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kaworu
Jul 23, 2004

I remember a funny story I heard about the actor who plays James. I might have even read it in one of these threads a few years ago, not sure.

Anyway, someone was at a Twin Peaks convention or some such function, the sort of thing where a bunch of fans get together and maybe a few of the more washed-up actors from the series with nothing better to do make appearances and do speaking engagements, that sort of thing. Apparently all of the actors who showed up were at tables signing autographs and so forth at one point, and everybody had a decently long line except James Hurley. He was sitting at his table all alone, not a single soul wanted his autograph even at a Twin Peaks convention :xd:

Portable Staplefrog posted:

I agree on the zoolandarity, but I don't know if it's necessarily because he's a terrible actor or if James was just written as the least interesting character in the show. Has he been in anything else?

HOLY poo poo. Literally just a few days ago I watched the film A Few Good Men because I'd never seen it and randomly got the urge to watch Tom Cruise act smarmy, and one of the two marines being prosecuted (the quiet and vaguely pretty one who never said a word unless he was ordered to say it) in the film looked vaguely familiar, but I just couldn't place him. I even watched the cast listing at the end and didn't recognize the name of the guy who played him, so I chalked it up to my imagination.

Turns out, of course that it was James Marshall, same guy who played James Hurley! He was fine in that role, though, because it was in the nature of the plot for him to stand around and appear to be really dimwitted and stupid. Otherwise he's had an extremely forgettable career doing bit parts in TV movies and such. He did have a leading role in a long-since-forgotten film called Gladiator (the one from 1992, not the Russell Crowe one). In a little Lynchian connection, that film also co-starred the legendary Robert Loggia who played the unforgettable Mr. Eddie from Lost Highway.

kaworu fucked around with this message at 00:54 on Jul 25, 2010

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kaworu
Jul 23, 2004

Yes. If you need a clue as to how seriously you're supposed to take most of the melodramatic soap-opera aspects of the show, pay attention to the in-show soap opera "Invitation To Love" that is often playing on television screens in the background, and which in fact mirrors much of the goings-on of the actual show itself.

I really think that twin Peaks - up through the first half season 2 - is entirely self-aware, which is part of what makes it so amusing. It's also a big part of its downfall, when the show descended into self-parody during the latter part of season 2 and what was previously delicious irony turned into boring sludge. Up until the last couple episodes, of course.

kaworu
Jul 23, 2004

I literally HAD to skip through all the James scenes in the latter part of season 2, my first time through anyway. I basically had no choice. It was either that or stop watching the show completely, because there was no way in HELL I could sit through all that crap. It's almost like a do or die scenario by the time he ends up at that weird married chick's house, you either skip through it or you give up.

My second time through I was determined to watch the entire thing, and I found out that I had made a wise decision before and missed absolutely nothing important or enjoyable.

kaworu
Jul 23, 2004

Irish Taxi Driver posted:

One word: Kinda?

Longer answer with season 2 ending spoilers: Hes a part of the black lodge, but not an evil part. He seems to exist to guide Cooper to the black lodge.

My one-word explanation of the Giant, which I don't think is THAT spoilery but some might think it is, would be this: Help.. In the sense that that is what he is.

Also, about the Giant, first of all I'm pretty sure he's from the White Lodge; even though he shows up in the Black Lodge I think it's more as a projection of Cooper's mind. Plus, along with The Log Lady (and arguably Miss Tremond/Chalfont and her grandson), he seems to be one of the most benevolent supernatural entities portrayed on the show.

I've always been a little confused about his physical nature, though. He seems to be the same entity as that of the smaller old man with the mustache who usually precedes the Giant's arrival (as we learn later in the Black Lodge, "one and the same"). The thing is, I've never been sure if the Giant possesses bodies in the same way as Mike and Bob. Like, does the Giant actually appear in corporeal form to Cooper, or are we just seeing a fantasy of sorts when that happens? The ring appearing and disappearing seems to indicate that the Giant is physically real, but then why the connection to the old man? It's all a bit confusing, even within the loose framework of show's mythology.

kaworu fucked around with this message at 06:09 on Jul 29, 2010

kaworu
Jul 23, 2004

Cromulent posted:

I just finished the movie. I enjoyed it, even if the tone was completely different from the series. I'm surprised it was released to theaters, being that it hardly makes sense even if you've seen the show.

