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Welcome To Twin Peaks
And here's Lynch on his relationship with Marlon Brando...
https://thefilmstage.com/news/hear-david...-to-dream/
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Well, Lynch got nominated for his directing and writing (and sound design!), but that was it. No MacLachlan. No Dern. No series nom. Oy.
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Why awards are utter utter bullshit. I realised this when Ewan McGregor won over Maclachlan at the Globes
PSN ID: Numbix2017
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Eh, this show wasn't very awards-y. I guess I'll just have to make do with randomly thinking about this series 2-3 times a week for the rest of my life.
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The truth of it is, something like Big Little Lies will win but nobody will be talking about that in ten years.

People will be talking about Twin Peaks for the next twenty at least.
PSN ID: Numbix2017
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Looking over the list, TP got nine nominations ... that's pretty good!

MacLachlan and the series should have been nominated, but they weren't shut out.
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TP doesn't need to be sullied by anything as pedestrian as Emmys.
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LYNCH / BADALAMENTI NEW ALBUM ANNOUNCED

Lynchland announced this last week and Sacred Bones Records has just confirmed our guess : David Lynch and Angelo Badalamenti will release their famous "Thought Gang" jazz record on November 2nd, digitally and on LP and CD.

As mentioned before, "Thought Gang" is a jazz side-project born amidst the landscape of Twin Peaks, which has been several times postponed. David Lynch and Angelo Badalamenti worked on this project from 1992 to 1993. We already know a few tracks of this longtime musical project, beginning by "A Real Indication" and "The Black Dog Runs at Night", that are included on the soundtrack to Twin Peaks FIRE WALK WITH ME, "One Dog Bark" that was added to the "Twin Peaks - Missing Pieces". The songs "Headless Chicken" (Bassist Reggie Hamilton who has played on this album recalled that “[David Lynch] said imagine you’re a chicken with your head cut off running around with a thousand bennies shoved down your throat”, about about David's improvisational directions), “Frank 2000” and “Summer Night Noise” also appeared in the new “Twin Peaks”.


This new Thought Gang album will be 12 tracks long. Sacred Bones Records has released a new track today, "Woodcutters From Fiery Ships", which was also the title of the videogame that David Lynch was working on in the late 90's. Listen to this track here, "word spoken sung" by Angelo Badalamenti, and check the full tracklist in the comments :


► https://youtu.be/BsjLj-udZDk


“By the time Twin Peaks’ second season had aired and Fire Walk With Me had just began principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks’ trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me’s soundtrack would ultimately showcase two preliminary tracks (‘A Real Indication’ and ‘The Black Dog Runs at Night’) from a full-length album that wouldn’t see release for the next two and a half decades. Between May of 1992, and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces. This dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.” [Press Release]


David Lynch and Angelo Badalamenti had decided to form Thought Gang during a 1991 recording session for “A Real Indication”:
“As the oft-told story goes, Lynch and Badalamenti had just finished recording the initial instrumental take for ‘A Real Indication.’ A set of lyrics had been penned, leaving Lynch with the question: who would he get to sing them? Eager to prove and deliver, Badalamenti suggested that he himself give it an attempt, much to Lynch’s uncertainty that he’d actually be the right fit. “I’d heard Angelo sing before…he used to sing on demos and things…I knew what Angelo sounded like and I thought he was going to embarrass himself…I thought there’s no way this was gonna work.” Much to Lynch’s surprise, Badalamenti launched into the song with his distinctive talk-sing delivery, summoning such a violent laughter-fueled excitement from Lynch that he literally induced a hernia. “It was like a lightbulb exploded in my stomach,” Lynch recalls. “Angelo was feeling it. He was feeling it…we hit the button and he just took off!” [Press Release]


David Lynch described this new album as “sort of like jet-fueled jazz in a weird way, but it’s all based on stories. It’s ‘modern music.'”
To accompany the record, David has also created a film short that will premiere at his upcoming Festival of Disruption taking place October 13-14th in Los Angeles : “It is a short video featuring my friends the ants, along with cheese, etc. and one and a half tracks tracks from the upcoming Thought Gang album.”


   
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(07-12-2018, 04:17 PM)schwartz Wrote: TP doesn't need to be sullied by anything as pedestrian as Emmys.

True, and if any awards show should have been recognizing it, it would be the Oscars because this was an 18-hour Lynch movie more than it was a TV show.

There's a reason the first two hours got like a 4-minute standing ovation at Cannes last year.
the empire never ended
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I'm trying not to read too much into it, but it was interesting to see this from Kyle MacLachlan on Twitter.
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Found this blog-guide for all the music that was used in the original series and film.

Chronological order: http://twinpeakssoundtrackdesign.blogspo...e.html?m=1

Which episodes each track was featured: http://twinpeakssoundtrackdesign.blogspo...e.html?m=1

Hasn’t been updated since 2015, so nothing about cues regarding season 3.
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Twin Peaks VR is coming.
http://collider.com/twin-peaks-vr#images
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Edited; old story from 2011 it seems.
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Some of the Roadhouse portions weren't real right?

I didn't understand that stuff about Billy and the girls gossiping. What was that all about?
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(10-29-2018, 03:03 AM)Felix Wrote: Some of the Roadhouse portions weren't real right?

