Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.What's an FBI Special Agent to do after being locked away for 25 years in unearthly purgatory? Episodes three and four of Mark Frost and David Lynch's revived Twin Peaks, which aired on Showtime this past Sunday in a two-hour block (aside from September's two-part finale, it's all single, hour-long episodes from hereon out), follow our besuited, Black Lodge-incarcerated hero Dale Cooper (Kyle MacLachlan) as he reintegrates into modern terrestrial society. So this is basically Peaks doing Rectify, just with a sterile death row replaced by an infernal hellscape out of Clive Barker. Or David Lynch, really. What's becoming more and more evident as the new Peaks progresses is that the series is, in large part, a repository for Lynch's subconscious, past and present.
- 5/30/2017
- MUBI
David Lynch proved himself as a master of film music in his 1986 feature.
“Every note of music has enough breath to carry you away, and as a director, all you have to do is let the right wind blow at the right time” — David Lynch
Sound and music are incredibly important in David Lynch’s films. From Eraserhead (1977) on, Lynch has shown his talent for creating creepy and dreamy soundscapes, which include music and dialogue as well as diegetic and non-diegetic sound effects. Perhaps Lynch’s most popular film, Blue Velvet (1986) perfectly blends together pop music, original score, and Lynchian sound effects. Blue Velvet is especially rich with beautiful music that both comments on and runs counter to the images onscreen. This was the first film in which Lynch focused on both original score/sound effects and pre-existing pop music.
David Lynch is never completely serious or completely joking — he is always both at the same time...
“Every note of music has enough breath to carry you away, and as a director, all you have to do is let the right wind blow at the right time” — David Lynch
Sound and music are incredibly important in David Lynch’s films. From Eraserhead (1977) on, Lynch has shown his talent for creating creepy and dreamy soundscapes, which include music and dialogue as well as diegetic and non-diegetic sound effects. Perhaps Lynch’s most popular film, Blue Velvet (1986) perfectly blends together pop music, original score, and Lynchian sound effects. Blue Velvet is especially rich with beautiful music that both comments on and runs counter to the images onscreen. This was the first film in which Lynch focused on both original score/sound effects and pre-existing pop music.
David Lynch is never completely serious or completely joking — he is always both at the same time...
- 3/28/2017
- by Angela Morrison
- FilmSchoolRejects.com
Second #5405, 90:05
Detective Gordon (aka The Yellow Man, or The Man in Yellow, played by Fred Pickler) sits at his desk at police headquarters, where Jeffrey has gone to see Detective Williams. He spots Gordon in his office and, startled that this is the same man he’d seen earlier with Frank, takes a moment at a drinking fountain across from Gordon’s office to get a better look, which constitutes this shot. Gordon is a terrifying presence for reasons that are impossible to sort out. The fact is he shouldn’t be terrifying, sitting there in his yellow (yellow!) jacket, working studiously, the model of Reagan-era diligence.
Perhaps that’s it: he seems to be someone pretending to be someone he’s not. Who’s side is he on, Detective Williams’s, or Frank’s? On the wall behind him appears the lower portion of a poster with the word Revolvers.
Detective Gordon (aka The Yellow Man, or The Man in Yellow, played by Fred Pickler) sits at his desk at police headquarters, where Jeffrey has gone to see Detective Williams. He spots Gordon in his office and, startled that this is the same man he’d seen earlier with Frank, takes a moment at a drinking fountain across from Gordon’s office to get a better look, which constitutes this shot. Gordon is a terrifying presence for reasons that are impossible to sort out. The fact is he shouldn’t be terrifying, sitting there in his yellow (yellow!) jacket, working studiously, the model of Reagan-era diligence.
Perhaps that’s it: he seems to be someone pretending to be someone he’s not. Who’s side is he on, Detective Williams’s, or Frank’s? On the wall behind him appears the lower portion of a poster with the word Revolvers.
- 5/18/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #4653, 77:33
The sidebar exchange between Frank and Ben, and an exchange of money, too, and a mysterious slip of paper. Ben drops a pill into Frank’s mouth. Frank, in return, says something cryptic about Detective Gordon (Fred Pickler). Another frame-within-a-frame, as the doorframe moldings serve as movie screen curtains. In his essay “Theater and Cinema, Part II,” André Bazin wrote that
a screen is not a frame like that of a picture but a mask which allows only part of the action to be seen. When a character moves off screen, we accept the fact that he is out of sight, but he continues to exist in his own capacity at some other place in the décor which is hidden from us. There are no [theater] wings to the screen. There could not be without destroying its very specific illusion, which is to make of a revolver or of...
The sidebar exchange between Frank and Ben, and an exchange of money, too, and a mysterious slip of paper. Ben drops a pill into Frank’s mouth. Frank, in return, says something cryptic about Detective Gordon (Fred Pickler). Another frame-within-a-frame, as the doorframe moldings serve as movie screen curtains. In his essay “Theater and Cinema, Part II,” André Bazin wrote that
a screen is not a frame like that of a picture but a mask which allows only part of the action to be seen. When a character moves off screen, we accept the fact that he is out of sight, but he continues to exist in his own capacity at some other place in the décor which is hidden from us. There are no [theater] wings to the screen. There could not be without destroying its very specific illusion, which is to make of a revolver or of...
- 4/5/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
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