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ifuckinglovestvincent · 7 years ago

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THE GUARDIAN: St. Vincent: ‘I’m in deep nun mode’

For years, the Grammy winner was best known for her experimental music. Then dating Cara Delevingne put her in the spotlight. What’s next, asks Tom Lamont? Saturday 19 August 2017 06.00 EDT The musician St Vincent, a 34-year-old Texan whose real name is Annie Clark, is talking about body piercings. Though her outfit today includes such exotic items as a leopardskin onesie and a pink blazer made of some sort of wetsuit fabric, Clark doesn’t have any outlandish piercings herself; she just has droll and strong opinions about them, as she has droll and strong opinions about a lot of things. “Didn’t it always make you laugh,” Clark says, already laughing, softly, in the museum in London where we meet one summer afternoon, “how people in the 90s who had, like, tongue rings? How they’d always make some sort of comment, intimating that it made them, like, better at oral sex? That was the whole wink-wink thing, right? That a tongue ring meant they were kinda kinky? But then, I guess the challenge – because they were constantly fidgeting with this gross thing in their mouth! I guess the challenge became: no one wanted to get head from them.” She hoots with amusement, just loud enough to turn heads in the hushed museum. Conversation with Clark is like this: a bit unexpected, a bit arch, a bit sexy. She sometimes speaks so slowly and carefully it’s as if she’s reviewing individual words before committing to them. But, as with the lyrics of the songs she writes as St Vincent – always inventive, always making disarming leaps between ideas – you can never predict where her thinking will travel next. Quickly the chat about oral sex gives way to the matter of her own death, and her expectations of a brisk cremation. Before I know quite how, she’s got me talking about an irrational fear of being buried alive. “Get cremated!” she urges. I ask Clark – who will soon release her fifth solo album, a follow-up to 2014’s self-titled St Vincent – why she suggested we meet in London’s Wellcome Collection, to combine our interview with a tour around the museum’s collection of antique medical equipment. Clark peers with interest at a display of old enema syringes and explains that in every unfamiliar city, “you should try to see something real and strange”. It was something the Talking Heads frontman David Byrne once advised her about touring the world, and she’s stuck to it ever since. So far I’ve enjoyed the kind of success where I might get a free appetiser sent to my table. But it’s never a main That phrase – “real and strange” – describes Clark’s appeal as a musician. She is a generational talent on guitar, one of those poised, unperspiring types who can do the manually ludicrous while hardly appearing to try. Seen live, Clark’s fingers flit over the strings of her instrument with utmost precision – that’s the real in her. The strange comes via the writing and the composition, which on her four St Vincent albums since 2007 have tended towards the experimental and jagged-edged. Lyrically, she might choose a thing (prostitution, CCTV surveillance, prescription drugs) and then chew it over in repetitive, often anguished ways, before elevating the mood with a sudden joke. “Oh, what an ordinary day!” she sang on a track from her last album. “Take out the garbage… Masturbate.” Genre labels won’t stick to her. Song to song, Clark might channel Björk then Iron Maiden, then belt out a disco number before pretending to be a fey, shoe-gazing whisper-singer. In the manner of FKA twigs or Héloïse “Christine and the Queens” Letissier, she is a performance artist as much as she is a performer; last year Clark played a gig dressed as a toilet, complete with cistern, protruding bowl and flush. And like twigs, who for many years has been in a relationship with the Twilight actor Robert Pattinson, Clark has managed to cultivate a shadowy, unknowable persona while at the same time dating a wildly high-profile superstar. For 18 months or so, until a break-up made public last summer, Clark was going out with Cara Delevingne, arguably the best-known model in the world.

St Vincent and Glass Animals play in London, February 2014. Photograph: London News Pictures/Rex In the museum, while leaning over a glass display of clay death masks and shrunken human heads, we discuss Clark’s scaling achievements as St Vincent. From album to album, over a decade, her sales as well as her reviews have improved in happy tandem. The most recent album, 2014’s St Vincent, was her best to date, a wild, raucous thing, written in part during Ambien-soaked nights on tour, that eventually won her a Grammy. “It sounds like a very Pollyanna-ish thing to say,” Clark says, “but my ethos has always been to just make the music that I hear in my head. And I’ve been incredibly lucky, so far, that that’s seemed to correspond to external progress.” Where does she place herself right now in the music industry? “So far I’ve enjoyed the kind of success where I might get, like, a free appetiser sent to my table,” Clark says. “And that’s awesome, I’m thrilled by that.” She fixes a level gaze before adding: “But it’s never a main.” A word about her hair. Three years ago, while touring and promoting that self-titled record, Clark had a fantastic and unforgettable do – a triangular mountain of silver-bleached curls that made her look, in her own words, “like a scary cult leader”. I half-expected her to show up that way today, under the same teetering pile of silver, but Clark says the bleach killed off that haircut years back. She had to shear off her frazzled curls, “and then my look was less cult leader, more ‘Why do you have a rodent on your head?’” She has a flair for naming her own haircuts, having cycled through such past constructions as “the Audrey Hepburn with anger issues” and “the Nick Cave minus the receding hairline”, and when I ask about the straightened black parting she has today, Clark decides: “I want to call this one… the Lara-Flynn-Boyle-in-the-90s.” She isn’t quite such a speedy creator of names for her albums. The new LP still doesn’t have a title. I’ve heard about two-thirds of it and it’s superb – the same appealing, enigmatic, genre-spliced collision of ideas and influences that St Vincent fans cherish, only this time with a sleeker, more accessible through-line that ought to further expand her listenership. Some of the tracks, such as the scratchy, stirring Hang On Me, would work as well over the titles of a grand HBO drama as played through fizzing speakers in a dive bar. There are moments of peculiar, wonderful poetry. “Sometimes I feel like an inland ocean,” Clark sings, on a track called Smoking Section. “Too big to be a lake, too small to be an attraction.” A number of the songs certainly sound as though they pick over the end of a serious relationship, in particular an astonishing meta-epic she has written called LA, which seems to be about a break-up (“How can anybody have you and lose you and not lose their mind, too?”), while at the same time being about a fiercely avant garde musician’s reluctance to do anything as obvious as write about a break-up. “I guess that’s just me, honey, I guess that’s how I’m built,” Clark sings, “I try to write you a love song but it comes out in a melt.” Delevingne would be the most likely identity of “honey” here. But Clark is far too cool in person – and too determinedly non-specific as a lyricist – to admit to anything like that. “I don’t love it when musicians speak about their records being ‘diaries’ or ‘therapy’,” she says. “It removes that level of deep instinct and imagination that is necessary in order to make something that transcends.” She adds that such ways of talking too often become “erroneously gendered, in the sense that the assumption from the culture at large is that women only know how to write things autobiographically, or diaristically, which is a sexist way of implying that they lack imagination.” This being said, Clark concedes, “my whole life is in this record. And this is one of the first interviews I’ve done about it. And I guess I haven’t 100% figured out how to talk about it. I mean…” She laughs suddenly, a brilliant, solemnity-shattering hoot. Clark is aware there will be an assumption that a lot of her new songs are about her ex. “I’ve really got to figure this out, right? If I’m going to ever be able to talk about the record?” As is her custom whenever she’s finalising an album, Clark has currently placed herself in what she calls “deep nun mode”. Single. Work-focused. “Completely monastic. Sober, celibate – full nun.” I’m pretty sure she’s joking when she adds, in her slow, funny, unpredictable way, “I mean there are always sex plans. But none for, like, a month.”

Photograph: Arcin Sagdic for the Guardian Clark was born in 1982, briefly an Oklahoman before her parents separated and Clark relocated with her mother and two older sisters to a suburb of Dallas, Texas. “My mom was a social worker. She dedicated her life to doing very admirable things. One of my sisters more or less followed on that path, making the world a better place. But I did not.” Though Clark would see her father during school holidays, she describes her teenage years as “matri-focal”. She was surrounded mostly by women. “And Mom’s mantra was: ‘We girls can do anything.’ She didn’t explicitly call it feminism, but it was baked into our DNA.” Her mother had a quirky, creative streak. Once, after she’d accidentally crashed the family car, she was so intrigued by the aesthetics of the wreck, she climbed out to take photographs of it. “There was probably a picture taken of me and my sisters every day of our childhood. Have I seen any of those pictures? No. Has she gotten them developed? Mostly not. It was just her way of feeling safe, I guess, as if things would last for ever because she had documentation of it.” Is Clark the same in her songwriting? Documenting and so holding on to vanishing events and feelings? “I’m trying to get rid of things,” Clark laughs. “I’m trying to expel them.” We walk to Regent’s Park, where the warm weather and an outdoor art show have drawn a milling crowd. A sculpture installed by the park entrance resembles a tall pile of replica footballs. Fitting, as Clark was quite a player when she was young, soccer one of an eclectic assembly of high-school interests. “I was probably insufferable. I was the president of the theatre club, the kid who put Bertrand Russell quotes on their wall.” When I ask who her friends were at the time, she does not hesitate: “Oh, the sluts and the weirdos.”

Clothes from a selection, garethpughstudio.com. Styling: Priscilla Kwateng. Stylist’s assistant: Stanislava Sihelska. Hair: Stephen Beaver at Artists & Company. Makeup: Dele Olo. Photograph: Arcin Sagdic for the Guardian Music was her main obsession. “I was a 10-year-old fan of Pearl Jam and Nirvana, and I would’ve got into a fistfight defending them. Art mattered.” Her maternal uncle, Tuck Andress, was a touring musician, half of a jazz duo called Tuck & Patti, and during the summer Clark graduated from high school he gave her a job assisting his band on tour. Clark enrolled at a music college in Boston after that and lasted a couple of years before dropping out and heading back out on the road, this time as a musician in her own right. She toured successfully as part of the expansive, experimental band the Polyphonic Spree and later as a guitarist for Sufjan Stevens. She’s always been a political liberal – these days, one in mourning over last November’s election (“I feel like we watched America vote on their daddy issues”) as well as the reign of President Trump, a man she refers to as “a cartoon yeast infection”. As early as her teenage years, Clark had to get accustomed to the fact that a great many political and social norms, predominant in the suburbs where she grew up, were not her norms. She believes in the essential fluidity of sexuality and of gender. (“Boys!” she sings on a new track called Sugarboy, “I am a lot like you. Girls! I am a lot like you.”) “The mutability of gender and sexuality, as you can probably imagine – that was not a prevalent subject in the suburbs of Dallas when I was growing up. Not even a little bit! And no shade on it now. I love Texas, I’m there all the time seeing family. But I was always gonna get out of there. It felt imperative that I get out of there.” I can only write about my life, and dating Cara was a big part of my life In her 20s she moved to New York, borrowing the name St Vincent from one of the city’s hospitals, by way of its mention in a Nick Cave song. (St Vincent’s hospital was where “Dylan Thomas died drunk”, as Cave sang in There She Goes, My Beautiful World.) She released a debut record called Marry Me in 2007 and toured it through Europe to dispiritingly inattentive audiences, carrying away from London a special memory of “playing in a pub where you definitely couldn’t hear me over the crowd”. Between her next couple of records, Actor (2009) and Strange Mercy (2011), her career really started to take off. She performed on US chatshows; wrote and wrote; founded an influential creative relationship with Byrne, after he approached her at one of her gigs. “I was kind of stunned,” Byrne later said, of seeing Clark play guitar for the first time. The pair would collaborate on a celebrated 2012 album, Love This Giant. By the time her 2014 album won the Grammy for best alternative album, Clark was entitled to ask, as she did ask: “Alternative to what?” Prince came to one of her shows, and she was invited to guest-guitar for the surviving members of Nirvana, later for Taylor Swift. As an award nominee at the Brits in spring 2015, Clark came and went on the arm of Delevingne – and pretty much overnight her public persona became a curious, split thing. As St Vincent, she was a fiercely respected musician, patiently fattening a fanbase in the most honourable way, by writing and recording and touring hard. As the “secret girlfriend” (Metro) who was “secretly dating” (Mirror) Delevingne, she was tabloid feed. Clark saw first-hand what it was like for somebody she cared about to be “hounded, hassled, hacked – all of that stuff”.

