been but it looks cool.
Quickly looked in Google images - and I love all the wood and the logs in the ceiling. VERY Peaksy, moreso than I think I noticed when I saw those featurettes. Surprised he didn't shoot any scenes for The Return there!
I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
LateReg wrote: ↑Wed May 19, 2021 11:24 am
And in certain behind the scenes footage you can see Lynch's wheels spinning when he's asked something about what something should look like, and he's always very specific.
That's true even down to little things or the way fake blood is seeping on the floor or the colour of paint, etc.
I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
For me personally, I've always felt that, regardless of how you interpret it, the ending of The Return was a definitive ending rather than a cliffhanger. Unlike with S2, this time Lynch and Frost got to end it fully on their own terms and with complete creative control.
I was in the audience when Lynch mentioned Carrie Page calling to him and honestly it felt rather noncommittal to me. I think people may have read more into it than there really was, but that was just my feeling.
The ending of The Return feels to me that it can be read two ways - as a definitive ending or another cliffhanger. It doesn't feel entirely definitive to me, though - it still has a sort of cliffhanger vibe, though I suppose it depends on how you interpret it - the lights going out and possibly the world imploding and/or Laura and everyone else waking up, etc. - do feel like definitive things. But there's still something sort of cliffhangery about it. The closing credits with Laura whispering in Coop's ear does feel sort of terrible and definitive, though.
I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.
Ickles wrote: ↑Wed May 19, 2021 11:21 am
I'm definitely anxious to learn about what this is from a "What Does David Want to Do Artistically At This Point in His Career?" standpoint. Trying to predict that seems impossible, regardless of filings, rights, IP, companies, etc. I feel like trying to parse all his various quotes over the last couple years about maybe being open to more Twin Peaks, Twin Peaks actually being done, wanting to go back to the world of Carrie Page but there being "disturbances", etc., is a bit of a fool's errand. I think ultimately it'll be whatever he wants to do at this given moment. Maybe this is basically TP S4, Mark Frost or no, or S4 is something in his box of ideas to revisit someday, perhaps with Mark Frost in tow, but it's not this thing. Maybe it's a version of The Antelope Don't Run No More with other elements of his universe (including TP/Carrie Page stuff) mixed in along with IE/MD strands. Or it's Ronnie Rocket and Laura Dern has to shave her head to play Ronnie. Hell, maybe he got a wild hair to finally try making Goddess again and it's listed as a TP Production because he initially co-authored that script with Frost (Naomi Watts HAS been posting on social media about Marilyn Monroe some)...obviously that last one is a reach but really, at this point, the possibilities seem endless. The only consideration is his age/health and desire to keep working on film that late in life. If he effectively kind of knows this is it, that the shooting/editing/release/press for this is probably his last hurrah then it'll be curious to see if he want to go out with one last TP story or if it's some giant Lynchverse clusterfuck of ideas (i.e. Antelope).
It's funny...after I mentioned his long dormant adaptation of Goddess in jest I pulled out a copy and re-read over the first page.
So...an unrecorded night, perhaps? Goddess confirmed! Book it!
underthefan wrote: ↑Wed May 19, 2021 11:57 am
Yeah, for sure it could be interpreted either way but my gut feeling has always been on the side of the definitive ending.
On another note, TP S1/S2 is leaving Netflix US (as is Hannibal). Curious timing.
It being or not being on Netflix has very little bearing on whether it's Twin Peaks. Twin Peaks leaving Netflix is something that has been set in stone since the licencing deal was first struck/extended.
It's an inference that has correlation but no causal basis.
As for the Monroe thing, I think if that passage referred to Donna Hayward instead would we still think it's convincing?
Personally, I feel "Unrecorded Night" fits every Lynch project to date. That's one of the reasons why I think there's as a small chance the project might end up being an anthology of Lynch sequels and unrealised projects, with some of the entries being Twin Peaks and others less so.
Still feel the most likely is more Dale Cooper adventures. But I feel like the target of subliminal messaging that keeps Mulholland Drive links in my mind: I can't shake the feeling theres a connection to Unrecorded Night. Similar to how I'm very confident Lara Flynn Boyle is in it. No clue why on both fronts.
underthefan wrote: ↑Wed May 19, 2021 11:57 am
Yeah, for sure it could be interpreted either way but my gut feeling has always been on the side of the definitive ending.
On another note, TP S1/S2 is leaving Netflix US (as is Hannibal). Curious timing.
So this is not Twin peaks if it’s on Netflix, but if it is Twin peaks then it won’t be on Netflix
I'm gonna have to disagree with Histeria here and say that I do think the streaming rights of S1, S2, S3 and FWWM would be a factor in terms of what this project turns out to be (if it is indeed on Netflix as I believe). Yes, there's always the possibility that they could produce S4 without licensing any of the previous material but I find that unlikely since it would limit the audience to currently existing fans, which based on Showtime viewing numbers is fairly limited.
For that reason, I think that this will either turn out to be a new, original project or a TP spinoff of one kind or another that doesn't require the knowledge of previous material. I could be proven wrong in time but based on the information we have at the moment, that's my firm belief.
Mr. Reindeer wrote: ↑Wed May 19, 2021 11:27 am
I think the waitress was mostly part of the set dressing. I do vaguely recall the documentary starting at floor level on her high heels and following her walking as the opening titles roll, until she reaches Lynch and pours him a refill...maybe? I’m at work and can’t check right now if I’m imagining that!
The casting listing was very specific. Caucasian. Redhead or brunette only.
I think I remember that too! But again it jogs the memory of the Kyle/Madchen one more so not sure which one it was in lol.
Sorry to drag the thread backward. I’m home and checked. I was mixing up the docs as well! The opening shot of the heels/legs walking was Slice of Lynch! I won’t comment on that particular waitress’s bustiness except to say that she’s wearing a Hooters-style T-shirt (labeled “Sparkwood & 21”!) which is clearly meant to be flattering.
The waitress in Between Two Worlds barely registers. She’s seen out of focus in the back a few times (seemingly in a Double R-style uniform), but yeah, doesn’t really seem worth the elaborate casting call. She doesn’t check in on their table in the whole 40 minutes! Awful service.
Just goes to show that you can’t read much into casting calls, though. It could just be for some random background stripper at a bar or something.