Well, the first portion with Chris Isaak and Jack Bauer sort of makes sense by itself, in its own way. I actually adore that section, it's one of my favorite things Lynch ever did with Twin Peaks, and I can't perfectly articulate why. Deer Meadow is like the mirror universe version of Twin Peaks (the town itself, that is). The Sheriff and his deputies are assholes, the lady who runs the diner is an ugly hag, that sort of thing. And it's just filled with this odd tension and humor, I love it.

I've heard Lynch originally wanted to make 3 different films. One about the Teresa Banks investigation, one about Laura Palmer's last days (which comprises most of FWWM), and one that takes place after the end of series. I think he sort of did himself a disservice by smashing together the first two and ignoring the third, because what we got, while very good on its own terms, simply does not function as what everyone was hoping for in a "Twin Peaks Film". And that really gives it a bad reputation, the fact that it was largely unintelligible if you hadn't seen the show and ultimately unsatisfying if you had.

kaworu
Jul 23, 2004

ElwoodCuse posted:

I liked how in the interviews on the bonus disc, many of the cast and crew had a David Lynch impression to do when they were talking about something he said.

This is slightly off-topic, and I don't remember where I saw it, but there's an interview with Naomi Watts about working on Mulholland Drive where she's talking about the scene where she had to furiously and aggressively masturbate while crying, and how hard it was for her to film. Anyway, she does this truly hilarious impression of David Lynch giving her direction during that scene which I'll never forget.

I have to think that pretty much every actor who works with him is compelled to do some sort of impression of his voice and general affectation, because it's so distinctive.

edit: Found the clip on youtube right here! If anyone is interested. It's an excerpt from Inside the Actor's Studio so it also features amusing awkwardness from James Lipton trying to talk about the scene. The conversation starts at about 4:15 in the clip and ends with her utterly hilarious Lynch impression. Beware that it contains huge spoilers for Mulholland Drive :ohdear:

kaworu fucked around with this message at 06:37 on Aug 27, 2010

kaworu
Jul 23, 2004

:iiam:

The possible plots of season 3 is just one of those things we'll never know. I doubt Lynch or Frost even knew what they would have ended up doing for sure. It's definitely fun to theorize about. One thing we can be fairly certain about, based on that final scene, is that BOB wasn't going to get away with any subterfuge hiding in Cooper's body, that's what that final scene with him banging his head against the mirror partly indicated, anyway. The people outside were going to immediately know that something was very wrong, I think.

kaworu
Jul 23, 2004

I honestly could barely tolerate that back half of season 2 - barring the finale, of course, which was just so great. I still haven't seen most of those pointless scenes involving James. I didn't even need anyone telling me that I could fast-forward through them without missing anything important - I absolutely had to skip over them or there was no loving way I was going to manage to finish the series, because it was just so intolerably and horrifically boring. Especially the parts where he's at that strange woman's house, what the gently caress.

There is some stuff I liked, though. Like all these actors who eventually would get famous (or semi-famous) start to show up. You've got a very young Heather Graham, a totally random Billy Zane, and my favorite: pre-X-Files David Duchovny as Denise/Dennis, the transgendered DEA agent. He's so adorable in drag :3:

kaworu fucked around with this message at 19:12 on May 7, 2011

kaworu
Jul 23, 2004

I would totally play that game if it was available on PC. Especially since I just bought an incredibly sexy new gamin notebook with all the fixin's. Ah well. I thought there was another videogame that came out a while ago that had some Twin Peaks-ish stuff going on, although it wasn't nearly so incredibly derivative as Deadly Premonition.

kaworu
Jul 23, 2004

Honestly, I was never at all interested in or concerned with who "Diane" was. Totally inconsequential, although it is nice to theorize. I did like the idea that it was mysterious, though - that was important, because it added to the general air of intriguing strangeness inherent in Cooper. It was important that he be utterly inscrutable to the audience, because the moment that we became bored with him, or felt like we had him completely "figured out" was the moment that the show became boring.

In this respect, I still think that giving Cooper any sort of a legitimate love interest was an enormous mistake. It just felt important to me that his character remain perfectly androgynous and asexual. A big part of him was how he refused to adhere masculine gender roles that typically characterize a cop on TV. There was no macho bullshit whatsoever with Cooper; no macho behavior at all, in fact, he left that to Harry for the most part. To the contrary, the way he operated - primarily through intuition and instinct - was distinctly feminine, in many ways. He was also very much unafraid to use his feelings, and the emotional readings that he'd take of the people around him. Recall how he was always able to determine when one individual was romantically involved with another, purely through body language, eye contact, tone of voice, etcetera.