‘Certain levels of fame are unenviable’: with Talking Heads’ David Byrne “Having seen certain levels of fame,” Clark tells me, “having been, y’know, fame adjacent… That in and of itself seems very hectic to me. If it’s a natural byproduct of doing what it is you love? Then great. But there are certain levels of fame that I’ve seen, just by proxy, that are unenviable.” If the upward trend of her music continues, she might find herself in a similar place, whether willed or not. Clark shrugs. “I can’t control any of that stuff. So what am I gonna do? I’m just gonna keep making music. I know this is another Pollyanna answer, but it’s about the music. Did I write better songs than on the last album? Did I sing them better? Did I play better guitar? Did I connect?” Maybe it was that I heard a low-quality version of the track, but on a new-album song called Pills there was a minor failure to connect. I misheard the song as having a lyric about somebody being “defamed by fame”, something I took to refer to Clark’s 18-month stretch in a celebrity relationship and all the demeaning wrangling with paparazzi and gossip bloggers that must have entailed. Clark looks panicked and says, no, the lyric was about someone being “de-fanged by fame… What I was referring to was that people’s art sometimes suffers when they get into that too-big-to-fail mindset. How things get really boring when people get too risk-averse, or too comfortable, or when they have overheads that are too high.” She can’t seem to get my mishearing of the lyric out of her head, though. “Oh!” she says eventually. “Maybe ‘defamed by fame’ is better?” For a moment she seems to be wondering how quickly she can sprint to Heathrow from here, and fly back to America to rerecord it. In the end she decides she’ll let listeners hear what they want to hear. “There is no way to control how people perceive a song. And if you try to, my God, are you in for a sisyphean task.” In the park we walk up a promenade between neatly manicured flowerbeds. When we settle on a bench, Clark seems overawed. “This is so beautiful,” she says. “I love this. Do you know how hard we’d have to work, in the States, to keep something this beautiful this beautiful?”

With former partner Cara Delevingne in September 2015. Photograph: Dave Benett/Getty Images for Burberry She’s now ready to address the Delevingne quandary. When the new record is out, reference to her ex will be exhaustively scoured for – it’s already started to happen, as when Clark released a single called New York in June, and Vice responded with a think-piece: “Is St Vincent’s new track a love song for Cara Delevingne?” Nobody trawled through her past writing about CCTV surveillance, or masturbation, in quite that way. “Nuh uh,” Clark says. She takes a breath. “Right! Um. I’ve always kept my writing close to the vest. And by that I mean I’m always gonna write about my life. Sometimes, in the past, I did that way more obliquely than now. But it’s almost like an involuntary reflex. I can’t help but be living and also taking notes on what’s going on, always trying to figure out how to put that into a song. And that does not mean there’s literal truth in every lyric on the way. Of course not. But I can only write about my life, and that – dating Cara – was a big part of my life. I wouldn’t take it off-limits, just because my songs might get extra scrutiny. People would read into them what they would, and you know what? Whatever they thought they found there would be absolutely right. And at the same time it would be absolutely wrong.” Clark looks out across the park. “A song that means something very specific to me, a song in which I might be obliquely or otherwise exploring some really dark things, is a song that another person might hear and go: ‘Wow, this one really puts a smile on my face.’ I’m thrilled by that. I’m thrilled that people might take my songs into their life and make whatever suits them out of it.” Clark nods: done. She lets her gaze travel over the park, over the sculptures in the distance, a couple of which look like giant ice-cream cones. Earlier, she said that she’d got to a point in her career where strangers would send over free starters. If this new album does as well it should, I start to say… “I know, right?” Clark interrupts. “If I play my cards right? With this album? I might – get dessert.” She hoots. • St Vincent’s new single, New York, is out now through Loma Vista/Caroline International. • Opening photograph by Arcin Sagdic for The Guardian [ Source ]

#St Vincent #Annie Clark #the guardian #interviews

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whoslaurapalmer · 7 years ago

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do you prefer lara flynn boyle or moira kelly for the role of donna?

ahhh, the eternalquestion

honestly I thinkboth their performances have merit. I think they both do a GREAT jobof showing donna getting in over her head in her quest to understandlaura, to try and prove herself to laura (which always winds up as donna trying to be laura,with absolutely zerosuccess), but I think moira’sdonna…..feels the gravity of that more, like with the “why do youdo it?” scene after the pink room, I think she almostunderstands more about thethings laura does and how they aren’t as glamorous as donna thinksthey are. there’s acautiousness and a quiet and a desperateness about moira’sdonna, but also a real gentleness that gets me every time, and also something I don’t think lara has. lara’s donna alsoSuper Fucks Up (dr. jacoby!! harold smith!!! haroldsmith!!!!) but I don’t thinkshe ever understands why it’snot a good thing or understands how muchlaura hurt. there’s something a little superficial about lara’sdonna sometimes.although that could just be the weirdass writing in season 2.

ingeneral, there’s something a lot more….soft and open about moirakelly’s donna, and something very sharp about lara flynn boyle’sdonna, but I think that’s because they come at the characterdifferent ways. moira’s donna still has laura, lara’s donna hasalready lost her, and they act accordingly – you see more of the(horrible awful heartbreaking) friendship in moira’s, and a lotmore of the ghost of laura, the heartbreak, in lara’s.

andthey both have scenes I really love, although I love like all ofmoira kelly’s scenes and the only lara flynn boyle scene I am trulycompletely attached to is the “it’s almost like they didn’tbury you deep enough!” scenefrom the beginning of season 2.there is so much good donnain that scene, and lara did a great job at being the friend leftbehind who had so many unresolved feelings that she held on tobecause she didn’t know what else to do with them, or how else toprocess the loss of her best friend who, ultimately,was not as perfect as donna wanted her to be, something that donnacan’t even talk to her about because laura’s dead.

when I write donna,I sort of flip back and forth between which one I imagine, dependingon how i’m writing donna. most of the time I just wind up with animage that’s not quite moira and not quite lara.

#Anonymous #lulu talks about peaks

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anhed-nia · 8 years ago

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5/3/17: FIRE WALK WITH ME vs PHENOMENA - The Comparative Analysis No One Asked For!

TWIN PEAKS: FIRE WALK WITH ME (1992) and PHENOMENA (1985) is a pairing that may not immediately leap to mind, but they have two obvious things in common: They are products of two of the world's best loved genre filmmakers, and they were thought to represent the nadir of each director's career at the time of release. Incidentally, they are also both predicated on a sort of Alice through the looking glass structure, and as such, they may have more to offer as a duet than a cursory consideration would suggest.

When FIRE WALK WITH ME made its debut, after David Lynch’s groundbreaking television series was cancelled, the former suffered a lot from the preciousness with which audiences regarded Twin Peaks. A show fan (as opposed to a Lynch fan) might accept cutesy kookiness but not psychoanalytic abstraction; they might welcome a few good scares, but not constant terror and misery; and importantly, they might enjoy the idea of a cheerleader with a dark side, but sicken when the facts of Laura Palmer's life are laid bare unromantically in all their R-rated glory. Topping all that off with the absence of most of the show's beloved characters and/or actor (many of who expressed bitterness over Lynch more or less abandoning the program in its oft-maligned second season), it is unsurprising that the film met with boos, walkouts and scathing reviews upon release.

After a fashion, FIRE WALK WITH ME enjoyed a favorable reappraisal by its public, but no such forgiveness would come for Dario Argento's PHENOMENA. (At least, not for a while) This grisly fairy tale in which Jennifer Connelly uses her psychic connection with insects, and the aid of Donald Pleasance's wayward helper monkey, to solve a series of murders, was considered by many to be the beginning of the end of Argento's envelope-pushing career. Up to that point, fans delighted in the logistical acrobatics of manic detective stories like PROFONDO ROSSO and TENEBRE, and happily accepted the rather loose story structure of a fever dream like SUSPIRIA in light of its astonishing aesthetic powers. However, even these adventurous viewers had a hard time with PHENOMENA's delirious dialog, its hysterical musical blend opera with speed metal and surf rock, and its entirely preposterous premise. I have yet to come across a piece of critical writing that values this film as more than a collection of extreme examples of Argento's defining characteristics as an artist. With that said, I have preemptively congratulated myself for attempting to say something about it as a story.

Both FWWM and PHENEMONA tell a little-girl-lost tale, in which the girls are specifically lost in a world of intimate violence and betrayal, with supernatural overtones. Their similarities are cosmetic, too: The mountain town of Twin Peaks, where prom queen Laura Palmer (Sheryl Lee) lives and dies, is bathed in a searing white light by day as if to parody the pretended purity and simplicity of its people. A similarly blinding daylight bleaches the eerie environs of the Swiss Alps where a movie star has sent his beautiful daughter, Jennifer Corvino (Jennifer Connelly), to a fancy boarding school. By night, an evil darkness seeps out of the pines surrounding both settings, laying cover for libidinous young men and bloodthirsty murderers. Our schoolgirl heroines have to battle the mundane evils of ignorant adults and predatory peers, as well as real monsters disguised as loving fathers.

Although FIRE WALK WITH ME is a prequel to Twin Peaks, Laura Palmer is already in deep trouble at the beginning of the movie. Because she is the most popular girl in the world, seeming to have it all, no one in a position to help thinks to wonder about her erratic behavior, nocturnal flights from home, and often-transparent misery. With nobody watching out for her, Laura's fate is determined by the men in her life: her boyfriend Bobby, who is more a rabid dog than a person; her secret lover James, who lacks the humility to imagine anything more important than his shallow puppy love; and Jacques, the owner of a bar on the wild Canadian border, who feeds Laura's cocaine addiction and her compulsion to endanger and degrade herself. As per the unfortunate cliche, Laura's relationships are patterned after her relationship with her father, who in this case is essentially the devil.

Jennifer Corvino is also haunted by the specter of her father, who has a huge impact on her life, even though he never materializes. When she arrives at the elite Richard Wagner Academy for Girls, she is burdened with the stigma of having a rich, famous, and desirable daddy. Her social life basically has two facets, which her new roommate Sophie demonstrates succinctly: Jennifer is either subject to other people's sexual obsession with her father, or subject to their sadism and jealousy of her supposedly desirable station in life. When Jennifer reveals that she knows movie star Paul Corvino, Sophie mindlessly assails her with a lustful rant about his body, and an invasive question about whether she has fucked him yet, before Jennifer patiently explains that he is her father. It's hard to completely blame Sophie for her behavior, since Jennifer has brought armloads of pinups of her dad to decorate their dorm--a strange way for a person to relate to a parent. The oedipal vibe of this scene is underlined by a weird comic touch in which Jennifer, hungry from her long journey, eats a jar of baby food left behind by Sophie's family. Throughout the film, the infantilized Jennifer pines for the father who has abandoned her for a foreign film shoot, longing for his protection from even less caring adults.

Where Jennifer's character is colored by this subtle form of romance with her father, Laura's life is ruined by the very real affair that her father (Ray Wise) carries on with her during the twilight fugue states shared by both of them. Her repressed awareness of this ongoing trauma bubbles up to her consciousness in the form of hallucinatory visions of a demonic older man called Bob (Frank Silva) who has been raping her since childhood. Laura sees Bob lurking in her bedroom, blames him for pages torn out of her secret diary, and believes he that he intends to fully possess her and thereby incarnate himself as her. Laura has only one real friend in the world, who she can't possible tell about Bob: innocent Donna Hayward (played here by Moira Kelly rather than Lara Flynn Boyle, to pretty much universal dismay). Donna loves Laura with the kind of unconditional love that easily blooms when a person doesn't really know anything about the object of their affection. Donna's naivete is so total that Laura must shield her not only from the story of Bob, but from her crippling drug addiction and forays into prostitution. Inevitably, Donna martyrs herself on the cross of their friendship, attempting to prove her devotion by borrowing some of Laura's sluttier clothes, getting wasted and almost screwing a young tough in the middle of Jacque's bar. The harrowing sequence concludes with Laura, who has been perfectly evil to Donna all night in an attempt to scare her off, giving vent to a shattering scream at the sight of her friend being molested. Still, she is unable to experience or express actual love, screeching at her best friend, "DON'T YOU EVER WEAR MY STUFF!"