I didn't understand that stuff about Billy and the girls gossiping. What was that all about?

I've come to believe the third season was basically Lynch shoving in all non-Twin Peaks ideas he's had over the years into the show as he thought he may never get another chance to realize them after this.

The Roadhouse denouements all feel reminiscent of his short lived HOTEL ROOM series where each episode featured different characters residing in the same hotel room. In this case, we're seeing different characters sitting in the same booth across episodes gossiping about their lives.

Everything about the Dougie Cooper stuff feels like his unproduced comedy script DREAM OF THE BOVINE that would have been about cows transforming into humans but still behaving passively like cows.



[Image: tumblr_ota9sjpyXi1qkktc4o1_500.gif]
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"PREDATOR 2 feels like it was penned by convicts as part of a correctional facility's creative writing program, and that's what I love about it." - Moltisanti
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YRREM SAMTSIRHC and YPPAH SYADILOH!!

Here Are Some Christmas Songs In the Style of the 'Twin Peaks' Soundtrack

https://noisey.vice.com/en_us/article/43...WeuJiVMDlY
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(11-06-2018, 04:03 PM)huntertarantino Wrote: TOP: Voting in 2016
BOTTOM: Voting in 2018

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"Let's go back to the starting position. Where it's most comfortable."

Yeah, I'm finally making my way through this show.  It's weird, because much like most of David Lynch's work--I don't actively enjoy Twin Peaks. But I also realize that's kinda the point. Lynch loves toying with audience expectation, and making art that doesn't rely on making me feel better or omnipotent as the viewer.  Sometimes it's okay to be confused. Sometimes it's okay to not have the answer. And humbling yourself and essentially submitting yourself to the whims of Lynch's...eccentricities is key to getting his work.

So yeah, The Return mostly confounds me--but I find it oddly intoxicating so I'll probably finish it by the end of th eday.
"Why did she do it?"
"Why are you the fucking Police?"

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It certainly introduce me me to Chrysta Bell.


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(09-04-2017, 08:51 AM)Mangy Wrote:

One of the most confounding things for me, though, was in episode 17, where Cooper's face was overlaid during the moments it seemed like the story was resolving.


It's the moment in which Cooper, the show, and Lynch, are telling the audience to wake up.  The dreamer isn't anyone specific in the show--its our dream.

Think of why we watch television shows in the first place. Not only just because it's entertaining, but because we desperately want some kind of reassurance that everything will be okay.  Everyone has an innate understanding that the world is a cruel, chaotic place where evil exists simply because it can. Entertainment frames that chaos into an easily digestible narrative in which good and evil battle it out, and actual social ills are fixed by the end of the movie.

But real life isn't like that and David Lynch is painfully aware of this fact. I don't think Lynch made The Return as a way to cruelly mock those who wanted a more typical return to Twin Peaks; Lynch clearly cares about his misfit of characters, which is why some of them are actually allowed to live out their lives in the best way they can.  But David Lynch needs you to wake up, to wake up from the promises and pleasures of television. To wake up so we can face real evil. We might lose, but it's better than being an Audrey Horne: doomed to repeatedly fantasizing about a golden-era that never was.


And maybe the ending of Twin Peaks is the closest to a happy ending we'll get from Twin Peaks--which is kind of damning. But again, I think Audrey, despite barely being in the show, is kind of important to this idea. The fact that, apparently, her fate is being stuck in a mental ward while she fantasizes about Twin Peaks is almost perfect considering her appearance in the original series was that of a wanna-be femme fatale draping herself in the nostalgia of 40s era film noir. It makes sense that she'd become obsessed with retaining the nostalgia of the original Twin Peaks.

That and, well, Audrey was supposed to be the lead character in a sequel series that eventually became Muholland Dr, a movie that ends with "Diane" having to wake up from her dreaming a confront the ugly sins of her actions. In many ways, Ch18 follows the same path: Cooper "wakes up" a different person (Richard), and Carrie/Laura "wakes up" and effectively ends the dream/show. And I think it's a mercy on Lynch's part: self-awareness is key to salvation. Cooper/Richard's "What year is this?" is less a sequel hook,and more a parody of the types of cliff-hangers that Twin Peaks itself became famous for. Because you can imagine the standard choice would be to simply end with Laura/Carrie responding to his question, setting up the next season. And I think that's the fate that Lynch wants to save us from: having the same thing happen again and again. That doesn't happen. Instead, Carrie becomes awakened, screams, and the everything shuts down. It's definitive in a way that suggests that there won't be a next time. Either we can be like Audrey, and have moments of clarity before stumbling back into the reassurance of the dream, or we can be like Laura and fully wake up. What lies beyond might be monstrous--but at least we'll be awake.
"Why did she do it?"
"Why are you the fucking Police?"

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Love that reading, Ska. Really good stuff.
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Agreed. Great analysis, Ska.

Hope we get another season.
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THIS just went live from Mondo...

Twin Peaks: Limited Event Series Soundtrack 2XLP

   

https://mondotees.com/products/twin-peak...track-2xlp
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It seems Peggy Lipton has passed away today.  The conclusion to Norma's and Hank's thirty year unrequited love story on TWIN PEAKS: THE RETURN was one of the single most beautiful moments of television I've ever witnessed.  And they did it all almost wordlessly.  Rest in peace...



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Aw man.
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