Anyway, it just seemed wrong to sexualize the character in any way. It somehow diminished who and what he was, because it made of him something simple and common. Cooper was always beyond such petty human needs and desires - or at least that was the sense he gave when he was at his best, character-wise. I suppose we just have to add it to the list of horrible mistakes the writers made in season 2! Oh well.

kaworu fucked around with this message at 04:13 on May 10, 2011

kaworu
Jul 23, 2004

FelixMeOneMoreTime posted:

I finished the episode with the drawer pull. I really wish they ended it with the reveal of Laura's murderer, it's just stupid now. Please say it doesn't get worse than Josie being trapped in a loving drawer pull.

I honestly don't think it gets any worse. As I recall, the scene you're talking about is like the absolute lowest point of the entire series - because I remember watching that scene and thinking the same thing as you. You've definitely reached the point of no return with regard to season 2, and at this point you really should stick around, because the Lynch-directed finale is a REALLY excellent episode. Definitely one of the best in the entire series. I don't think it redeems the latter part of season 2 (what could?) but it ends the series in proper style.

Plus, there's Fire Walk With Me for you to watch, assuming you haven't seen it. And I really think that's one of the best films Lynch ever made - possibly the best one if you've seen the entire show.

kaworu
Jul 23, 2004

FelixMeOneMoreTime posted:

The final few episodes have definitely made up for the dip in quality of episodes between Leland's death and Josie becoming a drawer pull. The final episode was good, but the unnecessary deaths of Audrey and Pete were a bit of a gently caress you. The very end bummed me out, I didn't exactly expect a happy ending but I didn't think Cooper would get corrupted. Does Fire Walk With Me shed any light on the ending? I really don't want Cooper to have a bad ending.

Ah, I'm glad you stuck with it and enjoyed it. The finale is a bit of a gently caress-you at times, but I still feel it's kind of appropriate given how insanely out-of-whack everything gets.

As to your last question about FWWM - Yes, if you look closely and pay attention and think about what happens in the movie, why it happens, when it happens, and the nature of the black/white lodges... You will have a better understanding of what happened in the series finale. It will shed some light both on what was happening there (to some extent) and on some things that happened much earlier on in the show.

The thing about FWWM is that it's a prequel in a couple different ways. It was initially meant to be two films, actually - one film about Dale Cooper and the Teresa Banks investigation, and another film about the last couple weeks in Laura Palmer's life. Kyle MacLachlan was fearful of being typecast and did not want a big role, so Chris Isaak replaces him by playing a new FBI character, and the Teresa Banks portion was edited down to more of an opening vignette, while the movie mostly consists of Laura Palmer's last days. That said, even though chronologically it is a pure prequel, there are many revelations about the mythology of the series and the nature of the good and bad Lodge spirits that will explain a great deal about the ending. Bear in mind that time is all mixed up in the Lodges, as well - this is important and very key when it comes to understanding certain scenes in FWWM.

kaworu
Jul 23, 2004

Don't go into the finale with like, super-high expectations. It's not that it's the greatest episode ever or anything, but more that it's a return to form for the show. Lynch comes back to direct it, so it has that unique quality and flair (not to mention visual style) that Lynch always brings to the table. Unlike the preceding dozen or so episodes that he wasn't involved in, the finale really feels like Twin Peaks. It also dives right back into the cooler aspects of the mythology and has some pretty fantastic sequences. So there are a lot of things that make it a great episode, but don't really expect it to be an amazingly satisfying finale. Mostly because it was really intended to be a season finale, and not a series finale. Big difference.

kaworu
Jul 23, 2004

gohuskies posted:

Bobby's dad the Major almost makes Season 2 worth it. He is the only character who improves in my opinion. Also, I love the line "The owls are not what they seem" and that's in Season 2.

Yeah, the Major is such an unexpectedly fantastic character. I really do love the friendship that develops between him and Cooper. I'm also quite fond of The Giant, to be honest. That opening sequence of the first episode of season 2 is pretty great.

kaworu
Jul 23, 2004

Yeah for the love of god NOBODY should ever watch The Killing under any circumstances. It was such a godawful piece of horrendous crap. It is easily the worst television program that I ever bothered to watch an entire season of. And the fact that when you're watching The Killing, you want to keep going if only to get some satisfaction out of the show only to find that there is NO satisfaction being offered in any way whatsoever by the end of the season is part of what makes it so insidiously frustratingly horrifically awful. In addition to it being poorly written, poorly acted (with the exception of one single character), and shot in the most drab and boring possible cinematography.