Donna's love for Laura is only as deep as her maturity allows, and FIRE WALK WITH ME and Twin Peaks frequently touch on the way in which teenage relationships are exactly as passionate as they are shallow. PHENOMENA takes this a step further, describing the corrosive, sadistic social environment that stereotypically sprouts up between girls. After Jennifer tells the heartbreaking story of her philandering mother walking out on the family on Christmas (which, apropos nothing, bears a curious similarity to Phoebe Cates' dead santa story from GREMLINS), Sophie says, as if she hadn't heard a word, that she's glad Jennifer has arrived because she gets so lonely at night. Throughout their entire conversation, in fact, Jennifer's dialog and Sophie's dialog never seem to quite match up, as if they were in two separate movies. This makes for an acute description of the way in which young women readily perform the drama of being best friends forever, while not really acknowledging each other as individuals, or even liking each other very much. Shortly hereafter, Sophie absconds with Jennifer's black and gold Armani pullover (all of the apparel in this film is provided by Armani, which contributes excellently to the film's slick, icy look) to rendezvous with her boyfriend along the shadowy treeline. She brags about knowing the daughter of a celebrity and stealing her clothes, but when she realizes that her boyfriend is now interested in Jennifer, she changes her tune. "She wears her hair like mine," Sophie boasts, as if she were the influencer, and then cattily divulges that Jennifer sleepwalks, and must be crazy. PHENOMENA being essentially a slasher movie, Sophie isn't long for this world, but Jennifer responds to her gruesome murder with a spirit of vengeance for her supposed friend. Jennifer’s sweetness is offset by her stuck-up peers, and PHENOMENA boasts the mother of all mean girl sequences, a psychotic update of CARRIE's "plug it up" scene in which Jennifer's classmates attack her for believing she can speak to bugs. A fabulous swirling tracking shot gathers a growing gang of girls around Jennifer, as they taunt her with insect noises which transform into a chant: “WE WORSHIP YOU! WE WORSHIP YOU!” Naturally, Jennifer's insect friends descend on the school, threatening to crash through the windows as she declares messianically, "I love you. I love you all." Of course, the grownups at the academy are partially to blame for the atmosphere around Jennifer. This revelation about her powers came to light because, guided by the psychic voice of a firefly, Jennifer discovered one of the missing Sophie's gloves, which contained a helpful maggot. This is another one of the film's great and powerful scenes: Jennifer, cherubic in a white nightgown and dwarfed by the cold luminous cube of her dorm, glides across the pitch-black lawn as if in slow motion--while, in stark contradiction to this dreamy image, the soundtrack blasts a scathing speed metal anthem. It's a fascinating aesthetic device that Argento will employ again later in the film, accompanying slow, quite action with crushing, thrashy music. In any case, when Jennifer naively admits that a maggot told her about Sophie's murder, the domineering headmistress (the astonishing-looking Dalila Di Lazzaro, who is no Alida Valli but she gets the job done) calls the men in the white coats. Jennifer is subject to a number of humiliating experiments and tests to evaluate her mental health ("Do you take anything? Like, do you understand...DRUGS?"), on which she storms out. Where Laura Palmer is almost totally alone in the world due to her perceived perfection, Jennifer Corvino is alienated by constant scrutiny.

Laura has just one, tragically ineffectual source of aid--generically, forces from the Black Lodge. The backwards-speaking Man From Another Place (Michael J. Anderson) seems to try to warn her and Special Agent Dale Cooper (Kyle MacLachlan) of her fate, but he speaks only in poetic code. Cooper himself tries and fails to advise her through her dreams, and Laura also receives strange messages from one of her Meals On Wheels recipients. Mrs. Chalfont (Frances Bay) and her grandson, a mute junior magician who hides behind a disturbing pagan mask, try to intervene with Laura, but only manage to terrorize her further. Ordinary sources of support are absent or utterly corrupt, including Laura's mother (the inimitable Grace Zabriskie), who exists in a state of fragile, attenuated silence, unable to confront what she must know is happening between her husband and her daughter. Although Sarah Palmer also receives visions from the Black Lodge, she retreats from them in terror and resigns herself to her circumstances. She even accepts an obviously drugged libation from her husband before bedtime, when the trouble begins.

The great power of FIRE WALK WITH ME, and also Twin Peaks, is that Laura's father is not pure evil. Leland Palmer is given profound depth by Ray Wise, with his limitlessly expressive face, and unpredictable vacillation between warmth and violence. We simultaneously pity and fear him: He truly loves his daughter, urgently consoling her when they are confronted by the One-Armed Man (Al Strobel) in traffic, and making a tearful bedside appearance that amounts to a tacit admission of guilt. He evinces a genuine desire to be close to his daughter, which is unfortunately inseparable from his desire to be with her as a man. Leland is much more than a good guy by day, and a bad guy when possessed by an evil spirit; he caught in the unbridgeable schism that yawns between the aspirational ego-self, and the id, the self taken over by trauma and pathology. Within David Lynch's supernatural fable is a completely authentic story about mental illness and incest that strikes all the right psychological chords.

While Jennifer's father never becomes more than an idea, she does attract a separate father figure in the course her search for Sophie's killer, who may in fact be a serial killer. Donald Pleasance plays paraplegic forensic entomologist Dr. John McGregor, who happened to have been close friends with a previous victim. Jennifer meets him after one of her somnambulistic excursions, when she is led away from the scene of a near-gang rape by McGregor’s chimpanzee Inga. McGregor, who apparently has a way with teenage girls, quickly determines that Jennifer has a special connection to insects--specifically, he notes that a certain beetle in his care is trying to get it on with her: "You're arousing him, and he's doing his best to arouse you." While McGregor is meant to be charming, and never does anything explicitly inappropriate, his role in the story contributes to a feeling that Jennifer can never escape a certain freudian pattern, whether she is being accused of having sex with her father, actually pining for her father, or being eroticized by the nearest father figure in her life.

PHENOMENA takes much stranger strides in examining the maternal archetype in this saga--most often enacted by some form of wicked stepmother. By now we have been introduced to the idea of Jennifer's deadbeat mom, and the angry, jealous-seeming headmistress who tries to have Jennifer committed, but there is a third figure in play who the audience may have counted out at the beginning of the movie. Dario Argento's erstwhile creative and romantic partner Daria Nicolodi (from whom he separated the year of this film's release--and whatever it means, Argento cast his daughter Fiore, from another partnership, as the first victim) plays Frau Bruckner, an employee at the school who seems pretty dismissible at first. She suddenly becomes relevant toward the last act when McGregor is murdered by the mysterious killer. Seemingly sympathetic, Bruckner invites Jennifer to spend the night at her home--but once they're there, the helpful older woman becomes strange and threatening. Noticing a profusion of shrouded mirrors in the house, Jennifer prompts her hostess to deliver a disturbing monologue about her "sick" son, the product of a rape whom she considers a burden and a constant torment. "These things can happen in a woman's life," Bruckner observes darkly. Indeed, even a normal pregnancy is something that happens to a woman, something she cannot share with her husband nor her children. The child is under no natural obligation to empathize with the trials of motherhood, and inevitably, and a mother has little control over the person her child will become. This can be pretty bad news for the mother, but from the child's point of view, if you are primarily identified as something that has happened to your mother, then what can you possibly expect from her?

Things escalate quickly with the obviously bad-news Bruckner, leading to a chase that includes one of the gnarliest images ever to grace a screen: Jennifer, in her chic white-on-white uniform, plunges into a basement dungeon brimming with a stew of putrifying human remains. Jennifer struggles to tread water in this rancid soup as Bruckner taunts her; nearby, an interloping detective is chained to a wall, and uses Jennifer's diversion to break free and attack Bruckner with his chains chain. Jennifer flees the scene, and finds herself in the room of Bruckner's little boy. Foolishly, she sympathizes with him, perhaps as one abandoned and stigmatized child to another, and tells him that he is finally free of his evil mother. When she removes the shroud from a mirror, the child flies into a rage, revealing himself to be indescribably deformed and equally violent. He chases Jennifer out to a lake and onto a motorboat, in a scene curiously reminiscent of the end of FRIDAY THE 13TH. She summons a swarm of insects that skeletonize the boy, and makes her way to shore, only to be confronted by Bruckner. The madwoman confesses to murdering McGregor and others in order to hide her son's taste for schoolgirl blood, and nearly decapitates Jennifer with a piece of sheet metal--before she is attacked by Inga, the monkey, in a climactic battle that defies description, even by the standards of a movie that already stretches the definition of “over the top”. Then, as Wikipedia eloquently puts it, "With the ordeal over, Jennifer and the chimp embrace."

Even detractors of PHENOMENA will usually admit that its high camp is extremely entertaining. FIRE WALK WITH ME, on the other hand, has hardly a shred of humor, unlike the frequently kitschy and nostalgic Twin Peaks, making it a constant stream of wrenching terror and sadness. Laura's appalling fate is sealed by a sort of self-fulfilling prophecy: She is being raped by her father, which produces in her a suicidal self-loathing, which leads her down a path of dangerous prostitution, and then when her father discovers this activity, he does away with her. Although FWWM is much easier to identify as a work of art, its finale has problems that are not dissimilar to PHENOMENA, and I personally find it less easy to like. Half-possessed by Bob, Leland drags Laura and another young sex worker off to a disused train car. There, he savagely brutalizes both women in an aria of sadism, punctuated by hysterical confessions from Leland and Bob about their collaborative, lifelong victimization of Leland's child. It is hard to watch, and even harder to look away. This is all well and good, but then, as if Lynch had painted himself into a corner, something utterly untrue to the world of the film takes place. Referencing a gaudy religious painting in Laura's bedroom, an actual angel appears to her as her soul leaves her body and is relegated to the Black Lodge for eternity. If it is meant to be a hallucination, this is a lousy place for it, since Twin Peaks features literal ethereal figures all the time. If it is meant to be taken literally, and I believe it is, an angel is a lousy choice, since the Black Lodge is dominated by a distinctly non-Christian ideology, usually with Native American overtones. There is a single reference to a guardian angel in an especially terrible piece of the second season of Twin Peaks, but I would refuse to accept that as a reasonable excuse for this. Just to pour some salt in the wound, the angel is accompanied by opera music, marking a jarring aesthetic departure from the entire rest of the film and the show, which is characterized as much by Angelo Badalamenti's jazz score as anything else. Lynch could at least have cast Julee Cruise as the angel to help keep us in the mood, but no such luck. This interruption makes it hard to stay focused on the film's concluding image of Laura weeping in terror and relief, under Dale Cooper's benevolent gaze, in the Black Lodge. Oh well; fortunately, the rest of the film is so forceful that its resonance survives this gaffe.

Before I cut myself off, I would just like to make one further remark about FIRE WALK WITH ME. It is a serious shame that people remember Laura Palmer better than they remember the actress Sheryl Lee. Even fans who can easily name Lara Flynn Boyle and Sherilyn Fenn have a hard time calling Laura Palmer anything other than Laura Palmer. I'm not entirely sure what accounts for this, other than that the Laura Palmer character is so exciting to people that she has become more important as an archetype, than as a work of art executed by a skilled performer. It's completely unfair to Sheryl Lee, who gives us a performance that I wouldn't even want to live through myself. The woman has to cry throughout the entire film, which seems exhausting to say the least, but it's not a simple matter of emoting; she makes it so raw that it's terrifying to watch. Lee takes a simple line like "Who was that man? Do you know him?", and delivers it with the blistering urgency of a woman mounting the gallows. There is a lot to love about the formal composition of FWWM, but the truth is that without this actress's torturous commitment to making Laura Palmer psychologically correct, the whole structure might come crashing down. Everyone whose life has been touched by Twin Peaks, even those of us who relate more to the iconic Donna and Audrey, owe Sheryl Lee more thanks than we have given her.

#blogtober #sheryl lee #jennifer connelly #phenomena #creepers #david lynch #dario argento #twin peaks #fire walk with me #laura palmer #black lodge #daria nicolodi #donald pleasance

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okuberlik · 2 years ago

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Your Twin Peaks fun fact of the day

Day #11

For the red room / waiting room scenes teh actor had to learn how to say their lines backwards. Which was difficult to everyone except for Micheal J. Anderson, who played the man from another place.

Anderson, a former NASA technician, had learned how to say lines backwards as a kid. So Lynch used to give him more complicated lines.

After the actors had said their lines backwards the editors would edit those lines backwards again so it seemed that they we're talking normally but with some kind of distortion.

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douxreviews · 6 years ago

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Twin Peaks - ‘Pilot’ Review

“Mr. Cooper, you didn’t know Laura Palmer.”

Twin Peaks is both cultish enough and popular enough that there’s a thrill every time one fan meets another—and those thrills aren’t too far between. When it premiered in early 1990, people went wild. Remember when we were all so excited about Lost? Move those conversations to the water coolers instead of the internet, add some hairspray, and that’s about it.

And just like that, it was gone. After the initial adoration, viewers quickly drifted away or were turned off by the more surreal aspects. When the show’s second season finished (completing a total of just 30 episodes), viewership was way, way down. The follow-up movie, Twin Peaks: Fire Walk With Me did okay…and yet the die-hard fans remained as intense as only fans can be.

I only experienced those early days by proxy. I was deemed too young to watch the show (looking back, I agree with that decision, but it made me so angry at the time—if I could watch Murder, She Wrote, why not this?), but my father loved it. My father lets himself get involved in exactly one TV show at a time. Sometimes he picks a clunker—The Event was his choice in this past season, poor guy—and sometimes he strikes gold: 24, Twin Peaks, The Sopranos. Back in the day, he loved Twin Peaks enough to buy the soundtrack, which he frequently played on our family’s only CD player, in the living room. My pre-teen years were scored by Angelo Badalamenti. No wonder I turned out so odd.

My first real Twin Peaks experience was in high school, when the boyfriend recommended we watch the prequel (made after the episodes aired) Fire Walk With Me to prepare for seeing Lost Highway in the theater. FWWM was okay, given that I had no back-story (fore-story?), but Lost Highway was great. It appealed to my desire to dissect things. (Well, not living things. I’m squeamish.)

It took me five years to finally watch Twin Peaks, the series. The only copies in the town I then lived in were on VHS, rented from the tiny independent video store housed in a house. (When they went out of business, I owed them a late fine of $2. I still feel bad about that.) I promptly got the bug, watched the tapes as fast as I could rent them, and theorized like mad with the one person I knew who also liked the show, a kindly bartender. He explained the finale to me over strong drinks, and then I was done with the show. This was before the internet was fun, so it didn’t occur to me to look elsewhere for more theories and speculations, much less a fan community. I haven’t re-watched it in the many years since.

All of that backstory is by way of warning: I’m not a die-hard Peakean. In fact, I don’t even know if TPers have a name for themselves. That’s all information I could easily find out, now that I’m used to spending my days glued to a computer screen, but I’m oddly disinclined to eavesdrop on 20-year-old arguments, get tangled up in sides, camps, or even the dreaded ‘shipper wars that every show has. When I review this show, I want to watch the show and talk about the show. I don’t want to pick sides, start fights, or invest in a SuperDuperGold DVD set. Twin Peaks isn’t that kind of show for me.

What kind of show is it, then? The pilot episode doesn’t do justice to the delightful zaniness that is to come. Frost and Lynch shot the pilot, Lynch did a movie (Wild at Heart), and then Frost and Lynch began work on the first non-pilot episode. The pilot establishes important characters and a few of their relationships. It welcomes us to the town of Twin Peaks, pulls back the lace curtains a bit—but not all the way—and leaves me with a strange impression of humor-laced tragedy. In other words, even in the face of tragedy, people still make bad jokes, still have bizarre personality tics, and generally still live their lives.

That tragedy, of course, is Laura Palmer (Sheryl Lee), who is found dead in the show’s opening minutes. Laura Palmer is screen-siren beautiful even in death, and just as inscrutable. We learn in the pilot that she is a homecoming queen who dates the football quarterback, a tutor, and a beloved daughter.

But for some reason, no one seems surprised that she is dead: At the end of the episode, her secret boyfriend James Hurley told Donna, Laura’s best friend, that “It all made some sort of terrible sense that she died.” Even before that, her mother’s panic in the morning when she can’t be found feels like she had been waiting for that moment for months, and her father, once warned of Mama Palmer’s panic, tells the sheriff that his daughter is dead, rather than the other way around. Even the opening lines, when Pete Martell tells Sheriff Truman “She’s dead. Wrapped in plastic,” the first question isn’t “Who?” but “Where?” When Donna (Lara Flynn Boyle) and James (James Marshall) see the police at school, their first thought is of Laura, and their first reaction is to cry.

The overall impression is of a town, and a girl, on the brink. Laura finally tipped over into something—shocking but not surprising itself. The town, meanwhile, continues on its way for a while, but might never be the same. With a population just over 50,000, Twin Peaks may be “a town where a yellow light still means ‘slow down’ instead of ‘speed up,’” but the main industry is intrigue (with a healthy dose of tourism and logs).

And the intrigue industry is definitely impacting the tourist and log economies. The Hornes, who own The Great Northern hotel, are trying to con some Norwegians into building a golf course (with houses), but son Johnny has “mental issues” and daughter Audrey (Sherilyn Fenn) is one breakdown away from a borderline-personality diagnosis. Meanwhile, Benjamin Horne is working with Catherine Martell to take down Josie Packard (Joan Chen), Catherine’s sister-in-law who inherited the mill. The Sheriff is dating Josie Packard, while his friend Big Ed (James’s uncle) is cheating on his crazy wife Nadine with sexy Norma (Peggy Lipton). Norma, of course, is Shelly Johnson’s (Madchen Amick) boss—and Shelly is married to a crazy truck-driving maniac who beats her and just so happens to come home with blood on his shirt after Laura’s death.

While the adults play those games, the teenagers follow suit. Laura was dating Bobby in public and James in private; Donna was dating Bobby’s best friend Mike in public and falls for James in the pilot. Bobby and Mike, unfortunately, are terrible actors: I sometimes wonder if the director just said, “Give up acting! Just stare and vibrate a little without blinking!” This makes their teenage rages and exaggerated misbehavior all the more disturbing, as they seem just like the cartoon villains one would find on a Lifetime special. No wonder Donna’s dad doesn’t let Mike in the house.

In life, that was Laura’s world. Now that she’s dead, her place in that world—and whatever else it might encompass—has to be discovered by a hero, a man who should need no introduction, the greatest detective who ever lived: Special Agent Dale Cooper.

Special Agent Dale Cooper is a straightforward man who appreciates good coffee, good pie, plain speaking…and absolutely loves the process of detection and discovery. In the pilot, some of his smiles seemed horribly inappropriate, until I realized he was So Very Happy that he had found a clue—he is certainly not haunted by Laura Palmer’s death, at least not in any traditional sad-detective way. How he will come to relate to Laura and the circumstances of her death is one of the main arcs of the series.

How the town relates to that death and those circumstances is equally important. In the pilot it emerges that Laura did not die alone: Ronnette Polanski lived through whatever rape and torture killed Laura, but remains comatose. Ronnette gets short shrift in the town’s imagination, perhaps because the cast of characters the show focuses on knew Laura better, perhaps because Ronnette was working-class and Laura came from Twin Peaks’s small aristocracy.

In the pilot, the town is like a live wire. When the kill site is discovered, there’s a quick shot of the train car surrounded by men who aren’t police officers, holding rifles as though they expect the killer to still be inside. The pilot effectively captures the way each member of a small community can be struck differently but with equal virulence by the same tragedy. Likewise, it introduces the idea that no one can really know Laura Palmer, not James the secret boyfriend who claims she wasn’t acting like herself, perhaps not even Donna who claims to know her better than Laura realized. And if we can’t know Laura, perhaps we can’t know anything that’s going on in this tiny town.

Bits and Pieces

• Quick shout-out to the folks at the Sheriff’s Station: Lucy, Andy, Hawk. We’ll see more of them.

• Dr. Jacoby (Russ Tamblyn), wacky shrink, was rubbing a very inappropriate place on his hula-dancer tie.

• Crazy Nadine seems to have a fixation with her drapes.

• The severed moose head on the table in the bank. Yep, it’s a David Lynch TV show.

• Zooming in on an image to catch a reflection of the person taking the film is equally Lynchian, as are the flickering light in the morgue (symbolizes a reality-shift or a personal satori) and the stoplight.

• Diane, to whom Special Agent Dale Cooper dictates his every move and every thought—I do not envy your job.

Clues?

• Laura’s diary entry for a few weeks previous said she was “nervous about meeting J tonight.” Who is J?

• Cooper says that the letter “R” under Laura’s finger matches her case to that of Teresa Banks, a year ago in another part of the state.

• Laura’s half of the broken-heart necklace was found in the traincar on a mound of dirt with a scrap of paper on which was written, in blood, “Fire walk with me.”

• Ronnette Polaski advertised her services in Flesh World, and Laura kept a copy.

• According to James, Bobby had told Laura that he’d killed someone.

For all its atmosphere, the pilot episode of Twin Peaks does not give an accurate picture of where this series is headed—and, trust me, it’s going to some very weird places. Having said that, it does a very impressive job of establishing relationships both covert and overt, and focusing on the two emphases of this show: Laura Palmer and the town itself. The final shots, of an unidentified hand taking James’s half of the heart necklace from the woods, of the stoplight, and of Mrs. Palmer’s sudden screaming as though she has seen something—in the living room? The scene in the woods?—are just a hint of the mysteries to come.

Three and a half out of four Douglas firs.

(Let’s try to keep spoilers for future episodes out of the comments. There might be someone out there who still doesn’t know who killed Laura Palmer.)

Josie Kafka is a full-time cat servant and part-time rogue demon hunter. (What's a rogue demon?)

#Twin Peaks #Dale Cooper #Laura Palmer #David Lynch #Mark Frost #Twin Peaks Reviews #Doux Reviews #TV Reviews #something from the archive #29 years old today

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heyheyheckles · 8 years ago

Conversation

Sherilyn Fenn talks David Lynch and how Twin Peaks should have ended

AVC: Did you ever imagine her as being Audrey Horne if she’d never left One Eyed Jack’s, or was that just the Twin Peaks fans who did that?

SF: Yeah, that’s just them. I’m like, “Are you kidding? Audrey would’ve taken over her father’s business and would’ve been married to Agent Cooper with many children, doing everything correct. She wouldn’t have a fucking brothel!” [Laughs.] Not at all.

…

SF: I’m not supposed to say it. But David knows I tell what happens, and what happened was that Lara [Flynn Boyle] was dating Kyle [MacLachlan], and she was mad that my character was getting more attention, so then Kyle started saying that his character shouldn’t be with my character because it doesn’t look good, ’cause I’m too young. Literally, because of that, they brought in Heather Graham—who’s younger than I am—for him and Billy Zane for me. I was not happy about it. It was stupid.

#twin peaks #otp #Headcanon accepted #audrey cooper #book club

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lynchgirl90 · 8 years ago

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Your speed-binge guide to (almost) understanding #TwinPeaks

Let Kyle MacLachlan talk you through it.

JEFF JENSEN@EWDOCJENSEN AND DARREN FRANICH@darrenfranich

To prepare for Showtime’s revival of David Lynch’s iconic series (premiering Sunday, May 21), star Kyle MacLachlan talks us through a speed-binge of the show’s most enlightening episodes. For an even deeper analysis, you can subscribe to EW’s Twin Peaks podcast to unwrap the mysteries of the show’s first two seasons and film. Then tune in every Monday beginning May 22 for a weekly after-show during the new season.