Ironically, the best modern Twin Peaks imitation I've probably seen lately was a short-lived mid-season replacement network show called Happy Town, that actually managed to capture some of the weird quirky supernatural mystery of Twin Peaks (albeit in a mostly superficial way). And it's quite the injustice, because Happy Town was canceled midway through its first season after like 8 episodes, whereas a piece of poo poo like The Killing actually got somehow renewed for a second season through what must have been some dark deal with the devil.

kaworu
Jul 23, 2004

She's gotta be what... 45 or 50 by now? She looks pretty drat good. I think I saw her on an episode of House a few years back and had the same reaction.

kaworu
Jul 23, 2004

There are... parts and scenes in Fire Walk With Me that, when I watch them, evoke deeply buried and repressed feelings and emotions that I've long since internalized regarding some of the darker and deeply fearful aspects of my childhood and early childhood. It's nothing I can put into words very well - like when you enter a certain room you haven't been inside of in years, or smell a certain smell, and you suddenly have these very deep, powerful associations from that room or that smell which fills you with a certain kind of paralyzing panic, or gives you the sense that you're on the very cusp of some horrifying realization or epiphany that you cannot quite see or understand or put together, but you can still feel it.

Anyway, that's how certain scenes from FWWM feel to me. I feel the same way about some very specific scenes from certain Lynch-directed films like Mulholland Drive, Inland Empire, Lost Highway, and of course some parts of Twin Peaks - certainly not all of it. FWWM is like a concentrated dose of the part of Twin Peaks that deeply disturbs and upsets me, and so in that sense I have a very high personal regard for it. At the same time I can absolutely understand why it's something of a failure as a film and why tons of people happen to dislike it. I dislike lots of parts of it, too. And it's not really a movie that I *enjoy* watching, per se.

Except for the first half hour with Special Agent Sam Stanley (played by a young Jack Bauer before leaving his job as a geeky and awkward FBI agent and joining CTU) and Special Agent Chester Desmond (played by Chris Isaak) investigating Teresa Banks' murder in the hilarious mirror-world version of Twin Peaks. That part of FWWM is totally enjoyable to watch, sometimes I just watch that part and then turn it off. I don't know why but that part of the movie feels like this really weird, hilarious alternate-universe pilot for Twin Peaks. It's kinda great if you look at it that way.

kaworu
Jul 23, 2004

I am in absolute shock at this news. I would say this is a cash grab if it weren't David Lynch because Lynch simply does not do cash grabs. This is so exciting because he's just... I mean, I would be thrilled with *any* new Lynch content - it's only been what, 8 or 9 years since his last proper film. The fact that it's new Twin Peaks content is just...

Certain aspects of Twin Peaks - the film especially - just went places that spoke to me and terrified me in a way that I can only relate to in some sort of half-remembered dream state. A lot of Lynch stuff is like that, for me. It's illogically scary in the way that a night terror can be - like that scene in Mulholland Drive with the man talking about his dream with the scary man behind the particular coffee shop he was at with his friend. But Twin Peaks just goes deeper than that for me. I could go on for paragraphs about why and I'd just come off as crazy.

I'm just thrilled this is happening, so long as Lynch is the one who is really doing it. The only truly important actor to have back is Kyle MacLachlan, in my mind. And maybe The Man From Another Place. Though that's maybe a slightly simplistic view. It's a shame the actor who played Killer BOB (Frank Silva) died so young, he was so menacing and good at that role. Particularly for someone hired as a set dresser originally.

kaworu fucked around with this message at 20:57 on Jan 20, 2015

kaworu
Jul 23, 2004

Is there a consensus on, like... Whether Lynch had always planned this? I'm sure it's been mentioned again, but one of the more memorable quotes from the Red Room is "I'll see you again in 25 years." Although, I suppose this is tied up and accounted for in the series, since the "original Red Room" sequence has Cooper with old-age makeup on (old-age makeup that was so poorly done and dated that I didn't even recognize it as such when I first saw the series like 10 years ago; I just thought something screwed up had happened to his face in the dream). I was glad it was clarified in dialogue later.