PILOT

Season 1, episode 1 David Lynch’s masterfully directed two-hour premiere is a mesmerizing orientation—an invitation to never-ending love. A dreamy stream of narrative enhanced by Angelo Badalamenti’s moody-romantic score draws you into a singular setting: Twin Peaks, a woodsy Americana idyll hiding rings of secrets and rot. Tragedy pierces the ironic facade with the murder of troubled beauty Laura Palmer (Sheryl Lee). An engagingly eccentric hero, FBI agent Dale Cooper (Kyle MacLachlan), pulls at her mystery, revealing that a population of peculiar people hold more. The premise, novel in 1990, is familiar today, but Lynch’s artistry makes it timeless and potent.

ZEN, OR THE SKILL TO CATCH A KILLER

Season 1, episode 3 Season 1’s only other Lynch-helmed installment is arguably the series’ signature episode. Cooper shows a mystic side to his deductive technique in a sequence marked by absurd comedy. But it’s a prophetic nightmare that steals the show. It begins with a chanting one-armed man (“Fire, walk with me!”) presenting denim-clad psycho BOB (Frank Silva). It ends with an aged Cooper in an otherworldly red-curtained room receiving a whispered message from a backward-speaking Laura. Says MacLachlan: “The show is adding a whole new dimension here, quite literally.”

REST IN PAIN

Season 1, episode 4 Who killed Laura Palmer? “We all did!” screams Laura’s wild-eyed boyfriend Bobby (Dana Ashbrook), as the town gathers for her funeral. The burial is Twin Peaks‘ ghoulish sense of humor writ large: When tearful daddy Leland (Ray Wise) jumps on Laura’s lowering coffin, the soap operatic goes Freudian. This episode also pulls back the veil on the show’s deeper fascinations. Sheriff Harry Truman (Michael Ontkean) explains that there is “something very, very strange in these old woods…a darkness, a presence.” Meanwhile, Laura’s cousin Maddy (Lee, with dark hair now) arrives.

Season 2, episode 1 As Dale lies bleeding from a gunshot wound, a mysterious bald giant (Carel Struycken) appears, offering koanic inscrutabilities (“The owls are not what they seem”) that set the stage for season 2’s deepening exploration of the supernatural. By the end of the Lynch-directed season premiere, Leland’s hair has turned white, Donna (Lara Flynn Boyle) has taken over Laura’s Meals on Wheels route, and the giant appears to offer one last bit of wisdom: “Don’t search for all the answers at once.” We couldn’t possibly.

COMA

Season 2, episode 2 A message arrives for Cooper from outer space, and that’s merely the fourth-weirdest thing in this ep. There’s a visit with the Tremonds, an eerie grandma-grandson pair with a creamed-corn fixation. Then Donna, Maddy, and James (James Marshall) perform a love-triangle musical number in the living room. And then Maddy has a vision of a sneering BOB climbing over the couch to claim her. Witness the essence of Twin Peaks: romantic nostalgia invaded by transgressive horror.

LONELY SOULS

Season 2, episode 7 The police arrest the wrong man, but the show reveals the real culprit. It’s Leland—and it’s BOB, a possessor-spirit symbolizing unfathomable evil. There’s a new, brutal killing, but the tone is ultimately elegiac. Lynch cuts from the murder to the Roadhouse diner, where songstress Julee Cruise sings melancholic dream-pop. The giant appears. People cry. Cooper looks bummed. It’s a farewell to the show’s defining mystery—and the last episode Lynch directed until the finale.

ARBITRARY LAW

Season 2, episode 9 Would the Laura Palmer whodunit have ended differently if ABC hadn’t made Lynch and partner Mark Frost wrap it up? “It’s possible,” says MacLachlan, who isn’t certain the Leland-BOB dualism represents the creators’ original intent. Still, “Arbitrary Law” captures your imagination for high-concept evil, thanks to Tim Hunter’s careful direction and Wise’s howling, wrenching performance, supported nicely by MacLachlan. From here Twin Peaks turns increasingly wacky, and the psycho-spiritual abstractions start solidifying into concrete occult mythology via a tepid plot about Cooper’s unhinged ex-partner, Windom Earle (Kenneth Welsh).

ON THE WINGS OF LOVE

Season 2, episode 18 There’s plenty to love in the post–Laura Palmer period, but season 2 suffers from definite mission drift, symbolized most obviously by Cooper’s decision to swap his J. Edgar suit for a plaid lumberjack-chic ensemble. In this reset-button episode, Lynch guest-stars as Cooper’s FBI boss. His advice speaks meta-volumes: “You better dust off your own black suit.” The show recovers its compass immediately, sending Cooper into the mysterious depths of the Owl Cave.

BEYOND LIFE AND DEATH

Season 2, episode 22 Another scary-trippy-WTH? hour from Lynch ends the series with a brutal cliff-hanger. Cooper ventures into the Black Lodge underworld, where Laura cryptically vows, “I’ll see you again in 25 years.” Cooper, trapped in limbo, is replaced in Twin Peaks by his shadow self. “The show found traction again with a powerful new direction,” says MacLachlan. “It would have been compelling to explore.” Perhaps the new show will do just that. And it has been 25 years…

TWIN PEAKS: FIRE WALK WITH ME

Movie Lynch’s prequel flick infuriated fans by refusing to resolve dangling story lines, but this challenging experience is now more intriguing knowing more Twin Peaks is imminent. Lee’s bold performance brings Laura to vibrant life. David Bowie as a teleporting FBI agent electrifies the Black Lodge stuff by re-mystifying it. (Who the hell is Judy?!) And is Chris Isaak’s Chester Desmond real or just Cooper’s dream avatar? “Never heard that theory,” says MacLachlan, “but I like the idea of looking and singing like Chris Isaak.”

link (TP)

#Twin Peaks #Kyle MacLachlan #EW #David Lynch #Agent Cooper

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networkingdefinition · 5 years ago

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Attorney Quotes

Official Website: Attorney Quotes

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• Bob Torricelli, Democrat member of the Senate, was basically about to be thrown out of office on corruption charges, and he went to the floor of the Senate to deny everything. And we juxtaposed his denials with an attorney from someone in an action against Torricelli who was listing all of the gifts and all the bribes that Torricelli had been given and offered in exchange for policy considerations on the Senate floor. So he’s on the Senate floor denying it. – Rush Limbaugh • Donald Trump will appoint an attorney general, who will send very clear messages about how law enforcement is to be pursued in this country. – Chris Christie • During the periods in my marriage when I chose to stay home with my kids rather than work as an attorney, it caused me no end of anxiety. Despite the fact that I knew I was contributing to our family by caring for our children, I still felt that my worth was less because I wasn’t earning. – Ayelet Waldman • Especially in local elections, because hardly anybody pays attention to those – but it’s really important who’s mayor and who’s on the city council, county commissioners, sheriffs, district attorney, and of course the school board. – Jello Biafra • Even an attorney of moderate talent can postpone doomsday year after year, for the system of appeals that pervades American jurisprudence amounts to a legalistic wheel of fortune, a game of chance, some what fixed in the favor of the criminal, that the participants play interminably. – Truman Capote • Even the former Attorney General of the United States Eric Holder has come out to say that he believed that [Edward] Snowden performed a public service, and I couldn’t agree more. – Zachary Quinto • Given my last position, that I was the first U.S attorney post 9/11 in New Jersey, I understand acutely the pain and sorrow and upset of the family members who lost loved ones that day at the hands of radical Muslim extremists. And their sensitivities and concerns have to be taken into account. – Chris Christie • Good judges are always open to the possibility of changing their minds based on the next brief that they read, or the next argument that’s made by an attorney who’s appearing before them, or a comment that is made by a colleague during the conference on the case when the judges privately discuss the case. – Samuel Alito • Hey, I’m a former union president myself and also an attorney that represented a lot of unions. – Stephen F. Lynch • Hocus was an old cunning attorney. The words of consecration, “Hoc est corpus,” were travestied into a nickname for jugglery, as “Hocus-pocus.” – John Richard Green, A Short History of the English People, 1874. see Charles Macklin. – John Arbuthnot • Hocus was an old cunning attorney. The words of consecration, “Hoc est corpus,” were travestied into a nickname for jugglery, as “Hocus-pocus.” – John Richard Green • How about this John Edwards thing? Imagine that, a personal injury attorney who turns out to be a sleaze ball. Who could have seen that coming? – Jay Leno • I always received much more satisfaction as a defense attorney in obtaining an acquittal for a client than I ever have as a D.A. in obtaining a conviction. All my interests and sympathies tend to be on the side of the individual as opposed to the state. – Jim Garrison • I am not a member of any organization listed by the Attorney General as subversive. In any instance where I lent my name in the past, it was certainly without knowledge that such an organization was subversive. I have always been essentially and foremost an American. – Judy Holliday • I am not, in fact, a superhero. Just a humble, mild-mannered civil rights attorney. – Van Jones • I am the attorney general of the United States. But I am also a black man. – Eric Holder • I can guarantee that not because I give Attorney General [Loretta] Lynch a directive. That is institutionally how we have always operated. I do not talk to the attorney general about pending investigations [On Hillary Clinton]. – Barack Obama • I do not care to speak ill of a man behind his back, but I believe he is an attorney. – Samuel Johnson • I hate politics, hate deals, and deal-making, hate meeting with attorneys and agents. – Kathie Lee Gifford • I have always had an attorney on retainer, and now I believe I will have to put him to work. – Jeff Gannon • I have known Johnnie Cochran for many years as an attorney and personal friend, but he has already expressed publicly that he is not on this case. – Mark Geragos • I really haven’t had time to think about what I’m going to do as a professional attorney. There is no doubt that I am going to try to achieve something positive in the private sector. I think it’s important. – Marco Rubio • I remember a case where I was associate attorney general where 720 dead people voted in Chicago in the 1982 election. I remember in my own election about 60 dead people voted. So I can’t sit here and tell you that they don’t cheat. – Rudy Giuliani • I retire to make way for an abler man. In my four years as attorney general I have aged about ten years, but when I have get back to the practice of law, I hope to show those lawyers that I still have some vitality left. – Bill Vaughan • I spoke bluntly about what I had seen in a little over a year as United States Attorney for the Southern District of New York. To the apparent surprise of many in the room, I observed publicly that insider trading appeared to be rampant. – Preet Bharara • I think most defense attorneys know, to some extent, their clients are guilty. – Matthew McConaughey • I think that whoever is the attorney general, you don’t want them to be as a yes person for any particular constituency. – Al Sharpton • I think when you play a role, you always have to be a defense attorney for that character. – Matt Bomer • I wanted to be a district attorney and solve hidden problems or maybe even be a leper-colony missionary and save people. – Diane Ladd • I was a prosecutor in Brooklyn in the homicide division and then as a senior assistant district attorney. – Star Jones • I was an assistant U.S. attorney. I was the associate attorney general of the United States, third-ranking official under Ronald Reagan. – Rudy Giuliani • I was raised in a Bronx public housing project, but studied at two of the nation’s finest universities. I did work as an assistant district attorney, prosecuting violent crimes that devastate our communities. – Sonia Sotomayor • I was the United States Attorney for Maine for three years, and then was appointed a federal judge. – George J. Mitchell • I will appoint an attorney general who will reform the Department of Justice like it was necessary after Watergate. – Donald Trump • I would be loath to speak ill of any person who I do not know deserves it, but I am afraid he is an attorney. – Samuel Johnson • If the events of September 11, 2001, have proven anything, it’s that the terrorists can attack us, but they can’t take away what makes us American – our freedom, our liberty, our civil rights. No, only Attorney General John Ashcroft can do that. – Jon Stewart • If you violate Nature’s laws you are your own prosecuting attorney, judge, jury, and hangman. – Luther Burbank • If you’re filing bankruptcy, you will likely want to hire an attorney. But for debt settlement, a company is sufficient, or as I said, you can often do the legwork on your own. – Jean Chatzky • If you’re white and you’re rich in the USA, if you get busted for drugs, you get a good attorney, and you in all likelihood serve no time. But if you’re poor, black, Hispanic, or poor and white for that matter, you can get put in jail. – Rand Paul • I’m a former federal prosecutor, a former associate attorney general. If I had done that, I’d have been prosecuted. It’s a clear violation of 18 United States Code Section 791.What [Hillary Clinton] did were criminal acts. She has displayed the facts. – Rudy Giuliani • In a democratic country, when a man is accused, he’s accused from a document issued by the public attorney. – Jacques Verges • In my previous life I was a civil attorney. At one point I truly believed that was what I wanted to be- but that was before I’d been handed a fistful of crushed violets from a toddler. Before I understood that the smile of a child is a tattoo: indelible art. – Jodi Picoult • In other words, under Attorney General John Ashcroft, the FBI, the INS and the Department of Justice are so out of control that they have actually begun to enforce U.S. immigration laws. – Ann Coulter • In recent years personal injury attorneys and trial lawyers have attacked the food industry with numerous lawsuits alleging that these businesses should pay monetary damages to those who, of their own accord, consume too much of a legal, safe product. – Bob Ney • Industrial hemp is a very useful plant. I challenged the attorney general to get rid of the criminal stigma associated with hemp so we can look at it in terms of how it might be useful. – Jesse Ventura • Is it not remarkable that the common repute which we all give to attorneys in the general is exactly opposite to that which every man gives to his own attorney in particular? Whom does anybody trust so implicitly as he trusts his own attorney? And yet is it not the case that the body of attorneys is supposed to be the most roguish body in existence? – Anthony Trollope • It is Hillary’s [Clinton] star power that radiates to every corner of the ballroom. New York bigwigs, such as financial-media impresario Michael Bloomberg, attorney and labor mediator Theodore Kheel, and District Attorney Robert Morgenthau, crane to see her. – Gail Sheehy • It is no secret that I believe my son, Attorney General Beau Biden, would make a great United States senator – just as I believe he has been a great attorney general. But Beau has made it clear from the moment he entered public life, that any office he sought, he would earn on his own. – Joe Biden • I’ve argued in front of the Supreme Court of the United States. I’ve argued in almost every circuit. And I tried, as a personal lawyer and U.S. attorney, over 50 cases. – Rudy Giuliani • I’ve been told by the prosecutors and by my own attorneys I should go to law school. I guess I have a knack for it. – Monica Lewinsky • James Comey should have gone to the Public Integrity section and said ‘What do you folks think.’ It’s a little bit of an odd situation because he’s a former deputy attorney general as well as head of the FBI so he may have trouble keeping on only the investigator hat forgetting that he’s a former deputy attorney general. So it’s not a good thing, it’s a distraction so I think we should just ignore it because there’s nothing there so get on with the business of last week of the election. – William Weld • Let me just say that anything that I say about what’s going on at Justice is pure speculation. Obviously, you know, I’m just going based on my experience as the attorney general, but, yeah, surprised because typically you don’t talk about investigations. And it kind of surprised me that that letter went out, and I suppose that the reason for it is because we’re in the middle of a presidential campaign. But nonetheless, I think it would be contrary to typical protocol. – Alberto Gonzales • Most of the time when I receive a script, it says something like ‘Rosenberg is the fat, slovenly Mayor, who doesn’t want the kids to use the Skateboard Park,’ or ‘Stein is a pompous, rotund attorney, imposing to all.’ It would be so freeing to get a script where my character is simply described as ‘A Man.’ – Fred Melamed • Mr. Robinson was a polished sort of person. He was so clean and healthy and pleased about everything that he positively shone – which is only to be expected in a fairy or an angel, but is somewhat disconcerting in an attorney. – Susanna Clarke • My attorney general will restore the integrity of the Department of Justice which has been severely questioned. – Donald Trump • My dad was the district attorney of New Orleans for about 30 years. And when he opened his campaign headquarters back in the early ’70s, when I was 5 years old, my mother wanted me to play the national anthem. And they got an upright piano on the back of a flatbed truck and I played it. – Harry Connick, Jr. • My father and his brothers were all lawyers, so I think that the expectation was probably for me to grow up to be an attorney, but it never really fascinated me that much. I was more interested in building things. – Steve Case • My father is a practicing criminal law attorney in the Seattle area. – David Guterson • My father was one of 11. He was an attorney. My mother worked for the Syracuse newspaper as a columnist before she became a stay-at-home mother. – Siobhan Fallon Hogan • My parents from a very young age raised my sister and I under a pressure to achieve. Theyre both attorneys. So good marks, getting through university, there was a huge emphasis and pressure to do well and keep going. – David Schwimmer • Necessity knows no law; I know some attorneys of the same. – Benjamin Franklin • No charges have been filed by the L.A. district attorney’s office, and for that I am appreciative. I have said it before, but we all make mistakes, and the day will come soon enough where you no longer read of mine in the tabloids. – Scott Stapp • One of the people that wrote a forward to my book is Gerry Spence, whom I admire. Gerry is a friend of mine, and Gerry’s perhaps the leading criminal defense attorney in the country. – Vincent Bugliosi • Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters. – Kazimir Malevich • People used to ask me: ‘Well, was it the power that attracted you to Bill Clinton?’ And I said, well, how much power do you think the attorney general of Arkansas has? Of course not. It wasn’t that for me. I just a thought he was wonderful in general. – Gennifer Flowers • Possible Attorney General that’s a discussion I’d like to have with [Donald Trump]. – George Stephanopoulos • President Bush delivered his first State of the Union address, riding high on an 82-percent approval rating, and with Attorney General John Ashcroft dispatching agents to interview the other 18 percent. – Jon Stewart • Prior to any questioning, the person must be warned that he has a right to remain silent, that any statement he does make may be used as evidence against him and that he has a right to the presence of an attorney, either retained or appointed. – Earl Warren • So many theories. But all of them have one thing in common: They demonstrate that although Trump isn’t much of a businessman, he is rich enough to hire good tax attorneys who will hand over huge stacks of forms for him to sign blindly. That’s a helluva qualification for president, isn’t it? – Kevin Drum • So my attorneys brought litigation in the U.S. federal courts. The judge ruled in our favor. – Jeremy Rifkin • That was an extremely unhelpful thing for Bill Shorten to say because those of us – and as the Attorney-General I’ve been closely involved in this along with my colleague Nigel Scullion, the Minister for Indigenous Affairs – what we have been trying to do for some years now, throughout the life of the Coalition Government in fact, is to bring the Australian people on a journey with us – conservative Australians as well as more progressive Australians, to persuade them that it is a seemly and fitting and decent and appropriate thing to recognise the first Australians in the Constitution. – George Brandis • That, they never could lay their heads upon their pillows; that, they never could tolerate the idea of their wives laying their heads upon their pillows; that, they never could endure the notion of their children laying their heads upon their pillows; in short, that there never more could be, for them or theirs, any laying of heads upon pillows at all, unless the prisoner’s head was taken off. – Charles Dickens • The attorney general will not cast aspersions on my asparagus. – Louie Gohmert • The attorney general would call at 5 o’clock in the evening and say: ‘Tomorrow morning we are going to try to integrate the University of Mississippi. Get us a memo on what we’re likely to do, and what we can do if the governor sends the National Guard there.’ – Harold H. Greene • The car suddenly veered off the road and we came to a sliding halt in the gravel. I was hurled against the dashboard. My attorney was slumped over the wheel. “What’s wrong?” I yelled. “We can’t stop here. This is bat country! – Hunter S. Thompson • The defendant wants to hide the truth because he’s generally guilty. The defense attorney’s job is to make sure the jury does not arrive at that truth. – Alan Dershowitz • The liberty of the press would be an empty sound, and no man would venture to write on any subject, however, pure his purpose, without an attorney at one elbow and a counsel at the other. From minds thus subdued by the fear of punishment, there could issue no works of genius to expand the empire of human reason. – Thomas Erskine, 1st Baron Erskine • The political status legislation which emerged in Congress in 1990 and 1991 did not receive the support needed for enactment into law during my tenure as Attorney General. – Dick Thornburgh • The President appoints the U.S. Attorneys. They’re political in a certain respect. But the Department of Justice – the power that they hold is so great, it’s life and limb, you know – put you in jail, make you run up hundreds of thousands of dollars of legal costs. Even though we understand that political appointees take these jobs. We don’t assume that the party in power is going to use that kind of power to advance its political interests. – Josh Marshall • The sharp employ the sharp; verily, a man may be known by his attorney. – Douglas William Jerrold • The traditional practice is that the justices don’t ask the attorney general any questions, so as not to embarrass him. But Bobby Kennedy had let them know that he didn’t mind if they asked him questions and they did. – Harold H. Greene • There are a lot of people being duped with misinformation, and they’re all rejoicing over Donald Trump. And having a white nationalist be his chief strategist and have a racist be your attorney general, this is a really dangerous situation for our country. – Christian Picciolini • There has to be some limit to what lawyers can take from their clients. Otherwise, cagey attorneys end up with the lion’s share of the settlement and the victims end up with little more than scraps. – Dennis Hastert • There’s only so much you can do with an attorney on a show that’s about New York policemen. – Sherry Stringfield • To me the fact that a Vice President can go to Capitol Hill and lobby for torture is just unbelievable. Just unbelievable! The fact that a small clique of attorneys in the Department of Justice can write how can we get around the Geneva Conventions so that we can torture during interrogations – I can’t even get their mentally. And when you read their briefs, they didn’t get there mentally. – John Dean • Tom Cruise’s attorney said he is going to sue anyone who claims he is gay. In a related story, Ricky Martin’s attorney has been hospitalized for exhaustion. – Conan O’Brien • Unfortunately, several companies are attempting to deceive consumers through the unauthorized use of my image or my name, and my attorneys are pursuing those making these false claims. – Mehmet Oz • Usually when attorneys are assembling a jury, they’re just looking for sheep that are easily impressed. – Johnny Kelly • We aren’t upset when Paramount makes a $200 million movie that flops, but if a charity experiments with a $5 million fundraising event that fails, we call in the attorneys. So charities are petrified of trying bold new revenue-generating endeavors and can’t develop the powerful learning curves the for-profit sector can. – Dan Pallotta • We haven’t seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director. – Alberto Gonzales • We preach and practice brotherhood — not only of man but of all living beings — not on Sundays only but on all the days of the week. We believe in the law of universal justice — that our present condition is the result of our past actions and that we are not subjected to the freaks of an irresponsible governor, who is prosecutor and judge at the same time; we depend for our salvation on our own acts and deeds and not on the sacrificial death of an attorney. – Virchand Gandhi • We really haven’t seen much of the attorney general or people from the Department of Justice. So it’s very consistent with the way this investigation has been handled, and that is that the decisions have been made by the Federal Bureau of Investigation. -Alberto Gonzales • We think it’s time for the president Donald Trump to announce steps for the White House to undertake. We’d like to see a White House task force on hate crimes. This could be something again convened by the attorney general, but you would bring to bear DHS, the Department of Education, the FBI and other federal agencies to use all of their resources to deal with this problem. – Jonathan Greenblatt • Well, my dad was the district attorney of New Orleans for about 30 years. – Harry Connick, Jr. • Well, there is an attorney-client privilege here that needs to be respected, and it’s a privilege that has been found to be worthy of protection by our courts. – Alberto Gonzales • What disturbed me most, frankly, about the Rod Rosenstein memo, is the fact it was addressed to the attorney general. The attorney general was supposed to have recused himself from anything involving Russia. And here he is recommending the firing of the top cop doing the Russia investigation, in clear violation of what he had, the attorney general, had committed to doing. – Adam Schiff • When Congress gets through investigating Attorney General Janet Reno, will her agency become known as the Obstruction of Justice Department? The civil rights movement was one of the great moral crusades in the first half of the twentieth century. Unfortunately, in more recent times it has become all too much like those it opposed, demanding racial double standards and even condoning verbal and violent attacks against members of other races. – Thomas Sowell • When I was a prosecutor in San Francisco I would get advice on trying cases from public defenders and defense attorneys. – Christine Pelosi • When you look at the people that Donald Trump is actually put around him on his Cabinet, this is a pretty – I would argue a very conservative Cabinet. And whether it’s on issues of immigration, his pick for the attorney general, very conservative on that issue. – Amy Walter • When you sign with a label, they do insist upon certain rights, and if you have a competent attorney, your rights will be protected. – Tommy Shaw • When…has a mugging case ever heard a defense attorney claim, ‘Your Honor, the victim was dressed in an Armani suit and wearing a Rolex. Clearly he was begging to be assaulted.’ – Peter David • Yesterday, Attorney General John Ashcroft had surgery to remove his gall bladder. Doctors say the surgery was difficult because Ashcroft refused to take his clothes off. – Conan O’Brien • You cant be a practicing attorney without being very disciplined and detail-oriented and having good time management. – Charles Soule • You don’t lie to your own doctor. You don’t lie to your own attorney, and you don’t lie to your employees. – Gordon Bethune • You get a lawyer whether you’re in a military tribunal or whether you’re in a federal court, number one. The attorney general decided that the court with the biggest – with the greatest venue, with the best jurisdiction was the New York court. That was the right decision to make. – Joe Biden • You know, as attorney general, there’s no issue more important than making sure you are safe, that your families are safe. – Charlie Crist • You’re an Attorney. It’s your duty to lie, conceal, and distort everything, and slander everybody. – Jean Giraudoux

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equitiesstocks · 5 years ago

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Attorney Quotes

Official Website: Attorney Quotes

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helloworlddemo1122-yahoopar-blog · 8 years ago

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The Unexpected, Groundbreaking, Cult Phenomenon of ‘Twin Peaks’

brightcove

What do you tell people to expect before watching Twin Peaks? It’s as complicated an answer as what to expect when you meet David Lynch. Just ask the man: “They expect, like, a person that's 5-foot-8. Who's very hairy. Who's had most of their teeth removed and who's just gotten out of the hospital,” the filmmaker said in 1990.