But anyway, I can't seem to think the "25 years" thing is a coincidence. The implication I always got was that was how long Dale (or perhaps I should say "The Good Dale) has been trapped in The Red Room for.

I still honestly can't believe this is happening, complete with both Lynch and Frost. I'm trying not to get too excited, but as a rule anything Lynch is involved with tends to be at least worth seeing, whether it wins up being really great or not. Have to say that it's so important that Frost is back, because I felt like what made that first season in particular so special and amazing and "lightning in a bottle" was that it matched up Lynch with someone who had done amazing work in television with Hill Street Blues in the '80s - which was a hugely influential series that was way ahead of its time - but he still was a guy who struck me as much more grounded in the television world than Lynch was, say, grounded in the film world.

My point being that you almost see this balance go out of whack in the second season when Lynch left, and then you can see it fall back into place in the finale when Lynch came back. So to be frank, I'm way more excited for this because they're both returning, and I'm hoping they can rediscover whatever balance/working relationship they had that made season 1 in particular such a success. Like, if you go back and look, all the very best episodes tended to have David Lynch directing, and usually Frost writing (often with just Lynch). The absolute 2 best episodes in my opinion - "The Pilot" and "Episode 2" (which was the third episode aired and the one that ends with the Red Room sequence) were the only episodes in the series to be credited with Lynch directing and a straight co-writing credit between Lynch and Frost.

Based on that, I have to say that I am very excited to hear that all 10 episodes will be directed by Lynch, and co-written by Lynch and Frost. Not that I expect all the material to be as good as The Pilot for Twin Peaks and The Red Room episode, which are both practically legendary. But. well... Getting the same two people to essentially make this "limited series" as a 10-episode film (which is how I'm perceiving this, sort of like the recent Fargo/True Detective, both of which hilariously owe so much to Twin Peaks still) is about as good as you could possibly hope for, as a fan.

kaworu
Jul 23, 2004

You know... I'm just extrapolating from my own experiences a bit here (which is probably a bad idea) but Lynch strikes me as someone who (based on everything I've read) probably lives his day-to-day life with a fair amount of anxiety or perhaps a lack of confidence in his abilities. That whole Louis thing certainly came across that way. I mean, we all know Lynch is very shy and compulsive - when he was making Eraserhead I remember he was known for ordering the same thing at the same table at the same Big Boy's every day for something like 10 years straight? That's amusing but also extremely compulsive behavior; I also understand it totally because it's tremendously comforting, and Lynch is someone who always has struck me as finding comfort in the predictable banality of routine and life that he's accustomed to.

I remember at one point for a few years he posted a daily video report (like a 1-minute video) of what the weather was like in L.A. where he lives. And bear in mind the weather is almost always exactly the same in that area of Southrn California, year-round, day-in and day-out. If you recall back when he had a pay website in like, the mid-00s? Those vids were one of the things behind the paywall, if I remember correctly. And there were hundreds and hundreds of them. David Lynch in front of a webcam in the same place every time, sometimes smoking a cigarette or drinking coffee, "Uh.. today is April the eighth, two-thousand-fifteen. Weather outside is... Nice! Some clouds to the west. Lovely sunshine to the east. 74 degrees out." And that's it.

Actually, here's a random one; he uploaded a bunch to youtube once but took them down I think. Imagine literally a thousand variations on this:

https://www.youtube.com/watch?v=X0yGes5wBSY

kaworu
Jul 23, 2004

Jordan7hm posted:

I would watch this every day if he lived in my city, even if I wasn't looking for actual weather info. gently caress, I would probably have watched that every day back then if I had known about it. His voice is magic.

They were legitimately awesome, I actually subscribed to his website for the sole purpose of watching them. And I live in Maine!

I just found one of my all-time favorites from back in 2006 when his webcam was adorably low-res:

https://www.youtube.com/watch?v=oxT4ZxWuSZc

kaworu
Jul 23, 2004

It's interesting... I was never at all interested in any remotely logical answer to any of the mysteries involving the greater mythology. To me, what always made Twin Peaks special was that it... acted on this part of the brain that is normally only touched on when you dream, and a lot of the powerful imagery, phrases, concepts, and events seem to be not only evocative of dreams but to creepily touch on [your own dreams, in some weird way. Or that's how it always felt to me. That what he was playing on were almost... archetypes or themes that we all have running through some collective subconscious experience of dreams. Or I am a total basket case for feeling this way.