ET spoke with Lynch and the cast of Twin Peaks throughout the unexpected, groundbreaking series’ short-lived initial run from 1990 to 1991 on ABC. The TV phenomenon, which returns Sunday, May 21 for a third season on Showtime, showcased Lynch’s penchant for challenging our initial perceptions of everyday life and suggesting there’s always something more going on.

MORE: Kyle MacLachlan Returns as Agent Cooper in First Look at 'Twin Peaks' Revival -- Watch!

“Then sometimes they're surprised and a lot of times they're not, because we all know that the surface is one thing and there's 99 percent to us all that we don't see right away,” Lynch explained. If there’s a perennial theme to be found throughout his body of work, it’s Lynch being fascinated with that 99 percent.

The decision of the director, who had already earned three Oscar nominations in the first decade of his career, to work in TV puzzled a lot of people in the entertainment industry. Today, we don’t think twice about the fluidity between film and TV, as many acclaimed directors and actors regularly jump between mediums. Why wouldn’t they crave the longform storytelling potential that only TV can offer? Lynch certainly did. “People can get to know characters and fall into another world, and have so many great experiences in it,” he explained.

After Blue Velvet, his fourth film following Eraserhead, The Elephant Man and Dune, people had a good idea of what to expect from a “David Lynch film” -- or perhaps at least what not to expect. Along with his writing partner, Mark Frost, Lynch was now starting to get ideas about a woman’s murder in the Pacific Northwest, the region where they had both grown up. At the behest of their agent, they began thinking of TV as a way to tell an expanded story and give depth to stereotypical characters. The project ended up at ABC, a network that ultimately welcomed the duo’s vision. “We were lucky to get green lights all the way through many, many barriers at ABC. They were supporting us like crazy,” Lynch said.

“It's a story about a young woman [Laura Palmer, who] gets killed in the town and an FBI agent comes in, and so on and so forth, but it becomes a character study of all these people in the town and how idiosyncratic people are,” Sherilyn Fenn said during a visit to the set in 1989. Largely unknown at the time, Fenn went on to earn an Emmy and Golden Globe nomination for her portrayal of Audrey Horne, whose jukebox diner dancing and cherry stem knotting scenes hold two of the top spots on the list of the series’ most memorable moments.

Rolling Stone

As with most cultural phenomenons, the people involved couldn’t imagine the success that was about to follow. But everyone could acknowledge the series was unlike anything else on TV at the time.

“I knew that David was working in conjunction with Mark Frost, writing something that was unusual for television,” Kyle MacLachlan said at the time. Just like everything in the town of Twin Peaks, MacLachlan’s character, Special Agent Dale Cooper, was full of surprises. Many TV pilots will use an outsider presence to help the audience feel grounded in reality amidst their journey through a strange land. In Twin Peaks, just as we start to feel safe with Cooper, Lynch and Frost directed us toward the Black Lodge.

“It's a place you look at and you think you would love to live in. The people are very charming. A little quirky,” said Lara Flynn Boyle, who played Donna Hayward, Laura’s best friend. “And then the more time you spend looking at the town and being in the town, being around the people, you see that everything isn't what it looks like.”

It became clear that while the series began as a murder mystery, learning more about the characters became a fan priority. “The characters are so, so intriguing. So bizarre. Do such strange things. Unexpected things in situations that are very odd. It's just the nature of the show. The unknown factor keeps people on the edge of their seat,” said MacLachlan. Wondering about what’s in Laura’s diary is easy to put on hold as you pause to witness the magic of the late Miguel Ferrer deliver a monologue as FBI forensic pathologist Albert Rosenfield that ends with “I love you, Sheriff Truman.”

MORE: Showtime Releases New 'Twin Peaks' Teaser With Some Familiar Music

“It kind of cracks me up how much people want an answer to who killed Laura Palmer thing, because that murder was kind of the ball that got everything rolling,” Sheryl Lee said later, after the show had become a hit among fans. The actress played Laura as well as her cousin, Maddy Ferguson, in season two.

“I just keep hearing that question over and over again, and there's so much other great stuff going on,” Lee continued. She believed that while Laura’s death was the pilot’s crucial catalyst, the show’s essence lay in the many secrets and relationships that were subsequently uncovered.

Of course, that didn’t mean the show’s producers were in any hurry to reveal her murderer. “We have our number on every page of the script. If that gets out anywhere, they know it's your number. You're in trouble,” Madchen Amick (Shelly Johnson) explained. One week, the future Riverdale -- a show very much inspired by Twin Peaks -- actor received a script that contained the answer to who killed Laura, but later discovered it was a trick from the writers.

Soon after Twin Peaks began airing came the viewing parties among passionate fans offering the series’ signature coffee and donuts. Several cast members were also known to gather at Russ Tamblyn’s (Dr. Jacoby) home to catch the newest episode together. (During one viewing party ET attended, a young Amber Tamblyn, whose directorial debut comes out the same weekend as her father reprises his role, was spotted watching with the cast.) The series’ unique characters and attention to detail within episodes helped elicit a cult-like following of Rocky Horror Picture Show proportions.

“The cult figure thing -- it's not anything I did. I just did this role and it captured people's imaginations so I'm kind of there giving something that I'm not really clear what it is. Do you know? So, it's an interesting phenomenon,” said Catherine E. Coulson, our Log Lady, while Lee added that it gave viewers credit for being intelligent. “It is definitely an audience participation show.”

She continued: “I have heard theories about every character having killed her and with different motivations and reasons and all this, and all of them make sense. And whether or not they're right, at least the viewers are thinking. You know it's not the kind of show you can go, ‘OK, I want to tune out for two hours and turn it on to watch it.’”

The series also enjoyed international popularity. Japan, in particular, suffered from a huge case of Twin Peaks mania, with MacLachlan later becoming a spokesperson for a coffee company there.

“A few years ago, the people who live here knew about the Northwest, but as far as that goes, the rest of the world didn't really care about it. And who could figure that in Spain and Italy and England and Japan and many, many other countries something like this that seems sort of homespun could be understood and appreciated so much and intensely,” Lynch said in 1992, after the show had gone off the air.

“All I keep saying is it's the mystery of the woods and it's the same kind of thing that gets a fairy tale going on. Once you start walking in the woods, your imagination starts going and you know there's something of this in the land of Twin Peaks,” he continued.

Close enough.

Twenty-six years after Laura spoke those words, the prophecy is being fulfilled. Twin Peaks: Fire Walk With Me, a 1992 prequel film that chronicled the final week of Laura’s life, had seemingly been this story’s final chapter. But the show’s cult status never died, as Twin Peaks found new life among viewers of the streaming age. And eventually, the series was set to continue on Showtime with 18 new episodes -- impressive, considering the original series only ran for 30 episodes -- with the original cast and creatives in place.

“If they ask us to come back, I'm sure it would be a real pleasure to see our friends again,” Ray Wise (Leland Palmer) said in 1992.

A damn fine pleasure, indeed.

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lynchgirl90 · 8 years ago

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@Variety COVER STORY: Inside the roller-coaster journey to get @DAVID_LYNCH's #TwinPeaks back on TV

A red room. A dream version of Laura Palmer. An older Special Agent Dale Cooper, silent and pensive. The Man From Another Place, speaking cryptically: “That gum you like is going to come back in style.” It was early 1989, and Lynch was hard at work on “Twin Peaks.” He and co-creator Mark Frost were trying to meet the deadlines of ABC, the network that had commissioned a drama about love, pie and murder in a Pacific Northwest town. Lynch was under pressure to create scenes that would allow the pilot to be released as a TV movie in case it didn’t get picked up to series. But the filmmaker didn’t have any ideas for footage that could wrap up the story neatly enough to please a movie audience. Then he walked outside during an early-evening break from editing and folded his arms on the roof of a car. “The roof was so warm, but not too warm,” Lynch says. “It was just a really good feeling — and into my head came the red room in Cooper’s dream. That opened up a portal in the world of ‘Twin Peaks.’” That vision ended up in the third episode — but more importantly, it would lay the groundwork for the highly anticipated revival of the series, which returns May 21 on Showtime. It’s an older Cooper that anchors the series. While countless reboots of numerous series have crashed and burned, it’s safe to say few have been as intensely followed by fans as this one. As Showtime CEO David Nevins put it, “‘Twin Peaks’ as a place is a proper noun, but it’s almost become an adjective.” Since the show’s debut in April 1990, many dramas have tried to create the kind of evocative, twisted atmosphere “Twin Peaks” exuded from the first twanging notes of Angelo Badalamenti’s yearning score. And though intense dramas about murders that reverberate through tight-knit communities are now easy to find on TV, no show has come close to achieving the mix of humor, soapy drama, sincerity and corrupted purity found within the strange confines of “Twin Peaks.”

That’s because much of what’s distinctive about the drama emerges from the most unpredictable corners of Lynch’s mind — like that red room epiphany. “It comes in a burst,” Lynch explains. “An idea comes in, and if you stop and think about it, it has sound, it has image, it has a mood, and it even has an indication of wardrobe, and knowing a character, or the way they speak, the words they say. A whole bunch of things can come in an instant.” Frost describes a case in point: “I remember him calling me to say, ‘Mark, there’s a giant in Cooper’s room,’” he says. “I learned early on that it was always best to be very receptive to whatever might bubble up from David’s subconscious.” The first iteration of “Twin Peaks” lasted only two seasons — 30 episodes in all — but the show left a legacy that would help define auteur TV. “I don’t think anyone who ever saw ‘Twin Peaks’ will ever have it not ingrained in their memory and imagination for the rest of their lives,” says Laura Dern, a frequent Lynch collaborator who plays a mysterious role in the new season. Yet getting the series back on-screen was no easy feat. At one point, the revival almost fell apart before production began. It would take delicate negotiations by all parties to rescue the project. “I was an actual, genuine lover of ‘Twin Peaks’ and the world that [Lynch] created, and I knew his filmography really well,” Nevins notes. “[We said] we would take the ride with him, and that we would treat it well and treat it with the respect that it deserved. I think we did. We bobbed and weaved with him; we were patient when we had to be patient.”

Lynch and Frost began talking about returning to “Twin Peaks” in August 2012, in part because the show’s baked-in time jump was approaching — in that pivotal red room scene, Agent Cooper is 25 years older. The two men shared ideas over meals at Musso & Frank, and after the writing process had begun in earnest, they started to shop the revival around. They settled on Showtime fairly quickly, given their history with the executives. Gary S. Levine, Showtime’s president of programming, has known Frost and Lynch since his days at ABC. Almost three decades ago, he was one of the execs who heard their pitch for the TV show they initially called “Northwest Passage.” (Levine still has the memo that notes the date of the first concept meeting for the pilot — Aug. 25, 1988.) But as with everything Lynch, the agreement for the redux came down to instinct: A final piece of the puzzle, say the execs, was a painting in Nevins’ office of a little girl next to a bookcase that looks like it may fall on her. “I was making the pitch about why he should come here and why we would treat his property right, and he mostly stood there and stared at the painting,” Nevins recalls. (For his part, Lynch says the painting wasn’t the deciding factor, but he smiles at the memory of seeing it.) The deal closed in the fall of 2014, with an order of nine episodes; the following January, Lynch hand-delivered a 400-page document. “It was like the Manhattan phone book,” Frost says. Their plan was to shoot the entire thing — with Lynch at the helm of every episode —and then edit the resulting footage into individual episodes. It’s hard to imagine wrestling that 400-page behemoth into a briefcase, let alone giving notes on it. When talks broke down, however, the conflict wasn’t about the script but rather the project’s budget. In April 2015, the director went public with his growing displeasure, tweeting that “after 1 year and 4 months of negotiations, I left because not enough money was offered to do the script the way I felt it needed to be done.”

Lynch’s threatened departure generated a flurry of commentary, most of which said that a version of the TV show without him would be worse than no “Twin Peaks” at all. “I didn’t want ‘Twin Peaks’ without Lynch either,” Nevins says drily. The Showtime chief says he was out of the country when negotiations hit that difficult patch. Lynch wanted the flexibility to expand the length of the season, but he didn’t know exactly how many episodes he’d end up with. He hoped it would be possible to go longer than the 9 or 13 installments that had been discussed, but he ran into resistance from the network’s business affairs department. “It didn’t fit into the box of how people are used to negotiating these kinds of deals,” Nevins says. “Once I understood what the issues were from the point of view of the filmmaker, I was like, ‘OK, we can figure that out.’ And we did — it turned out not to be very complicated to [resolve].” Nevins and Levine went over to the director’s house. “Gary brought cookies,” Lynch recalls. And over baked goods and coffee, the three men hashed everything out. Lynch, says Nevins, has a history of being responsible. “He said, ‘Give me the money; I will figure out how to apportion it properly.’ And he did,” Nevins says. (Levine says the cost of “Twin Peaks” is comparable to that of Showtime’s other high-end dramas.) Asked for his side of the story, Lynch asks, “What did Showtime say?” Told their version, he signs off: “Basically, that’s it.” He says his relationship with the network ever since the cookie summit has been “solid gold.” (Treats never hurt: When he delivered cuts of the new season, he sent along doughnuts.)

The mystery of the first season of “Twin Peaks” was, famously, “Who killed Laura Palmer?” The mystery of the reboot is, well — nearly everything. None of the 18 episodes will be released in advance to critics, and very few details have leaked out. Though cast members such as Kyle MacLachlan (Agent Cooper), Madchen Amick (Shelly Johnson), Sherilyn Fenn (Audrey Horne) and Ray Wise (Leland Palmer) are returning, others, including Joan Chen, Michael Ontkean and Lara Flynn Boyle, won’t be back. No one will say what characters are being played by new recruits Dern, Ashley Judd, Tim Roth, Naomi Watts and Robert Forster — there’s a roster of more than 200 characters in the new season. Frost’s father, Warren; Catherine Coulson, the Log Lady; and Miguel Ferrer, who played the irascible Albert Rosenfield, all filmed scenes before they died. Nevins lets it slip that Lynch’s character, the hearing-impaired FBI Regional Bureau Chief Gordon Cole, is “pretty prominent” in the new season. “I probably said too much,” he adds. MacLachlan says that Lynch enjoys the world of “Twin Peaks” so much that he couldn’t resist putting himself back in it. But he admits that, for his part, he finds it hard to stay in character when he’s doing scenes with his director. “Unless we’re really both firmly rooted in what we’re doing, we tend to start laughing and messing up,” the actor says. Stopping for a moment, the actor reconsiders: “David, when he works, he’s very committed to Gordon. So when I’m in there with him, he’s able to really hold it. He holds it better than I do, to be honest.” For those expecting a similar structure to the original, which revolved around Laura’s death, Frost issues a warning: “It’s going to be very different this time around.” The scope of the reboot is greater, says Nevins, adding that the new installments of the drama reflect Lynch’s advancement as an artist.

“I think he’s evolved to an even more extreme version of himself, but all of the [Lynch] themes are visible,” Nevins says. “He has certain ideas about the ideal of America. Not to relate it too much to the present, but he has certain ideas about Midwestern American wholesomeness. But I think he’s also incredibly aware of the flip side of it. I think David Lynch is a really relevant voice: What does it mean when we say, ‘Make America great again?’” Given the wider scope, it’s not surprising to hear that, though “Twin Peaks” returned to Snoqualmie, Wash., for some filming, certain storylines in the new season take place outside the Pacific Northwest, and the bulk of the new season was shot in Southern California. “There are different threads in different parts of the U.S.” that eventually converge, Nevins says. “It does not go outside the U.S., but it is in multiple locations in the U.S.” One last clue from Lynch: The film “Twin Peaks: Fire Walk With Me,” he says, is very important to understanding what’s coming May 21.

Even if “Twin Peaks” travels outside its forested Pacific Northwest setting, it’s safe to assume there’s still cherry pie on the menu at the Double R Diner. Lynch and Frost’s collaborative process is also still intact; 25 years later, the two men picked up where they left off. Lynch lives in Los Angeles and Frost resides more than an hour away, so the two men often worked together via Skype. Frost typically writes down what they come up with, and then the two trade notes and talk further to refine the story. “Getting it the way you want it to be, that’s a beautiful high and it’s a high for everybody,” says Lynch of directing. “It’s difficult to go home and go right to sleep. And it’s murder to get up in the morning.” Lynch directed every episode of the drama, which wrapped production a year ago. In a perfect world, he says he would have helmed every installment of the original series. “Not that other directors didn’t do a fine job,” he says. “But when it’s passing through different people, it’s just natural that they would end up with [something] different than what I would do.” The freedom of airing on a premium channel didn’t change his approach, Lynch says. There’s not much in the way of nudity or extreme violence in the finished product. “You don’t think, ‘Oh, I can do this now,’” he says. “The story tells you what’s going to happen.” In fact, despite the show’s reputation for being unsettling, most of what’s dark and dangerous about “Twin Peaks” comes from its mood and soundscape, not necessarily from what’s depicted on-screen. Decades ago, ABC executives were excited about Lynch and Frost’s pitch in part because it was, in many ways, relatively conventional. It fit easily into a number of existing TV categories: the classic nighttime soap, the murder mystery, the high school drama and the small-town saga.

“There certainly weren’t Standards & Practices issues at the time,” Levine says. “[Lynch’s] imagination took you to new places, not to prurient places. That was a good thing in broadcast TV.” But the otherworldly elements that Lynch layered in — an indefinable air of mystery, a surreal quality that evoked swooning, bittersweet loss — were among the factors that made the original “Twin Peaks” a ratings and pop-culture sensation. And despite that the second season was more uneven than the first, the show often effectively blended slapstick humor with dream logic, bittersweet romance, heightened melodrama and hints of violence and degradation. “He’s got both really good craft and storytelling skills, and he also creates his own reality without it violating the reality you’re in,” Levine says. “I think that was one of the great things about the original — it was a really compelling plot, but it also was this acid trip. Somehow those two things coexist beautifully in David Lynch’s world.” Lynch doesn’t question where inspirations like the red room scene come from; he simply wants to capture them with his cameras. And lest anyone think he’s overly precious about his process, Lynch doesn’t consider himself the creator of these visions. “It's like that idea existed before you caught it, so in some strange way, we human beings, we don't really do anything,” he says. “The ideas come along and you just translate them.” What might Lynch’s response be if an actor said, about a line, "That doesn't feel right to me”? “I don't know if I've ever said that to him, actually,” says MacLachlan, stumped by the question. “I mean, I would never change it. It is there for a reason.” In fact, to hear him tell it, the fact that Cooper is an iconic TV character is in many ways a tribute to the writing for the character, especially in Cooper’s debut scene. “I brought my stuff, yeah,” MacLachlan says. “But that’s one of the greatest introductions into a story of any that I've ever had — driving up the mountain, talking into a tape recorder about some of the mundane things in life, just kind of cataloguing it. Immediately, you wonder, ‘Who is this guy and what is he about?’” “When I first started with David in ‘Dune,’ I was full of questions. I would bother him non-stop,” MacLachlan says. “He always had a great deal of patience with me. On ‘Blue Velvet,’ I still [had questions], but less, and then with ‘Twin Peaks,’ even less. I've stopped having to know everything. I’ve just said, ‘OK, I see where we're going.’” “For Kyle and I, we've spoken about this incredible gift that we know what [Lynch] means” when he discusses his vision for a scene or a project, Dern says. “We have gone on this journey with him, so we know his language, or what he's inventing. We don't necessarily need to understand it or need it to be logical, but we see where his brain is taking him and we can follow.”

Dern and MacLachlan both say they relish the opportunity to work with Lynch because his vision is so specific that it gives them a detailed road map to follow — and it makes the set an efficient place. “There’s no wasted time or wasted emotions, tangents, whatever,” MacLachlan notes. “He’s very precise when we talk through the scene, and he tells me what’s going to happen. He has already thought it through, and he sees it.” Dern marvels at the rigor and enigma of Lynch’s process. “David creates these worlds, sometimes all too real and sometimes incredibly absurd, but either way, he places humanity inside them, and his dialogue is so precise, mysterious, unusual and beautiful that you want to dive into that dialogue and hopefully make it soar,” she says. Given Lynch’s penchant for secrecy, just about all Dern can say about her character is that she talks about birds, at least once. “Kyle and I had several scenes, particularly in the car, when we're talking about the robins,” Dern says. “There’s this very beautiful, hopeful poetry amidst this hellish world they've entered.” Rewatching “Twin Peaks” recently, MacLachlan was struck by how the editing of the show helps it create a series of moods, from comedic to tautly suspenseful, from romantic to terrifying. “His timing, his rhythms,” MacLachlansays. “That's what I find so interesting about David Lynch — the way he stretches things or condenses things, or manipulates time to make something either seem more humorous or less.”

Now all that remains to be seen is how the public responds to the new adventures of Agent Cooper, that avatar of square-jawed all-American perseverance. “I believe in intuition,” Lynch says. “I believe in optimism, and energy, and a kind of a Boy Scout attitude, and Cooper’s got all those things.” The most important parallel between Lynch and Cooper is that their belief in their own intuition is matched by a purposeful, almost single-minded intent. What allows Lynch to put deeply felt images from his subconscious on the screen is a tenacious focus — one that’s cloaked in the kind of smiling, friendly optimism that Cooper typically exudes. “His vision is genuine,” Dern says. “He’s not interested in creating something so others will be impacted by it. He just sees a world and has to follow it.” Despite the passionate responses his works have created, Lynch doesn’t necessarily set out to delve into the hearts and minds of his viewers. He’s just an interpreter of something primal — a messenger for the visions that find him. “I guess, like Mel Brooks said, ‘If you don’t laugh while you’re writing the thing, the audience isn’t going to laugh,’” Lynch explains. “If you don’t cry or feel it while you’re doing it, it’s probably not going to translate.” Almost 30 years ago, TV viewers followed Lynch through that portal to the red room. Despite the crowded TV landscape “Twin Peaks” helped create, Nevins thinks audiences will take the journey again. “I think he does have enormous self-confidence as an artist — that what resonates with him won’t resonate with everybody but will resonate with enough people that it’s going to make noise in the world,” Nevins says. And if there is silence, that’s fine too. “If nothing happens, it’s still OK,” Lynch says with a smile. “This whole trip has been enjoyable.”

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#Twin Peaks #Kyle MacLachlan #David Lynch #Laura Dern #Variety #Showtime

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