But anyway, to me the the nature of the Black/White Lodge is just immaterial. The images of Leland there at the end of Fire Walk With Me, for example, are so powerful and bizarre and sad and odd. The subtext of sexual abuse, to me, is just unbelievably important when looking at Twin Peaks. Leland was sexually abused as a boy, and Laura was sexually abused by Leland, and this... colors everything when you watch Fire Walk With Me and the scenes in Black/White lodge, or it does to me. It's certainly a huge semi-silent aspect of the show that is curiously rarely openly discussed that much, perhaps because it's so briefly spoken of in the show...

kaworu
Jul 23, 2004

Geekslinger posted:

I'm sure it's been posted before, but I still love this clip from the Gold Box DVD where Badalamenti explains coming up with Laura's Theme.

https://www.youtube.com/watch?v=rgXLEM8MhJo

God, I love this so much, I love that as long as I keep reading about David Lynch/Twin Peaks I will get to see this clip every now and then. Angelo Badalamenti is one of my *absolute* favorite composers.


I actually think that the best work he ever did was for one of Lynch's incredibly underrated masterpieces- The Straight Story, starring Richard Farnsworth in an unbelievably powerful, powerful performance. Farnsworth was actually dying of bone and prostate cancer during production (at 80 years old). Alvin Straight, the main character, goes to see his dying brother by driving a lawnmower 240 miles across Iowa and Wisconsin and Iowa.

In the film Farnsworth can barely walk and uses two canes to get around, wincing in pain constantly. I had always thought his apparent pain and difficulty in getting around throughout that film was... well, acting. Apparently, it wasn't quite so much "acting" as Richard Farnsworth having bone cancer and being in horrible loving pain when he had to try and walk. Apparently he took the role out of admiration for Alvin Straight. I didn't know this, but they did shoot the film in chronological order along the actual route traveled by Straight. Probably one of the many reasons it feels so real and honest.

This was Farnsworth's last film, the end of a career starting sometime in the late '30s with stunts for Gunga Din and Gone With the Wind. The year following the release of The Straight Story, Richard Farnsworth ate a shotgun as a result of not being able to cope with the pain of his disease anymore.

This always gave the film an additional and powerful elegiac note - this man knew that this was his final film, and everyone knew he probably had no business being *in* a film at all - and he ended up giving this unbelievable performance. He actually got his first ever nomination for Best Actor for this, losing to freaking Kevin Spacey in American Beauty - which seems absolutely absurd in retrospect when you look at the two performances now.

kaworu fucked around with this message at 18:50 on Oct 7, 2016

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kaworu
Jul 23, 2004

SaviourX posted:

Goddamn, man. Good stuff.

My grammar was a bit fuckered there :( Did you listen to some of it? It's even better in the film, really, there are these wonder bucholic shots of rolling farmland and grain... and the music is really what ties together the visuals, the subject matter, the characters, everything....

https://www.youtube.com/watch?v=xk8Y-XxaAog

For example, this 4-minute track, I close my eyes and the music actually evokes the character of Alvin Straight and the images from the film so strongly that it's almost overwhelmingly vivid.

It's the same thing with the Laura Palmer theme, really - it not just sets the mood of the scene like any good film score, it gives you a sense of the character and who they are and what their role is. With this track from the Straight Story, you can almost feel yourself slowly chugging along with Alvin. With the Laura Palmer track, you can see her in a white sweater in a dark wood with a sly smile on her face, maybe pointing upward like in a Da Vinci. He is really VERY good at what he does, very underrated.


edit: The really funny thing about the Straight Story, as a film in Lynch's canon, is that it was freaking rated [G] and produced by DISNEY of all production companies! the only film that Lynch and Disney collaborated on, to say the least. But it was still extremely experimental and loses none of the bizarre Lynchiness inherent in all of his great films. And The Straight Story is absolutely among his very best films, in my opinion.

There is a funny bit of trivia; Farnsworth was going to legitimately turn the role down because he had heard that there was a lot of "cursing" in an earlier Lynch film (Blue Velvet) and only upon many personal assurance by Lynch and writer Mary Sweeney that there would be NO cursing WHATSOEVER at any point in the film did he agree to it. I just find that great.

This is also the only David Lynch film that makes me truly weep. Maybe the Elephant Man made me cry, actually, I do not remember - I should see that one again, that's a movie I'd love to see in a theater if I could, the photography was so striking in it.

kaworu fucked around with this message at 19:07 on Oct 7, 2016

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